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“Beautiful dancers stream onto the stage, legs flailing about in synchronicity, and we are hurled – mouths agape – into an Irish fairyland.”

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“With enigmatic performances from some of South Africa’s top actors, it’s a taut and sophisticated production which complements Lee Hall’s well-written script.”

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The moment I slipped into silly smiling was when Filipa van Eck performed Song to the Moon by Dvorak. Her gaze was fixed above the audience, to some distant lunar body in another land.

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We could have made a serious dent in the Regional Food Market on Sunday had we not stuffed ourselves for two days straight. A few baked goods did manage to fall in my bag though as I rolled through. Not a barcode or a Made in China in sight.

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Many of the photographs displayed capture the essence and the beauty of the natural world, with some transcending into surrealism, such as the demonic orange glow from a predatory alligator’s eyes at night or the ethereal light into which a baby whale shark swims whilst feeding.

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While Heap’s music is breathtakingly beautiful, the real magic is seeing her create it. She records live sounds which she then loops, sometimes layering multiple recordings of her own voice.

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The Watoto children’s choir have toured internationally since 1994 as ambassadors for the cause, performing what have been named ‘Concerts of Hope’ – an energetic fusion of contemporary gospel and African rhythm – in order to spread the message of their vision.

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Tutus, little ballet shoes and an all round show of pink flooded the passages and hallways of the UCT School of Dance. The Cape Town City Ballet’s Open Day saw aspiring ballerinas and experienced ballet fans jostling with the City Ballet’s large pool of talented dancers hoping to showcase their talents, in an unmissable day for anyone with a love for dance.

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“A brilliantly constructed work, the sexual undertones and quirky transitions are complimented by striking costumes and fantastic lighting design.”

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Jonathan Roxmouth and Louis Zurnamer have once again teamed up, under the direction of Alan Swerdlow, to give a wickedly clever rendition of some of their favourite songs in a medley of quick wit, satire, piano and song. For lovers of music and comedy, it is a cream bun of delight.

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The posters for the inaugural Nothing But Trouble White-Collar Boxing Evening looked great, but there was some mumbled perplexity too. For those still puzzled, white-collar boxing is when men and women in normal office jobs belt each other for their own entertainment and for that of a tipsy crowd of partygoers. And it makes for a great evening.

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Roars of approval induced drummer Jason Oosthuizen to bang on his set at top speed while Van Coke strummed and sang like there was no tomorrow (for the guitar strings or his voice). Sweat running down his face, he visibly put life and soul into a punk attitude the anticipation of which was clearly one of the biggest drawcards of the evening. Once Van Coke Kartel left the stage it seemed like a lot of people also left Mercury.

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The Goddess in the Looking Glass, is a selection of seductive Renaissance poetry and duets by Monteverdi, Handel and Carissimi that drip with feminine sensuality. Sopranos Lente Louw and Antoinette Blyth personified the Venus/Aphrodite archetype and internationally acclaimed Baroque instrumentalists Erik Dippenaar (harpsichord), Uwe Grosser (Renaissance lute, chitarrone) and Hans Huyssen (Baroque cello) provided the accompaniment.

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The music may not be happy or pop-y, but that doesn’t mean you can’t still dance. Greg Carlin said jump, we jumped. He said dance, we danced. Carlin, lead singer of Zebra & Giraffe, had audience members on their feet this past Friday night, fists in the air and moving to their sinister, sullen beats.

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Not only did the evening entail an opportunity to meet the fantastic cast, but each character from the show was paired with a great Spier wine: from Daisy Buchanan proffering a Sauvignon Blanc to Meyer Wolfsheim pouring out the Shiraz. Jostling for top spot within my sommelier sensibility, incidentally, were the wines offered by rivals Jay Gatsby and Tom Buchanan, serving Cabernet Sauvignon and Pinotage respectively, the competition bringing to mind the tension between the characters.

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Emile Minnie does not have the greatest singing voice. Neither does Godfrey Johnson. But these two gentlemen share a talent that far outweighs that minor glitch: a crystal clear understanding of what makes good old-fashioned entertainment.

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The event is very child-friendly, catering for young ones with a jumping castle and ice creams for sale. I also spotted an informal soccer match, though the laid-back atmosphere was encapsulated best for me by the lady who’d brought along her shi tzus. They were very well behaved but even so I was glad there weren’t more dogs. I wouldn’t have wanted my picnic to be investigated by a neighbour’s oversized, overfriendly drooling Labrador.

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Shepherd is an outstanding pianist and naturally the lead. His ability to craft extensive, melodic passages and tangents takes one on a musical journey veiled in beauty and wonder, leaving mouths gaped and silenced.

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The Searle brothers made their mark on the dance and theatre map with their award-winning Big Boys Can’t Dance, and its sequel underlines that not only can big boys dance, but they can act, entertain, delight and astound.

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The best presentation was promised tickets to the next One Ingredient and a bottle of Nitida MCC. A voice piped up from the sea of aprons asking if she could make her own creation to which Manning replied, “No. You do as you’re told. Smiley faces and writing on plates will not win you prizes. You’re on the naughty table.”

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Out of Her Mind is a send up of ‘busy modern life’ and ‘the cult of celebrity’ – both contributing factors to Wax’s bouts of depression. In a series of anecdotes peppered with her often wry observations Wax shared her public breakdown at a school sports day and her rehabilitation, which included mandatory salsa classes regardless of age or physical agility.

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As the final truckload of baby trees arrived for planting, everyone swarmed around to grab their share before the light disappeared. “There are just too many people and not enough trees!” someone yelled – words that have surely never been uttered in such a lovely, positive context.

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Dining at Chandani is a sensory experience, which begins with welcoming rose petals strewn outside the entrance and ends with a traditional pan masala – a fragrant bouquet of tiny herbs and spices to freshen the breath.

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Through a wonderfully witty script, the performers address serious homophobic issues by the juxtaposition of comedy with stark reality.

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