Show me the bunny

I never saw the 1987 movie version of the psychological thriller, Fatal Attraction. A friend who did says the story line of the one act play by the film script writer, James Dearden, is similar bar the ending and that it lack the fullness of the movie.  In the interests of the other three people who didn’t see the movie but who will see the play, I deliberately refrain from pointing out what the ending is.

Fatal attraction 1

The stage version of the script brings us a morality play rather than a psychological thriller, and must have been a nightmare for director, Paula Bangels, to coordinate a mind-boggling succession of short scenes taking place in bars, bedrooms, offices, and the Gallagher apartment and rural home.  Curiously the audience makes the transitions easily, so it seemed Bangels succeeded exceptionally well – especially making a weak script about as compelling as it can be.  Part of the success of the work must be attributed to a very clever and wonderfully minimalistic slatted box set by Marjolein Ettema, with changing faces behind the action.

The premise of the play is that Dan Gallagher (Ashley Dowds), a happily married lawyer in New York, has a one weekend fling with Alex Forrest (Jazzara Jaslyn), an attractive woman he meets in a bar, while his wife, Beth (Jenny Stead), and daughter (not a physical presence) are in the countryside visiting his mother-in-law (Jo da Silva). He intends to end the fling but it turns out that Alex is not lightly discarded.  Alex is mentally unstable, even psychotic, and she proceeds to stalk him, terrorising him and his family.  However the audience is left in the dark as to why Dan doesn’t take the advice of Jimmy (Alex Tops), his friend and colleague, and go to the police once his wife knows about the fling.

The acting is superb despite the fact that no one scene lasts long enough to make any real emotional impact. There is no backstory to Alex’s bizarre behaviour although her wonderful presence is awe-inspiring, and her portrayal of a seriously disturbed psychopath is excellent. Dan’s wife, Beth, is one of those roles that doesn’t really have much meat in the script, and the end result is that the poor Jenny Stead is left trying to bring some flavour to a really bland role. Ashley Dowds does an excellent job of conveying Dan’s escalating panic at first and his remorseful self-loathing later.

Fatal attraction 2

The script is hazy about the horrendous acts Alex Forrest inflicts on the family and the famous “boiled bunny” is glossed over to the point that one knows something awful happened to the bunny, but not what. The term “bunny boiler” has now, formally or informally, entered the English language to indicate a crazy stalker after a brief affair has ended. I really think that cutting this revolting act down to a mere hint might have been directorially convenient, but caused a loss of impact of just how totally deranged Alex really is.  It is, perhaps, a symbol of how little we, the audience, care about the fate of Dan, his family, and Alex.

Lighting was by Faheem Bardien, music by David Cantens. The play is 90 minutes long with no interval.

To sum up, the script is flawed and no amount of clever direction and skilled acting can really turn it into the famed psychological thriller that the 1987 movie is.  (I really must get to see it).  However, it is a pleasant enough outing not to be a waste of money and time. However, it is not a “must see” either.

Fatal Attraction plays at the Pieter Toerien Theatre in Montecasino until 6 May 2018.

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Timeless Truths

John Shand, playwright, author, poet and notable theatre critic says of Antony and Cleopatra that it is “Shakespeare’s most opulent play in terms of both scale and language.  Yet its challenging, operatic scope is also a graveyard for actors and directors.”  What hope then for young Neka da Costa, director of this 2018 Season of the IEB schools set work for Grades 10, 11 and 12?  What hope for her team of nine young thespians working with a mobile set and props in impromptu spaces?  Well, every hope, actually.  The production is stunning.

For a start Da Costa and her team have cut the work (and ten years action) from three hours to seventy five minutes – and done it seamlessly, so that one doesn’t notice what has been left out.  The production focuses on the erotic love relationship between two passionate individuals, the soldier/politician, Mark Antony (Ben Kgosimore), and the woman who captures his interest and heart, the beautiful and exotic Queen of the Nile, Cleopatra (Sanelisiwe Yekani).

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Set in the era of the second Roman triumvirate, (after the assassination of Julius Caesar in 44BC – another of Shakespeare’s plays), Mark Antony is one of triumvirs, together with Octavius Caesar (Cassius Davids) and Lepidus (Kevin Koopman).  Mark Antony heads off east to Egypt where he dallies, neglecting Rome and his wife, first Fulvia then Octavia (Megan van Wyk).  Besotted with the jealous, vain and hysterically wilful Cleopatra (yes, Sanelisiwe Yekani gets to play an incredibly complex character and her performance dominates the action) he allows his brilliance as a military strategist to be subverted and he finds himself betrayed in politics and unsuccessful in war. The unhappy pair, like the other great Shakespearean lovers, Romeo and Juliet, both commit suicide.

The main characters include Sextus Pompey, a rebel against the triumvirate and the son of the late Pompey played by Carlos Williams.  Only the title characters escape having to enact more than one character.  Sibusiso Mkhize plays Enobarbus, one of Mark Antony’s party.  Megan van Wyk doubles as Iras, one of Cleopatra’s servants.  Campbell Meas plays the role of Charmian, another of Cleopatra’s servants and then some small parts.  Both the articulation and projection of the voices is perfect. The cast clearly adapt this to suit the size and acoustics of their venue.

The costuming and set is by Sarah Roberts and is cleverly minimalistic. I saw her costumes for last year’s production of Coriolanus and this year follows suit. Lighting for the theatre production is by Jane Gosnell.  Usually the actors have to work without this luxury, much as the first actors of the play (circa 1607) would have had to do.

Antony and Cleopatra’s pace and energy never flags for a minute and it is visually splendid, reaching its pinnacle in the sea battle which Mark Antony loses.  The Shakespearean language is maintained throughout. The production is presently travelling to schools nationwide and continues until the end of May 2018. The presentation is directed towards enhancing knowledge of students studying the set work for their matric examination, but it feels like entertainment (Shakespeare is meant to be performed, not read). At the conclusion of every show students are invited to participate in a Q and A.

I wonder if the questions that are asked include pointed questions/comments about the present political leaders, either of those close to home, or those on the world stage and the dangers of provoking the wrath of opponents who have unbridled authority. While this is one of Shakespeare’s tragedies (the historical elements having been tampered with for dramatic reasons), it has the immediacy of today’s news. Da Costa and her team have lost none of the impact of the work’s relevance in society through every age.

Shakespeare fans in the public can see this production at the National Children’s Theatre in Parktown on 20 and 21 April, 2018 at 14:30.

When: February to May 2018. Performance schedule now available for schools
Where: IEB schools across South Africa and Swaziland. Cost: R100 per learner
Time: Approximately 75 minutes, followed by Q/A session of 30 minutes
Produced by National Children’s Theatre and Renos Nicos Spanoudes
For enquiries and bookings: Phone 011 484 1584 or e-mail /

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A moonbeam in your hand

A visit to the theatre to see The Sound of Music takes me back to 1965 and being an excited seven year old taken to see the Julie Andrews film classic of Rodgers and Hammerstein’s greatest hit (first written for the stage in 1959).  The Sound of Music has been described as “the world’s favourite musical” and it is a sure money spinner which is why it is produced as often as it is.

Sound of Music 1

I have seen several live productions over the years including the 2014 one which this reprises, but this 2017/2018 all South African production which has just completed an overseas tour is by Andrew Lloyd Webber and his Really Useful Group, brought to us by David Ian Production and Pieter Toerien Productions is top notch – easily the best I have ever seen.

For people familiar with the movie, the sequence of the much loved songs with wholesome lyrics and singable tunes is somewhat different, but it all works wonderfully.  The dramatic tension is tight and I found that I was more caught up in the characters than I usually am when watching yet another production of The Sound of Music.

The audience on the ordinary weeknight that I attended was multi-generational – everything from people who were older than seven in 1965 through to children who are not yet older than seven. For many in the audience both the music and the story were new to them.

The sets are exquisite (particularly the magnificent church scene where the wedding was conducted), although I thought the mountains were about as well done as is possible for recreating a Swiss Alp on a stage.  The costumes (particularly the costumes in the party and wedding scenes) and Robert Jones is to be commended for his excellent work on both the sets and the costumes in this regard. Lighting is by Mark Henderson and it is superb, particularly in the thunderstorm scene.

The musical director is Kevin Kraak and the musical input is slick, with this production using the original orchestration by Robert Russel Bennet from the 1959 show.  The singing nuns climbing the stairs of the auditorium in the beginning sounded a bit thin to those of us close to the aisles – can’t be helped, really, but perhaps the nuns should have exited from the stage area and so stayed closer to one another – a minor gripe, of course.

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Carmen Pretorius was a charming and plausible Maria capturing her loveable free spirit very well, with Janelle Visagie as a magnificent Mother Superior, Andre Schwartz as Captain Von Trapp.  Andre Schwartz copes easily with the music, but he is visually not made in the mould of a romantic hero.

Baroness Schraeder was played by Haylea Heyns, and Max Detwieler was portrayed by Jonathan Taylor.  The children are all quite adorable – and importantly, never shrill – I was positively impressed.   The diction, both in the singing and the speaking, is excellent all round. Sixty years on there are some lines that make one cringe – Maria saying “I belong to him” and the whole “I am 16 going on 17” number is very dated now.  For the most part the foreboding of the evils of Nazism is underplayed in this version.

The climax of the production finds us, the audience, transported back to 1938, in Austria as the Von Trapp Family sing with Andre Schwartz singing Edelweiss for the first time, really making the point about his rebellion against the Third Reich with its Nazi regime as the words “Bless my homeland forever” echo through the theatre.  The escape from the concert hall is the pinnacle of the action with the armed Nazis surrounding the audience and the tension is held right through to the family’s narrow escape in the Nonnberg Abbey garden.  Their final escape over the mountain is a poignant relief for everyone.

Once or twice during this heart-warming production, I found my eyes becoming somewhat watery and once they even leaked.  The Sound of Music can be seen at the Teatro, Montecasino until 28 April 2018, whereafter the production will head to Cape Town.  It is a longish evening for the little ones with the performance, including the interval, running to about two and a half hours, but most of them stayed awake throughout.

Great family entertainment.  Five stars.

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Carmen – the Ballet 2018

The particular thrill of musicians tuning their instruments has always been one of my most treasured experiences.  Its absence at ballet performances over the past few years has been an ever-present, if dull, ache.  The presence of a live orchestra is a delight which adds immensely to the total ballet experience.  Brandon Phillips was at the helm of the Johannesburg Philharmonic Orchestra who, with concert master Miro Chakaryan, played very well last night at the ballet performance of “Carmen- The Ballet” with the famous and familiar music by Georges Bizet (1838-1875).  The arrangement and orchestration of the music was by Michael Tuffin.

Joburg Ballet Brandon Phillips Conductor

Brandon Phillips conducting the JPO for Carmen – the Ballet at Joburg Theatre.

The story, choreographed by Veronica Paeper, follows the opera drama closely, although there is a scene in the fourth and final act inside the bullfighting stadium which the opera omits.  The portrayal of the dead bull is a clever theatrical device which pleased me and from the start the dance work is steeped in death, albeit of a bull at the beginning.  Street urchins (presumably from the Joburg Ballet Academy, although I had guessed they originated from the Joburg Ballet Outreach?) mimic the soldiers in the changing of the guard and, from the tight unison of the male corps de ballet, one knows that this production is going to be superb.

“Where did they get all these dancers?” is my initial thought when seeing the number of male dancers on stage.  Artistic director, Iain MacDonald, answers my question in his programme message.  They come from the Joburg Ballet Academy and the National School of the Arts (the first time the latter is collaborating with Joburg Ballet).

On opening night the role of Carmen was performed by Claudia Monja.  Carmen is one of the most psychologically difficult of all the ballet roles for a ballerina to master, for Carmen is the antithesis of other ballet heroines.  She is common, slutty, trashy and her allure is not of a young innocent girl, but a morally outrageous and sexually experienced woman.  Most portrayals are unconvincing to me, a woman, and even more so to men.  Claudia Monja, however, while not being Joburg Ballet’s best dancer technically, is certainly Joburg Ballet’s strongest character actor by a long margin, and she “nailed it” as one person commented after the end.  One is never in doubt about her potent effect on the men who desire her.

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Claudia Monja in the title role on opening night of Carmen – the Ballet at Joburg Theatre

On opening night Claudia Monja was partnered by Leusson Muniz as Don José, with Armando Barros as Escamillo.  It was, however, Nicole Ferreira-Dill who provided the stark contrast to Carmen in her role as Micaela – the faithful and innocent fiancée of our rather dubious “hero”.  It will probably be no secret to regular readers of my blog that I admire the dancing of Nicole Ferreira-Dill immensely and she didn’t disappoint in the role of Micaela.  My heart was urging Don José to go home with Micaela and to stay out of the trouble we know Carmen is going to bring him.  Alas!  The ballet storyline won out over the reasoning of my heart and Don José deserts to follow Carmen into the underworld.

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Claudia Monja and Leusson Muniz in Carmen – the Ballet at Joburg Theatre

Kitty Phetla as the Madame of the factory, Tumelo Lekana as the pickpocket, Revil Yon as Captain Zuniga, Sikhumbuzo Hlahleni as the Captain of the Guard, Monice Cristina as Mercedes, Sanmarie Kreuzhuber as Frasquita, Albertus Dreyer (guest artist) as Lilas Pastia, Ivan Domiciano as the Chief Smuggler and Chase Bosch as the Fiesta Man all contributed positively to the wonderful dancing.  The stand-out performance here was Tumelo Lekana in the role of the pickpocket.  I loved it.

The technical aspects were interesting but not startlingly innovative or remarkable.  The arena sets date back to more affluent times.  Most people know that I am not a fan of big sets for ballet – believing that the imagination of the audience is better than even the best sets.  The costumes are lovely, and created “after the originals” by Peter Cazalet.  Lighting design is by Simon King.  Photographs in the programme and for publicity, including the ones used for this review, are by Lauge Sorensen.

“Carmen-the Ballet”, which runs at the Joburg Theatre for a season of ten performances, is not to be missed.  I tried to work out exactly what makes this production so wonderful.  The live music helps, the quality of the dancing, especially the corps de ballet work, is hugely improved.  Ultimately I think it is the energy of Carmen, the Ballet itself.  It is energetic and gritty, filled with allure and bravado, rather than the escapism and magic of most other ballets.

Joburg Ballet needs the support of all dance lovers.  I hope that dance teachers will encourage their students to attend performances presented by the Joburg Ballet (and other dance companies). One warning to parents – there are two on stage sex scenes, Carmen’s consensual act with Escamillo and Don José’s rape just before he kills her.  However both are very subtly accomplished and it is highly unlikely that children under the age of fourteen or fifteen will even notice them.

After the performance the promotions and awards were announced – Claudia Monja and Nicole Ferreira-Dill have both been promoted to principals while Ruan Galdino, Leusson Muniz, Monike Cristina and Sanmarie Kreuzhuber were also promoted.  The Giselle Award went to Albertus Dreyer and three Madge Cade Awards were made to Shannon Glover, Shana Dewey and to the general manager Kabelo Modiga.  My congratulations to all concerned.

Readers are reminded of the forthcoming ballet season in July/July which will be Act III of Raymonda together with a world premiere by Redha, one of Europe’s leading choreographers.  I have seen works of his before and they are wonderful. The next symphony season will be in May/June at the Linder Auditorium.  Importantly there is “A Dazzling Gala at The Teatro” with Joburg Ballet and Friends on Saturday 19 May at 15:00 and at 20:00.  Tickets are priced between R200 and R400.

All round “Carmen – the Ballet” was an excellent evening’s entertainment.

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When in doubt say Darling

I have been watching Pieter-Dirk Uys play his satirical roles as various South African politicians on both sides of the 1994 divide, South Africa’s most famous white woman – Evita Bezuidenhout, the lovely Bambi Kellerman, the intriguing Ouma Ossewania and many more, for more than forty years now. Although I am a little younger than he is, we’ve grown together.  I once lived next door to him in Melville, although I hardly ever saw him – he is fairly retiring in his personal life.

When in doubt say Darling

The last show of his at Montecasino, this time last year, was an autobiographical one, The Echo of a Noise. This one, When in Doubt Say Darling, is another autobiographical show.  He is clearing out his space in his home in Darling, Western Cape, and as he deals with the various props, he reminisces about his various productions.

Most of the older audience remember, with great fondness, each of the characters (and more) he takes props and memories out of his signature plastic crates.  I loved his take on “today’s news” as he looks at “polonialism” and Winnie Mandela who is possibly reuniting with Nelson – unless they have gone to different places.

Pieter-Dirk Uys has become a social campaigner over the years, for voter education, for HIV education and for social upliftment wherever he happens to be.  He recounts heart-warming tales of what he is experiencing as he interacts with the underprivileged youngsters from Darling.  This section alone is all new and wonderfully amusing without any satire.

Younger audience members assured me they didn’t feel alienated by not knowing who Piet Koornhof was, or not really remembering PW (or any other) Botha. It was almost as if they were stepping into history.  However, most of his audience has aged alongside him and we continue to love his shows even as we remember those days alongside him.

When in Doubt Say Darling runs at Pieter Toerien’s Montecasino’s Studio Theatre (upstairs, no disabled access) until 22 April 2018. Tickets from Computicket.


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Plum Tree (#me too)

Important:  Trigger warning for child sexual abuse

Jan Groenewald - youngster

Jan Groenewald as a young school boy

The autobiographical work of Jan Groenewald hadn’t completely escaped my attention in its original Afrikaans format  (Pruimboom), but I hadn’t been invited to view it, so I was delighted to be invited to attend a performance in its English version, the one translated by Clive Rodel and taken to the Edinburgh Festival.

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Jan Groenewald is Afrikaans speaking and the one person play may well be better in Afrikaans.  I certainly enjoyed the bits where he quotes or sings Afrikaans.

The subject matter is difficult.  It deals with the age old tale of an older man who sexually abuses a pubescent and athletic lad.  The hideous horror of sexual abuse of underage children is one that is all too familiar to far too many people of every generation.  Modern children are trained to resist and report, but these things were swept under the carpet some sixty years ago, hidden and shameful for the “victim” (not “survivors” as these people are now known.)

The trigger warning is needed for many.  It certainly triggered painful memories of my experience of “stranger danger” sexual abuse when I was six years old.  I started wetting the bed again (Groenewald speaks of vomiting) and it was decided to send me to my aunt in Port Elizabeth for the holidays.  There I was in the bath when two thieves broke in while my aunt and uncle were out and my oldest cousin had been left to look after us.  She ran away to the neighbours with her siblings.  I was left in the bath.  The commotion afterwards left the image of my abuser, not two black thieves, on my subconscious.  Ten years later I bumped into my abuser working on the plumbing in a neighbour’s bathroom.  The police were unhelpful. I was a six year old when it happened and the passage of a decade wasn’t their idea of an easy case to prosecute.  Somehow, while I had and still have perfect clarity about all three of these events, I have merged them into one “stew” which has left me unable to bath at night. This personal response is important to my perception of the storyline.

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While the event of the sexual molestation and its aftermath ring true in my experience and understanding together with all its nuances of the repeated telling of the age, 13 years, 7 months and 7 days, the heart palpitations and breathing distress, the resolution of the matter into a victory for the survivor doesn’t resonate nor ring true for several reasons, not least of which is my own encounter and subsequent observations.

Groenewald lay dying at the age of 70.  He needed to tell his unspoken tale to get it off his chest.  Assuming that the work was written in 2016 (I can’t find when it was first performed), Groenewald would have been born in 1946 if he were 70 at the time of writing.  That means it would have been 1959 or 1960 at the time of the terrible, monstrous incident.

There are two glaring anachronisms in the reported way of handling the situation.  First, the Post Office savings accounts were limited as to how much money could be held in them.  In the late sixties and early seventies this amount was R25 000.  Surely under the older “pounds and shillings” system this would have been a much lower amount – a pound was roughly two rand?  The second thing is that portable cassette recorders were not developed until 1962 and they were still large things by the standards of the later portable tape decks and the even later Walkman players.  Never mind that a million pounds would be worth somewhere in the region of R500 million today, not a sum that even the super-rich have lying around not earning top interest rates to simply wire anywhere at a few hours’ notice.

The play has been beautifully scripted to lay bare a jumble of memories, much like real life.  What I suspect that Groenewald has done, deliberately or sub-consciously, is relate the tale of how he would have liked to have handled things.  How he gets his revenge and triumphs over the emasculating and crippling memories and the ever present shadows an event like this casts on the life of a “victim/survivor” may owe more to wishful thinking than actuality.  My incredulity of the sheer temerity of the reported post incident reaction does not invalidate the work in any way – rather it adds pathos and demands compassion.  I believe that few people who have not experienced this horror can truly understand how huge the scars are that this leaves in the life of the survivor or how much emotional and psychological work the survivor needs to do in order to deal with them.

With more and more people speaking out against past abuses in the past decade or two, voicing one’s experiences is vitally important.  It brings its own form of healing and reconciliation.  It allows us to scrutinise the event and the perpetrator for ourselves, to express our pain, suffering, anger, frustration, embarrassment and a myriad other emotions.  It allows us to move on, whether in this world or the next. For every #metoo to reach out and empathise is also a form of healing.  We are not alone in our memories of the abusive ordeal.  One can feel this empathy in the audience.  Groenewald’s story is not one which leaves one unmoved.

I am thrilled that the dying Jan Groenewald recovered to commit his experience into something that can resonate with his audiences.  Thank you for sharing this harrowing tale.  I didn’t notice credit given to a director but feel that this work could profit from some outside and impersonal directorial input. 

Plum Tree, written and performed by Jan Groenewald, was translated by Clive Rodel.  It plays at the Foxwood Theatre, 13 Fifth Street, Houghton, Johannesburg.  Do have dinner (it has an excellent home-cooked feel and taste) at the historic Foxwood House, built nearly a century ago for the Oates family, before the show.  I attended on Wednesday 28 March 2018 and I had their delicious chicken pie prepared by a chef whose nickname is “London”.  Meet with Groenewald himself after the show for discussion and a drink (they are licenced) and perhaps a quick tour of the house.  It is worth seeing this gut-wrenching work and Foxwood House is a delight.

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Underneath a Magical Moon

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I am no longer surprised by the excellence of the work of the National Children’s Theatre, under the skilled and imaginative direction of Francois Theron and his team.  I have come to expect it.  It does, however, still thrill me, evoking a joyous wonder at his creation of yet another piece of theatre magic.  Their current production is no exception.

The latest work, Underneath a Magical Moon, written by Mike Kenny, finds Wendy Moira Angela Darling and her two brothers, John and Michael, sleeping out in their back garden.  Wendy tells the story of Peter Pan.  The unspoken time honoured joy of stepping into a world where one’s imagination is exercised and used to bring great pleasure and lasting happiness is unveiled for a digital generation.  I hope that this message is taken home by the children who were clearly engrossed in the action, to the point that an audience member answered a question directed by one cast member to another.

With a cast of only four, Daniel Keith Geddess as John and Captain Hook, Danny Meaker as Michael and Peter Pan, Phiphi-Gu’mmy Moletsane as Tinkerbell and Nirvana Nokwe-Mseleku as Wendy, the young actors recreate an abbreviated and entirely plausible Peter Pan, such as James Barrie would recognise.  It really is an ensemble production, with all four actors thoroughly engaged throughout.  There are some charming moments with Wendy flying, Tinkerbell saving Peter, Captain Hook not brushing his teeth and Michael just being the little, sleepy, brother.

The set by Sarah Roberts shows her wonderful attention to detail despite its simplicity.  The moon is a large beach umbrella, the city lights in the background, the garden tools become wonderful props – two rakes form the powerful jaws of the crocodile “tick tock” that found Captain Hook’s hand so tasty that he wants the rest of Captain Hook.  The costumes, also by Sarah Roberts, are simple pyjamas and the dressing gown belonging to John’s father becomes Peter’s shadow and Hook’s body being swallowed up by the crocodile.  The winning touch for the costumes (and perhaps the entire production) is when sleeping bags become mermaids’ tails and the actors/children don funky neon wigs and sing and dance with abandon. It is simply delightful.

Jane Gosnell is the lighting designer and she created her own wonderful magic as the children fly and then simply flit around the stage, ever busy.  Tandi Gavin Nee Meikle is the choreographer and Cathrine Hopkins the musical director.  The voices of the all the cast members were strong and clear and the music was a delight. Ivan Stott’s wonderful score is filled with marvellous tunes and Geddess gets to shine in places with his undeniable musical talent. Willie van Staden is the stage manager.

The really good news is that adults are as much entranced by the work as the children are.  In fact, you don’t even need a child in order to enjoy this.  The theatre will sell you an adult ticket.

The work is funded by the National Lotteries Commission.  The next two productions are “My Children! My Africa!” in April-May 2018 and “The Pied Piper” in June-July 2018.

Underneath a Magical Moon runs until 15 April 2018 at 10:30 and 14:30 from Monday to Saturday during school holidays at the National Children’s Theatre, 3 Junction Avenue, Parktown, Johannesburg.  011 484 1484/5 or

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