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That is, not very well. I like to think of it merely as lack of practice and thereby neatly sidestep the issue of ability, but now a full 12 years after obtaining my driver’s licence (at the third attempt) I actually own a car. Not only that, but I am living in a city where public transport is minimal and as a result I find myself driving at least a little bit almost every day. Much to my surprise I am enjoying being a part of the Capetonians’ cheerfully haphazard driving jamboree. [Read more…]

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Kani delivers perfectly aimed political punches which had the jam-packed audience nodding and murmuring in agreement. I even heard an “Amandla!” or two rise from the benches. Without falling into the trap of entitlement to opinion, the issues highlighted by the dialogue in Missing are a relevant call for us to revisit our political priorities.

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Set in a ‘rehearsal bunker’, Schmidt tells his story – a blend of humour and historically realistic insight – while above ground, muffled mortar fire falls ahead of the advancing Russian army. The play’s proximity to the truth lends it weight whilst serving to highlight the absurdity of the Nazi era.

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“This production of Annie delivers a refreshing energy to an old-fashioned tale while at the same time paying homage to the glory days of great chocolate box-style theatre productions.”

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Two star-crossed lovers, cosmologist Marianne and beekeeper Roland, meet at a barbeque. In a series of similar-yet-different encounters their fates brush past each other, briefly intertwine or collide… resulting in a series of possible realities based on fractionally different choices and chances. Along the way there’s attempted elbow licking, soggy sausages and sauna-like crotches – humorous moments skilfully contrasted with the fallout from infidelities, break-ups, missed opportunities and dreaded illness.

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If nothing else, it’s often extremely amusing and, as Banksy himself stated: “maybe all art is about just trying to live on for a bit.”

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Most exciting were the productions which straddled multiple theatre formats. The Door by Grahamstown-based physical theatre company Ubom! was a multimedia feast of visuals which saw mobile doors dance across the stage as a reinterpretation of conventional puppets accompanied by live visuals on an overhead projector.

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The Maboneng Township Arts Experience is undoubtedly the first of its kind. It is so exciting to come across an initiative that combines a passion for creating art with the empowerment of people within townships. Maboneng, meaning “place of light” in Sotho, is a project that deserves interest and, more importantly, support.

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“Perhaps because it deals with these mysteries, or perhaps because it’s just so damn hilarious, I Love You, You’re Perfect, Now Change continues its global runaway success in Camps Bay this season – a mature 20 years since it was written.”

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Schmid draws on his personal experiences living in South Africa with hilarious results. While not every joke is side-splitting, many are the kind that worm their way into your memory, eliciting smiles weeks later. I’ll certainly never look at a seal in the same way again.

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The entrance to Mint Wellness is rather grand and mysterious. At the end of a winding, foliage-laden lane on the exclusive Glen side of Camps Bay stands the entrance to a stately manor house. Beyond, lies a four-acre estate with a mountain pool, waterfall, streams, manicured lawns, lush woodland and superlative views of the Atlantic Ocean. This is Camps Bay Retreat, and in its verdant nature reserve, hidden by a thicket of trees, lies the Mint Wellness Spa.

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Love, Loss and what I Wore is light without being frivolous. It’s a fun night out with the girls that will still turn in your head after the white wine hangover of the next morning has worn off. Alternatively, drag along your significant other to make him appreciate the value of a woman’s wardrobe.

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“In the midst of all the goofing around, there is an open, honest humility from both performers, despite their monstrous talent.”

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Ziziou Corder’s best-selling trilogy is retold by award-winning British theatre company Complicite in a performance that makes an even bigger beast of the bold story.

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This production is large scale on every level – more meaning in its context, more symbolism in its stage action, bigger communication through visuals, numerous new layers in its orchestral timbre, and more textures in its vocal pairings. This production will engross you and engage you, horrify you, tease you, pull at your heart, and ultimately leave you spent. It demands attention.

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When I first heard of Conrad Koch I feared he may be an imperfect rip off of the internationally-known Jeff Dunham. I was pleasantly surprised at how wrong I was.

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An extraordinarily humble performer, Paige Mac, along with her bassist Garry van Vuuren, captured the crowd with her shy charm and knowing smile. Her resonant voice and multiple octave range is reminiscent of Adele, albeit an acoustic, African Adele.

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To an audio backdrop which includes excerpts from a speech by Malcolm X contrasting the worlds of “House Negros” and “Field Negros”, the group presented a passionate depiction of the effect of Western influence on African traditions.

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‘Poison Arrow’ had me trailblazing down the Dallas memory lane, particularly when the sax came out. Ah, that epitome-of-the-80s-in-an-instrument. Doesn’t it just scream rolled up t-shirt sleeves, white socks and mullet hair? Sax nostalgia washed over the crowd, and when Fry, cascaded in sea green light, launched into ‘Look of Love’, those around me freaked out in a total synthpop euphoria.

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Saturday night is not just a time for teenagers to party and sneak into over 18 night clubs. It is a great time to head out to the theatre and relax to the soothing sounds of live music. With the Cape Town Concert Series now under way, I headed down to the Baxter Theatre to see the increasingly popular percussion duo FourIVTwo in action.

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The singular highlight of the work is perhaps the blending of opera and traditional South African styles. For the most part the choir remained still and upright, but occasionally they broke into an empassioned toyi-toyi and at one stage a dance of joy that spread even to the soloists and the conductor.

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When Buttery’s eyes snap open at the thunderous applause following each song, he seems visibly to come back to the present. As a listener you’d be forgiven for having let yourself be taken somewhere deep in the musical current also.
Between songs Buttery engages with the crowd, his experience as a performer having improved the warmth of his audience interaction over the years. You get the sense that there’s nowhere he’d rather be and nothing he’d rather be doing.

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The black tie event focuses on giving back to five inspiring and innovative charities in and around Cape Town.

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The quality of dancing is truly impressive considering most of the dancers don’t dance vocationally and the result is testament to the passion and hard work that has been put in by Botha and Zoutman to ensure the high standard of the work being performed. They haven’t held back in their choreography either, challenging the dancers technically and artistically with a stylized and often complex movement vocabulary.

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A golden thread of references to old Python sketches runs throughout the evening, which is thick with dramatic wordplay, cross-dressing as old ladies (and a sexy one in a too-tight dress), plenty of double entrendes and competitively bizarre gaits.

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The array of performances is like a queen’s banquet, feasted on by the eyes of the hungry audience. From tap dancers to cabaret girls, the flamboyant display of costumes and props adds to the perfect combination of acting and dancing.

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Hot Water has been a jigsaw since 2006. It didn’t start out as a normal band with 5 dudes jamming and sweating in a dingy room.

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