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It is a fun, light-hearted production, which celebrates the shallowness in each one of us while recognizing the basic faults which make us human.

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There were some obscure questions, some questions to which we knew the answers but for the life of us couldn’t remember, and some really easy ones that had us all gabbling in whispers. But at the end of the night you realise it’s not really about whether you get all the questions right, it’s about the fun you have trying to answer them.

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Up The Creek isn’t just about its river (okay 99.01%). It also throws together diverse artists for some killer collaborations. Al Bairre and a few of the guys from Nomadic Orchestra performed a bouncy mashup of ‘Walking on Sunshine’ and Beyonce’s ‘Halo’. Bandolero can only be described as a dynamic musical extravaganza

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The range and depth of her visionary spectrum is quite astonishing. In nightmarishly illustrative essays on the industrial components of the mining industry, she summons up the deadly beauty of smelters, capacitors and convertors using hand-made pastels derived from metal wastes.

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As the sun went down, so did the dreamy optimism. Modest Mouse – the most anticipated act of the night – changed the mood with their feisty, this-is-how-it-is confidence.

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It’s important to note that the Wine Tram is a slight misnomer. In fact most of the travelling between wine estates takes place in a 1920s-style bus, painted in the same British racing green livery as the tram. The tram itself – which is obviously a highlight – runs on the original track from 1904 between the Franschhoek station and Rickety Bridge wine estate, via Grande Provence wine estate.

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“It demands high energy, and the ability to sing and dance with utter conviction. And I must say, the cast members are immensely talented and enthusiastic.”

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Three incredibly real, raw, honest and achingly beautiful acts in a venue filled with the secrets and whispers of the thousands of people who have crossed its threshold over the past hundred years. Pure magic.

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Kirstenbosch Summer Concerts hosted the 9th Cape Town Folk ‘n Acoustic Music Festival, featuring a plethora of mostly South African artists and a range of genres, from bluegrass and folk to Cape jazz. The festival included Fruit Vendor, Rory Eliot, Natasha Meister, Farryl Purkiss, Majozi, Touchwood, Basson Laubscher, Crimson House, BlackByrd, Blues Broers, Manouche, Donovan Copley and Kahn Morbee. It’s great to see the variety of popular and up-and-coming South African talent out there, although the fact that each artist only got to perform two songs interrupted the flow of the evening and prevented any real audience–artist interaction.

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He doesn’t care much for an audience, only really to sing. And play. He performs songs he loves, and you’re welcome to listen. Or not. The songs don’t care.

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“As the characters become more clearly defined, they swing between humour, pathos, and wonder as adroitly as Eric Ksouri’s foreboding score. Most memorable, though, is the seamless intertwining of choreography, acting and puppetry.”

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“Wine tasting stations were set beneath log structures, and charming seating areas were made up of logs, boles, checked table cloths and buckets of freshly picked apples.”

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When the first bars of this classic played out across the gardens, the crowd reacted as one body with everyone leaping up to dance. It gave me goosebumps.

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Watch out Brazil, Africa has arrived! Last Saturday all the diversities that make us a proud rainbow nation came together in a professionally packaged gift, wrapped with the expectancy of the renowned Rio Carnival.

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The stage was set for an evening of magic and wonder. The empty wheelchair and blank screen at the rear of the stage suggested anything was possible. What eventually unfolded certainly left me in awe, but not for the right reasons.

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If you happen to have some time on your hands, it can get so much better. A hike up to the top of Klapmutskop, for instance, gives staggering views across swathes of forest, vineyards and all the way across to the distinct outline of Table Mountain.

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Not only is it dark, thrilling, and intellectual, but it has an unexpected twist and a mesmeric plot that keeps you intrigued and wondering when the Big Bad Wolf is coming for you. All of this as well as a good few bursts of embarrassing and much too loud laughter is what makes great theatre.

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It seemed as though the energy levels of the crowd rose as steadily as the sun set. The Solid Gold Session Band was phenomenal in their performance as they got the crowd going with renditions of popular sing-alongs and Cape Town classic tracks.

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Ringo Madlingozi is renowned for delivering memorable and emotionally charged shows that leave the audience mesmerised. Not only does he have a commanding stature, a strong yet soothing voice and a powerful energy on stage but he has a unique ability to read and connect with his audience which, combined with his authentic African beats and sing-along melodies have the power to enthrall an audience.

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Cape Town City Ballet’s reproduction of Veronica Paeper’s Camille is a riveting production combining the always-classic tragedy of lost love with the perfection of its dancers.

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Rabinowitz’s comedy is particularly admirable for being so current. I recognised a story that I had sniggered at in the Daily Maverick just a couple of days before and I felt an immediate bond that he, like me, had found it so funny, even though for some reason no one had laughed when I told it.

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The constant nervous energy of the two leads reveals itself in movements just a hair’s breadth from dance and with its arthouse-quality sound and lighting, the play feels like an art film come to life in the intimate setting of the Golden Arrow Studio. Throw in the reality of the sweat, spit, blood and tears and the result is overwhelming.

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Not for a moment did she or the band cease to be anything less than mesmerizing. This was sheer talent and harmony, perfectly housed in the Mahogany Room which provided a small yet intense space for a very happy audience.

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Lifting the Artscape curtain is to be hurled into 18th century Europe. Royalty and wealth spill over the edges of the stage with reds and golds and exuberant costumes – intricately fitted corsets, enormous bulging skirts and powdered wigs on men’s heads.

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In a recent departure from the norm, popular nightclub Mercury Live last night set up candlelit tables and chairs for an acoustic evening with some local, burgeoning talent much of which tended more towards the folksy than Mercury’s usual rock.

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Can you imagine! A percussion solo that was actually exciting and lively, a bass guitar solo which put a spin on ‘Jingle Bells’, and a keyboard solo from band member Dr. Duda that somehow ended up in a full cover of Daft Punk’s ‘Get Lucky’.

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