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“This premiere collaboration provides terrific innovation in its unique rendition of traditional circus legacy. Indeed, it is an evolved and spectacular show with all the razzmatazz trimmings of a bygone era.”

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Something about The Vortex seemed heavier than any other ballet I’ve seen. Though most of the classics do centre around tragedy and unrequited love, Noel Coward’s prose was written with the intent to hand society a mirror. The shock of it was what made his play so powerful in 1924, and the reality of destructive relationships is what makes Goldberg’s translation hit so close to home.

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Peachy Keen took the stage to a packed Mercury and immediately had the crowd dancing to a series of pop-esque rockabilly jams from their new album, Backseat Bingo.

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Everyone thinks that their parents are embarrassing. Tracy Klass’s kids certainly have every reason to think so. But she is not my mother and therefore she is in fact very funny. She makes me look forward to embarrassing my own kids.

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The structure of the stage is intriguing. Almost bare, it has no wings or legs on the sides, effectively increasing the size of the stage space. A descending platform and an interesting veil separating the stage from the audience, add up to a stage design that works.

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What I saw was art, spilled out onto those ramshackle streets that are so (embarrassingly) unfamiliar to me. Dancers on street corners, poets in playgrounds, pictures hung on walls and an audience made up of those of us there specifically for the Kasi-2-Kasi Public Arts Festival (the minority) and people off the streets (the majority) – kids in their swimming costumes standing in front of their gates, taxi drivers stopping in the middle of the road, passing cars filled with people craning their necks to see.

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Improv comedy is raw and spontaneous, but can at any time descend into a messy heap. One performer may corpse leaving his co-stars to salvage the scene, but with The Long Shots, the feeling is that this would be unlikely. This is a team where each of the members displays a distinct sense of comfort with the next, allowing an effortless flow of elements and details to creep into scenes riddled with captivating mental and physical gymnastics.

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Six beers went with six foods. The beers went from light to bitter, and the chef discussed his reasons for the flavours of each accompanying dish. It’s a lot of information to process, but you’re sure to walk away knowing more about beer than you did before and a slightly more cultured pallet with which to annoy your friends at the pub.

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Glasshouse has created a grooming emporium with overtones of a gentlemen’s club. Hot cappuccinos, cold beers and refined whisky can be enjoyed whilst watching the rugby – as a therapist skillfully attends to your toes.
The décor successfully reflects the ethos behind Glasshouse: masculine, comfortable, contemporary and suitably slick, yet not intimidating.

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Naturally one cannot take a glass of whisky out of the festival, but you can hardly down a glassful either. The door guard’s solution? Go to the toilet and throw it down the sink. It somehow took the glamour out of the occasion. To recap: go early, sign in for all the cool events, and don’t leave with a single drop in your glass. And if all else fails hand over all you coupons for Mr Blue…

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From there our nerves were soothed by Schumann’s ‘Cello Concerto in A Minor’, with the fabulous Georgi Anichenko as soloist cellist, accompanied by violins that moved from sad, to plucky, to frenetic. There is something so heartachingly, beautifully, sorrowful about a cello. Anichenko kept the audience mesmerised and had them on their feet for a standing ovation.

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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 non-white-box Everard Read gallery provided a tranquil and comfortable environment for this exhibition. As for the work itself, I would suggest the combination of this artwork and this gallery in particular for new-art-gallery-goers as it is a relaxed atmosphere and the compositions are not intellectually heavy.

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Under conductor Kamal Khan, the concerto went from an energetic introduction, rich with quirky rhythmic variations and melodic invention, to a sombre section with intriguing harmonies. Dissonant and mysterious passages in the strings mixed with the playful use of percussion which were the foundation for the scintillating technical display by the two pianists.

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There’s a good Friday evening buzz as Robertson stands on stage and welcomes the band – Frank Cuddumbey’s Faze4, accompanied by the glamorous Abigail Bagley. They’re everything one expects from a jazz band – professional, vibey, oh-so-cool, and between Abigail’s sultry tones and the various band members’ turns at vocals, it’s the perfect mix of voices.
And it’s not just jazz. Abigail’s rendition of ‘Girl On Fire’ brought tears to my eyes

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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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The fine-tuned timing of this is spectacle in itself, but combined with with the farce on stage it serves to induce an immersive atmosphere and give the play an extra comic edge.

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If ever there was an eatery that embodies today’s young and hip Capetonian, the Woodlands Eatery comes pretty close. Between the lure of the urban boho-chic décor and the creative, affordable menu, it’s the kind of place you don’t tell your friends about in the hopes of keeping it – selfishly but quite understandably – to yourself.

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Zebra & Giraffe are good – and they know it. But there’s nothing wrong with that, when you’re good, you’re good! So their air of arrogance as the four-piece band took to the stage at Kirstenbosch this weekend was not surprising. Filling the lush concert lawn was a crowd of grannies, moms with their four-year-olds, and cool dads in Kings of Leon t-shirts – no doubt quite a departure from the band’s usual crowd of bopping 20-somethings in a dark, smoky club with lights flashing, but the boys of Zebra & Giraffe took it in their stride.

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The Open Day is a wonderfully fun day out for all ages, with truck rides and foam spraying, tugs-of-war, helicopter demos, abseiling, snake displays and more. But it is also an eye-opening experience, demonstrating not only how raging fires are dealt with, but highlighting the dedication and hard work that is put into keeping our mountains in their natural and beautiful state.

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With five established hot yoga studios and one soon to come to the Northern suburbs, Cape Town is the hot yoga capital of South Africa. Many offer free classes or intro passes, so if you have been wanting to try out the age-old practice of balance, focus and concentration in a heated room, make a plan.

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One lady, in paroxysms of voluminous laughter, nearly de-seated herself more than once. Committie’s facial and vocal expressions combine a platter of surprises that could be enjoyed as a separate offering altogether and his interaction with the audience is legendary. In our case, the occasional: “Please, Sir, laugh with everyone else” became a rotational classic. 



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Venus in Fur is a play within a play inspired by Sacher-Masoch’s novel within a novel, Venus in Furs. The 1870 novella was a few decades ahead of its time exploring masochism – in fact it is credited for inspiring the term.

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