Alan Committie

returns to Jozi as a

Class(y) Clown

20 November – 1 December

Popular South African funnyman, Alan Committie, is back at Montecasino after a long hiatus in which he did some seriously dramatic work including playing the title role in RICHARD III at Maynardville Open air theatre in Cape Town.

 

But now it’s back to COMEDY and another installment of examining the foibles and madness of being alive in 2019!

 

After the SOLD OUT success of Love Factually and Planet Mirth, this verbally dexterous comic returns with BRAND NEW stand-up content

 

We are living in the age of bewilderment and Classy Clown is an 80 minute exploration of what we have learnt, what we must still understand and how we can keep sane….let your tears be laughter-induced!

 

Using his experience as a one time school teacher, Committie will be re-educating audiences about the hilariously and precariously fragile state of the world:

Fluctuating from flossing to fiscal fragility and bouncing from buying bedding to breeding dogs, this crazy comedian is sure to cover everything you need to know in this hilarious comedy-curriculum…..

 

Classy Clown promises textbook laughs. Miss this and go straight to detention!

 

The show is directed by Fleur du Cap Lifetime achievement winner  – Christopher Weare.

 

“Verbal hi-jinx and madcap physicality make this comedian a must see” (Business Day)

Read here what Lesley Stones from The Daily Maverick thought

SNOW GOOSE COMES TO MONTECASINO STUDIO THEATRE

Contagious Theatre has delighted audiences across the country with their sensitive, evocative depiction of the Paul Gallico classic, The Snow Goose – and now visitors to Montecasino can experience the magic of this timeless production at Pieter Toerien’s Studio Theatre.

Gallico’s story of a lonely recluse and a young girl, and the surprising friendship that blossoms between them as they nurse a wild goose back to health, has charmed fans since it was first published in 1940. Almost 80 years later, the story of love in a time of war continues to enchant.

Contagious Theatre’s rendition of the beloved tale, told through the compelling performances of Taryn Bennett, James Cairns, and under the direction of Jenine Collocott, with the use of masks and ingenious staging, brings to life all the poignancy and humanity that makes this an evergreen favourite.

Catch The Snow Goose at Pieter Toerien’s Studio Theatre, Montecasino Boulevard from Wednesday 30 October to Sunday 24 November.

Show times:
Wednesdays-Fridays: 8pm
Saturdays: 4pm & 8pm
Sundays: 3pm

WORBEY and FARRELL
bring their brand new show – RHAPSODY – to South Africa for the first time!

Theatre On The Bay

8 – 19 Oct

Pieter Toerien’s Montecasino Theatre
6 Nov – 17 Nov

 

 

Graham Hopkins and Sven Ruygrok will star in a new production of Equus, directed by Fred Abrahamse for Pieter Toerien.Peter Shaffer’s iconic psychological thriller Equus stars Graham Hopkins as psychiatrist Dr Martin Dysart and Sven Ruygrok as 17-year-old Alan Strang – a stable boy who has been arrested for blinding six horses with a metal spike.

With its controversial nude scene and simulated sex act, Equus still causes quite a stir amongst theatre-goers wherever it is performed around the world; most recent being a production starring Harry Potter’s Daniel Radcliffe as Alan Strang. Pieter Toerien’s 1985 highly-acclaimed production of Equus at the Alhambra Theatre introduced a young and talented Jeremy Crutchley to an adoring South African public. The role of Dysart has also been played by a glowing list of stars over the years including Anthony Hopkins and Leonard Nimoy.

This gripping new production is directed by Fred Abrahamse (Macbeth, Hamlet)

Abrahamse’s long-time collaborators, Marcel Meyer and Charl-Johan Lingenfelder, join the creative team as designer [Meyer] and composer [Lingenfelder] while celebrated choreographer Marc Goldberg [Mozart and Salleri & The Vortex] creates specialised movement and choreography for this exciting production.

The cast, along with Graham and Sven, includes Monique Basson, Maggie Gericke, Andrew Roux, Marc Goldberg, Cassandra-Tendai Mapanda and Len-Barry Simons.

When teenager Alan Strang’s pathological fascination leads him to brutally blind six horses in a Hampshire stable, psychiatrist Dr Martin Dysart is tasked with uncovering the motive behind the boy’s violent act. As Dysart delves into Alan’s world of twisted spirituality, passion and sexuality, he begins to question his own sanity and motivations in a world driven by reckless consumerism.

Read here what the critics are saying:

Equus plays at Pieter Toerien’s Montecasino Theatre from 26 April – 26 May.

Equus is a MUST SEE!

Equus is a psychological thriller and deals with sensitive subject matter. There is also nudity and simulated sex.

A No under 16’s age restriction is recommended. 

If you need anymore convincing, read what the press have to say here!

Shakespeare’s R&J
By Joe Calarco

A school, four boys, a smuggled copy of Romeo & Juliet, a secret enactment – Pieter Toerien presents an Abrahamse & Meyer Production of Shakespeare’s R&J.

Joe Calarco’s award-winning Shakespeare’s R&J re-imagines Shakespeare’s star-crossed lovers as two adolescent schoolboys in a Catholic boarding school during the 1950s. Their love for one another becomes the ultimate forbidden love in an austere, repressive all-male milieu.

Directed by Fred Abrahamse, with Matthew Baldwin, Dean Balie, Jeremy Richard, Tailyn Ramsamy, Shakespeare’s R&J will run at Pieter Toerien’s Montecasino Theatre from 23 August – 8 September.

When four pupils discover an illicit copy of Shakespeare’s Romeo and Juliet and start acting it out in their dormitory late one night, perceptions and understandings are turned upside down. The fun of play-acting turns serious and the words and meanings begin to hit home and universal truths emerge.

Shakespeare’s R&J was first presented by Expanded Arts Inc. New York in September 1997. It then opened at the John Houseman Theatre, New York in March 1998 where it ran for over a year (385 performances) making it the longest running version of Romeo and Juliet in New York. Calarco subsequently staged the play in Chicago, Washington D.C, Japan and on London’s West End. Other productions have been staged with great success across the United Stated, Europe and Australia. The South African première was presented by Abrahamse & Meyer Productions at the 2011 National Arts Festival, Grahamstown.

PRODUCTION TEAM
Adaptation: Joe Calarco
Direction, Set and Lighting Design: Fred Abrahamse
Costume Design, Voice & Verse coach: Marcel Meyer
Catholic Consultant: Brother Michael Burke

THE PRESS

Marc Lottering – NOT A MUSICAL

29 May – 9 June

Freshly on the high heels of his hit show AUNTY MERLE THE MUSICAL, Marc Lottering returns to the stage with his brand new stand-up show NOT A MUSICAL. Eighty minutes of Marc and his brand new material alone.

Pieter-Dirk Uys #HeTwo

28 August – 14 September – Theatre on the Bay

Tannie EVITA and Pieter-Dirk Uys on stage together at the same time!

Essentially a tribute to Evita Bezuidenhout and very little about the man behind the woman!

A truly remarkable man who deserves high praise indeed.

Don’t miss this one!

 

In #HeTwo: Evita exposed Pieter-Dirk Uys and Evita Bezuidenhout come face-to-face in a unique confrontation. There can only be one winner. So here is a Q & A session between Pieter and Dirk who seldom allow a face-to-face confrontation.

Is this your last show? Every show is a last show in the theatre, because tomorrow there will be a different audience, which means the timing is different, laughs come in new places and the energy is fresh and full.

What is different in #HeTwo? Well, Evita and I literally share the stage at the same time. There is so much footage I have of her since 1981 with famous and infamous people, entertaining the superstars, embracing Madiba and Tutu, making edge-line speeches in foreign lands, material which I can then balance with characters on stage who comment on her and the state of the world. It is also the first time EVER that I leave the stage to change into a character. Since 1981 I have always done it in the light in front of everyone.

It feels like a farewell to Evita. I would be sorry to see her go, but again I am led by the politics of the moment. If President Cyril Ramaphosa appoints her as the South African Ambassador to Luxembourg, she will have to go. Hope it won’t be to North Korea or New Zealand. That’s just too far to send a whisper across the world.

What motivated #HeTwo? The #MeToo movement has been a great motivator, because it is time that women are heard, seen and respected as equals, and in many ways, unique leaders of society. I though about a #HeToo because it is also men and boys who suffer the indignity of harassments and innuendo. Then, as with my 1981 revue Adapt or Dye, I had taken PW Botha’s ‘adapt or die’ and with a change in spelling created a new platform. Therefore #HeTwo – the two being me and my shadow, Mrs B.

Political correctness has always been your bête-noir. Can we say that word aloud still? Apartheid was politically correct and for most of my life fighting the injustices, which meant that I was politically-incorrect and often punished as a result. To now suddenly wear the halo of political correctness in a democracy? For me it just doesn’t make sense. Politics is NEVER correct; it is a adaptation of panic, illogicality, truth, lies, fear and futility. If the fact that I impersonate people/characters on stage – people who are not white – and ‘do’ superstars like Nelson Mandela, Winnie Mandela, Jacob Zuma, and Desmond Tutu, is it being seen as politically-incorrect and racist? Toughies. It’s been my job as an entertainer for 40 years. I have impersonated them all: black, white, brown, male, female and convertible.

To play a trans character in a film or a play, must a trans performer be cast? And must a woman play a woman? Whatever happened to the word ACTING? The success of a story, either on screen or stage, is to cast the best performer to play the part. It you have a murder mystery, does your main protagonist have to be a real murderer to play one? Nonsense! Of course you shouldn’t cast against type to the extent that you lose credibility of character, and yes, today it is possible and challenging to cast across the colour lines and see a black Hamlet and a Chinese Ophelia. The fact that I portray female as well as males is part of the fun of theatre. Making the women recognise the women and the men to forget the man.

And the politics of the day? In my work politics is the lifeblood of the drama. Satire is usually unleashed through bad politics that need to be made ridiculous, contemptuous and funny – even though it never is funny in the ha-ha sense of the sound. I believe that if we can laugh at our fear and make it less fearful, we will see beyond the barbed wire fence of fear. Laughing at fear doesn’t make it less lethal; but at least you’ve got your eye on it. Keep your eye on it; give it a name – it will then never become taller than you. Look away and it becomes a 100 meter monster that will frighten you to death. Also there is nothing more enjoyable than laughing at arrogant, crooked, useless politicians. They can’t take it, e.g. The Donald in the White House.

Who are the bad guys on your stage? I don’t work with bad guys. I mention them, but I have to believe that the worst of my targets also has a sense of humour and certainly the charisma to become a chosen leader. That demands certain respect which gives the character belief. Brutal cartooning is easy. One has great power on a stage. I never belittle or demean through my comedy.

Do you deliver a message? Yes! Come back for more!

What do you want the audience to leave the theatre with? Maybe I’m a failed satirist, because satirists take no prisoners. I must find some compassion with the targets I dismember, because, as during the white Afrikaner leadership of apartheid, there by the grace of a giggle go I. I am a terminal optimist, having been in the theatre for over 40 years and Theatre does not tolerate the negative. You just got to believe that a crazy idea of a 1848 street revolt in Paris with an unpronouncable title would end up as Les Miserables that earned over $3 billion so far.

If you ever met Evita Bezuidenhout face to face, what would you say/do? I’d say: Excuse me, but I have to take this call – and run!

How much of your time do you spend on her? People think I sleep in Evita’s nightie! Now I spend about 2% of my time with the character: mainly dieting for this woman who doesn’t exist. Sound crazy, but it’s what the people see that makes the character work. Evita has been with me for so long that she has enough information and opinions to fill 4 hours without taking a breath. Her clothes are important. If I take her off-stage, the shoes must be expensive and new, or all women walk away disgusted. No dirty nails! And focus her speech on the issues of the day, not as a politician, but as a gogo of three black grandchildren, a member of the ANC, a citizen and a designer-democrat.

And racism? That’s a big wake-up call at every performance. My pet hate is racism, that evilly fabricated weapon of mass destruction. The only race I acknowledge is the human race. And yet especially today in our 25 year old democracy, racism is being used as a tool of fear, a way to blame, a ploy to end an argument before it started; to divide and rule. Yes, it’s okay for populist Malema racism, but not okay for dying silly old Penny Sparrow. And yet in order to expose racism, you must show it. K-words sometimes must be used. Not a comfortable decision which depends also on the issue at hand. I hate doing it.

Do you ever find her funny? Yes, because she has no sense of humour or sense of irony. When people laugh at her, she smiles and thinks it’s sweet. It’s also the reason she’s survived for so long. A sense of humour can get you into hot water and sadly we have a new young generation  who seem to suffer from an irony bypass. A bit like Tannie herself.

Who is your audience? Anyone who will give me the 4 hours of their time to come to where I’m performing. They have to set their burglar alarms, feed the Rottweilers, load the gun, reverse their four-by-fours out of the garage hoping the burglars don’t slip in, risk their life in the City traffic which turns them into racists within 20 seconds. They find the theatre, park their car, kiss the car goodbye, get their tickets and sit and wait for me. And then it’s up to me to give them a life-changing experience, which means they will come back over and over again, because they want more of this thing called theatre, because it is LIVE.

How different are the performances in Johannesburg, Cape Town and Durban? Performances vary night by night because of the variations of people that sit together and react. Johannesburg is a megacity with the tensions of big business, big mouths and big noise. Cape Town tiptoes in and sometimes nods off. Durban hears about the show after you’ve already left. Bloemfontein walks out when you say poep and kak, and Port Elizabeth…? Well, I’m not sure any more. My most secure stage is at Evita se Perron in Darling where I perform at least 90 times during a year, usually on a Saturday and a Sunday. I have ten productions ready and try and do each one at least twice a month to make sure it’s all up to date and still in my seventy-three year old head. Yip, I suppose it’s a bit like showing off in the lounge because everyone feels at home. Including the Perron cats who sometimes sit on the piano and criticise me with yawns.

You perform overseas? Do they get us? I usually have more of a problem getting them! Playing the USA you have to focus on the tweeted noise of Trump. A show in London grinds into chaos with Brexit. The Dutch hate being reminded that Jan van Riebeeck and Hendrik Verwoerd were one of them. The Germans want to see more lions in my streets. I usually do a lot of research where I perform, so I can anchor my characters there and not have to bring an audience all the way to South Africa. Once I open the closets of international politics with their racism, hypocrisy, arrogance and separate developments, I have enough to fill an entire evening. Except sometimes they don’t find it funny and then I know I’ve succeeded.

People have been complaining about your swearwords: Isn’t that wonderful? After 46 years of vicious apartheid and 25 years of diminishing returns from our government, they still find certain words more offensive than the rape of women, the abuse of children, the state capture, the propaganda through fear and that elephant in the room, climate change. I love Afrikaans vloekwoorde. They are so poetic, or as I explain to the offended patron: poesie met twee dotjies op die e!

Are you careful not to offend your audiences? I am careful not to insult patrons who can’t hit back. Demeaning people is cheap and nasty. Making fun of those mentally or physically disabled is not my style. But to offend people? Great! Shows I’ve rattled their cage of opinion, usually about politics. So let them be offended and ask themselves: why does he think that and I think this? Changes of attitude and thought could be in the offing.

Do you have enough young people in your audience? Does one every have enough young people in a theatre audience. I’m no Lady Gaga or Madonna to appeal to the XYZ generation. Sadly we did not prepare them for the choice of live theatre against tinned fashion. Schools do not include theatre in their year plan. Media focus on theatre is minimal. So I celebrate young people who come and say to them: I’m 73; you’re 14. Let’s make a deal. You make me feel 16, and I’ll make you feel 24. And if you don’t know what the hell I’m talking about, just Google. You have more information in the palm of your hand than the world has ever delivered. Now all you need is the knowledge. It’s wonderful when an 11 year old comes up and says after the show:  I loved the pictures. I said: what pictures? The pictures in my head.

How come you are in the theatre since 1964? I went to UCT to become a teacher and then the theatre highjacked me. After four years at Drama School, it was life imprisonment without trial. So now I suppose I know nothing about anything, and everything about something.

What’s the difference in your work now that you’re over 70+? I hope the disease to please is cured. For too long I worried about what people would think. I would cut my foot to fit the public shoe, but no longer. I don’t need to explain or apologize. If people don’t like it, get Netflix and have a good time there too. At 73, it’s easier to say to the grumpies: Gaan kak.

Plans for the future? You mean tomorrow? I’ve made my list. Looking forward to it. My year used to have 365 days; now it has two days – today and tomorrow. Besides, I’m already in my future.

And retirement? Can’t spell the word.

The Pieter-Dirk Uys Legacy? That’s a tough one. When you’re gone, you’re gone. I just hope once I’ve finished my stay on the toilet of life, I flush before I go.

Something people don’t know about you? Lots. If I’m in a swimming pool and it rains, I get out because I don’t want to get wet.

Any regrets? Not regrets, but interested in people who do wonderful things that I enjoy and would have loved doing myself – if there was time. But there is only enough time to do what you do well. Fear is the bitch. When you’re frightened, you can’t do anything. But fear can also be your own refection in the mirror of your mind. Save your life as an example to others. Good luck – and come to the theatre.

www.pdu.co.za

www.evita.co.za

@TannieEvita

(#HeTwo is at the Theatre on the Bay in Cape Town from 28 August to 14 September – book at Computicket. The 2019 Voorkamerfest in Darling takes place 6, 7, 8 September – www.voorkamerfest-darling.co.za – book via Quicket)

FAMILY SECRETS

A Comedy by Enrico Luttmann

Starring Dorothy Ann Gould & Sven Ruygrok

Directed By Alan Swerdlow

It has been quite some time since there has been a production of a contemporary Italian play in South Africa. University drama courses still occasionally stage the odd Luigi Pirandello drama but apart from the Neapolitan family sagas by Eduardo di Fillipo, we’re out of touch with the vibrant theatre scene of Italy, particularly Rome.

Enrico Luttmann has become a mainstay of the Teatro Vittoria and Teatro de’Servi in Rome with his bittersweet comedies of present day Italian life. In addition, his work has been presented all over Europe and enthusiastically received, and the first productions of his plays in English are scheduled for both the U.K and the United States.

Pieter Toerien has scooped the English language premier of “Family Secrets” for South Africa, starring Dorothy-Ann Gould and Sven Ruygrok, directed by Alan Swerdlow and designed by Kosie Smit for presentation at Montecasino in Johannesburg and the Theatre in the Bay in Cape Town.

Feisty, combative  Grazia lives in an Italian sea-side town, passing her days with her obsessive dedication to never-ending soap operas. Her son, Adamo, has moved to Rome where he writes soap operas for television and plays for the stage. His recollections of their spikey mother-son relationship plays out in his mind until he achieves an understanding of what “family” truly means as he dodges the skeletons in the cupboard. Sometimes hilariously witty, sometimes deeply moving, “Family Secrets” is as tasty and comforting as a big bowl of pasta, as the protagonists learn to speak the universal language of Family.

Theatre on the Bay Cape Town 3-13 July 2019

Jonathan Roxmouth is coming home! For the first time since his sold out concert series at the Teatro at Montecasino a year ago, one of South Africa’s favourite leading men is to return to Pieter Toerien’s Montecasino Theatre for a VERY limited time between seasons behind the mask as the title character in the International Tour of THE PHANTOM OF THE OPERA.

Pieter Toerien presents Jonathan Roxmouth in LENNY ANDREW STEVE and ME – an evening celebrating the music and lyrics of theatre titans Leonard Bernstein (WEST SIDE STORY, ON THE TOWN, CANDIDE), Andrew Lloyd Webber (THE PHANTOM OF THE OPERA, CATS, EVITA) and Stephen Sondheim (SWEENEY TODD, INTO THE WOODS, COMPANY).

This one of a kind show, using nothing but a bare stage, a microphone and a red handkerchief, Jonathan will sing all the favourite hits the audience expects as well as some surprises they didn’t. Linked with his trademark tongue-in-cheek humour and style, this is a homecoming you won’t want to miss out on.

Jonathan is accompanied by Rowan Bakker and the production is lit by Tina Le Roux.

Mzansi Ballet presents
BENGINGAZI
A celebration of classical ballet, pantsula, flamenco and contemporary dance in a truly inspirational South African story.
Pieter Toerien Main Stage at Montecasino
31 October – 4 November

Into the Woods is a seminal work by American musical theatre genius, Stephen Sondheim, and follows the trials and adventures of a collection of well-known fairy-tale characters, including Cinderella, Rapunzel, Jack and the Beanstalk, and Red Riding Hood. They all go into the deep, dark woods on separate quests, and their paths cross and intersect with sometimes amusing, sometimes alarming results.

Brought to us by the same team who brought us the chilling Sweeney Todd, Pieter Toerien presents this production with Kickstart.

Directed by STEVEN STEAD and Designed by GREG KING

Starring: KATE NORMINGTON, EARL GREGORY, ZAK HENDRIKZ, JESSICA SOLE, HAYLEA HEYNS, MICHAEL RICHARD, GRAEME WICKS, CANDICE VAN LITSENBORGH, DIANNE SIMPSON, NATHAN KRUGER, LJ NEILSON, SCHOEMAN SMIT, ASHLEIGH HARVEY, SARAH RICHARD, BRANDON MOULDER, NARET LOOTS, ALYSSA HARRISON and MEGAN RIGBY

Here is what the critics have to say!:

“A Fairy Tale with Big Teeth” Adrian Roets The Citizen

“A Musical riot full of wit and wonder” Andrea van Wyk eNCA

“A Riot of Fun!” Jennifer de Klerk

“Gleeful and Ghastly” Rahiem Whisgary

‘Beguiling trip Into The Woods!’ Billy Suter

“Beware! You might get what you wish for!” Gayle Edmunds CITY PRESS

 

INTO THE WOODS is on at Pieter Toerien’s Montecasino Theatre until 14 April only.

 

The scene is set when a group of people gathered in a country house cut off by the snow discover, to their horror, that there is a murderer in their midst. Who can it be? One by one the suspicious characters reveal their sordid pasts until at last, nerve-shredding moment the identity and the motive are finally revealed.

The Mousetrap is the longest-running play in the history of London’s West End.

Starring West End star MARK WYNTER

Directed by JONATHAN TAFLER

 SUSPECT EVERYONE……

Now the longest running play currently on Broadway, The Play That Goes Wrong makes a welcome return to our stage by huge public demand, for a third and final season.

Directed by everyone’s favourite funnyman, Alan Committie,The Play That Goes Wrong will have you aching with laughter whether you’re seeing it for the first time, or the third!

Starring RUSSEL SAVADIER, ANTHONY COLEMAN, CRAIG JACKSON, ROBERTO POMBO, NICOLE FRANCO, DANIEL JANKS, SIVE GUBANXA and LOUIS VILJOEN

“Fabulously superb and ridiculously funny” Weekend Special

Fifteen-year-old Christopher Boone has an extraordinary brain, exceptional at math while ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched and he distrusts strangers. When Christopher falls under suspicion for killing his neighbour’s dog, his detective work to identify the true culprit, takes him on a journey that upturns his world.

This is a Global theatrical phenomenon that simply must not be missed!

A new play by SIMON STEPHENS

Based on the novel by MARK HADDON

Directed by PAUL WARWICK GRIFFIN

Starring:

ASHLEY DOWDS, KATE NORMINGTON, KAI BRUMMER, JENNY STEAD, DYLAN EDY, NICHOLAS ELLENBOGEN, GENNA GALLOWAY, LIZ SZYMCZAK, LESOKO SEABE and CLAYTON EVERTSON

Read here what the press have to say:

Megan Furniss-WeekendSpecial

Beverley Brommert-Cape Argus

 

The BATS
For one week only!
17 October – 21 October

When BALLET meets JAZZ
A unique and original South African production where the grace of Ballet harmoniously marries with the vibrant sounds of Jazz
Pieter Toerien Main Stage
24 – 28 October

Mzansi Ballet presents
BENGINGAZI
A celebration of classical ballet, pantsula, flamenco and contemporary dance in a truly inspirational South African story.
Pieter Toerien Main Stage at Montecasino
31 October – 4 November

JUST BE YOURSELF by Rocco de Villiers

 

2018 is Rocco’s year of the emerald!

 

In 2018 popular pianist Rocco de Villiers celebrates 20 years of blood, sweat, tears and survival as a piano player in South Africa. The 20th anniversary gemstone is the emerald. As part of his celebration Rocco will be wearing green for the entire year.

 

In 1998 he released his first solo instrumental album, Screen Test.  14 Studio albums later, this platinum recording artist has built up a large fan base. As part of his greenest year Rocco will release a brand new album with all original tracks. The album is fittingly titled Wees Net Jouself/Just Be Yourself. A brand new show with the same title will play at Pieter Toerien’s Montecasino Theatre from 3 -14 October. This show also marks Rocco’s tenth show and year with Pieter Toerien Productions.

 

Says Rocco, “ After 20 years of survival and turning 50, I can and want to Just Be Myself.” Just be your self’s green colour speaks of self acceptance, a green world,  growth, a new era, love lost, love found, laughing, crying – and ultimately living and loving life, one’s job and one’s calling.

 

 Just Be Yourself is a show not to be missed.

 

All original –

All Rocco –

All new –

All now –

All green –

 

Book at computicket

Rocco’s award winning cds and DVD’s available in the foyer

 

Renowned South-African guitarist JAMES GRACE in association with Carli Spanish Dance Productions and Ilse Moore underwater photography present RECUERDOS; an all-Spanish guitar and dance program featuring the music of composers including Albeniz, de Falla, Rodrigo and Tarrega. Allow the sway of skirts electrified with Spanish dances and the sounds of guitar and castanets, transport you to the beauty and romance of Spain.

RECUERDOS returns to THEATRE ON THE BAY from 19-23 March only.

For more info visit jamesgrace.co.za and ilsemoore.com

 

 

MACBETH

After the sensational success of HAMLET in 2017, Pieter Toerien proudly presents Abrahamse & Meyer’s dazzling take on MACBETH – William Shakespeare’s shortest, darkest and most thrilling tragedy.

This production comes to Johannesburg hot on the heels of its European debut at the world’s largest and most prestigious International Shakespeare Festival.

MACBETH is currently being studied by Grade 12 English Additional Language as well as Grade 11 English Home Language learners.

Don’t miss the opportunity to see this innovative re-imagining of one of the greatest plays ever written.

Read what the press are saying here!

MACBETH by William Shakespeare

Direction, Set & Lighting Design: Fred Abrahamse

Costume Design: Marcel Meyer

Illusions: Matthew Baldwin

Puppet Design and Creation: Fred Abrahamse & Marcel Meyer

Soundscape: Charl-Johan Lingenfelder

With: Marcel Meyer, Stephen Jubber, Matthew Baldwin, Jeremy Richard, Tailyn Ramsamy and Tristan de Beer.

Running Time: approx. 140 minutes including intermission.

GOODNESS! GRACIOUS!

 

JONATHAN ROXMOUTH IS JERRY LEE LEWIS

IN

GREAT BALLS OF FIRE

 

Fresh from his success as Che in the international tour of EVITA, Jonathan Roxmouth sets the stage on fire as Jerry Lee Lewis in GREAT BALLS OF FIRE. Audiences can expect the hits that shaped a generation played by Jonathan at the piano and a flaming hot six piece band. All time favorite hits include GREAT BALLS OF FIRE, WHOLE LOTTA SHAKIN’ GOIN’ ON, ROLL OVER BEETHOVEN and HIGH SCHOOL CONFIDENTIAL.

 

The show features Buddy Holly Stalwart Craig Urbani as Sam Philips and Paul Ditchfield of The Bats as Elmo Lewis. Cranking up the temperature is Ashleigh Butcher (Rock of Ages, The Rocky Horror Show, The Adventures of Peppa Pig) as Myra Gale Lewis.

 

Jerry Lee Lewis is widely regarded as the Real Wild Child of Rock ’n Roll. Since his meteoric rise to fame in the 1950’s, Lewis has established himself as a performer of unbridled energy, passion and unmistakable piano pyrotechnics – literally and musically. Whether driving audiences wild with his distinctive pumping piano style or setting the piano alight, the story of Jerry Lee Lewis is as fascinating as the string of gold records to his name.

 

Having paid tribute to famous pianists like Liberace in CALL ME LEE and Marvin Hamlisch in I’M PLAYING YOUR SONG, Jonathan is back behind the piano for the first time in two years – this time in his favourite genre of rock ’n roll. He once again joins forces with acclaimed director and choreographer WESLEE SWAIN LAUDER -having enjoyed huge success staging Jonathan’s sell out concert THE MUSICALS at the Teatro at Montecasino. The show will be designed by NADINE MINNAAR with lighting by OLIVER HAUSER and sound by RICHARD SMITH.

 

GREAT BALLS OF FIRE opens at Pieter Toerien’s Theatre at Montecasino for a limited 4 week season from 18 July – 12 August. Bookings through Computicket or the Box Office (011) 511 1818.

 FATAL  ATTRACTION
Based on James Dearden’s film by Paramount Studios.

Directed by PAULA  BANGELS
Starring ASHLEY  DOWDS

Theatre on the Bay from 16 March to 7 April

Pieter Toerien’s Montecasino Theatre from 11 April to 6 May

From director Paula Bangels:

“James Dearden’s 1987 film by Paramount Studios captured the world. James has now written the play that might have inspired the film, where blame and sympathy with each character is equally and tantalisingly balanced.

“….of all the gin joints in all the bars in all the world…”

When Dan (a man with friends, a brilliant career, a loving family, a stunning wife) gets into unexpected conversation with an attractive intelligent woman, Alex, while his wife Beth is out of town, an unsought for liaison occurs that unsettles him. But he will soon forget; it will pass – or so he thinks…

Alex is a woman who believes in her rights. And she believes their brief actions and words have justified rights – over him.

Actions have consequences and Dan’s continuous rejection of her in preference to defending his family, turn Alex’s feelings slowly from open fondness to pure hatred as this blood curdling roller coaster of a tragedy and her revenge of rejection turns Dan’s life mercilessly into a living hell.

We are reminded that people’s actions and circumstance are less influenced by who they are – than by what happens to them.”

Fatal Attraction stars Ashley Dowds (Scandal, Generations, Binnelanders, Old Boys, Mousetrap, Japes and Blue/Orange), Jenny Stead (The Rocky Horror Show, Champ, Noises Off), Jo da Silva (Sewende Laan), Jazzara Jaslyn (Warner Brothers’ A Cinderella Story: If The Shoe Fits) and Alex Tops (Showboat, The Rocky Horror Show, The Great Gatsby).

Direction by Paula Bangels.

Duration is 1 hour 45 minutes, without an interval.

Tickets from R100 – R200 (venue dependent)

PG 16

Dean Roberts gives us some insight into this brilliant thriller.

Fatal Attraction-A Pshychosexual Tango