National Arts Festival 2013 Programme by National Arts Festival

CONTENTS

231 128 232 238 241 242

2014 Call for Proposals Tours Accommodation Travel Map Booking Procedure

MAIN PROGRAMME 17 Dance 23 Theatre 44 Student Theatre 49 Performance Art 55 Music 77 Jazz 91 Exhibition 101 Think!Fest 109 Film 123 Public Art

131-228

PERFORMANCE ART

Main Programme Fringe Programme Art of Opportunity Village Green

STUDENT THEATRE

17 130 230 277

THEATRE

Festival messages Acknowledgements Index Standard Bank Young Artist Award Winners

DANCE

4 7 8 12

Main &

17-123

Fringe

ARENA PROGRAMME 22 Dance 40 Theatre 99 Exhibitions

We will be publishing an update to our programme which will be available in Grahamstown throughout the Festival, at all of our Box Offices and Information Kiosks. This pocket-sized booklet will contain updated information on performances and events, changes, cancellations and additional shows, a daily diary, map, local emergency services numbers, etc. and is a must-have for all Festival-goers.

DRAMA

2013 Festival Pocket Planner

FAMILY THEATRE

COMEDY

PHYSICAL THEATRE

131 139 143 168 173 DANCE

FRINGE PROGRAMME 131 Dance 139 Physical Theatre 143 Comedy 168 Family Theatre 173 Drama 190 Performance Art 193 Music Theatre/Cabaret 204 Classical/Recital Music 206 Contemporary Music 212 Film 213 Visual Art 228 SpiritFest

Arena Programme

PUBLIC ART

FILM

101 109 123 THINK!FEST

EXHIBITION

JAZZ

MUSIC

Programme

SPIRITFEST

VISUAL ART

DISCLAIMER: The Festival organisers have made every effort to ensure that everything printed in this publication is accurate. However, mistakes and changes do occur, and we do not accept any responsibility for them or for any inaccuracies or misinformation within advertisements. Artists provide images, logos and advertisements and we accept no responsibility for the quality of reproduction in this publication.

FILM

206 212 213 228 CONTEMPORARY MUSIC

CLASSICAL/ RECITAL MUSIC

MUSIC THEATRE/ CABARET

PERFORMANCE ART

190 193 204

Front cover photograph: © Adam McConnachie

Xoliswa Tom MEC FOR SPORTS, RECREATION, ARTS & CULTURE OF THE EASTERN CAPE

very nation prides itself on the cultural icons that it produces. These are the men and women who feed our souls with inspiration, hope and their vision through their literature, music, dance and paintings. They document our past, comment on our present and challenge us to envision the future. Each year when the National Arts Festival dawns on us, it fills me with immense joy and pride that the Eastern Cape is celebrated as the fertile ground on which our artists and audiences gravitate to celebrate the unique diversity of South African cultural expression.

The Eastern Cape has a long tradition of being the source of South Africa’s cultural fountain. We can trace the roots of our nation’s most famous artists to this province. Internationally revered playwright Athol Fugard, Tony Award-winning actor John Kani, the celebrated painter George Pemba, the diva of opera Elizabeth Connell, the jazz maestro Zim Ngqawana, artist Bill Ainsley, novelist Olive Schreiner, choir master Michael Moerane and many others have their roots tied to this province. Even the composer of South Africa’s national anthem, Enoch Sontonga, was born in the Eastern Cape.

together with Standard Bank, the National Lottery Distribution Trust Fund and the National Arts Council, been one of the anchor sponsors of the National Arts Festival. We pride ourselves in being partners to a cultural event that puts the stamp on our nation’s cultural identity. Over the last year, a number of international producers descended on Grahamstown to select South African theatre, music and dance productions for their own festivals. Artists from the Festival’s Main, Arena and Fringe programmes have embraced the opportunity to market and showcase themselves on the international stages. Productions that have been originated by the National Arts Festival have won major awards in Australia, Netherlands and at the world’s largest arts festival in Edinburgh. Our artists have been both champions and ambassadors who ignite our passion to continue to strive for greater heights.

Next year, the international community will sharpen its focus on South Africa as we celebrate our twentieth anniversary since becoming a constitutional democracy in 1994. The global community will be able to reflect on how our artists have played an integral role in the South African struggle for democracy and continue to remain a dynamic force in the transformation, rebuilding and healing of our nation.

With each progressive year, the National Arts Festival has strengthened its commitment to invest in the skills-base of artists in the Eastern Cape. Through various strategically executed initiatives, community-based artists have been trained and have been employed as technicians, stage managers and gallery assistants. My Department compliments the National Arts Festival team for the valuable role that they play by serving as a generator for the cultural economy in this province. I am also delighted that through a partnership with the Eastern Cape Provincial Arts & Culture Council, the Festival will showcase one of South Africa’s oldest cultural institutions, the Port Elizabeth Opera House.

Since 2002, the Eastern Cape Department of Sports, Recreation, Arts & Culture has,

I want to take this opportunity to invite artists and producers to visit the Port

Photo: Suzy Bernstein

nce again, on behalf of our Board, I extend a warm welcome to you to this feast of the arts.

Elizabeth Opera House and to consider presenting their work in this historical building. I want to extend an invitation to visiting historians and sociologists to visit the Red Location on their way back to the airport. There are numerous other places of historical and cultural significance in the Eastern Cape such as the Steve Biko Centre at Ginsberg, King Williams Town and the Chris Hani Memorial at Sabalele. The most notable of all of places of historical significance in the Eastern Cape is that it is also the birthplace of South Africa’s first democratically-elected president, Nelson Mandela. It is therefore inevitable that when the world sets its sights on South Africa next year, our mountains and valleys, our rural villages and our cities, will resonate with many stories, songs and dances. Let the spirit of celebrating our arts and culture at the National Arts Festival this year inspire us all to compose the songs, choreograph the dances, paint the images and write the stories that we can give to the world next year. This year at the National Arts Festival is just a foretaste of how we will celebrate two remarkably successful decades of democracy next year. In the spirit of the arts, I say, “Isizwe esiluqilima sakhiwa bubunye benkcubeko”. (Loosely translated: “A strong nation is built on a strong culture”

Ayanda Mjekula NATIONAL ARTS FESTIVAL BOARD CHAIRMAN As the effects of the global recession continue to be felt in the arts sector generally, I am grateful to our sponsors and partners for continuing to demonstrate a commitment to the Festival, and for believing in what we do. I am also proud of the efforts made by our Management and Artistic Committee to put together another great programme in this challenging environment. Browsing through these pages you’ll see that there truly is something for everyone…avid festinos, newcomers, young and old alike. Whether you are planning on being with us for one day or eleven, I know that you will be richly rewarded. At the end of 2013 the Festival will be saying farewell to Mandie van der Spuy, who retires from her job as Standard Bank’s Arts

Sponsorship Manager. Mandie has worked intimately with us for several decades, and has made a major contribution to the growth of this event. The entire Festival team will miss her tireless energy and her commitment to the arts, and for all she has done in contributing to the flourishing of dozens of careers through the Standard Bank Young Artist Awards. We will say thank you more appropriately in due course, meanwhile I hope that she enjoys her last Festival as sponsor and looks forward to many more as ‘private citizen’! I am sure that you, like Mandie, will find much on the pages of this programme to inspire and delight you – and I hope that your experience at the 2013 National Arts Festival is a happy and uplifting one.

Sim Tshabalala and Ben Kruger CHIEF EXECUTIVES OF THE STANDARD BANK GROUP

he National Arts Festival – as a rich and representative selection from South Africa’s cultural output – plays an important role in the artistic life of our country. Standard Bank deeply values the contribution we can make through the Festival to the continued growth of South Africa’s cultural heritage, especially by way of the annual Young Artist Awards and the Standard Bank Jazz Festival, with its important education component, the National Youth Jazz Festival. Our association with this iconic cultural event dates back to 1984 when Standard Bank first became the title sponsor of the festival. The partnership has now lasted for almost 30 years – although it has taken on aslightly

different form over the past 11 years since the Eastern Cape Government joined forces with Standard Bank to sponsor the Festival followed by several other funding institutions and media partners. We are delighted that this partnership has ensured that the future of the festival is secure. Standard Bank has made a firm commitment of continued support. We believe that the Festival is one of South Africa’s treasures – a working model of what we all want South Africa to be: vibrantly creative, deeply African, confidently cosmopolitan. Perhaps just as important, Standard Bank values the opportunity created by the festival to support and stimulate the economy of the

greater Grahamstown area and of the Eastern Cape Province. Standard Bank aims to be relevant to the places where we work: Whenever we can as a good corporate citizen, and always as a bank committed to equitable and sustainable economic development. The Grahamstown National Arts Festival enables us to do both. On behalf of everyone at Standard Bank, we would like to thank the Festival team, the people of Grahamstown, and the hundreds of creative people from all over the country, the continent and the world, who make this great event happen every year. Enjoy the Festival!

Jay Pather NATIONAL ARTS FESTIVAL ARTISTIC COMMITTEE CHAIRMAN

ptimism characterises our nation. How else would we have survived what we had before 1994, and given the fact that each step thereafter has never come easily? But there’s a point when optimism needs to give way to realism or we miss the moment when real change is possible. We have reached that moment. So instead of a message of hope and optimism, this one is a call to realism. The main programme this year reflects excellence on the part of those that feature in it. However due to funding constraints and slow delivery, many artists who were proposed by the Artistic Committee are not featured. So in sum what we have is a metaphor for what is fast becoming a national landscape. A microcosm of what is possible, not what is. It would have featured greater contradictions, larger reflections of innovation, the gravitas of experienced artists juxtaposed with the risk and freshness of several young artists, all in full throttle. That would have been a true reflection of what we are as a nation. This is not to detract from celebrating the excellence of the artists that are featured.

It is to acknowledge the hundreds of artists that applied, qualified and would have got in had we had more coherence with regards to funding possibilities and delivery. Our country’s artists are sought after all over the world in every discipline. Our experimentation with tradition and modernity has shocked, moved and charmed the world in turn. We can produce sophistication and refinement. We have the potential to lead. Instead of joining us in that vital journey, our funding agencies with mystifying persistence lag behind. An artist experiences the urgency of creation. To catch the moment in time. To take the space. To make the mark before inspiration dries up. Before the surge and courage of creating something new, flags, loses momentum and stalls. We need to understand how much of this is happening now. So let the programme imbue us less with false optimism and more with the knowledge that with greater certainties from those who have the power to grant artists a confirmed, sane space to create, the true mettle of our nation would be more wholly reflected.

If this was a call for less false optimism, the fire of that optimism, resilience and persistence, continues to burn. The programme this year from main to fringe is a substantial and glorious reflection of that burning – the excellence, innovation and immense resilience on the part of all the artists involved – and calls for great celebration. Have a wonderful Festival.

The National Arts Festival would like to thank the following sponsors and supporters

Presenting sponsors:

Strategic partners:

Supplier sponsors:

With thanks to: African Festival Network Albany & Bathurst Engineering Albany Museum Group Alliance Francais Amsterdam Fringe Artscape Athenaeum Brandhouse South Africa British Council Cadar Printers Canadian High Commission Centre for Curating the Archive Churches of Grahamstown Cinemark Computicket Embassy of the Czech Republic DALRO Department of Arts and Culture (DAC) Embassy of China Embassy of France Embassy of Spain Eastern Cape Provincial Arts & Culture Council (ECPACC) European Union Commission French Institute in South Africa (IFAS) Flemish Representation in South Africa Gallery MOMO Goethe Institute Grahamstown Hospitality Guild Italian Embassy in South Africa Italian Institute of Culture Jamey Aebersold Jazz Magnetic Storm Mandela Bay Development Agency Mary Lou Meese Youth Jazz Fund Members of the South African and International Media National Film & Video Foundation (NFVF) Nu-Metro Paul Bothner Music Performing Arts Centre of the Free State (PACOFS) PG Bison George Pick ‘n Pay Walmer Prague Fringe Pretoria Portland Cement (PPC) ProHelvetia PVision Red Pepper Pictures Royal Netherlands Embassy in South Africa Royal Norwegian Embassy SAMRO Endowment for the National Arts SGB - Cape South African Music Rights Organisation (SAMRO) South African Police Service South African Post Office Standard Bank for loan of computers Standard Bank Gallery Ster-Kinekor Steve Biko Foundation Swallows Foundation Swedish Arts Council Swedish Jazz Federation Troubadour UJ Arts & Culture Video Vision Village Green Committee World Fringe Alliance

The Managements, Presenting Companies, Galleries, Artists and Technical Staff whose talent, professionalism and creativity make the Festival a pleasure to produce, and an amazing 11 days for our audiences to experience. The Schools and Colleges of Grahamstown: Carinus Arts Centre, Diocesan School for Girls, Graeme College, Kingswood College, Nombulelo Secondary School, P J Olivier Hoërskool, St Andrew’s College, St Andrew’s Preparatory, Victoria Girls’ High School, Victoria Preparatory School, and Oatlands Primary School. The Citizens of Grahamstown for their hospitality, support and encouragement. National Arts Festival Team: Tony Lankester (CEO) Ismail Mahomed (Artistic Director) Kate Axe Davies (Festival Manager) Zikhona Nweba (Fringe Manager) Nicci Spalding (Technical Director) Michelle Lowry (Production Manager) Ryan Bruton (Operations Manager) Luke Clayton (Production Assistant) Danielle Wessels (Receptionist and Social Secretary) Carmen Koekemoer (Fringe Assistant) Carolyn Stevenson-Milln (Travel & Accommodation Officer) Lynette Marais (Project Consultant) Jayne Burden (Arts Administration Intern) Selina White (Village Green Director) Clarissa Carolus (Village Green Assistant) Sarah Pons (Village Green Administrative Assistant) Claudie van Deventer (Finance Manager) Ettienne Abrahams (Finance Assistant) Gilly Hemphill and Fiona Gordon (The Famous Idea Trading Company) (Media and Public Relations) Festival Programme Brian Garman – Rhodes University Department of Journalism & Media Studies (Art Direction & Design) Xand Venturas Chevawn Blum Dale Scogings Anisha Lutchman Amy Slatem Martha Soteriades Aimeé de la Harpe Jehan Ara Khonat (Layout team)

Kelly Anderson Alex Bernatzky Amy Campion Nothemba Mkhondo Jess Poulos Nicola Poulos Kim Mathurine

Cadar Printers, Port Elizabeth (Printing)

Board of Directors: Association incorporated under Section 21 Registration No. 2002/016052/08 Ayanda Mjekula (Chairperson) Elinor Sisulu (Deputy Chairperson) Jay Pather (Chairperson: Artistic Committee) Paul Bannister Letepe Maisela Grahame Lindop Albie Sachs Tony Lankester (CEO) Tony Long (Foundation Representative) Geoff Antrobus (Foundation Representative)

Audit Committee: Thavanesen Padiachy (Chairperson) Grahame Lindop Nopasika Lila

National Arts Festival Artistic Committee: Jay Pather (Chairperson) Richard Cock (Music) Mokale Koapeng (Music) Brett Bailey (Theatre) Dominic Thorburn (Visual Art) Nomusa Makhubu (Visual Art) Brenton Maart (Visual Art) Gregory Maqoma (Dance) Malcolm Purkey (Theatre) Aubrey Sekhabi (Theatre) Phyllis Klotz (Theatre) Adrienne Sichel (Dance, Arts Development) Trevor Steele Taylor (Film) Anthea Garman (Think!Fest) Alan Webster (Jazz)

Sponsors’ Representatives Pragasen Chetty (Eastern Cape Department of Sports, Recreation, Arts & Culture) Mandie van der Spuy (Standard Bank) Bongani Tembe (National Arts Council)

National Arts Festival Representatives Tony Lankester (CEO) Ismail Mahomed (Artistic Director) Kate Axe Davies (Festival Manager)

Media Representative Gilly Hemphill

INDEX TO THE 2013 NATIONAL ARTS FESTIVAL “?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 #barelybreathing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 1wayCrew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 2 X Beckett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 2013 Festival Playwright: Mike van Graan . . . 30 2Nyce aka MoneyNyce. . . . . . . . . . . . . . . . . . . . . . . . 210 39 Steps, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 7 Deadly Sins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 8arts8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 99 Skafrican Days. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

A Karoo Moment before Fracking . . . . . . . . . . . . 213

A Woman Alone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 A-KAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Abantwana. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 aca-Thatu... Harmonies from the Dusty Streets of KZN . . . . . . . . . . . . . . . . . . 206 Accession. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Acoustic Liquid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Across My Father’s Fault. . . . . . . . . . . . . . . . . . . . . . 93 Adapt or Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Adventures of Ayanda the Aardvark, The . . . . . . 168 After All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Agnosia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 AJ Brown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Albert Frost Blues Trio. . . . . . . . . . . . . . . . . . . . . . . . 81 All Divided Selves . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Alone I Stack the Pillows . . . . . . . . . . . . . . . . . . . . . . 131 Alone:Together Again . . . . . . . . . . . . . . . . . . . . . . . . 213 Amageza Emveli. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Amazing Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Amazing Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Amen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 An Audience with Miss Hobhouse. . . . . . . . . . . . . 173 An Audience with Pieter-Dirk EISH! . . . . . . . . . . 33 Angels and Aliens . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Animal / Advance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Another ‘Dal’ Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Anthea Moys vs. The City of Grahamstown. . . 49 Anti Christ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Appetite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Apple Soup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Arena Exhibition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Art @ The Highlander . . . . . . . . . . . . . . . . . . . . . . . . . 214 Art of Banking, The: Celebrating through collections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Art of Steel Band, The . . . . . . . . . . . . . . . . . . . . . . . 204 Art on Target Children’s Workshops. . . . . . . . . . . . 168 Art Walkabouts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Artists at the French Quarter . . . . . . . . . . . . . . . . . . 214 Artworx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 As Night Falls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Ash and Van Exposed . . . . . . . . . . . . . . . . . . . . . . . . . 143 Asinamali. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Assassination and Persecution of Jean-Paul Marat, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Awesome Big Band . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

BA Moolman and Friends. . . . . . . . . . . . . . . . . . . . 214 Back of Beyond, The . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Bail Out: The Age of Greed . . . . . . . . . . . . . . . . . . 111 Bain Brisè . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Bantustan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Barney Rachabane Sextet, The . . . . . . . . . . . . . . . 83 Batshise Mbawula . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Beautiful Creatures: A Children’s Concert . . . . 73 Because I’m Funny. . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Beefcake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Behind Closed Doors . . . . . . . . . . . . . . . . . . . . . . . . . 139 Behind Every Yawn there is a Silent Shout. . . . 46 Belgian, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Believe He is Alive . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Below My Feet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Betti and the Yeti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Ben Schoeman Piano Recital . . . . . . . . . . . . . . . . . 68

Ben Schoeman & Anzél Gerber: A Cello and Piano Recital . . . . . . . . . . . . . . . . . 69 Between the Lines. . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Beware of Mr Baker . . . . . . . . . . . . . . . . . . . . . . . . . 116 Big Boys II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Big Hole. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Biko’s Quest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Birdman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Bitches Be Crazy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Bitter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 BitterSweet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Blaauwkrantz Bridge Train Disaster 1911, The . . . . . . . . . . . . . . . . . . . . . . . 129 Black Band Anna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Black South Easter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Blitz Patrollie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Blood at the Root. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Blue & White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Blue Chips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Bleu Remix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Boet n Swaer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 BOO! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Booth’s & All. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Bosman’s Patriots . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Brahms Serenade/ A Nonet Programme. . . . . . 63 Bram Fischer Waltz, The . . . . . . . . . . . . . . . . . . . . . . . 174 Breaking the Factory: A Deaf Experience . . . . . . 139 Breathing In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Broadway: Now and Then. . . . . . . . . . . . . . . . . . . . . 193 Bronze Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Brothers in Blood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Brothers Streep: Stand-Up Musicians, The . . . . . 146 Bruut! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 But Why? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Butlers and Billionaires. . . . . . . . . . . . . . . . . . . . . . . . 146 Bye Bye World! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Cadre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Caged Happiness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Callum’s Will . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Can’t Talk About This. . . . . . . . . . . . . . . . . . . . . . . . . . 132 Cape Comedy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Cellardoor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Celli-bration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Champ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Chanticleer Singers, The. . . . . . . . . . . . . . . . . . . . . . 70 Chapter Untitled . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Chasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Children’s Arts Festival . . . . . . . . . . . . . . . . . . . . . . . . 170 Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Chords and Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Chris Chameleon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Coat of Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Collective Imagination , The. . . . . . . . . . . . . . . . . . 79 Comrade Babble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Conduct Unbecoming II . . . . . . . . . . . . . . . . . . . . . . 71 Contact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Contemporary Ceramics Exhibition . . . . . . . . . . . 215 Conversation with a Snake . . . . . . . . . . . . . . . . . . . 194 Cracked Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Crazy in Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Cry Havoc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Cultursl Expression on the Sundowner Stage . . 138 Curious . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Dan Patlansky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Dance Spectrum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Dave Goldblum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Day in the Desert, A . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Dead and The Departed , The . . . . . . . . . . . . . . . . . 177 Delta & Desert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Diamonds, Bagpipes & the Mother Superior . . . . . . . . . . . . . . . . . . . . . . . . . 129 Dingaka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Dirt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Dis Koue Kos, Skat . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Doctor Doctor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Dogyard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Dr Stef’s Sidesplitting Hypnosis . . . . . . . . . . . . . . . 148 Drive With Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Dynaecology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Each his Own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Eastern Cape Handmade Collection. . . . . . . . . . 97 Eastern Cape Indigenous Music and Dance Ensemble . . . . . . . . . . . . . . . . . . . . . 62 Eastern Cape Jazz Showcase at Dakawa. . . . . . 74 Eastern Star Gallery Printing and Press Museum, The . . . . . . . . . . . . . . . . . . . . . . . 216 Echo, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Ek Vertaal vir Jou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Elelwani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Eliezer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Elsa Barnard Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Elzabe Zietsman in Vlakkant / Diepkant . . . . . . . 195 Encore!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 End of a Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Enyeleni Yobuntu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Epicene Butcher and Other Stories for consenting adults, The . . . . . . . . . . . . . . . . . . . . 149 Evolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Exit / Exist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Expectant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Exploring the Arts of the Eastern Cape . . . . . . . . 216 Fabric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Face The Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Falling Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Festival Pops Concert . . . . . . . . . . . . . . . . . . . . . . . . 59 Fingo Festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Fire:Burn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Fired Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Flirting With Coward . . . . . . . . . . . . . . . . . . . . . . . . . 195 Florence Foster Jenkins . . . . . . . . . . . . . . . . . . . . . . 41 for.GIVEn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Forgive the Devil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Frank Sinatra & Friends . . . . . . . . . . . . . . . . . . . . . . 60 Free State Arts Talk Exhibition . . . . . . . . . . . . . . . . 217 Freedom That Killed Our Nation, The . . . . . . . . . . 178 From Shot Down to Durban Poison . . . . . . . . . 121 Fully Committed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Fun Fables for Little Friends . . . . . . . . . . . . . . . . . . . 168 Gala Concert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Gary Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Gauteng Dance Motjeko . . . . . . . . . . . . . . . . . . . . . 134 GENESIS| Awakening . . . . . . . . . . . . . . . . . . . . . . . . . 217 Get Kraken!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Ghost Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Gig Guide: Fringe Contemporary Music. . . . . . . . 210 Girl Called Owl, A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Global Express . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Gloria Bosman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Go Sana Le Lina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 God’s Perfect Palette. . . . . . . . . . . . . . . . . . . . . . . . . . 217 Gog’ Helen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Going Gooding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Golden Age, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Gravity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Grey in the Rainbow . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Guy Buttery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 H/ours To Keep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Habitat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Hanamichi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Hansel and Gretel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Hatch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Heart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Heavy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Hein van de Geyn & Pauline van Schaik . . . . . . 78

9 Hidden Treasures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Hinterland. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Hoax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Holy Ghosts: Programme Three . . . . . . . . . . . . . 119 Holy Lovers: Programme Two . . . . . . . . . . . . . . . 118 Holy Outcasts: Programme One . . . . . . . . . . . . 118 Home/Affair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Hope! Deaf Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Hoss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 House Executive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Hustlers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

I Had To Do It . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 If I Knew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Imbaula . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 In Animate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 In the Middle of the Road . . . . . . . . . . . . . . . . . . . . . 180 In/Sight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Indumba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Ingwe Craft Exhibition . . . . . . . . . . . . . . . . . . . . . . . . 219 Inhlokomo Ngingu Nonjabulo . . . . . . . . . . . . . . . . 197 Instinct. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Is it safe to masturbate on an electric blanket? 152 Isingqi Sakwantu Cultural Group - WSU. . . . . . . . 134 Isiphorha. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Island, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 It’s a Wrap - Gautend Ishashalazi Winners . . . . . . 180 It’s All About Light 2 . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Ithongo Lam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Jazz Jams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Jittery Citizens - Improvised Comedy . . . . . . . . . . 152 Johan Carinus Art School: 2013 Exhibitions . . . . 219 Johannesburg Youth Orchestra . . . . . . . . . . . . . . . 204 Jonas Gwangwa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Joseph’s Creations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Jou Ma Se Comedy Club . . . . . . . . . . . . . . . . . . . . . . 152 Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Journeying On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Julian Redpath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 K.I.A.T Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Kaleidoscope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Kama Sutra (Sex & The Charou ) . . . . . . . . . . . . . . . 155 Karen Zoid – Under the Covers . . . . . . . . . . . . . . . . 207 Karen Zoid & Dan Patlansky in Concert . . . . . . 75 Katlego...Soul Revisited . . . . . . . . . . . . . . . . . . . . . . . 207 Keiskamma Carnival . . . . . . . . . . . . . . . . . . . . . . . . 127 Kgosi Kgolo/Hayani. . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Khanyisa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Kick-Ass Acquaintance. . . . . . . . . . . . . . . . . . . . . . . . 180 Kitchen Fables in a Cookie Jar . . . . . . . . . . . . . . . . . 168 Kwesukela – Once a Long, Long time ago.....Cosiiiiii! . . . . . . . . . . . . . . . . . . 191 Lake. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Last Moustache, The. . . . . . . . . . . . . . . . . . . . . . . . . . 28 Last Musical Story! Please Forgive Them . . . . . . . 197 Last Note, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Last Show, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Late night Blues with Robin Auld, Albert Frost & Friends . . . . . . . . . . . . . . . . . . . . 89 Laurent Coq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Learner Husband Book Tour. . . . . . . . . . . . . . . . . . . 155 Lee Thomson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Lekgolwa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Lenny and The Wasteland. . . . . . . . . . . . . . . . . . . . . 155 Lies and Times in a Smile. . . . . . . . . . . . . . . . . . . . . . 191 Limpopo The Musical . . . . . . . . . . . . . . . . . . . . . . . . . 197 Line, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Local Artists’ Exhibition . . . . . . . . . . . . . . . . . . . . . . . 221 Locked-In, Locked-Out. . . . . . . . . . . . . . . . . . . . . . . . 155 Long Journey - The Musical . . . . . . . . . . . . . . . . . . . 197 Love of Nature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Loving Liars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Lucy Kruger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Lunatic Asylum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Madness in our Community . . . . . . . . . . . . . . . . . 181

Madonna of Excelsior . . . . . . . . . . . . . . . . . . . . . . . . 29 Magus, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Makeson Browne Trio / Jeroen van Vliet . . . . . 84 Malcom Braff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Mamela . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Man on Ground. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Mapakshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Marley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Martyrs, Saints and Sellouts. . . . . . . . . . . . . . . . . . 94 Master Musician, The . . . . . . . . . . . . . . . . . . . . . . . . . 135 Master, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Mawawa, a Florist . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 McCree. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Meat / Vlees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Menyatso Mathole . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Meri Kenaz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 MiCasa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Mike Rossi Project, The . . . . . . . . . . . . . . . . . . . . . . . 87 Milk and Honey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Minnie & Johnson . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Mirror-Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Miss South Africa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Mix Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Mob Feel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Modern Miniatures . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 molo mimi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Mombelli & van Vliet . . . . . . . . . . . . . . . . . . . . . . . . . 87 Money Maker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Monologues in 1st Gear . . . . . . . . . . . . . . . . . . . . . . 37 Monologues in 2nd Gear . . . . . . . . . . . . . . . . . . . . . 37 Moor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Move, Dance, Be Born. . . . . . . . . . . . . . . . . . . . . . . . . 135 Mpondomse Traditional Dance . . . . . . . . . . . . . . . 136 Music You Can Feel: A Youth Orchestra Concert . . . . . . . . . . . . . . . . . . . . . . . . 72 Musical Soul. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Musical Theatre Memory Lane . . . . . . . . . . . . . . . . 199 My Choice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 My Dog’s Got No Nose . . . . . . . . . . . . . . . . . . . . . . . . 155 My Grand (ma se) Piano. . . . . . . . . . . . . . . . . . . . . . . 199 My Journey. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 My name is Rachel Corrie. . . . . . . . . . . . . . . . . . . . . 27 Mystify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Mythotherapy & the Dialectics of Liberation121

Naked Prey, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Naked Prey, The: Seminar . . . . . . . . . . . . . . . . . . . 121 Natasha Meister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Nate Maingard: Songs & Stories . . . . . . . . . . . . . . . 208 Nduduzo Makhathini. . . . . . . . . . . . . . . . . . . . . . . . . 89 Nest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 New Chapters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 NIA Collective presents Afro 21 . . . . . . . . . . . . . . . 209 Nibs in Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Nibs van der Spuy & Guy Buttery . . . . . . . . . . . . . . 209 Nomkhubulwane. . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Nonstop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Ntsika: The Pillar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Oboe and Piano Recital . . . . . . . . . . . . . . . . . . . . . . 204

Of Good Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Off Side Rule, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Old Masters & New Mistresses. . . . . . . . . . . . . . . . . 222 Once Upon a Puppy . . . . . . . . . . . . . . . . . . . . . . . . . . 168 One Lovely Night. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Oom Schalk, from the Heart. . . . . . . . . . . . . . . . . . . 156 Open Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 OR Tambo Arts Ensemble . . . . . . . . . . . . . . . . . . . . . 136 Ordinary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Our Lady of Benoni . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Pain, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Palettes in Nature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 Panic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Pants on Fire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Pantsula Dans Ontploffing! . . . . . . . . . . . . . . . . . . . 136 Pantsula Van Tuka Af. . . . . . . . . . . . . . . . . . . . . . . . . . 136

Passages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Patterned Ceramic Surfaces. . . . . . . . . . . . . . . . . . . 222 Paul Heidler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 peace.love.recycle . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Pet Shop Boys, The . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Phall♂s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Philip Malan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Philip Malan & Natasha Meister . . . . . . . . . . . . . . . 209 Pieces of the Puzzle . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Plastic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Point to Point. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 PPC Grahamstown Field Band, The . . . . . . . . . . 125 Princess Pop Show, The . . . . . . . . . . . . . . . . . . . . . . . 199 Programmed? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Propaganda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Prophecy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Qumbu Village . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Race Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Raiders: The Whisky Trader . . . . . . . . . . . . . . . . . . . . 156 Rainbow Scars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Random IC Duo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 Re-Birth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Reality Bytes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Rebirth: From Darkness to Light, The . . . . . . . . . . 139 Recycle & Bead Designs. . . . . . . . . . . . . . . . . . . . . . . 223 Red Peter’s Way Out? . . . . . . . . . . . . . . . . . . . . . . . . . 183 Red Shoe Diaries, The . . . . . . . . . . . . . . . . . . . . . . . . . 223 Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Return of Elvis du Pisanie, The. . . . . . . . . . . . . . . . . 157 Rhetorical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Rhino Protection Initiative . . . . . . . . . . . . . . . . . . . . 223 Rhodes Fine Art Student Exhibition . . . . . . . . . . . 224 Rhythm Changing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Rhythm Dudes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Rhythms of African Pride . . . . . . . . . . . . . . . . . . . . . 136 Riaad Moosa: Doctor Orders Tour . . . . . . . . . . . . . 157 Rick van Heerdan Quartet. . . . . . . . . . . . . . . . . . . . 89 Rising of the Ancestors! . . . . . . . . . . . . . . . . . . . . . . . 224 Risk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Rituale Romanum: The Strange Case of Anneliese . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 River of Life. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Rob van Vuuren - WHATWHAT. . . . . . . . . . . . . . . . . 157 Robin Auld Blues Trio. . . . . . . . . . . . . . . . . . . . . . . . . 80 Rock ‘n Role Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Roger Ballen’s “Playpen” . . . . . . . . . . . . . . . . . . . . . . 224 Romeo ‘n Juliet Unplugged. . . . . . . . . . . . . . . . . . . 45 Roots, Rhythm and Revolution . . . . . . . . . . . . . . . . 140 Rosencrantz and Guildenstern are Dead . . . . . . 157 Rough Musick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Rum Diary, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Run! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Runette Botha Standard Bank Young Artist Recital . . . . . . . . . . . . . . . . . . . . . . 55 Running on Empty . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Rus Nerwich & the Wondering Who . . . . . . . . . . 86

SA National Youth Orchestra with the

Amsterdam Ensemble . . . . . . . . . . . . . . . . . . . . 204 SA Standards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Saints, Sinners and Students . . . . . . . . . . . . . . . . 128 Same Time Next Year . . . . . . . . . . . . . . . . . . . . . . . . . 158 Sand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Saving Zakhura. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 School/Youth Bands I - V . . . . . . . . . . . . . . . . . . . . . 88 Scrape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Searching for Sugar Man . . . . . . . . . . . . . . . . . . . 115 SeaStones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Secrets from the Drawer . . . . . . . . . . . . . . . . . . . .43 Secrets of the Blaauwkrantz Pool . . . . . . . . . 129 See-Far-I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Seeking a Friend for the End of the World. . . 112 Sego-Saka - My Calabash . . . . . . . . . . . . . . . . . . . . . 184 Sessions, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Settler Skeletons and Colourful Characters . 128 Shadow of Brel, The. . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Shane Cooper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Shane Cooper Quartet . . . . . . . . . . . . . . . . . . . . . . . 84 Shannon Hope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Short & Sweet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Shot Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Shotgun Tori . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Shout! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Shoe us our Land: Market Photo Lab . . . . . . . . 126 Silent Voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Simply Broadway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Skierlik . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Sleeper’s Wake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Sleeping Dogs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Sleight of Mouth - The Art of Talking Your Way out of Anything . . . . . . . . . . . . . . . . . 158 Small Town Called Descent, A . . . . . . . . . . . . . . . 117 Snow Goose, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Sojourn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Song & Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Songs of Hope & Freedom . . . . . . . . . . . . . . . . . . . . 209 Soul Renovators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Sound of my Voice . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Sounds of Madibaland. . . . . . . . . . . . . . . . . . . . . . . . 209 South Africa National Youth Orchestra Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 South African Delights. . . . . . . . . . . . . . . . . . . . . . . . 185 Soweto Comedy Festival. . . . . . . . . . . . . . . . . . . . . . 160 Soweto String Quartet . . . . . . . . . . . . . . . . . . . . . . . 81 Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Spark, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Special Thanks to Guests from Afar . . . . . . . . . . . . 185 Spiritfest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Split. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Standard Bank National School’s Big Band. . . 88 Standard Bank National Youth Jazz Band . . . . 88 Standard Bank Young Artist Award-winners . 12 Standing in Pairs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Stately Homes & Old School Ties . . . . . . . . . . . . 128 Steve Turre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Stoker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Stories for Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Story Behind Bars: ‘Art behind Bars’. . . . . . . . . . . . 138 Story of the 2 Mountains, The . . . . . . . . . . . . . . . . 140 Stranded @ Standard . . . . . . . . . . . . . . . . . . . . . . . . . 160 Strategy of Grey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Street Light with Lips . . . . . . . . . . . . . . . . . . . . . . . . . 191 Subliminal Commerce . . . . . . . . . . . . . . . . . . . . . . . . 224 Sunday Morning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Superhuman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Svein Olav Herstad Trio. . . . . . . . . . . . . . . . . . . . . . . 86 Swoop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Symphony Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Tale of Horribleness, A . . . . . . . . . . . . . . . . . . . . . . . 170

Taste of Rain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Tears of Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Tell Your Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Tender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 The Geniuses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 The Purple shall Govern . . . . . . . . . . . . . . . . . . . . . . 91 The Rap Empire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 The Stuart Reece Band. . . . . . . . . . . . . . . . . . . . . . . . 210 Things You Left Behind, The . . . . . . . . . . . . . . . . . . . 160 Think!Fest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 This is Stand Up Comedy. . . . . . . . . . . . . . . . . . . . . . 160 This is what I’m made of: Landscape in South African Literature . . . . . . . . . . . . . . . . . . . . . . . . . 224 This Must be the Place . . . . . . . . . . . . . . . . . . . . . . 114 Thom Pain (based on nothing) . . . . . . . . . . . . . . . . 186 Those Indian Guys! . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Three . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Three Little Pigs, The. . . . . . . . . . . . . . . . . . . . . . . . . . 186 Times of Harvey Milk, The . . . . . . . . . . . . . . . . . . . 115 Town Called Fokol-Lutho, A . . . . . . . . . . . . . . . . . . . 200 Trance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Translucent Journeys: The Profoundly Mysterious Notebook of Professor Cavendish . . . . . . . . . 212 Traverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Trio Programme: French Impressionist works for Flute, Viola and Harp . . . . . . . . . . . 65 Trishna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Truck Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Tsoalo - The Birth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Ukuthwalwa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Umphefumulo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Under the Inspiration of Marquis de Sade. . . 121 Underground: The Julian Assange Story . . . . 111

Unexpected Man, The . . . . . . . . . . . . . . . . . . . . . . . . 188 Unmen, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Unontombi (Betrayal). . . . . . . . . . . . . . . . . . . . . . . . . 200 Unreal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Untitled #310. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Urban Ballet, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Vampire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Velvet Bean & E=MC2 (Double Bill) . . . . . . . . . . . . 140 View, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Vigil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Vocal Celebration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Voice of Anne Frank, The . . . . . . . . . . . . . . . . . . . . . 41 Voor Ek Vergeet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Vrek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Vusi Mahlasela . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

War Around Us , The. . . . . . . . . . . . . . . . . . . . . . . . 115 Wasem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Wat die Hart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Wednesday Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Weeping Candle, The . . . . . . . . . . . . . . . . . . . . . . . . . 188 Who’s To Blame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Wild Arts and Crafts . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Wiles Gallery Paintings . . . . . . . . . . . . . . . . . . . . . . . 226 Will you, won’t you, will you join the dance? . 95 Wind Octet / Nonette Programme. . . . . . . . . . . . 67 Women & Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Women, Our Treasure!. . . . . . . . . . . . . . . . . . . . . . . . 96 Wordfest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Words 4 Women . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Woza Albert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Woza Andries?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Writer’s Block . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Year of the Bicycle, The . . . . . . . . . . . . . . . . . . . . . . 188 Yellow Wood, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Yes, Really, Angel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Young Girls of Amabhaca, The . . . . . . . . . . . . . . . . 138 Young Guns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Youth Jazz Choir + Vocal Soloists. . . . . . . . . . . . . 88 Zion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Zulu, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

12 “I love this art form because it is immediate. It takes art out of the gallery or theatre. It’s art that uses the body; and I’ve always felt that I am much more expressive with my body than with my words. I think embodied experiences that transgress language – which can often divide – are important and this is a big reason why I do what I do.”

Anthea Moys Performance Art

“My vision was to become a choreographer, so that I could express what I wanted to say – to have an ability to change what needs to be changed.”

Fana Tshabalala Dance

“Growing up, my grandmother used to say I was very talented and creative. I guess that sparked confidence in me,” said Sibande about why she decided to pursue a creative career. “When I had to choose between Fine Art and Fashion, I chose Fine Art because it is more open, and it explores more creativity.”

Mary Sibande Visual Art “Community theatre is one of the best tools to get people into theatres. It’s all about exposure, at the end of the day. Where I come from, I didn’t grow up surrounded by glamour. I don’t need fancy sets and props. It’s all about the story.”

Prince Lamla Theatre

“I believe that passion is one of the most important things in pursuing a career in the arts. I don’t believe an artist without passion will ever have the ability to move their audience in quite the same way as someone who sings with all the passion in their heart.”

Runette Botha Music

“Receiving an award like this is an honour, because it is recognition for a difficult road to travel, and I have a lot of respect for the artists who have won before.”

Shane Cooper Jazz

Anthea Moys Performance Art

nthea Moys, the first winner of the Standard Bank Young Artist Award for Performance Art, was bound to attract attention for her bold creativity and risk-taking. She has always advocated a firm belief that performance art is an important generator for initiating newer approaches in engaging with the arts. She considers the recognition that she has received as being a vital catalyst that will continue to open up newer spaces for her playful, collaborative performance art initiatives in South Africa. Her performances aim to foster new connections between different communities and the spaces they inhabit. They have involved boxers at an inner city boxing gym, the residents of an old-age home, and even the security guards at an art gallery. In developing her work, she is interested in creating experiences that evolve over time and in spaces. Often presenting her work as “games”, Anthea has a unique ability to position herself literally and figuratively in the middle of communities. This enables them to explore moments in their own lives; and by enlisting them as impromptu audiences in her “games” they are able to share a moment with her without her ever depending on shock tactics to get her message across. Anthea completed her Masters Degree at the University of the Witwatersrand, with a focus on structured play and performance in public space. She found her feet however when she went to Switzerland and began experimenting with performances in public spaces as part of her Masters degree. Anthea has shown her work at group shows in South Africa, and abroad, in Sweden, Switzerland, London, Australia, Miami and Berlin. In 2009, as the winner of the Everard Read Brait Award, she staged her first solo show in South Africa. She has been on residency programmes including ‘Infecting the City’ in Cape Town and the Monash University residency in Melbourne, Australia. She has been lecturing periodically at the University of Witwatersrand since 2007 and is currently the Vega School of Brand Leadership’s creative development lecturer.

Shane Cooper Jazz

hane Cooper grew up in a musical family in Port Elizabeth, starting the guitar at an early age and moving on to the bass in high school, where he was selected for the Standard Bank National Schools’ Big Band in 2003. “It’s a groove thing for me,” he says of jazz bass, citing also the freedom of improvisation as a key stimulant. Studying for a BMus at the University of Cape Town opened a world of jazz to him – the chance to analyse the greats and to interact with young musicians heading for the front of the musical queue. It also brought a change of instrument – from the electric bass to the upright, with all of its complexities and depth. His dedication to the instrument, though, has paid off as he has leapfrogged rapidly to the top of the list of bass players in demand in the competitive environment of Cape Town, where he is now based, working as a bassist, composer, producer and educator. Cooper was fortunate in finding comparably talented young jazz musicians around him like past Standard Bank Young Artists Kesivan Naidoo and Bokani Dyer, with whom he has worked extensively. He has also performed and recorded with some of the leading jazz artists and bands in South Africa including Zim Ngqawana, Kyle Shepherd, Feya Faku, Marcus Wyatt, Louis Moholo-Moholo, Babu and more and it is with some of these groups that he has toured around Europe, India, Africa and the US. Cooper performs his original instrumental jazz compositions with different groups in and around Cape Town, as well as travelling regularly around South Africa and overseas, notably in Europe. He has composed original music for theatre, film soundtracks (including co-composing the SAFTA award-winning soundtrack for Visa Vie), and television. He also produces and releases electronic music under the name Card On Spokes.

Runette Botha Music

unette Botha is a sought after concert singer and recitalist with an extensive repertoire in oratorio and other sacred music, ranging from Bach through Mozart to Rutter. She made her professional début at the Royal Albert Hall, performing in a gala concert alongside José Carreras and Kiri te Kanawa.

Botha has been a member of the Staatstheater Kassel’s Opera Studio since 2011/12 and has since sung Marzelline in Beethoven’s Fidelio, Costanza in La Griselda by Scarlatti and Marmeladeverkäuferin / Königstochter in the German première of Wolfgang Mitterer’s exciting modern opera for children, Das tapfere Schneiderlein. She made her German début as Musetta in Puccini’s La Bohème. Botha initially obtained a B.Com Accounting degree at the former Rand Afrikaans University (now the University of Johannesburg). Even while studying towards a B.Com degree, Botha was honing her skills as a soprano. While studying towards a MA (Opera) at the Royal Academy of Music in London, she was seen as Lucy in Kurt Weill’s

Die Dreigroschenoper, Fiordiligi in Mozart’s Così fan tutte, Li in Peter Maxwell Davies’ world première production of Kommilitonen! and Miss Wordsworth in Britten’s comic opera Albert Herring. Other operatic performances include Donna Anna in Mozart’s Don Giovanni and also Drusilla in Monteverdi’s L’incoronazione di Poppea, Yvette and Georgette in Puccini’s La Rondine and Pousette in Massenet’s Manon, whilst studying in Cape Town. A winner of the prestigious Philip Schock Foundation Competition, Botha has worked under the baton of several eminent conductors including Patrik Ringborg, Yoel Gamzou, Dominic Wheeler, Jane Glover, Kåre Hanken, Alexander Fokkens and Richard Cock. Directors with whom she’s worked include Elmar Gehlen, John Ramster, David Pountney, John Copley and Angelo Gobbato. Forthcoming engagements include the Shepherd Boy in Robert Wagner’s Tannhäuser and Pérron’s Lover in Evita at the Staatstheater Kassel. Runette hopes to be part of the process to create platforms for singers and other musicians in South Africa, to inspire more people to listen to classical music and opera and not to dismiss it immediately as ‘boring’ or ‘elitist’, without really giving it a chance.

Prince Lamla Theatre

rince Lamla was born on June 16 – “a fiery date in South Africa’s political history” – so perhaps it was his destiny that his interest in South African political theatre would be sparked off from an early age. As a teenager growing up in rural QwaQwa and without having access to any of the formal trimmings of the theatre, Lamla’s passion for a good story enabled him to attract a few committed actors to bring stories to life without any props and décor but depending solely on the power of the imagination and engaging performances. It is this remarkable ability that makes him a worthy recipient of the Standard Bank Young Artist for Theatre. Lamla’s approach to working with his company of actors is quiet but assertive. He has an open and engaging manner that invites collaboration among his players. It is through this approach that he was able to successfully re-imagine the protest play Woza Albert! by Percy Mtwa, Barney Simon and Mbongeni Ngema. The production played to packed houses at Johannesburg’s Market Theatre, prior to a successful season at the Edinburgh Festival. While Lamla was studying at the Market Theatre Laboratory he was awarded an opportunity to be an assistant director at Live Theatre in Newcastle, in the UK. When he returned to South Africa, he commenced a stint with the Sibikwa Arts Centre, which helped him to give further impetus to his passion for storytelling and directing. For Lamla, the Standard Bank Young Artist Award is a validation of his ability to create exciting theatre in which the body, voice and expression remain the greatest assets in his hands as one of South Africa’s young and highly skilled directors.

Mary Sibande Visual Art

ary Sibande is one of South Africa’s most talented young visual artists. She was first seen at the 2010 National Arts Festival with works from her exhibition Long Live the Dead Queen. In her practice as an artist, she employs the human form as a vehicle to explore the construction of identity in a postcolonial South African context. She also attempts to critique stereotypical depictions of women, particularly black women in our society. She works in various media including painting, sculpture and photography. Sibande obtained an Honours Degree in Fine Art at the University of Johannesburg in 2007. Group shows include: From Pierneef to Gugulactive: 1910 to 2010, Iziko South African National Gallery, Cape Town (2010), and l’Exposition du Festival Mondial des Arts Nègres, Dakar (November – December 2010). When the AAW (artatwork) and the Central Johannesburg Partnership announced the reinvented Joburg Art City project, they chose Sibande’s sell-out exhibition Long Live the Dead Queen to première on 19 giant building-wraps (large photographic murals) in the inner city from June 2010 until the end of January 2011. This project enabled Johannesburg to claim “the world’s first city art gallery” status, with Sibande as the first contemporary artist to have her work exposed on the massive urban canvas. She is the recipient of a number of residencies and fellowships such as the Cite des Arts International, Paris, France, Kunst:raum Sylt Quelle, Sylt,Germany, Prohelvetia-IAAB, Basel, Switzerland and the Ampersand Foundation Fellowship, New York. For Sibande the Standard Bank Young Artist Award means personal growth, and is a validation of the years of hard work and an expression of the appreciation for her creative development and growth as an artist.

Fana Tshabalala Dance

ana Tshabalala passed his matric and despite his initial plans to study electrical engineering it was his passion for dance that was going to shape his future. He was introduced to dance through his father, who used to do isicathimiya (South African a cappella and dance). Keen to learn more about this dance form, he started visiting the Jeppe Hostel to learn the basics about the dance. As a young dancer, he was involved in a number of community groups such as Vuku Zenzele Cultural Group (Assistant Director), Sonqoba Cultural Group (Performer), Pheelo Dance Company (Dancer), Motswako Performing Artists (Performer), Vuka African Artists (Dance Director) and Vaal Sounds Chorus (Dancer). In December 2005 he auditioned for Moving into Dance (MID), which essentially marked the beginning of his professional dance career. Upon graduating, he was one of two students to be invited to join MID’s professional dance company. He stayed with the company for five years prior to joining the Forgotten Angle Theatre Company, an initiative headed by another Standard Bank Young Artist, PJ Sabaggha.

When Fana was still a student with MID, he choreographed his first solo, As it is two in one, initially entitled “Conversation Between HE and He”, which he performed at the Dance Umbrella. He has also shown his flair as a dancer in various productions such as Hanano by Vincent Mantsoe, Batsumi by Thabo Rapoo and Threads devised by Sylvia Glasser and Lebo Mashile. It was in France between 2009 and 2010, while working with European choreographer Michel Keleminisover for a period of six months, that he found his choreographic voice. Fana’s choreographic talent has also been effectively used in projects such as the Rock Challenge, which reaches over 3000 participants from different schools in Gauteng. He is also currently running a sitespecific project as a choreographer and serves as an Artistic Director to community groups in Soweto, Alexandra, Diepsloot and Tembisa with the aim of creating new performance spaces outside of what is already available. Fana believes that the Standard Bank Young Artist Award is the beginning of another journey in his career. He believes that it will open doors and put him into a more creative state that will bring him increased work, creative opportunities and even increased responsibilities.

The National Arts Festival in association with The Forgotten Angle Theatre Collaborative presents

Standard Bank Young Artist Fana Tshabalala’s

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Indumba

horeographer, teacher and dancer Fana Tshabalala’s artistic expressions create a dialogue between performers, creators and audience. Fana was reading a work by Paul Granjo when he came across information about a cleansing ceremony in Mozambique and how such a cleansing ceremony brought a change in the mental and physical health of the veterans who were involved in the civil war.

Fana saw a need to create a work inspired by this cleansing ceremony. He spent a week in Mozambique to observe the cleansing ceremonies enacted after the civil war, and how it affected the community and the war veterans. He discovered how the ceremony serves as a passage of rites to create new beginnings and purify minds and bodies from the negativities that haunt us. His new work is titled “Indumba”, which refers to a hut used as a place for cleansing rituals in most African countries. People who have been through these cleansing rituals come out with a sense of discovering something about themselves or feeling purified. With Indumba, Fana aims to choreograph a work in which bodies, which usually choose to ignore the inner voice that is constantly guiding and feeding them, will give the inner voice the space and time to take over, and a chance to connect with the other voice in space. In this space there’s no right or wrong but every moment is appreciated for what it is and what it can be. Choreographer Dancers

Music Lighting design Costume designer Producing Company

Fana Tshabalala Fana Tshabalala Irven Teme Thulani Chauke Thami Majela Nosiphiwo Samente Thabo Kobeli Charlston van Rooyen Nicholas Aphane Thabo Pule Sasha Ehlers The Forgotten Angle Theatre Collaborative

Funded by The National Lottery Distribution Fund, The Forgotten Angle Theatre Collaborative is a dance company in residence at the University of Johannesburg. Photo: Christo Doherty

A post-performance discussion with the cast and choreographer, moderated by an arts journalist from City Press, will take place after the 20:00 performance on Friday 5 July.

Rhodes Theatre Friday 5 July Saturday 6 July Sunday 7 July

20:00 12:00 & 16:00 14:00 & 18:30

Duration

1 hour (no interval)

Age Restriction

Tickets R55 (Full) R45 (Student/Scholar)

18 The Johannesburg Youth Ballet in association with the National Arts Festival presents

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Hansel and Gretel A Ballet in 2 Acts A tale of hunger, love and triumph

he Johannesburg Youth Ballet (JYB) was founded in 1976 by Audrey King in response to an invitation to perform at the International Festival of Youth Orchestras and Performing Arts in Aberdeen. In what was a watershed year for South Africa, King flouted the political realities of the time by choosing an integrated company thus becoming one of the first integrated youth groups to represent South Africa abroad. She secured the Patronage of Dame Margot Fonteyn who held the position of President of the JYB until her death. In 1984 King relocated to America. The ensuing years have seen esteemed Artistic Directors at the helm of the JYB including Pat Durham, Theo Dantes, Erick Bowen, the late Rulov Senekal and Jean Beckley. Current Artistic Director, Kate Martin, was appointed to the position in 2008.

This small but enduring dance company has forged a path that has led to countless dancers realising their dreams. Many former JYB members have gone on to join professional companies becoming renowned locally and internationally. Amongst them are Mandy Brak, Marcel van Drunick, Leigh-Ann Cohen, Angela Malan, Melody Putu, Anne Wixley, Catherine Burnett, Iain Macdonald and Moya Michael. 37 years since its founding the JYB continues to give dancers from all socio-economic backgrounds an opportunity to work and perform in a professionally run company.

SYNOPSIS ACT 1 Hansel and Gretel are at home waiting for their Father and Stepmother to return from the forest where they have been cutting wood. There is very little food and the children are sent to bed hungry. The parents argue about the desperate situation. The Stepmother persuades the Father to take the children deep into the forest the next day to leave them there, to die. The children overhear the adults. Gretel is in tears. Hansel sneaks out and collects white pebbles returning to comfort her. As dawn breaks, the children are awakened and they leave for the forest. As they journey deeper and deeper into the forest Hansel keeps dropping pebbles so that they can find their way home. They reach a clearing. Their Father makes a fire and says they must wait until he returns. They eventually fall asleep. The Fire-flies and Night Creatures conjure up the Fire Spirit. They awaken to see a full moon. The moonlight illuminates the pebbles and they find their way back home again. Their Stepmother is not at all pleased that they have returned, but their Father is ecstatic. After a joyous reunion with their Father, the Stepmother sends the children to bed without any food. Again, they overhear their wicked Stepmother

19 arguing but Hansel comforts Gretel by saying that he will go and collect pebbles again, and all will be well. But their Stepmother has locked the door! Hansel says that they will leave a trail of breadcrumbs instead, and feeling relieved, they fall asleep!

Again, a fire is made and they are told to wait for their Father’s return. As it gets darker, The Sandman appears and drops sand in their eyes so that they sleep soundly after which the Angels appear to protect them. As dawn breaks, the Angels depart and the children awaken. A beautiful White Swan comes to guide them home. INTERVAL ACT 2 On their journey home, they come across a Gingerbread House. A woman befriends them saying she will give them food and shelter. They do not realise she is a Witch who eats children! The Witch locks Hansel into a cage and proceeds to fatten him so that she can eat him. Gretel is forced to work for the Witch. She asks Gretel to check if the oven is hot enough to cook Hansel. Gretel pushes the Witch into the oven killing her instead. Gretel frees Hansel. The White Swan returns and the Witch’s house is cleansed and transformed back to its former beauty. All the children previously trapped by the Witch are released. Hansel and Gretel are re-united with their Father. The White Swan gives them a box of precious jewels from the Witch’s house. These crystals will give them prosperity, enlightenment, protection, sensitivity, creativity and optimism! Now that the Witch is dead… a joyous celebration is held and everyone lives happily ever after

Additional Props:

Mark Hawkins Nik Sakellarides Andrew Botha Jean-Claude Laurent Malcolm Finlay of PENMAC Kate Martin Trish Krinsky Knight Scene Cassandra Parsons Helen Ramsay Carroline Ramsay UJ Arts & Culture Centre Tessa Retief

Johannesburg Youth Ballet Chairman: Artistic Director: Artistic Advisors: Dancers: Hansel: Gretel: Father: Mother / Witch: Swan: Sandman: Jewels: Amethyst: Zircon: Tourmaline: Citrine: Angels, Birds, Fire Spirits, Fireflies & Night Creatures:

Jean Beckley Kate Martin Dianne Richards & Nigel Hannah Lwazi Mzimase Jaimee Mills Nigel Hannah (Guest Artist) Roswyn Finlay Kayla Schultze / KirunaDevar Yusuf Thomas Danielle Kane / Aviva Sher Aviva Sher / Danielle Kane Kiruna Devar / Bryanne Coxon Natasha Heuser / Ashley-Rae Baxter

Members of the Johannesburg Youth Ballet

Guy Butler Theatre, Monument Thursday 27 June Friday 28 June Duration

19:00 11:00 & 19:00 1 hour 15 minutes (including interval) Act 1: Interval: Act 2:

Age Restriction Tickets R90 / R85 / R80 (Full) R80 / R75 / R70 (Student / Scholar) Photo: John Hogg

35 minutes 20 minutes 25 minutes All ages

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In the morning the children are again given a slice of bread before they depart with their Father into the forest. Hansel drops a trail of crumbs. But, unbeknown to the children, the birds of the forest eat the breadcrumbs.

Choreographer: Original Score: Set & Costume Design: Lighting Design: AV & Projection: Additional Choreography: Acrobatic Sequence: Set Construction: Costume Construction:

Jazzart Dance Theatre and the Steve Biko Foundation in association with the National Arts Festival present

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Biko’s Quest

“Biko’s Quest is more than a story based on historic events; it’s an unwavering focus on the current situation in SA, a reflection on our humanity that reaches far beyond the racial context.” Debbie Hathway

nspired by the Steve Biko Foundation’s photographic exhibition, The Quest for a True Humanity, this production promises to take the audience on a thought-provoking and emotional journey displayed through a combination of powerful dancing and moving storytelling. Biko’s Quest draws inspiration from the exhibition’s portrayal of Biko’s life and death. In attempting to translate The Quest for a True Humanity from one art form (photography) to another (dance and performance), this production re-visits the contemporary relevance of Steve Biko and his quest for a true humanity. The production also remembers the many people who were held in detention without trial and died under apartheid. Through Biko’s Quest, an interpretation of Biko’s vision is interrogated to explore how far South African society has progressed in becoming a nation with a more human face.

Director Choreography Lighting and Technical Director Set and Costume Sound Effects Cast

Special Thanks to: • • • •

MamNtsiki Biko and Nkosinathi Biko The Steve Biko Foundation Head Office staff and King William’s Town staff Jazzart staff and trainees The Steve Biko Foundation whose exhibition, The Quest for a True Humanity, supported by the Department of Education and the Apartheid Museum, inspired the production.

A post-performance discussion with the cast and director, moderated by an arts journalist from City Press, will take place immediately after the 18:00 performance on Wednesday 3 July.

Mandla Mbothwe Jacqueline Manyaapelo Ina Wichterich-Mogane Mzokuthula Gasa Bamanye Yeko Linda Mandela Elvis Sibeko Sanga Mabulu Ayanda Fana Lamla Ntsaluba Bamanye Yeko Mandla Mbothwe Jackie Manyaapelo Sinazo Bokolo Bruns Elvis Sibeko Shaun Oelf

Transnet Great Hall Tuesday 2 July

12:00 & 18:00

Wednesday 3 July

12:00 & 18:00

Duration

1 hour 20 minutes (no interval)

Age Restriction:

None

Tickets: R60 (Full) R50 (Student / Scholar)

Vuyani Dance Theatre in association with the National Arts Festival presents

fter the much acclaimed success of his solo, Beautiful Me, Gregory Maqoma has continued to provoke and cause a stir with his interpretation of self in relation to history, culture, arts, society and politics. He treats his body as a moving portrait that continues to find a transitional point in tradition and language that evolves in finding creative translations for unfamiliar and familiar elements.

His new creation Exit/Exist is an embodiment of a traditional, historic and heroic Xhosa story of Chief Maqoma, a story that has seen a family torn apart and a new generation (in Gregory Maqoma) making peace with it and finding the relevance in this piece of history in the now, the existing now. As inspiration for this piece, Maqoma looks to his ancestral past: Chief Maqoma, a 19th century warrior who fought to maintain the Xhosa cultural traditions of the Eastern Cape in the face of colonial dispossession. Maqoma embodies this forgotten history in a transformational and poignant solo performance that fuses storytelling with his

own unparalleled contemporary dance vocabulary and spirited live music. Through his signature integration of traditional and contemporary dance, Maqoma invites audiences to reflect on who we are, where we come from, and how all of these facets, past and present, inform our personal and collective identities today. In enhancing this work of art, Maqoma sought the expertise of James Ngcobo, Simphiwe Dana, Kentse Mpahlwa, Mileta Postic, Oliver Hauser, Shanell Winlock and Sibulele Ngcilitshana. Maqoma is joined on stage by four exceptional singers and world-fusion guitarist Giuliano Modarelli, performing a lush score by Simphiwe Dana. As supporting characters in the narrative, the entire cast is interwoven into Maqoma’s vibrantly kinetic world, creating rich visual scenes that punctuate his abstract exploration of race and political power, cultural tradition and personal legacy. Exit/Exist was co-produced by the KVS (Belgium), Theatre de la Ville (France) and Dance Umbrella (SA) and was presented in Belgium in December 2011. After this première, the piece was reworked and re-rehearsed to be presented at the Dance Umbrella 2012, to full houses and great acclaim. After a European tour (Amsterdam, Greece and the UK) in July 2012, Maqoma feels that it is time that this work is seen by the greater public of South Africa at the National Arts Festival, in the heart of the Eastern Cape from where this story originates and resonates.

Gregory Maqoma Simphiwe Dana Andile Mpahlwa James Ngcobo Shanell Winlock Giuliano Modarelli Happy Motha Bubele Mgele Bonginkosi Zulu Linda Thobela Sbulele Gcilitshana

Choreographer & Performer Music Composer Sound Designer Director Rehearsal Director Guitarist Quartet

Narrator

A post-performance discussion with the cast and choreographer, moderated by an arts journalist from City Press, will take place immediately after the 11:00 performance on Sunday 30 June.

Transnet Great Hall Saturday 29 June Sunday 30 June

20:00 11:00 & 16:00

Duration

1 hour

Age Restriction

None

Tickets: R60 (Full) R50 (Student / Scholar)

MAIN

Exit / Exist

The National Arts Festival Arena Programme in association with Nicola Elliott presents

MAIN

In both chasing and fleeing, we run!

Run!

Run! combines unusual dance language and crafted performer presence to explore the athleticism of the female dancing body, while also being an expression of will, instinct and vulnerability. Run! explores ‘ordinary’ movement in complex combinations, yet, brewing within this formalism is a poetic expression of these female ‘characters’. The highly-structured choreography becomes a language and a vehicle for the expression of personality and emotion, unearthing the animal instincts connected with the need to assert oneself, retreat, hunt, flee, nurture and kill. Run! interrogates the traditional notion of dance by offering the action of running in the place of, for instance, the pirouette, and subverts the notion of the female body as soft and gentle. A dance-theatre production that crafts the experience of the audience member through the interaction of live music and dance, Run! features an outstanding cast of talented and diverse women including acclaimed creator-performer Jori Snell, and is directed by award-winning choreographer-director Nicola Elliott. Run! is sponsored by the National Arts Council of South Africa.

Conceived and directed by Nicola Elliott Created in collaboration with the cast Featuring

Jori Snell, Thalia Laric and Adriana Jamisse

Music performed live by Music composed by Initial improvisation by

Mareli Stolp Braam du Toit Mareli Stolp

Transnet Great Hall Friday 5 July Saturday 6 July Sunday 7 July

14:00 & 19:30 14:30 & 19:00 12:30

Duration

45 minutes (no interval)

Age Restriction

PG (Mature content)

Tickets: R60 (Full) R50 (Student / Scholar)

Photos: Niklas Zimmer Design: Warren W Turner

23 The National Arts Festival and the Market Theatre in association with the Soweto Theatre presents the

2013 Standard Bank Young Artist, Prince Lamla’s

Asinamali

riginally created in March 1985, Asinamali has travelled widely internationally and is one of the most important plays from apartheid South Africa. This revival of the production is directed by the 2013 Standard Bank Young Artist, Prince Lamla, a graduate of the Market Theatre Laboratory.

Asinamali follows hot on the heels of Lamla’s revival of Woza Albert! which enjoyed a sixmonth season at the Market Theatre and a month-long season at the 2012 Edinburgh Festival. Written by Mbongeni Ngema, Asinamali, a tale of five black prisoners brought together in a South African prison, is enacted like a theatrical poem, rising and falling in cadence with the sounds of singing, dancing, shouting and speaking. This classic South African play was inspired by events that surrounded the 1983 rent strike in the Lamontville township, led by the martyred activist Msizi Dube, in which the rallying cry was `Asinamali!`, Zulu for ``We have no money!`` With five wooden chairs and a few props, the five actors, dressed only in khaki prison shirts and shorts, take their viewers through a myriad of locations and characters.

Writer Director Lighting Designer Set & Costume Co-ordinator

Mbongeni Ngema Prince Lamla Nomvula Molepo Noluthando Lobese

Cast: Mncedisi Shabangu Menzi Biyela Tshallo Gama Lungi Phinda Rhodes Box Theatre Monday 1 July Tuesday 2 July Wednesday 3 July Thursday 4 July

20:00 20:00 15:00 11:00

Duration:

Asinamali marks the debut of the Soweto Theatre as an Associate Producer on the National Arts Festival’s Main stage.

1 hr 25 minutes (no interval)

Age Restriction:

PG13 years+ (language)

A post-performance discussion with the cast and director, moderated by an arts journalist from City Press, will take place immediately after the 15:00 performance on Wednesday 3 July.

Tickets R60 (Full) R50 (Student / Scholar)

Recent re-runs of apartheid-era classics such as Woza Albert! and Sizwe Banzi is Dead have suggested that there is a new hunger for South African classics as interpreted by a new generation of young, black directors and performers.

Archive photograph by Ruphin Coudyzer from the 1985 production

24 Committed Artists Foundation in association with the National Arts Festival present the South African première of

The Zulu

outh African theatre and music legend Mbongeni Ngema returns to the stage after twenty-seven years to retell the stories told to him as a young boy growing up in the heart of Zululand, by his blind great-grandmother, Mkutshana. The stories take us on a journey through the formation of the Zulu nation and its struggles for survival to the moment when the Zulu Nation stops British imperial expansion dead in its tracks at the battle of Isandlwana.

This is a compelling journey of personal identity creation, which combines music, ritual, and performance. Revealing on stage, and in public, the stories that, with extraordinary foresight, Mkutshana had protected and hidden within the domestic confines of her rural home during the height of apartheid. Rhodes Theatre Thursday 27 July Friday 28 July Saturday 29 July

14:00 & 20:00 14:00 & 20:00 14:00 & 20:00

Duration

1 hour 20 minutes (no interval)

Age Restriction

13 years + (VL)

Tickets R60 (Full) R50 (Student/ Scholar) A post-performance discussion with the cast and director, moderated by an arts journalist from City Press, will take place immediately after the 14:00 performance on Friday 28 June.

Producer Writer Director

Mbongeni Ngema and Africa Ngema Mbongeni Ngema Christopher John

Cast Lead Character Musician

Mbongeni Ngema Matshitshi Ngema

Creative Team Assistant Director Sets Designer Lighting Designer Costume Designer Costume Makers Sound Designer

Nhlanhla Ngema Sarah Roberts Mannie Manim Mbongeni Ngema Africa Ngema and Ntomby Ngema Africa Ngema

Crew Production Manager Stage Manager Lighting Engineer Sound Engineer Runner

Henry Paul Dixon Malele Puleng Mabuya Nonhlanhla Buthelezi Bhuzuzu Ngema

Marketing Materials Chief Photographer Publicist Designer Graphic Designer

Val Adamson William Charlton-Perkins Sphiwe Kubheka Phindile Mantantane

Photo: Val Adamson

25 Susan Danford and Stephen Jennings in association with the National Arts Festival present the South African première of

Vigil M

orris Panych’s award-winning black comedy Vigil is one of those wicked little plays that comes along all too rarely and leaves the audience wondering whether they should have laughed or been shocked at the protagonist’s deathbed conversations with his sickly aunt. Yes, they are funny, but funny peculiar or funny ha ha? That is the delight of the play. It is adventuresome and playful with emotions: theirs and ours. In many ways it stretches to the absurd, yet the subtle messages are all too real. It is a vigil kept by a self-professed neurotic with little thought or caring about the sanctity of relationships or families – an area in his own sterile life that he has never experienced. Vigil is about the subtlety of our behaviour and how it affects those around us, and in turn changes our own lives, whether we want that or not. It is also about the effects of love on our lives, even when we avoid it. The play is a two-hander about mistaken identity and even tenderness but it is also about loneliness and mortality and the reality of so many people around us whose lives remain lonely because we do not wish to become ‘involved’. This is a story about reality, about life, and serves as a reminder of the perils of isolation for all of us, whatever the age. But it is a play of humour too, as is life, and we join Kemp in his vigil and smile with Grace as she cautiously accepts his clumsy efforts to make her final days a little more comfortable, if somewhat reluctantly. We shake our heads at his deathbed conversations with her, at his total absence of empathy and we secretly hope for his awakening. But will it come? Vigil continues to play in major theatres in North America and Europe, most recently in London and Paris where it was premièred in French. In a world of increasing violence Vigil reminds us of the importance of human contact and the dangers that abound when individuals are left without caring, without purpose. It is also a reminder of how the effort of caring will change all our lives.

“Canadian scribe Morris Panych has written a funny play that makes you want to cry” - Legit Reviews/Off Broadway

Vigil premièred in Canada in 1995 and that year won three Jessie Richardson Awards, including “Outstanding Original Play”. It has been performed in more than thirty theatres in Canada, the United Kingdom and the United States including major theatres in Toronto, San Diego and Washington to sold-out houses. The 2009 offBroadway production opened to rave reviews. In 2011 it opened in Los Angeles with award-winning Olympia Dukakis. It has been translated into 19 languages. Director Set and Costume Design Lighting Design

Christopher Weare Julia Anastasopoulos Christopher Weare

Cast Kemp Grace

Graham Hopkins Vanessa Cooke

Victoria Theatre Friday 5 July Saturday 6 July Sunday 7 July

16:00 & 20:00 16:00 & 20:00 12:00

Duration

1 hour 30 minutes (no interval)

Age Restriction

PG 12+

Tickets R60 (Full) R50 (Student/ Scholar)

26 UJ Arts & Culture in association with the National Arts Festival presents the South African première of Tom Coash’s politically charged drama

Cry Havoc Grace Meadows & Ashraf Johaardien Alby Michaels

Producers Direction Cast

David Dennis Brenda Radloff Gopala Chetty

Nicholas Field Ms Nevers Mohammed El-Masri Rhodes Box Theatre Friday 5 July Saturday 6 July Sunday 7 July

20:30 14:00 & 18:30 11:00 & 14:00

Duration:

1 hour (no interval)

Age Restriction:

16 years + (nudity)

Tickets: R60 (Full) R50 (Student/ Scholar)

ry Havoc had its world première in the USA in 2003 in a production by Philadelphia’s InterAct Theatre Company. When the production opened in New York, it was billed as a “tender and shocking play, set in present day Cairo,” in which “a British expatriate writer and his male Egyptian lover are forced to examine the fine line between conviction and obsession as they confront a repressive government and their own identities.”

Written by Tom Coash, Cry Havoc is an unnerving East-West love story about a naive British writer and an Egyptian university student who covertly live as lovers. Surrounded by poverty, religious fundamentalism, and political repression, these educated, morally-centred, yet disenfranchised men pursue divergent paths toward escape and extremism. Cry Havoc challenges its audiences to consider what lengths people are prepared to go in the name of God and country.

Written before 9/11, Tom Coash’s play attempts to dramatically demonstrate the making of a terrorist, to reveal what we are desperate to understand, the mystifying logic that makes an intelligent person decide to destroy himself and others as an act of religious faith. Set in a small apartment in Cairo, Cry Havoc tests the friendship between two men: an Egyptian who is a victim of torture and a sexual pariah in Egypt and his British ex-pat lover who threw his keys in the Nile River to symbolically adopt Egypt as his home. Placed under the spotlight their relationship unravels conflicts about patriotism, homosexuality, religion, loyalty and corruption. Produced by UJ ARTS & CULTURE, Cry Havoc marks the UJ Theatre’s professional debut on the National Arts Festival’s Main stage. A post-performance discussion with the cast and director, moderated by an arts journalist from City Press, will take place after the 14:00 performance on Saturday 6 July.

27 Hearts & Eyes Theatre Collective in association with the National Arts Festival present the South African première of

My name is Rachel Corrie Taken from the writings of Rachel Corrie, edited by Alan Rickman and Katharine Viner “You feel you have not just had a night at the theatre: You have encountered an extraordinary woman [in this] stunning account of one woman’s passionate response…theatre can’t change the world. But what it can do, when it’s as good as this, is to send us out enriched by other people’s passionate concern.” – Guardian (London) “Here is a play where the real dialogue begins when the curtain comes down. My Name is Rachel Corrie is theatre that not only stirs our hearts but sticks in our heads”.

Jaqueline Dommisse Featuring Kate Liquorish Lighting Design Paul Abrams Set & Costume Design Illka Louw Sound Design James Webb Video Design Pascale Neuschäfer Stage Manager Pule Setlhako Director

– Newsweek “Extraordinary power…funny, passionate, bristling with idealism and luminously intelligent.” – London’s TimeOut

achel Corrie, an American peace activist from Olympia, Washington, travelled to Rafah in the southern part of the Gaza Strip as part of her college assignment. On March 16 2003, Corrie was killed by an armed bulldozer operated by a member of the Israel Defence Force while trying to prevent the demolition of homes belonging to Palestinian people. Exact details and responsibility for her death have been in dispute since the incident occurred. First staged at the Royal Court Theatre, My Name is Rachel Corrie went on to win the Theatre Goers’ Choice Award for Best Director, Best New Play, as well as Best Solo Performance. Hearts and Eyes Theatre Collective has forged its reputation with staging human stories: the real and the personal in pursuit of truth and understanding. My Name is Rachel Corrie is such a work. A one-woman play composed from Rachel’s own journals, letters and emails – creating a portrait of a messy, articulate, Salvador Dali-loving chain-smoker (with a passion for the music of Pat Benatar), who left her home and school in Olympia, Washington, to work as an activist in the heart of the Israeli-Palestinian conflict.

Rhodes Box Theatre Thursday 27 June Friday 28 June Saturday 29 June

15:00 & 20:30 15:00 & 20:30 15:00 & 20:30

Duration

1 hour 30 minutes (no interval)

Age Restriction

Tickets R60 (Full) R50 (Student/ Scholar)

The following post-performance discussions will take place immediately after the performances: 27 June 20:30 (moderated by an City Press arts journalist) 28 June 20:30 & 29 June 20:30 (moderated by the Hearts & Eyes Theatre Collective)

Photograph: Suzy Bernstein

28 NotOnTV Productions and TJ Plewman in association with the National Arts Festival present Tim Plewman in

The Last Moustache

tarring SA theatre legend Tim Plewman of Defending The Caveman fame, The Last Moustache, is an outrageous oneman satire with a serious bite. Though it is about a dictator 67 years in the past, it throws a sharp spotlight on all forms of propaganda in the present when lipservice, misinformation and blatant lies have become common policy. The Last Moustache reminds us that what we are sold as truth is often far from it.

Set in Berlin on 30 April 1945, an űberambitious German actor performs the greatest dramatic role in European History... and only a few cretinous Nazis are there to witness it. Such is the tragic fate of Heiner Schmidt, consummate thespian, hired by the Nazi government to ‘play’ none other than Adolf Hitler himself, a part vacated by the real Adolf Hitler after he was blown to little Nazi bits in the Wolf’s Lair headquarters. The Nazi propaganda machine convinced the

world that their mercurial leader survived the assassination attempt. Now, in a secret bunker underneath the Fűhrer Bunker, below the decimated Reich Chancellery ... one underpaid, underfed and grossly unappreciated actor is about to spill the beans, and show us just what it takes to be the most absurd dictator that ever lived.

Writer and Director Lighting Design Producer

Greg Viljoen Greg Viljoen and Michael Lewis Jo Watson

The Hangar Monday 1 July 12:00 & 19:00 Tuesday 2 July 12:00 & 19:00 Wednesday 3 July 15:00 Duration:

1 hour 10 minutes (no interval)

Age Restriction

15 years + (mature themes)

Tickets: R50 (Full) R60 (Student/Scholar)

The Last Moustache is produced by NotOnTV Productions and TJ Plewman

The Performing Arts Centre of the Free State (PACOFS) in association with the National Arts Festival present

Madonna of Excelsior Adapted by Kobus Moolman from the novel by Zakes Mda

adonna of Excelsior is a celebrated award-winning novel by Zakes Mda. Set in 1971, nineteen citizens of Excelsior in South Africa’s white-ruled Free State were charged with breaking apartheid’s Immorality Act, which forbade sex between blacks and whites. This play focuses on the story of one such fallen Madonna, Niki, and her family, who are at the heart of the scandal. It explores the emotions and the endless searches for Niki’s daughter, Popi, the coloured girl, and her father, in order to discover her true identity. Adapted for the stage by Kobus Moolman through a commission by PACOFS, the idea for the production was incubated in the Novel-Script Project, a development workshop held for writers at the National Arts Festival in 2010. Funded by the Netherlands Embassy and coordinated by the Twist Project, the workshops brought together emerging South African writers and Dutch writers to explore the possibility of adapting Mda’s novel for the stage.

Director Co-Director & Music Set Painter Vocal Coach Set Builder Artistic Assistance & Production Management Production & Stage Management

Roel Twijnstra Jerry Pooe (Artistic Director – PACOFS) Huup Laurens Jaco Bezuidenhout Brandon Hewetson Nicky Hassett (Producer – PACOFS) Michelle Hertzel (Stage Manager – PACOFS)

Cast: Popi Diana Maseko Old Nikki Dieketseng Mnisi Tjaart/Stephanus Nic Beukes Lizette/Cornelia Stephanie Brink Young Nikki Matshidiso Thinyane Vilike/Pule Mpho Lovinga Maria Philisiwe Sithole Mmampe Madge Ntamo Young Cornelia Marli van der Bijl Chorus: Boitumelo (Tumi) Mkhondo Nontsikelelo Ndzume Mpho Tau Nonhlanga Mkhizi Transnet Great Hall Thursday 27 June Friday 28 June

16:00 & 20:00 11:00 & 16:00

Duration

1 hour 25 minutes (no interval)

Age Restriction

14 years +

Tickets R50 (Full) R45 (Student / Scholar)

30 The National Arts Festival in association with the Artscape Centre present the

Writer’s Block A World Première at the National Arts Festival presented in

2013 Festival Playwright

association with the Artscape Centre

Mike van Graan

Directed by Nicky Rebelo Performed by Jennifer Steyn

One of the few practising contemporary South African playwrights able to construct morally complex and dramatically layered scripts dealing with highly controversial socio-political topics… Mail and Guardian … one of South Africa’s most prolific and incisive playwrights. Sunday Times … one of the few playwrights who, through his plays, tests and challenges our principles, both personally and politically. Cape Times

n Writer’s Block, Terry Rankin teaches creative writing at an American university. She is a writer herself, although she has struggled to write creatively since leaving South Africa. She left just before the Truth and Reconciliation Commission was established largely to avoid having to face those deemed responsible for the deathof her partner, Laurie Geffen.

But she also struggles to write about her new home, America, as she does not feel part of this society either. She has been away from the country of her birth for nearly fifteen years, except for the odd short visit to her remaining family. Time and distance have helped her to deal with her loss and pain. Then, in the course of a few weeks, she receives an invitation to attend a ceremony to name a new government building after her former partner. Old painful memories and suppressed emotions are stirred and Terry is forced to confront her writer’s need to pursue and speak the truth.

t the 2012 edition of the National Arts Festival, Mike van Graan was awarded the Standard Bank Standing Ovation Award for his sustained contribution to the Festival’s Fringe as a prolific writer and committed cultural activist. Van Graan’s previous works at the National Arts Festival include Green Man Flashing, Hostile Takeover, Iago’s Last Dance and the Bafana Republic franchise. In June 2011, the Artscape Theatre in Cape Town announced an innovative partnership with this award-winning playwright by naming him as the Artscape Associate Playwright, a benefit which allows him to enjoy access to rehearsal space and infrastructural and production support for his plays and the Artscape Theatre’s on-going development. Artscape has first option to produce or co-produce new works by van Graan. At the National Arts Festival this year, the Artscape Theatre will stage four of Mike van Graan’s plays. As a sequel to the accolade bestowed on him at the 2012 Standard Bank Fringe Ovation Awards, the National Arts Festival has partnered with the Artscape Theatre in announcing him as the 2013 Festival Playwright in a pilot initiative that will enable the Festival to put the spotlight on a significant body of work by a South African playwright annually. In association with the Artscape Centre, the National Arts Festival is proud to present the world première of Mike van Graan’s play, Writer’s Block as part of this showcase.

Victoria Theatre Tuesday 2 July Wednesday 3 July Duration

11:00 & 16:00 16:00 & 20:00 1 hour (no interval)

Tickets R60 (Full) R50 (Student / Scholar)

Brothers in Blood Presented by ArtsCape on the 2013 Fringe Director Lighting design

Greg Homann Denis Hutchinson

Cast David Dennis Aimee Valentine David Dukas

Kurt Egelhof Harrison Makubalo

irected by Greg Homan, Brothers in Blood is an explosive drama about Jewish, Muslim and Christian relations set in Cape Town in the late 1990’s against the background of PAGAD’s activities against crime and the drug trade. Three fathers, each from a different religion, seek to protect their families from various external threats – drugs, crime and xenophobic violence. In the course of doing so, they enter into deep conflict with each other, based largely on their ignorance of the “other”. Brothers in Blood won the 2010 Naledi Theatre Award for Best Play and the 2012 Standard Bank Ovation Award. The Market Theatre, under commission from the Charles Diamond Foundation, first produced the play in 2009.

Mike van Graan productions presented by the ArtsCape Centre on the 2013 Fringe Programme

Panic Heinrich Reisenhofer Siv Ngesi

Director Thando Radebe

Rainbow Scars Director Designer

Lara Bye Mari BortslapCalitz

Cast Ellen Robinson Sicelo Lindiwe

Terry Norton Mbulelo Grootboom Kertrice Maitesa

anic relates the story of Thando Radebe, the son of a wealthy, politically connected businessman, Moses Radebe, who runs a company that sources and supplies oil to the South African government and various parastatal companies. Thando is expected to follow in his father’s footsteps, but during his university studies and various travel opportunities, he is confronted by the imminent dangers posed by changes in the environment and its impact on the climate. Thando becomes consumed with what he believes is the planet’s impending doom, so much so that it affects and infuses even his sleep, which is populated by nightmares of polar bears in the Karoo, tsunamis in Cape Town and oil slicks in Muizenburg, his favourite surfing beach. His anxieties about the planet affect all his decisions. Panic addresses themes of universal importance in a fast-paced, poetic and theatrically engaging manner with a mixture of humour, drama and satire.

t is 1997. The honeymoon of the new South Africa with Nelson Mandela as the first President still lingers. There is much talk about reconciliation and harmony after centuries of racial division. It is in this milieu that Ellen Robinson, a suburban mother, adopts a threeyear-old black girl, Lindiwe. Fast forward to 2012. Lindi, she of the born-free generation, is about to turn 18. Ellen and Lindi are happy, safe and the epitome of racial and family harmony in their middle class bubble, with their easy mother-daughter relationship cemented by Model C wit and suburban comfort. Enter Sicelo, Lindi’s cousin who lives in Khayelitsha. He is jobless and he knows the inside of a prison. He goes in search of Lindi at the request of his sick mother. Their confrontation forces Lindi to face up to issues of identity, self-image and her place in the world, issues that she has suppressed or denied for some time. As a human and family drama, Rainbow Scars is both funny and thought provoking. As a metaphor for South African society, the play confronts some of the key contemporary tensions between the “haves” and the “have-nots”, the “born-frees” and those burdened by the past, between a non-racial elite and an overwhelmingly black underclass. As such, this is theatre of catharsis.

Mike van Graan Fringe Productions Presented by ArtsCape

Brothers in Blood Gymnasium 27 June to 4 July 10:00 28 & 29 June 20:00

Panic Gymnasium 27 June to 6 July

20:00 (excl 28 & 29 June)

Rainbow Scars Gymnasium 27 to 30 June 4 July 5 & 6 July

17:30 17:30 15:00

Tickets: R50 (Full) R30 (Student / Scholar) / R40 (Block bookings)

For further details on these productions, please refer to the Fringe Programme

32 Evita Se Perron in association with the National Arts Festival presents

Adapt or Fly

“Adapt or Fly is a humorous journey into the sometimes dark alley of South Africa’s political journey, from apartheid right through to the present. I would recommend the show to anyone who is even mildly interested in the politics and the politicians of South Africa. Adapt or Fly is not for the fainthearted though, nor is it for those who have no sense of humour.” Edward Tsumele (The Sowetan) “Uys may be 30 years older than when he opened Adapt or Dye, but his material is as fresh today as it was then. The players may have changed, but the game has not.” Gayle Edmunds (City Press) “In a rapidly-changing South Africa, Pieter-Dirk Uys remains a master exponent in the art of satire. He slickly blends the old with the new in a sublime display of artistry, something from which the younger generation of satirists can learn.” Peter Feldman (Artslink)

ieter-Dirk Uys was a white Afrikaner satirist who presented a one-man show in 1981 called Adapt or Dye. On stage he presented his impersonations of then South African President PW Botha, British Prime Minister Margaret Thatcher, a selection of Afrikaner apartheid politicians and white apartheid liberals like Nowell Fine, as well as his legendary grande-dame Evita Bezuidenhout. He performed overseas and broke a cultural boycott. As a member of the race that perpetuated apartheid he should have been stopped. As a unique campaigner against racism by using humour and satire to make his point, he was embraced. Now in 2013, over thirty years later, he is still on stage, this time presenting his impersonations of democratically-elected President Jacob Zuma, German Chancellor Angela Merkel, a selection of ANC politicians and white cadres like Nowell Fine, as well as the most famous white woman in South Africa, Evita Bezuidenhout. The critical reception for Adapt or Fly has been unsurpassed. Adapt or Dye was inspired by the words of President PW Botha suggesting that white South Africa must “adapt or die”. It made no impression on the majority of black South Africanss – voteless, homeless and waiting for the liberation that would come some decades later when Nelson Mandela emerged out of darkness and brought light. Pieter-Dirk Uys took the slogan and adapted it to read ADAPT OR DYE and gave his satirical onslaught against separate development a title out of the mouth of the leader. Now over thirty years later, in a rainbow democracy of 19 years led by the African National Congress in a tripartite alliance with the SA Communist Party (once also banned) and the trade union movement COSATU (banned as well), Uys is back at the National Arts Festival, this time with a show about the state of politics and life in our rainbow homeland. Three liberation movements (ANC, COSATU, SACP ) are now the democratically-elected government of South Africa. And yet once again politicians are writing Uys’s material. Recently a spokesperson of the unruly ANC Youth League, radically opposed to President Zuma and the ancient regime of the party, stated that if whites did not like a future under their radical youth leadership, they could adapt or fly. ADAPT OR FLY! A new title? A new show? History does repeat itself, sometimes turning tragedy into farce. The policy of apartheid was a tragedy and a crime against humanity. Today’s government is, in too many ways, also a farce. Poverty is worse than ever. Service delivery, in spite of promises to voters, has not happened. There are threats against the unique constitution that protects all citizens. The free judiciary is being compromised and laws are being passed that will censor and control free speech. As Pieter-Dirk Uys says: “Isn’t this what I brought to Grahamstown for the first time in 1982?” Maybe history doesn’t repeat itself in South Africa. Maybe it just rhymes – from apartheid to tripartite. Guy Butler Theatre, Monument Thursday 4 July

19:00

Duration

1 hour 10 minutes

Age Restriction

Tickets R80 (Full) R75 (Student / Scholar)

Evita Se Perron in association with the National Arts Festival presents

An Audience with Pieter-Dirk EISH! “Uys dons false eyelashes and presidents listen.” Los Angeles Times October 2010

t all started at the National Arts Festival in 2012. One performance only and the world tour of South Africa was a result. Now it’s back!

Fifteen cardboard boxes on stage. Each filled with characters and stories. And Pieter-Dirk Uys. That’s all the visual required to turn his latest show into an evening to be talked about long after the fact. Now in his late sixties, PieterDirk Uys can vividly recall the recent history of South Africa with ease and is probably the most up to date person on current South African politics. He engages his audiences, speaking to the young, the expat, the gay and the gatvol. An Audience with Pieter-Dirk EISH is just that. With the choice of fifteen boxes on stage, a member of the audience chooses a number. Out come characters and entertainment that vary from drama, to comedy, farce or a shocking exposé. Every box holds a familiar laugh, all truly South African! Uys is on stage sharing a life that reflects the lives of so many of his audience, memorable experiences growing up in South Africa then and now, and doing sketches of various characters and their unique stories, some of them harking back to that dark past; most of them trying to make sense of this crazy future. Still inspired by his scriptwriters, the government of the day, PieterDirk Uys takes a night to present his life in theatre, on stage, through satire, celebrating survival - frocked or unfrocked - ever transparent.

In conversation with an audience usually means a dialogue, a Q & A, a grilling and often a roasting. This might be all of those, interspersed with some of the 80 characters from his 38 years in the political arena, brandishing his weapon of mass distraction: humour. In our world of reality TV, breaking news, 400 television channels to surf through, Facebook, Twitter, YouTube and SMS, choice has become the cherry on the cake of entertainment. Meet those in our Rainbow Nation who will help us laugh at our fear of an unchartered future. Pieter-Dirk Uys presents a celebration of free speech, an orgy of laughing at sacred cows, an embrace of being in a relatively healthy young democracy. Come and enjoy it all while it lasts. The show depends on the choices of the audience, and might force future thought-police to come and check, just in case a state secret is let out of a box, in contravention of the Protection of State Information Act! Guy Butler Theatre, Monument Wednesday 3 July

19:00

Duration

1 hour 10 minutes

Age Restriction

Tickets R80 (Full) R75 (Student / Scholar)

34 The Market Theatre in association with the National Arts Festival presents a season of Market Theatre productions

Cadre

inner of a Scotsman Fringe First Award at the 2008 Edinburgh Fringe Festival for his play Itsoseng, Omphile Molusi was the first recipient of the Royal Shakespeare Company/Baxter Theatre’s Brett Golden Bursary Award (2007). The award earned the young playwright a life-changing scholarship to study with the Royal Shakespeare Company in Stratford-upon-Avon and further develop Itsoseng, which was presented in the Season of Solo Plays at the 2012 National Arts Festival. His new production Cadre first played at the Chicago Shakespeare Theatre (CST) as part of the World’s Stage Series. It is inspired by true events in the life of an activist during and after the apartheid era. Revealing the consequences of change in a fledgling democracy, Cadre explores the journey of a young South African man struggling to navigate his way through the tumultuous political landscape of apartheid. Soldering through the perils of a country consumed by war, he desperately clings to the memory of his first love and the hope of a sweet reunion. The play also honours all the unsung heroes who died hoping for a better future. Performed in English, the play is punctuated with African songs performed in Setswana, isiZulu and isiXhosa. The production is produced by CST with Richard Jordan Productions Ltd, in association with the Market Theatre. Omphile Molusi Lillian Tshabalala Scott Davis Jesse Klug Matt Hawkins

Director and Playwright Music Director Set and Costume Designer Lighting Designer Fight Choreographer Cast

Rhodes Theatre Tuesday 2 July Thursday 4 July

14:00 & 20:00 12:00 & 16:00

Duration

1 hour 20 minutes (no interval)

Age Restriction

PG13

Tickets R60 (Full) R50 (Student / Scholar) A post-performance discussion moderated by an arts journalist from City Press will take place after the performance on Tuesday 2 July at 14:00.

Omphile Molusi, Sello Motloung and Lillian Tshabalala

The Island Written by Athol Fugard, John Kani, Winston Ntshona Director Lighting Designer Set & Costume Designer

John Kani Nomvula Molepo John Kani

Cast: Atandwa Kani and Nat Ramabulana

he world has changed significantly since this play was first performed in 1973, when it was illegal for these three playwrights to meet, let alone collaborate on a rebellious piece of literature. But through the creation of this brilliant two-hander the director and artists brought to life a tale that took the world by storm and helped to persuade America to impose sanctions in South Africa. The Island tells the story of two prisoners on Robben Island, John and Winston, who are rehearsing a performance of Sophocles’ Antigone. When John learns his sentence is being reduced, the men’s friendship is tested. The play explores the parallels between Antigone’s fight against political and patriarchal boundaries and the imprisoned men’s fight for dignity. The Island stands as a testament to the resiliency of the human heart, spirit and beliefs. This time around, the play will be performed by a new generation of brilliant actors: Atandwa Kani, who was last seen at the Market in The Miser, will play John; and Nat Ramabulana, last seen in The Girl in the Yellow Dress, will play Winston. John is a dreamy idealist, desperate to make a success of their two-man production of Antigone, who also has his eye on his impending freedom; Winston is a more reluctant performer.

Rhodes Theatre Monday 1 July Wednesday 3 July

11:00 & 16:00 11:00 & 16:00

Duration

1 hour 35 minutes (no interval)

Age Restriction

PG13

Tickets R60 (Full) R50 (Student / Scholar) A post-performance discussion moderated by an arts journalist from City Press will take place after the performance on Monday 1 July at 11:00.

35 In a city which started as a mining town, and where very little of the past is allowed to remain standing, the Market Theatre in Johannesburg is a statement of belief in our history, a symbol of courage in our present, and a bridge of hope into our future. The Market Theatre’s mission is to create an authentic South African cultural experience committed to providing the highest level of artistic excellence in all aspects of the performing and visual arts, in which the education and development of a diverse community of artists, audiences and technicians is assured.

The Market Theatre in association with the National Arts Festival presents

The Line

Presented in association with the Market Theatre and by arrangement with DALRO (Pty) Limited

Woza Albert! W

oza Albert! is one of the plays for which South African theatre is best known internationally. Its physical style of storytelling was to inspire and influence theatre companies around the world – and it is one of the best examples that define South African theatre in all its vibrancy, innovation and humanity. This celebrated and much-loved South African classic asks what would happen if Jesus Christ (Morena) came back to South Africa during apartheid. This lively satire of the absurdities of apartheid provides a showcase for the talents of two dexterous actors, who play a range of ordinary characters on the street. When this production, directed by Standard Bank Young Artist Prince Lamla, opened at the Market Theatre last year it played to sold out houses over a six-month season which was followed by winning glowing accolades at the 2012 Edinburgh Festival.

Authors Director Lx Designer Costume Designer Stage Manager

Percy Mtwa Mbongeni Ngema Barney Simon Prince Lamla (2013 Standard Bank Young Artist) Wesley France Thando Lobese Lebeisa Molapo

Cast Mncedisi Baldwin Shabangu Peter Mashigo

Rhodes Box Theatre

Writer & director Music Production Design

Gina Shmukler Charl-Johan Lingenfelder Niall Griffin

Cast Khutjo Green Gabi Harris The Line is the culmination of multi award-winning actor and director Gina Shmukler’s masters’ research on trauma and theatre making. Set against the backdrop of the South African xenophobic attacks of May 2008, The Line explores the ‘fragility of goodness’ and engages with both victim and perpetrator. The play is constructed from a series of interviews with South Africans involved or affected by the xenophobic attacks. The textual construct of the play is “verbatim” theatre: the words of the interviewees are used as they were spoken. The Line explores the process of perpetration from neighbour to violent foe and attempts to re-humanize both perpetrator and victims whilst investigating what makes good people do bad things and how one crosses ’the line’, so to speak. The production was nominated for five Naledi Theatre Awards in Johannesburg. Rhodes Box Theatre

Tuesday 2 July Wednesday 3 July Thursday 4 July

11:00 20:00 16:00

Tuesday 2 July Wednesday 3 July Thursday 4 July

15:00 11:00 20:00

Duration

1 hour 30 minutes (no interval)

Duration

1 hour (no interval)

Age Restriction

PG13 +

Age Restriction

PG13 +

Tickets: R60 (Full) R50 (Student / Scholar)

36 The Port Elizabeth Opera House in association with the Eastern Cape Provincial Arts and Culture Council and the National Arts Festival present a season of Eastern Cape Theatre

Truck Driver Script Consultant Director

Zwai Mgijima Nomhle Nkonyeni

Cast Zukiswa Cakucaku Xolani Ngesi Xabiso Zweni

Nobesuthu Rayi Anele Penny

Masonic Hall – Back Thursday 27 June Friday 28 June Sunday 30 June

16:00 12:00 18:00

Duration

1 hour

Age restriction

PG 13 years + (language)

Language

English / isiXhosa

Tickets R40 (Full) R30 (Students / Scholar)

ruck Driver pieces together a much avoided life story in South Africa: amidst the scourge of rampant women abuse, there are men who are good to their women and there are women who are bad to their men. Over and above the burden of traditional obligation to pay lobola as a commitment to a woman, many African men who acknowledge the poor backgrounds of their spouses, also pay for the studies of their wives. How should a woman repay this? Nomhle Nkonyeni, the doyen of South African theatre, film and television brings a rich history of more than 50 years of golden touches, including The Serpent Players with John Kani, Winston Ntshona and Athol Fugard and various stints on stages across the world. Zwai Mgijima, whose other work includes Veil, which won an Audience Award in the finals of PANSA’s 2012 National Scriptwriting Programme, put his abundant skills to good effect in gluing together the collective narrative of this production.

Cracked Mirror C

racked Mirror is a miner’s story told through music and humour, depicting a society that is deteriorating without much care for a reflection of conscience. An energetic production, it reflects on the rise of wildcat strikes by miners and an unenviable notoriety of xenophobic attacks in South Africa, a country that over the years has been sustained by the contribution of migrant workers and survived off the largesse of neighbouring countries during exilic years.

Xolani Ngesi has had a successful theatre career appearing in productions by Chris Mann and Janet Buckland (Uthuthula) and Umendi by Mandla Mbothwe and Lara Foot-Newton. Buntu Mahola comes from a renowned New Brighton tradition; he is the younger brother of Mzi Mahola, an Oliver Schreiner Awardwinning poet, and the uncle of Freshly Ground’s Zolani Mahola. Masonic Hall – Back Thursday 27 June Friday 28 June Saturday 29 June Sunday 30 June

20:00 18:00 14:00 22:00

Duration

1 hour

Age restriction

Parental Guidance

Language

English and isiXhosa

Tickets R40 (Full) R30 (Student / Scholar)

Writer Director

Buntu Mahola Xolani Ngesi Cast Andile Siyoli Lubabalo Mbombela Mongezi Ncwadi Mzivukile Adams

37 In 2012 the Port Elizabeth Opera House formed the Performing Arts Company of Eastern Cape (PACEC). Monologues is a series of expressions based on how one perceives the societal experiences through interpretation of world-known theatre theorists and contributors.

Monologues in 1st Gear Monologues in 1st Gear puts into play an individual depth to character exploration, and a narrative that ambles from one different scenario to the next without losing the attention of the audience. Xolisa Ngubelanga explores effects of education through Grotovsky accompanied by a newly developed instrument called a Keke Horn made of recycled material played by Siphamandla Fete. Jocelyn Scholtz deals a blow to stereotypes on the Coloured community through Stanislavsky. Accompanied by Garth Jooste on guitar. Nomfundo Mgoqi explores appreciation of love through children’s theatre, accompanied by drummer, Sanda Gxamza. Olwethu Mdala explores death through Bertold Brecht, accompanied by Khanyile Mgqwanci on the djembe. Using themes of vengeance and jealousy Nobesuthu Rayi explores Gibson Kente, accompanied by Lubabalo Luzipho on keyboards. Xabiso Zweni explores guilt through Peter Brook. Accompanied by SAMAaward winning Phumlani Mtiti on saxophone.

Kingswood Theatre Sunday 30 June Saturday 1 July

10:00 19:30

Duration

1 hour 10 minutes (no interval)

Age restriction

All Ages

Language

English, isiXhosa, Afrikaans

Tickets R30 (Full) R20 (Student / Scholar)

Monologues in 2nd Gear M

onologues in 2nd Gear engages the audience with humour and sincerity. Each actor penned his or her own monologue and the production is directed through the collective input of the ensemble. Olwethu Mdala explores animal fears through children’s theatre. Accompanied by Nomhle Qambatha, a dancer who specialises in jive. Jocelyn Scholtz reflects on deception and betrayal, despite loyalty and love through Brecht. She is accompanied by contemporary dancer, Siyabulela Mbambaza. Xolisa Ngubelanga presents the world as seen by a lonely and nonchalant, yet wishful security guard through Peter Brook. Accompanied by physical dancer, Thandi Boyce. Nomfundo Mgoqi, influenced by Brecht, adds a twist to Ringo Mandlingozi’s award-winning pop song Wenyuk’ uDolly to portray the drug-infested lures of the City of Gold. Accompanied by Pantsula dancer, Siyabonga Zetu. Nobesuthu Rayi, influenced by Gibson Kente, continues with the societal naivety and vengeance veiled under witch-hunting and vicious attacks on innocent women under the guise of mob-justice. Accompanied by contemporary dancer, Nomaxabiso Rala. Xabiso Zweni, through Stanislavsky, questions the delivery of freedom promises amidst widespread poverty riding on a twist of Michael Jackson’s classical Thriller dance, accompanied by Makhosi Mandla.

Kingswood Theatre Tuesday 2 July Wednesday 3 July

14:00 20:30

Duration

1 hour 10 minutes (no interval)

Age Restriction

All ages

Language

English, isiXhosa, Afrikaans

Tickets R30 (Full) R20 (Student / Scholar)

Mawawa, a Florist

Director Music Composer & Arranger

Xolisa Ngubelanga Siyabonga Majola

Cast Jocelyn Scholtz Nomfundo Mgoqi Olwethu Mdala Xolisa Ngubelanga Marimba Accompanists Siyabonga Majola Andile Stemele Nkwenkwezi Mtila

he constant commotion in our lives needs to be heard and understood. But is the world ready for the truth about love, sincerity and other virtues? It is within these times, desperate to communicate our self-doubt, that we use ‘symbols’ to get our inner message across.

Memory Hall Thursday 27 June Friday 28 June Saturday 29 June Sunday 30 June

18:30 18:30 16:00 18:30

Duration

50 minutes

Age restriction

All ages

Language

English and isiXhosa

Tickets R40 (Full) R25 (Student / Scholar) R30 (Block)

In classical battles, drums and flags communicated what could not be heard and seen. Flowers came to speak the words in one’s heart. Depriving earth its beauty to benefit a woman’s heart, Mawawa battles to understand his role in the world of lovers and friends who come to purchase flowers from him. Xolisa Ngubelanga’s ground breaking play Dinner With Bantu, which won the PE Opera House’s One Act Play competition in 2010, took part at the Market Theatre Community Drama Programme in 2012. In this production, Ngubelanga collaborates with the Ibhubesi Marimba Band, Shell Road to Fame winners in the 1990’s. The band has performed in Tunisia, UAE and Brazil.

Sleeping Dogs Writer & Director

Simphiwe Vikilahle

Cast Lonwabo Xatasi Anele Penny Sithini Mahola

Ziyanda Qwane Khanyile Mgqwanci

Vicky’s Thursday 27 June Friday 28 June Saturday 29 June Monday 1 July

20:00 16:00 22:00 14:00

Duration

1 hour 10 minutes

Age restriction

All ages

Language

English and isiXhosa

Tickets R40 (Full) R35 (Student / Scholar) R35 (Block)

leeping Dogs, set at Ndamase Village in the Eastern Cape, tests the strength of faith in tradition, and the expected role of a woman to bear an heir and continue the family tradition. What becomes of truth when, out of desperation, only adultery can deliver a solution to traditional expectations? There can be no emotional balance between a heart torn by the betrayal of a friend and wife, to convictions to the provider and family head. A woman has got to do what a woman has got to do. Or does she? The 2012 Baxter Theatre’s Zabalaza Drama Festival Best Scriptwriter and winner of the Market Theatre Community Theatre Best Play Award 2012, Simphiwe Vikilahle presents Sleeping Dogs for the first time outside Port Elizabeth since it premièred on Iphulo Drama Festival 2012. Vikilahle’s talent was spotted by the UK-based Swallows Foundation with his highly acclaimed play The Journey, which has also been selected for a season at the Market Theatre in Johannesburg.

SPORT, RECREATION, ARTS & CULTURE

DEPARTMENT OF SPORT, RECREATION, ARTS AND CULTURE Private Bag/Ingxowa Eyodwa/Privaatsak X0020, BHISHO 5605

The Department

The Department of Sport, Recreation, Arts and Culture gives due regard to provincial priorities by ensuring that its mission caters sufficiently for youth, women, the disadvantaged and the disabled. The guiding principles for programme development are based on the 10year Provincial Growth and Development Plan.

Our Vision

A united, active, and winning province through sport, recreation, arts and culture

Our Mission

To develop and promote Sport, Recreation, Arts and Culture for spiritual, intellectual, physical and material upliftment of the people of the Eastern Cape

Our Values

; Unity of purpose ; Respect for self and others ; Commitment to service delivery ; Loyalty to the organisation and the people we serve ; Work ethics ; Honesty ; Communication ; Equity

Our Programmes

The programmes of the Department are designed to render services in the following areas: ; Sport and Recreation ; Arts and Culture ; Libraries and Information Services ; Museums and Heritage

Contact details:

MEC Mrs Xoliswa Tom Member of the Executive Council: Sport, Recreation, Arts and Culture Tel: 043 – 604 4101 Fax: 043 – 604 4093

Mr Mzolisi Matatu

Head of Department: Sport, Recreation, Arts and Culture Tel: 043 – 604 4019/20 Fax: 043 – 642 5309

Mr P.S. Grootboom

Act Gen Manager: Cultural Affairs Tel. 043 – 604 4013 Fax. 043 – 642 5386

SISONKE SINAKHO

40 The National Arts Festival’s Arena Programme presents Duncan Buwalda’s

Hinterland Caroline Smart Duncan Buwalda

Directed by Written by

imberley, 1899. Legendary colonialist and empire builder Cecil John Rhodes arrives in the city of diamonds before the Boers besiege it, and meets his new secretary: ANC founding father Sol Plaatje. After a rocky start, and against all odds, the pair develop the unlikeliest of friendships. But the country is changing, and personal and political rifts eventually lead to a showdown between the two... Hinterland follows a precedent from recent festivals in that it deals with our country’s history, and with real historical figures. Cecil John Rhodes is a character full of contradictions: A rich, powerful man who preached Christian values but practised racism; the epitome of British Imperialism, but (most historians claim) a closet homosexual. Sol Plaatje is widely appreciated today not only as one of the ANC’s founders, but as an African literary giant whose thinking was many years ahead of his time.

Cast: Cecil John Rhodes Sol Plaatje Colonel Kekewich Doctor Smartt Vendor\Messenger

Martin le Maitre Nhlakanipho Manqele Peter Gardner Frank Graham Adam Dore

Hinterland traces the course of what a fictional meeting between these men may have entailed. In their interaction there is warmth, humour, pathos and, inevitably, heartbreak and bitterness. Hinterland was presented at the 2012 PANSA/NLDTF Festival of Reading of New Writing in Durban and won the Runner up, Best Director and Audience Choice awards. The Hangar Thursday 27 June Friday 28 June Saturday 29 June Sunday 30 June Duration Age Restriction Tickets

Photo courtesy of The Rand Club

The National Arts Festival Arena Programme presents

Strategy of Grey

Written by Directed by Performed by Stage Design Stage Manager

21:00 11:00 & 19:30 13:00 12:30 1 hour 15 minutes (no interval) 15 years + (Language) R60 (Full) R50 (Student / Scholar)

Tau Maserumule and Robyn McHarry Jana Ramos Violante Robyn Mc Harry and Tau Maserumule Bryan Hiles Thato Mathole

Strategy of Grey is set in a small isolated farming town found on the dusty outskirts of South Africa’s beautiful Klein Karoo. Wading through the visceral struggles of a post traumatic society we follow the story of two individuals as they find themselves connected by a tap root which runs far deeper than the small town in which they live. Anna has just returned home after almost a decade away to take over the family coffee shop, it is here that she meets Sam a young, charismatic delivery boy and together they depart on a brutally beautiful journey of sadness, strength and atonement. Written by 2012 National Arts Festival Standard Bank Ovation Award-winner, Tau Maserumule and Robyn McHarry and directed by Durban Theatre Award winner Janna Ramos-Violante, Strategy of Grey unearths the heavy hand that history, community and society has shaped us with, yet brings to life with humour and tenderness the beauty of the human soul. The Hangar

Photo: Thato Montsitsi ©Haven Eye Images

Wednesday 3 July Thursday 4 July Friday 5 July Saturday 6 July Duration Age Restriction Tickets

12:00 14:30 18:00 13:30 & 19:30 55 minutes (no interval) Parental Guidance (Language) R60 (Full) R50 (Student / Scholar)

41 The National Arts Festival’s Arena Programme and the World Fringe Alliance with support from the Royal Netherland Embassy present De Koude Kermis’ 2012 Amsterdam Fringe Jury Awardwinning production

The National Arts Festival’s Arena Programme and the World Fringe Alliance, in association with the Prague Fringe Festival, and with support from the Embassy of the Czech Republic present

Florence Foster Jenkins

Spitfire Theatre Company’s

“Practicing is for those without talent”

The Voice of Anne Frank

Director Concept Cast: Florence: Maid: Pianist:

Maarten Lok Anne van Dorp and Paméla Menzo Paméla Menzo Anne van Dorp Jan van Grootheest

In the world of Florence Foster Jenkins, mediocrity is strictly forbidden and modesty is for cowards. Seated on her chaise longue, the wannabe soprano directs her staff members while pondering over the guest list for her next recital. The fact that she has met the President on several occasions must certainly be mentioned. The life story of Florence Foster Jenkins inspired De Koude Kermis, a Dutch movement theatre company, to develop a theatrical production about the power of imagination. Florence Foster Jenkins (1868 – 1944) was an extremely wealthy lady who was known for her eccentric behaviour. She chose to live in hotel rooms, collected chairs in which famous people had breathed their last breath, and wherever she went, she would always carry her briefcase containing important documents. Still, and most noteworthy was her total conviction that she was an extremely talented singer: when, in fact, she lacked any sense of rhythm and pitch. She still managed to record several albums and her recitals were always sold out. Whether or not she ever realised that her audience was only there to amuse itself at her public humiliation, remains unclear. Victoria Theatre Saturday 29 June Sunday 30 June Monday 1 July Duration Age Restriction Tickets

12:00 & 20:00 12:00 & 18:00 16:00 1 hour 12 years + R60 (Full) R50 (Student / Scholar)

Script: Dramaturgy: Choreography: Director: Actor: Cello Improvisation: Music: Lighting design: Production: Set and Costumes:

Petr Boháč, Miřenka Čechová Miřenka Čechová, Petr Boháč Miřenka Čechová Petr Boháč, Miřenka Čechová Miřenka Čechová Nancy J. Snider Varhan Orchestrovič Bauer Martin Špetlík Aneta Kafková Ivanka Kanhauserová & Petra Vlachynská

A debut appearance at the National Arts Festival by the awardwinning Spitfire Theatre Company, one of the Czech Republic’s most progressive and esteemed ensembles. The Voice of Anne Frank touches the fears and hopes of a thirteen year old girl, forced to hide herself in the recesses of her own home. Through the detail of everyday life and the shared experience of the human form, Spitfire allows us to hear hers and the voices of others that were meant to fade. Miřenka Čechová is undoubtedly one of the best performers on the stage in the Czech Republic. Incredible. prague.tv The Hangar Thursday 4 July Friday 5 July Saturday 6 July Sunday 7 July Duration Age Restriction Tickets

12:00 & 17:30 12:00 & 21:30 10:30 14:00 1 hour (no interval) None R60 (Full) R50 (Student / Scholar)

Winner of the Best of Prague Fringe 2012 Amsterdam Fringe Award Outstanding Performance Award - Miřenka Čechová, Prague Fringe 2012 A Project supported by: Jewish Culture in Europe, Nadace Život umělce

42 Die Nasionalekunstefees Arena Program, in samewerking met die Klein Karoo Kunstefees, bied aan Amanda Strydom en Hannes van Wyk in

Voor Ek Vergeet... Regisseur: Teks: Produksiehuis:

Gert van Niekerk Karen Marx The Sixth Sense

ARENA

Voor ek vergeet... vertel die aangrypende verhaal van `n ma en seun, maar heel anders as die alledaagse verhale wat deesdae op die verhoog en silwerdoek te sien is, haat hulle mekaar nie. Voor ek vergeet... is `n reistog van geloof, hoop en liefde wat ma en seun saam aanpak. Die stuk is deurvleg met verrassende elemente wat die gehoor die heeltyd laat wonder oor so baie dinge. Voor ek vergeet... beloof baie deernisvolle situasies tussen `n ma en seun, baie lag en ook trane. `n Relevante stuk teater wat by almal aanklank sal vind en waarin elke mens homself sal herken – `n Eg eerlike en menslike drama.

Victoria Theatre Maandag 1 Julie Dinsdag 2 Julie Woensdag 3 Julie Tydsduur Ouderdomsbeperking Kaartjies

12:00 & 20:00 19:00 12:00 1 uur 12 jaar + R60 (Vol) R50 (Studente)

The National Arts Festival Arena Programme with support from the Royal Netherlands Embassy present the 2011 Amsterdam Fringe Jury Award-winning production

Bye Bye World!

A performance made by Gehring & Ketelaars | Frijling Director Text Dramaturg Performers

Marjolein Frijling Vera Ketelaars Nienke Scholts Anne Gehring and Vera Ketelaars

‘A woman takes a bite of birthday cake left over from her party. She looks around the house. Never again, she thinks. Never again. She sticks her fork in the cake and grabs her coat. It is possible. You could just disappear. Close the door behind you, never to return again. Anne Gehring and Vera Ketelaars reconstruct the upheaval in the perfectly normal lives of two ordinary women. Bye Bye World! is a transparent parable about living today, in which the performers need nothing but themselves to conjure a whole universe. It’s modern storytelling in its purest form.

From the Amsterdam jury: ‘The performers are complex, fearless and truthful. The staging is simple and meticulous. All these components create a performance that is both moving and mysterious’. B2 Arena Tuesday 3 June Wednesday 4 July Thursday 5 July Friday 6 July Duration Age Restriction Tickets

BEST AMST OF ERD FRING AM E

12:00 18:00 14:30 14:00 & 20:00 1 hour None R60 (Full) R50 (Student / Scholar)

ARENA

The National Arts Festival’s Arena Programme in association with Twist Projects present Umsindo Theatre Production’s

Secrets From the Drawer

Director Written by

Musawenkosi and Bongumusa Shabalala Neil Coopen

Cast:

Thamsanqa Silindana, Skhumbuzo Mangazi, Thobani Mbhele, Thandanani Qwabe, Nomvuselelo Myeza, Nomusa Mzobe, Skhonzile Jele

The Hangar Thursday 27 June Friday 28 June Saturday 29 June Sunday 30 June Duration Age restriction Tickets

17:00 16:00 10:30 & 21:30 16:30 1 hour (no interval) Parental Guidance R60 (Full) R50 (Student / Scholar)

Mr Mkhwanzi has worked as the trusted mortician at the local mortuary for 25 years. He lovingly prepares the bodies of the dead for their families to mourn their passing. As he takes his time to prepare them, so he develops a sense for their stories, and becomes haunted by the deaths of four young women in particular, who recount to him the violent tales of their deaths. This dark story is told through a balance of humour and powerful images, monologues and music. Umsindo Theatre Projects (UTP) is a group of talented individuals that stimulate artistic expression in almost all arts disciplines trying to bridge gaps between artistic cultures and cultural artistic organisations through providing performances, workshops and cultural activities. Umsindo Theatre Productions won the 2011 Standard Bank Encore Award for To Be Like This Rock. In preparation for their Arena presentation, Secrets from the Drawer, the group have been mentored by the Twist Theatre Development Project.

The Standard Bank Ovation Award is given to productions which have attained new levels of artistic innovation, excellence, which celebrate the exploration of new performance styles and which have the courage to open new conversations through the arts. Look out for the logo on posters, flyers and in advertisements, and know that the production behind the logo has been given an ovation by our panel of judges in previous years. And then, during this year’s Festival, new winners will be named in CUE every day....a whole new crop of Ovation winners to make your Festival even more AMAZ!NG.

The National Arts Festival with support from the South African Post Office presents the 2013 Student Theatre Festival FIRE:BURN

Between the Lines By AFDA College, Cape Town

By the University of the Witwatersrand

STUDENT

Director: Stage Manager:

Zewande Bk. Bhengu Millicent Mhlambi

Cast:

Zewande Bk. Bhengu Lebogang Shikwambane

FIRE:BURN is a poetically written story about two people existing in two very different parts of the world. Experiencing life as a painful process they meet, finding something greater in each other. For some time, they enjoy the fruits of their union, but as social politics begins to take its toll and their expectations of each other are no longer met, their relationship erodes until its heart-breaking end. FIRE:BURN is written as a combination of poems and the story unfolds in a series of metaphors and comparisons. There is a constant reference to the stars, galaxies, sun, moon, space, oceans and all elements of the earth. The diction expands emotions to cosmological proportions to identify the troubles, politics and general textures of the relationship. This style allows the text to find itself anywhere and everywhere. The story is also told through the body in a series of physical theatre movements to give life to those moments poetry cannot express. Music plays a huge role in carrying the words and the action of the story.

Director & Stage Manager:

Christie Bellairs

Cast:

Saskia Rijke Tapiwa Musvosvi Vinita Petrus Alessia Ramazzotti

A girl is convicted and sent to prison. As a result her group of college friends are forced to interrogate their lives, their relationships and their prejudices... Getting together to fall apart. This play makes use of selective realism, as it breaks the fourth wall. Rehearsal Room Friday 28 June Saturday 29 June Duration Language Age restriction Tickets

11:00 21:30 55 minutes English 16 years + R40 (Full) R30 (Student / Scholar)

Rehearsal Room Thursday 27 June Saturday 29 June Duration Language Age restriction Tickets

18:00 19:00 1 hour English None R40 (Full) R30 (Student / Scholar)

The Unmen

By CityVarsity School of Media & Creative Arts, Cape Town Director: Stage Manager:

Ashleigh Burton Svet-Roann Loubser

Cast:

Tisha Moodley, Thabang Ntjana, Milissa Potter, Mark Preller, Kitso Selato, Siphenathi Qeja, Naledi Thabakgolo, Nomasonto Tshabalala , Anneke van Zyl

A desolate landscape; some time in the future. A world not far removed from ours, where the law set to protect women has ultimately destroyed everything they are. This militant society, driven by basic needs and fuelled by shattered dreams, thrives on violence and has lost any desire for genuine human relationship.

Amidst this destruction and oppression, we find a man, and a woman. They begin to discover something together, something they thought would never again occur between men and women. Could this be ... LOVE? Told through a montage of shadows and text, both physical and verbal, CityVarsity students inhabit this alternate universe where intimacy between two people flickers uncertainly amongst the charred remains of human interactions. Rehearsal Room Friday 28 June Sunday 30 June Duration Language Age restriction Tickets

15:00 21:30 55 minutes English 16 years + R40 (Full) R30 (Student / Scholar)

Moor

Vrek

By Rhodes University

By the University of the Free State Text: Director: Stage Manager:

Helet de Wet Walter Strydom Marijda Kamper

Cast:

Jan Brink, Helet de Wet, Mark Dobson, Chanmari Erasmus, Michelle Hoffman, Mosili Makuta, Gené McCaskill

There are more important issues affecting South Africa – much bigger than the changing of street names or the attention paid to our apartheid history. Based on Shakespeare’s Titus Andronicus, the play paints a present and a future where people will realise too late that money can’t be eaten and won’t quench a thirst. Vrek allows audiences to laugh, blush and, above all, come to new insights. REHEARSAL ROOM Saturday 29 June Monday 1 July Duration Language Age restriction Tickets Director: Stage Manager:

Jess Harrison Matt Short

Cast:

Masixole Heshu Ilana Cilliers Pumelela ‘Push’ Nqelenga Noxolo Mafu Keegan Van Zyl Tristan Jacobs Hannah Lax Kimberly Mkhush Ntsali Khaketla

Moor, an adaptation of William Shakespeare’s Othello, presents an invigorating re-visit of the classical text through subversion of language and character. Unexpected and shocking motives fuel the insidious mental poison that Iago administers to catalyze Othello’s demise through his brutal murder of Desdemona. Provocative and complex questions of race and gender underpin the rich and sordid narrative textured by the fusion of contemporary English, isiXhosa and Shakespearean speech.

Romeo ‘n Juliet Unplugged

By the University of Johannesburg Director: Stage Manager:

Motlatji Ditodi Day Mthembu

Cast:

Zimkhitha Nyoka, Jabulani Mdingi Thulisiwe Lange, Daniel Collins Tshepiso Maretela, Muzi Mthembu

Romeo ‘n Juliet Unplugged is a 75-minute condensing of the play, instead of ‘the full works’. Hence “unplugged”: this is the acoustic version, without the full-on electronics. It focuses on the five young people who lose their lives in the course of the play: the two ‘starcrossed lovers’ Romeo and Juliet, Mercutio, Tybalt, and Paris. Were their deaths useless, or do the young have to die before the elders can take hands? Rehearsal Room

Rehearsal Room Friday 28 June Monday 1 July Duration Language Age restriction Tickets

16:00 15:00 1 hour English, Afrikaans, Sotho Adults only R40 (Full) R30 (Student / Scholar)

21:00 17:30 55 minutes English and isiXhosa 16 years + R40 (Full) R30 (Student / Scholar)

Sunday 30 June Tuesday 2 July Duration Language Age restriction Tickets

11:0 21:30 1 hour 15 minutes English PG R40 (Full) R30 (Student / Scholar)

STUDENT

Vrek is protest theatre against human selfishness, political secrecy and social ignorance. The show examines the relationship between the average Karoo inhabitant (as personified in the character, Klei’mit) with the media-obsessed, highly westernised capitalist, powers (a mermaid named President T). It is a game that will call every side’s disciples to do his part. Economic prosperity and financial well-being is set against the sustainability of what actually gives life. And between the two powers we find Hermes, the everyman of South Africa, torn between the right way and the proper way. Time is running out. It is his choice that will undeniably be fatal in the end.

Behind Every Yawn There is a Silent Shout By the University of Cape Town Director: Stage Manager: Assistant Stage Manager: Cast:

Mira Sydow Roberto Grove Sean Whitehead

STUDENT

Matthew Trustham, Christie Hollander, Matthew Baldwin, Wynne Bredenkamp, Tarryn Wyngaard, Luthando Jamda

Behind every yawn there is a silent shout uses a combination of image theatre and movement to break the shackles of silence in an attempt to find the seed of violence. Words infiltrate wounds that collide in bruised tones of a once sweet fragility. Possibilities break into kaleidescopic fragments. Stand tall, as all we are is but a movement, a voice that echoes and yet is silent. Our voices fall on deaf ears. Exclusion seeps into this beat that seizes faith and divides the essence from its origin: human. Yet we stand tall, presenting the image of unity, as our words scrape the ceiling, in an attempt to break out. Why deny what is our present reality and play ignorant to the conditions that enslave us? Our progressive defiance is shattered by the ongoing slavery that is our apathy.

Bitter

By the University of Stellenbosch Director: Stage Manager:

Wolf Brits Chantelle van Schalkwyk

bit•ter /'bıt әr/ adj. ,-ter•er, -ter•est, adj. 1. having a harsh, acrid taste. 2. producing one of the four basic taste sensations; not sour, sweet, or salt. 3. hard to bear: a bitter sorrow. 4. causing pain: a bitter chill. 5. characterized by or showing intense hostility: bitter enemies. 6. experienced at great cost: a bitter lesson. 7. resentful or cynical: bitter words. n. 8. that which is bitter; bitterness. 9. Brit. An ale bitter with hops. v.t. 10. to make bitter. adv. 11. extremely; very: a bitter cold night. [before 1000; Middle English, Old English biter; c. Old High German bittar, Old Norse bitr; akin to to bite] bit’ter•ly, adv. bit’ter•ness, n.

One Lonely Night

By the University of KwaZulu Natal, Pietermaritzburg Director: Stage Manager:

Sasha Roopen Fallon Hammond

Cast:

Monique Schoeman, Smangaliso Mnguni, Brandon Bosch, Brenda-Lee Cele

Designed to tell a mythical story written in the stars, this piece uses the visual appeals of shadow movement and physical theatre to present on stage an exciting mode of storytelling. As our protagonist’s journey leads to one of self-discovery, One Lonely Light also brings to the audience intimate bursts of creativity and colour.

Rehearsal Room Tuesday 2 July Thursday 4 July Duration Language Age restriction Tickets

11:30 14:30 1 hour 5 minutes English All ages R40 (Full) R30 (Student / Scholar)

The year is 1992. A controversial comic book is published. The University of Stellenbosch fine arts students who created it call it Bitterkomix. The year is 2013. Bitterkomix turns 21. A new generation of twenty something University of Stellenbosch drama students re-evaluate the role of youth culture in contemporary South Africa. These students employ a meta-geopolitical approach to investigate blah blah blah via the use of language and embodied blah blah blahs to reflect on a present day South African blah blah blah. The year is 2034. Global human population is beyond crisis point. Rehearsal Room Monday 1 July Wednesday 3 July Duration Language Age restriction Tickets

11:30 14:30 1 hour 15 minutes Afrikaans (with English) 16 years + R40 (Full) R30 (Student / Scholar)

This production aims to present the wonders light can bring, and the emptiness we feel when it is taken away, while simultaneously giving the audience a means to reflect upon their own journeys and what light means to them. Rehearsal Room Sunday 30 June Tuesday 2 July Duration Language Age restriction Tickets

18:30 19:00 50 minutes English None R40 (Full) R30 (Student / Scholar)

Words 4 Women

By the University of the Western Cape

Milk And Honey

By the Market Theatre Laboratory

Director: Stage Manager:

Washeema Roberts Rene Titus

Director: Assisted by:

Cast:

Kolosa Qomoyi, Khanyo Thomas, Bianca Van Rooi, Lelethu Busakwe, Sibongisiswe Sibeko, Ziyanda Daniels

Stage Manager:

Rehearsal Room Tuesday 2 July Thursday 4 July Duration Language Age restriction Tickets

15:30 17:00 50 minutes English, Afrikaans, isiXhosa PG R40 (Full) R30 (Student / Scholar)

The Yellow Wood

By the Waterfront Theatre School Presented in association with the New York

Alfred Motlhapi, Mlindeli Zondi, Kagiso Rathebe, Lethabo Bereng, Anne Modula, Marcus Mabusela, Salome Sebola, Tshepiso Mabaso, Tsholfelo Mmbi, Bonginkosi Khoza, Molebogeng Phiri

It is the centenary of the Land Act. But “centenary” implies the commemoration or celebration of an event. Aiming to go beyond the narrow polemics of the historical debate around land and the number-crunching of audits, reforms and redistribution, Milk and Honey engages the senses and explores the memory of the country – collective and personal. Even before the Natives Land Act of 1913 we experienced a disjunction of mind and body. As people were displaced, so began a never-ending “internal diaspora”. There is no political agenda. There is no preconceived message. There IS a desire to rediscover stories and roots. A desire to reconnect with and engage with personal heritage. More than that there is a desire to explore expressions and celebrations of identity and self. Milk and Honey will map a geography of self; re-establishing the senses of pride, of ownership and of worth. Rehearsal Room Wednesday 3 July Saturday 6 July Duration Language Age restriction Tickets

11:00 21:00 1 hour 10 minutes English & SA languages 16 years + R40 (Full) R30 (Student / Scholar)

University Tisch Graduate Musical Theatre Writing Programme

Directed by: Paul Griffiths Musical Direction by: Cathrine Hopkins Designed by: Deon Bisschoff Book, Lyrics & Music: Michelle Elliot and Danny Larson Assistant Director & Stage Manager: Cheri Lee Blackie Cast:

Kyle Jardin, Tammy de Klerk, Sven Jones, Shannon Schonegevel, Nicky Rossouw, Byron Bure, Corni van den Bergh, Katie Shields and Chloe Perling

17-year-old Adam is frantically trying to memorise Robert Frost’s poem The Road not Taken to recite in his English class, but because he didn’t take his Ritalin on this particular morning, he can’t get much farther than the first line, ‘Two roads diverged in a yellow wood...’ before an amazing yellow wood begins creeping into his school day. Desperate to prove he can turn his life completely around and become the cool and normal kid he’s always dreamed of being, Adam struggles to memorise the poem –and, as it begins to take on a life of its own, Adam is pulled deeper and deeper into The Yellow Wood, where he must face the reality of who he is and decide who he will ultimately become.

By the University of Pretoria Director: Stage Manager:

Micia de Wet Leslie van Wyk

Cast:

Khensi Maluleka Mamohato Askew Ansu Visser José Chung Georja Glyptis Macmillan Mabaleka Tlotlo Ntehelang

A multilingual work-shopped production that explores gender identity in South Africa: “There is a call that must be answered. There is a sexuality that is mine to identify”. Rehearsal Room

Rehearsal Room Thursday 4 July Saturday 6 July Duration Language Age restriction Tickets

Go Sana Le Lina

11:30 16:00 1 hour English None R40 (Full) R30 (Student / Scholar)

Wednesday 3 July Friday 5 July Duration Language Age restriction Tickets

21:00 14:30 45 minutes Multilingual – SA languages 16 years + R40 (Full) R30 (Student / Scholar)

STUDENT

This production plays with a variety of stereotypes and the effect is a celebration of women and their bodies. The young student cast uses words and actions to bring powerful and celebratory meaning to words that are often use to demean and oppress women. Through their performance they call on new interpretations of the words in the different languages. They play, they provoke and they take the audience on a journey of self-reflection. This is one of those productions that make you want more.

Cast:

James Ngcobo Khayelilhe Dominique Gumede Spider Mothetho

Journey

Oakfields College Debra Gush

Director:

STUDENT

The Oakfields College Faculty of Dance and Musical Theatre returns to the Student Theatre Festival this year with an exciting programme of South African contemporary dance works. Under the supervision of faculty member, Debra Gush, Journey is an experimental platform for four professional choreographers to create original works through a skills-sharing process with the dance students. The highly acclaimed choreographers include: Mark Hawkins, Ignatius van Heerden, Timothy le Roux as well as young and up-coming choreographer Wayne Bester (who is making waves in the dance world with his experimental and energetic choreography). The collective expertise and varying styles of the choreographers combined with the emerging talents of the Oakfields College dance students, is sure to produce an innovative and riveting 2013 dance production. Great Hall Thursday 4 July Friday 5 July Duration Age restriction Tickets Fringe performances:

The Off Side Rule

By the University of KwaZulu Natal, Durban Director:

Christiaan du Plessis

Cast:

Arno Wagenaar Camilla Wolfson Sanele Sibiya Sashin Kandhai

This is a play that questions the behaviour of local and international sports stars and heroes of today. The ones who have given us so many great victories are looked at under the microscope. How do we cope with the lies after some unsettling behaviour and media coverage? The play makes use of comedy skits and slam poetry to satirise the politics at play. We, as people, see every day by day, every play by play, these so called heroes display… life in the off-side position is contagious, and it’s not fiction – a so-called story made up to our satisfaction. We are done just standing by, watching how they take advantage of not only the sport but also of us. So we look at the everyday hero that falls to a total zero! Rehearsal Room Friday 5 July Saturday 6 July Duration Language Age restriction Tickets

20:00 11:00 1 hour English, Hindi, isiZulu None R40 (Full) R30 (Student / Scholar)

20:30 16:30 1 hour None R40 (Full) R30 (Student / Scholar) Friday 5 July at 22:00; Saturday 6 July at 13:30 & 21:00; Sunday 7 July at 17:00

Apple Soup

By the Tshwane University of Technology Director & Stage Manager:

Kenneth Mlambo

Cast:

Thato Paul Menoe, Christopher Mtshweni Thuto Tema, Miriam Mama Bolo Kefilwe Mello, Sibusiso Ntsalaze Ingrid Hlatswayo, Themba Foba

“There are bad apples that are doing things that are not correct in terms of tenders, but that doesn’t mean the entire system has collapsed; that’s a wrong misleading view...” Apple Soup is a play that explores the consuming nature of power when it is misunderstood by its handlers. The play is set in a nation that offers a glimpse into the way the country will operate 25 years into the future. The country has suffered under the tyrannical rule of the civilian government that has recently been ousted. A new day is dawning and the people of Azania wait in anticipation as the power moves from one set of hands to another. The new government promises a shift in focus from words to action, but this proves a tricky task to achieve for the new head of state and her right hand man. Apple Soup records the journey of the newly appointed president of the country as she aims to heal the wounds of a collapsing society. The inner fabric of the core sensitivity of the society is stretched towards a new limit when the biggest apples throw their weight around in the faces of people. Apple Soup becomes an investigation into the journey of politicians that inhabit their office with a complete disregard for the laws of justice. Rehearsal Room Friday 5 July Saturday 6 July Duration Language Age restriction Tickets

11:30 18:30 55 minutes English & SA langusges 16 years + R40 (Full) R30 (Student / Scholar)

The National Arts Festival presents Anthea Moys, 2013 Standard Bank Young Artist for Performance Art in

Anthea Moys vs.

The City of Grahamstown

Photo: Mikhael Subotzky “For me, there is a special kind of magic that happens when strangers, from completely different circumstances and backgrounds, get together and write their own rules of engagement.” - Anthea Moys

n this performance cycle Anthea Moys, will compete against the people of Grahamstown in a tournament of skill, strength, and artistry. Over a series of contests held over several days, outnumbered and outclassed, Moys will single-handedly do battle against Grahamstown’s best teams: its athletes, its artists and its intellects... in a contest she cannot hope to win. Her performances aim to foster new connections between different communities and the spaces they inhabit. Often presenting her work as “games”, Moys has a unique ability to position herself literally and figuratively in the middle of communities which enables them to explore moments in their own lives; and by enlisting them as impromptu audiences in her “games” they are able to share a moment with her without her ever depending on shock tactics to get her message across. Moys has had an abiding fascination with the imagery of losers in sports media coverage – the beauty and indignity of public defeat. For Moys, this cycle of performance is an attempt to unearth and embody the poetry, spectacle and pathos of defeat, whilst celebrating the liberating possibilities of play. Moys spent three months prior to the Festival learning the skills she will need, from the teams and cultural groups against which she will be competing. This process of immersion and exchange has always been a feature of her work. Over the past ten years, Moys has shown her work and/or performed in South Africa, and abroad – in Sweden, Switzerland, Berlin, London, Australia, Miami and New York. In 2009, as the winner of the Brait Everard Read Award, she staged her first solo show in South Africa.

Exhibition: Thomas Pringle Hall, Monument Open daily from 09:00 to 18:00 Please note the venue for performances varies - see below Duration of all performances:

1 hour

Age restriction:

None

Saturday 29 June Fort Selwyn

15:00 Free vs. South African Battle Re-enactment (SABRE)

Saturday 29 June Thomas Pringle Hall

18:00 R30 vs. Grahamstown Ballroom Latin Dancercizers

Sunday 30 June Thomas Pringle Hall

15:30 R30 vs. Victoria Girls High School Choir

Monday 1 July Thomas Pringle Hall

19:00 R30 vs. Rhodes Chess Club

Wednesday 3 July Kings Field

19:00 Free vs. Grahamstown United Football Club

Friday 5 July Thomas Pringle Hall

16:00 R30 vs. East Cape Shotokan-Ryu Karate

Saturday 6 July Thomas Pringle Hall

15:00 Free Closing Ceremony

The National Arts Festival presents

Rough Musick Gavin Krastin & Alan Parker Gavin Krastin Shaun Acker Lauren Fletcher

Performed by Creation, choreography and design Original score & additional sourced music Production management

ince the introduction of the Standard Bank Ovation Award in 2010, Gavin Krastin has won an award each year for his off-thewall creative interventions in public spaces and for his work as a newly emerging performance artist. Inspired by the early practices of ‘Rough Musick’, he will create a contemporary re-engagement with these dark rituals in the dank stone confines of the old St Andrew’s College changing rooms. Here a visual and visceral experience will unfold through the brazen

St Andrew’s College Squash Courts (Meet at the pedestrian crossing outside St. Andrew’s College Dining Hall on Worcester Street, opposite St. Andrew’s College Clock Tower) Wednesday 3 to Saturday 6 July daily at 17:00 Duration

50 minutes

Age restriction

18 years +

Tickets R60 (Full) R50 (Student / Scholar) (Audience limited to 35 per performance)

clashing of images and activities sourced from Gaelic folklore, Welsh ‘sin eating’ ceremonies, ‘bogey man’ mythologies and psycho-sexual fetish role-playing games. The practice of ‘Rough Musick’ originated in the small villages of medieval England, as a means for the public to disgrace and humiliate petty criminals, thieves and sexual deviants. This public shaming was, however, strangely carnivalesque and similar in nature and form to popular ‘Charivari’ festivals of the time where people would celebrate newlyweds through loud and noisy public displays. Shaming by ‘Rough Musick’ involved the creation of a brutal cacophony of sound, mostly made by cursing and angrily banging found domestic objects such as pots and pans. The public would direct this barrage of sound at the chosen individual like a weapon, damning the person through a symbolic expression of displeasure and exclusion. Fundamentally the public were the ‘Rough Musick’, and the sound and gesture they wielded was saturated with judgement, cruelty and shame. Through Krastin’s striking theatricality and characteristic heightening of the visual image, the pre-Empire white culture of the United Kingdom is rendered exotic and strange, positioning the artist-ofEuropean-descent as the ‘primitive’ and ‘ethnically’ other. Spectators of this ritual are invited to become agents of shame and explore their own dark desire to ridicule, humiliate and judge this performer-other. Half performance and half social experiment, Rough Musick interrogates the hierarchical social dynamics imbued in archaic shaming rituals and explores the emotional effect of shame when it is used as a means to control and cohere. Would an unfamiliar audience-as-community, if given the opportunity and resources, partake in shaming a defenceless body, without consequence? And if so how committed would they be in realising these acts when the act of shaming another is in itself an expression of the shamer’s own prejudice and vindictiveness? Who is shaming who?

The National Arts Festival with support from the Embassy of Spain, the Goethe Institute and UJ Arts & Culture presents

Untitled #310 Composer

Francisco Lopez

Performers

Jill Richards, Waldo Alexander, Magda de Vries, Reza Khota, Marcus Wyatt, Siya Makuzeni

rancisco López is internationally recognised as one of the major figures of the sound art and experimental music scene. For more than thirty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. His work is primarily based on original field recordings as source material for the creation and generation of immersive virtual sonic worlds. He has also composed for instrumental ensembles, following an unorthodox strategy consisting of having the musicians blindfolded. Both scores and visual cues are thus replaced by aural cues that the performers have to carefully listen to within the music textures as they perform the piece. Another relatively unusual aspect of this ensemble piece is that the composition unfolds from a process of direct work with the musicians

involved, in which sonic textures, gestures and compositional structure itself arise from the particular skills, style and features of the specific ensemble. This new composition by López for this blindfolded ensemble of South African musicians has been developed and composed in South Africa. Grounded on a “concrète” aesthetic of the specific sonic material itself being the basis and origin of the music, López’s compositional work proceeds without a pre-conceived “theme” or programmatic drive. Accordingly, there is never an a priori description of the future composition, but instead it unfolds “from scratch” through the process of interaction and work with the musicians of the ensemble. The creation of this composition has involved an intensive period of two-three weeks immediately prior to the public première of the piece. Two-thirds of this time has been dedicated to the actual creation of the composition with the musicians, and the remaining time to rehearsals of the piece. The first phase includes daily working sessions with the musicians that Lopez recorded, alternating with studio work that he carried out daily in his portable studio in order to select, edit and transform sonic materials to show to the musicians during the next working session. Guy Butler Stage, Monument Tuesday 2 July Wednesday 3 July

16:00 11:00

Duration

1 hour

Age Restriction

12 yrs +

Tickets R60 (Full), R50 (Student / Scholar)

Two South African premières presented by the National Arts Festival with the support of the Swiss Arts Council Pro Helvetia and the City and Canton of Geneva

Bleu Remix

Photo: Isabelle Meister Concept and interpretation Artistic collaboration and light Decor construction Production Diffusion

Yann Marussich Daniel Demont David Châtel Perceuse Productions Scènes Thuy-San Dinh

n Bleu Remix, the Swiss artist/performer, Yann Marussich, returns to the theme he explored in Bleu Provisoire (2001), when he let a mysterious blue liquid ooze, as blood would, through the layers of his skin, as though it was a final effect or a byproduct of his body’s inner processes.

Photo: Marc Gremillon Atherstone Room, Monument Tuesday 2 July Wednesday 3 July

18:30 15:00

Duration

1 hour

Age Restriction

Tickets

In Bleu Remix the artist lets us experience an intimate journey through the corners of his body. While searching for a kind of a universal human being, he takes the essence of Bleu Provisoire’s concept, mixes and transforms the senses and uncovers the secret existing reality, which exists in every one of us, even better. This way, Marussich opens the paths between the inside and the outside world secret passages from the unconscious, straight to the conscious. Each time Bleu Remix has been performed, a different musician has accompanied Marussich. This exceptional - unique and onetime confrontation of a musician with a performance establishes a new relation between the sound and the created image. The spontaneous meeting of two artists brings an element of risk and uniqueness to the event, as the music explores the creation over and over again and depicts new ways of perception.

R45 (Full) R40 (Student / Scholar)

Yann Marussich, a unique character of the contemporary dance genre, delivers performances that have a striking impact on the audience. His work is disturbing, provocative and authentic. Since 1989, his performances and choreography has been staged across Europe and other parts of the world. In 2008, Marussich won the Ars Electronica prize in the category Hybrid Art. He was an associate artist at the Grütli Theater for the 2010-2011 season. Since 2011, Yann Marussich has been supported by the City of Geneva’s Department of Culture and the Municipal Fund for Contemporary Art (FMAC).

Bain Brisé

Concept and interpretation Artistic collaboration and light Decor construction Production Diffusion

Yann Marussich Daniel Demont David Châtel Perceuse Productions Scènes Thuy-San Dinh

n Bain Brisé, Yann Marussich is covered under a mountain of glass shards in a bathtub from which he slowly emerges over the course of 90 minutes. Thinking about this, fills one with a sense of danger: his body is under threat … threat of suffocation, of being cut, of being crushed. Marussich has shown this work on several occasions at international festivals without ever anything going seriously wrong. This in itself may suggest that his performance is a bit of a mysterious trick but the work has another aspect to it, which takes his audience beyond straightforward magicianship. The initial sense of danger is interfered by the astonishing aesthetic realm of the work ... the crystal-like reflection of the glass in the light, and its reflection on the wall, the slow and gracious movements of the body. Whilst evoking a sense of danger, the work simultaneously makes one forget the mundane environment of the dirty recycling bin where the waste glass originates. And the everyday person connected to the body we see in the bathtub.

Photo: Emile Salquebre

Atherstone Room, Monument Thursday 4 July Friday 5 July

15:00 11:00

Duration

1 hour 30 minutes

Age Restriction

Adults only (nudity)

Tickets

R45 (Full)

R40 (Student / Scholar)

A post-performance discussion, moderated by an arts journalist from City Press, will take place immediately after the 15:00 performance on Thursday 4 July.

55 The National Arts Festival presents the 2013

Standard Bank Young Artist for Music

Runette Botha In Concert

Accompanied by Audrey Hyland

unette Botha obtained a MA (Opera) at the Royal Academy of Music in London. She had previously studied at the University of Cape Town as a student of Professor Virginia Davids, receiving her Performer’s Diploma in Opera (with distinction) in 2008, after initially obtaining a BCom Accounting degree at RAU now the University of Johannesburg. While at the Royal Academy Runette was seen as Lucy Brown in Kurt Weill’s The Threepenny Opera, Fioriligi in Mozart’s Così fan tutte, Li in Sir Peter Maxwell Davies’ Kommilitonen! and Miss Wordsworth in Benjamin Britten’s comic opera Albert Herring. Runette made her professional début at the Royal Albert Hall, performing in a gala concert alongside José Carreras and Kiri te Kanawa. She has also performed the Erwin Stein arrangement of Mahler’s Fourth Symphony at King’s Place with Trevor Pinnock and Mahler’s Second Symphony at Cadogen Hall. She has been a member of the Staatstheater Kassel Opera Studio since 2011/12 and has sung Marzelline in Beethoven’s Fidelio, Constanza in La Griselda by Scarlatti and taken part in Das Tapfere Schneiderlein by Wolfgang Mitterer a children’s opera after a tale of the Brothers Grimm. Runette made her German début as Musetta in Puccini’s La Bohème. A winner of the prestigious Philip Schock Foundation Competition Runette’s repertoire in oratorio and other sacred music includes the Poulenc Gloria, Brahms’ Ein Deutsches Requiem, Gounod’s Messe Solenelle de St Cecilia, Mozart’s Exsultate Jubilate, Vivaldi’s Gloria and Mozart’s Requiem.

udrey Hyland studied at the Royal Scottish Academy of Music and Drama, and at the Guildhall School of Music and Drama winning all the major awards for accompaniment in both institutions. Audrey was the inaugural winner of the Sir Henry Richardson Award for accompanists and her career as an accompanist has seen her perform in Korea, France, Italy, Spain, Hungary, Austria and Ireland, as well as at most of Britain’s major concert venues. She has made numerous appearances for BBC Radio 3, as well as BBC Radio Ireland and Radio France. Audrey is also in great demand as a vocal coach. She joined the staff of the Royal Academy of Music, London, in 1999 and was awarded an honorary ARAM in recognition of her outstanding work for the opera department there. She also coaches on the Jette Parker Young Artists Programme at Covent Garden and is a guest coach for the Samling Foundation and the Georg Solti Accademia.

Programme George Frideric Händel (1685-1759)

Tornami a vagheffiar from “Alcina”

Fernando J Obradors (1897-1945)

From “Canciones clásicas españolas” Chiquitita la novia Del cabello más sutil El molondron

Richard Strauss (1864-1949)

Breit’ űber main Haupt dein Schwarzes Haar, Opus 19, no 2 Ständchen, Opus 17, no 2 Morgen!, Opus 27, no 4

Hector Berlioz (1803-1869)

La mort d’Ophélie, Opus 18, no 2

Giuseppe Verdi (1813-1901)

Gualtier Maldè… Caro nome from “Rigoletto”

Sergey Rachmaninoff (1873-1943)

Ne poy, krasavitsa, pri mne / Oh never sing to me again, Opus 4, no 4 Zdes’ khorosho / How fair this spot, Opus 21, no 7

Leonard Bernstein (1918-1990)

I hate music: A cycle of five kids songs

Benjamin Britten (1913-1976)

Tell me the truth about love from “Cabaret Songs”

Licinio Refice

Ombra di nube

Rhodes Chapel Friday 28 June

16:00

Monday 1 July

19:00

Duration

1 hour 15 minutes (no interval)

Age Restriction

12 years +

Tickets R60 (Full) R50 (Student / Scholar)

56 The National Arts Festival presents the KwaZulu-Natal Philharmonic Orchestra

Symphony Concert Conductor Soloist

Theodore Kuchar Joanna Frankel (violin)

Programme Rienzi Overture

Richard Wagner (1813-1883)

Rienzi, the Last of the Tribunes is one of Wagner’s early operas in five arts, with the libretto written by the composer after Bulwer-Lytton’s novel of the same name. Violin Concerto in D minor, Op 47 Allegro moderato Adagio di molto Allegro, ma non tanto

Jean Sibelius (1865-1957)

Much of the violin writing in this work is purely virtuosic, but even the showy passages alternate with the melodic. The third movement is widely known amongst violinists for its formidable technical difficulty and is considered one of the several greatest concerto movements ever written for the instrument. INTERVAL Pictures at an Exhibition

Modest Mussorgsky (1839-1881)

In 1874 Modest Mussorgsky composed his famous Pictures at an Exhibition, based on ten drawings and watercolours produced by his recently deceased friend, the architect and artist Victor Hartmann.

Theodore Kuchar, one of the most prolifically recorded conductors of the past decade, appears on over 100 compact discs for the Naxos, Brilliant Classics, Ondine and Marco Polo labels. For the past 17 years, he has served as Artistic Director and Principal Conductor for two of Europe’s pre-eminent orchestras, the Janáček Philharmonic Orchestra (formerly the Czech Radio Orchestra) and the National Symphony Orchestra of Ukraine. With the 2011-12 season he commenced his tenure as the Artistic Director and Principal Conductor of the Orquesta Sinfonica de Venezuela. He presently also serves as Music Director and Conductor of the Fresno Philharmonic Orchestra and the Reno Chamber Orchestra in the United States. His guest conducting has been with the BBC Symphony, BBC National Symphony Orchestra of Wales, Cape Town Philharmonic Orchestra, Israeli Symphony Orchestra, Prague Symphony Orchestra, Munich Philharmonic and the National Symphony Orchestra of Venezuela taking him to numerous countries around the world. Maestro Kuchar has collaborated with major artists including, James Galway, Jessye Norman, Lynn Harrell, Itzhak Perlman, Yo-Yo Ma, Sarah Chang, Mstislav Rostropovich, Joshua Bell and Frederica van Stade, among others.

Joanna Frankel has performed as a soloist across the United Sates and Europe, at such important venues as Carnegie Hall, Concertgebouw Amsterdam, Rachmaninoff Hall, Glazunov Hall, Suk Hall, Slovak Philharmonic Hall and the Sibelius Academy’s Chamber Music Hall to name but a few. She has recently appeared with the Rochester Symphony, Ambler Symphony, Olney Symphony, Southern Adventist University Symphony orchestras and Ocean City Pops. She has presented recitals in many cities worldwide. Her recent chamber music engagements have taken her to Germany, Spain, and the United Arab Emirates and throughout South Africa. A recipient of the 2007 Career Grant from the Rachel Elizabeth Barton Foundation, and of the Juilliard School’s prestigious 2007 William Schuman Prize for outstanding artistic excellence and leadership, Joanna was also named a 2008 La Gesse Foundation Young Artist Fellow, which culminated in solo recitals at Monticello and in New York City’s own Carnegie Hall. Hailed by The Washington Post as “an uncommonly fine young violinist,” and praised for her “palpable singing tone and aesthetic intelligence” (The New York Sun, New York City), Joanna is currently the concertmaster for the KZN Philharmonic Orchestra.

KwaZulu-Natal Philharmonic Orchestra One of the joys of being South African is the celebration of diversity in our country. It portrays our ability to accept and grow from the differences amongst our fellow country folk and to find the common threads that unify us. In many ways this is what the National Arts Festival is all about. The KwaZulu-Natal Philharmonic Orchestra’s mission is to contribute to the improvement of the quality of life of all South Africans by presenting concerts of high calibre and by integrating music into the learning experience of our children. We also present concerts that showcase the cultural heritage of our country and, over the years, our programmes have attracted people of all races and ages who come to our events just to enjoy themselves together as South Africans. It therefore gives us great pleasure to be the Festival’s resident orchestra in 2013 whilst we proudly celebrate our 30th Anniversary, a significant milestone in South Africa’s contemporary arts environment. Founded in 1983 as part of the Natal Performing Arts Council (later The Playhouse Company), the KZN Philharmonic was restructured in April 1998 as an independent viable entity according to the new South African Arts and Culture dispensation policy. We are a professional orchestra employing 70 fulltime musicians who hail from more than 20 countries around the world. Our reputation for excellence and innovation has built a loyal support base - from our local eThekweni community, through the province of KwaZulu-Natal to the wider South African diaspora. Shortly after our Grahamstown residency we shall be touring to France as part of the France South Africa Season 2012/2013, where we will perform in Marseilles and in Paris. Our musicians and audiences are key to our success. We also could not exist without the generous support of all levels of the South African government and our sponsors to whom we are eternally grateful. They ensure that our traditions of community engagement continue to triumph in the name of music.

KwaZulu-Natal Philharmonic Orchestra Chief Executive and Artistic Director: Bongani Tembe First Violin Joanna Frankel *** Violeta Osorhean ** Beatris Lauenburg * Elena Kerimova Geza Kayser Lidia Sanacori Nataliia Pronenko Emi Fukuda Roberto Palma Mihail Mihaylov Thandeka Benbooi^ Second Violin Petya Koleva * Megumi Tokosumi Ievgen Pronenko Thomas Steinhausen Danielle Mears Patrick Motsa Paulina Tarnawska Jane Baillie^ Dineo Molebatsi^ Sue-Phil Petersen^ Regomodicoe Molosioa^ Viola David Snaith * Todor Hadgiev Nassi Gueorguieva Annamaria D’Andrea Ingrid Snaith Laura Blazyte Tshegofatso Mokobe ^ Cello Boris Kerimov * Ralitsa Pechoux Kolio Kolev Fiona Grayer Marguerite Spies Thapelo Masita +

Double Bass Simon Miliken * Yuri Litvinenko Andreas Kappen Mihail Sirakov Jonalene Taylor^ Flute Sabine Baird * Lisa Thom Kim Watson Oboe Nuria Cabezas Castaño* Stella Martin Margrit Deppe Clarinet Irene Chen * Nicole Starr Kirsten Sayers Bassoon Vessela Minkova * Lubomir Minkov Anele Mnguni Xavier Cloete^ French Horn Sorin Osorhean * Tzanko Tzankov Alice Thomson Marian Van Duyker Trumpet Michel Schneuwly * Ari Micich Cathy Peacock Nathan Lawrence^ Trombone Benoit Coutris* Duncan Wooldridge

Bass Trombone Jonathan Hooper * Tuba George Foster * Timpani Stephane Pechoux * Percussion Nick Stone* Loic Defaux + Sidney Rash + Nidhi Gangan^ Thando Nkangana^ Harp Linor Steinhausen * Alto Saxophone Maxine Matthews + Celeste Peter Mears + Orchestra Manager Ian Smith Education and Development Wiseman Mkhise Stage Manager Alson Ngcobo Stage Crew Enoch Ndimande Patrick Ndlovu

*** Concert Master ** Assoc. Concert Master * Principal ^ Cadet + Extra Player

Guy Butler Theatre, Monument Saturday 29 June

19:00

Duration

1 hour 40 minutes (including interval)

Age Restriction

8 years +

Tickets R90; R80; R70 (Full) R75; R65; R55 (Student / Scholar)

The National Arts Festival presents the KwaZulu-Natal Philharmonic Orchestra’s

Gala Concert Conducted by Soloists Soprano

Piano

Richard Cock

Runette Botha (2013 Standard Bank Young Artist) Ben Schoeman (2011 Standard Bank Young Artist)

he 2013 Gala Concert is one of CELEBRATION! The concert celebrates the music of Verdi (b 1813), Wagner (b 1813), Mascagni (b 1863), Benjamin Britten (b 1913) and artist/musician, Gerard Sekoto (b 1913).

Programme

Charles Gounod (1818-1893)

Sunday 30 June

15:00

Duration

2 hours (including interval)

Age restriction

None

Tickets R85; R75; R65 (Full) R70; R60; R50 (Student / Scholar)

Runette Botha

Ah! Je Veux Vivre from Roméo et Juliette

Pietro Mascagni (1863-1945)

Intermezzo from Cavalleria Rusticana

Benjamin Britten after Rossini (1913-1976)

Matinées Musicales: March

Giacomo Puccin (1858-1924)

Quandom’envo from La Bohème

Runette Botha

Johann Strauss II (1825-1899)

Roses from the South

Josef Strauss (1827-1870)

Jockey Polka

Richard Wagner (1813-1883)

Ride of the Valkyries

Interval George Gershwin (1898-1937) Guy Butler Theatre, Monument

Grand March from Aida

Giuseppe Verdi (1813-1901)

Ben Schoeman

Rhapsody in Blue

Gerard Sekoto arr M Cheyne (1913-1993)

Angelina, my darling and Paree always Paree

Benjamin Britten after Rossini (1913-1976)

Matinées Musicales: Waltz

Richard Wagner (1813-1883)

Bridal Chorus from Lohengrin

Robert Stoltz (1880-1975) Edward Elgar (1857-1934)

Runette Botha

An so einem Tag wieheute Pomp & Circumstance No 1

The Eastern Cape Philharmonic Orchestra and the National Arts Festival with the support of the Mandela Bay Development Agency present

The Festival Pops Concert Conducted by Richard Cock with the Eastern Cape Philharmonic Orchestra Featuring Zwai Bala and Melissa Allison

The Guy Butler Theatre at the Monument is going to rock with songs like Sway, Shout, Jump, It’s Raining Men, The Wind beneath my Wings and a whole lot more! Richard Cock directs the Eastern Cape Philharmonic Orchestra, making their début appearance at the National Arts Festival, with a driving rhythm section to back two powerful singers. So come and join soloists Melissa Allison and Zwai Bala who will get your blood pumping and heart beat up in this concert for the young at heart of all ages.

Zwai Bala is a South African musician, producer, musical director, composer, singer, songwriter, arranger, teacher and public speaker. He broke onto the big-time music scene with Kabelo Mabalane and Tokollo Tshabalala, who with Zwai formed kwaito group TKZee. This group revolutionised kwaito completely when they released singles Take It Eezy, holiday hit Phalafala and the ever-popular Shibobo. Zwai has since launched a solo career in gospel music. Born in Uitenhage, Zwai was the first black pupil to be admitted into the Drakensberg Boy’s School because of his musical talents. He later pursued a Master’s Certificate in Orchestration for Film and TV through Berklee Music in Boston. He received a SAMA award for his 2002 single Lifted. In November 2012 he was announced as one of the seven choirmasters for the Mzansi Magic reality competition Clash of the Choirs South Africa, which aired early in 2013. Melissa Allison was born in Port Elizabeth and has been performing in Johannesburg since moving there four years ago at the age of nineteen. In such a short career span, she has already made a name for herself in the industry. She has played the understudy role of Gabriella in the South African and Asian tour of Disney’s High School Musical, while also performing as a guest artist and backing vocalist for Loyiso Bala, The Bala Brothers, Danny K and the South African Music Awards. She has performed alongside Mango Groove, Lira and Neo Muyanga. Melissa was also th e runner up in South Africa’s Idols Season 8.

he Eastern Cape Philharmonic Orchestra (ECPO) was formed in 1998 as a Section 21 Company. Relying initially on volunteers and music lecturers, teachers, students and scholars, together with a core of talented players from other professions; the ECPO has grown from strength to strength, embracing the changes in the Arts in South Africa and especially in the Eastern Cape, which have significantly changed the profile of the Orchestra’s players, audience and management. The ECPO’s artistic programme has included numerous firsts and ground-breaking performances – working with noted South African and international conductors; and performing works by composers including Todd Matshikiza, Vevek Ram, Péter Louis van Dijk, Allan Stephensen, Isak Roux and Stanley Glasser. The Orchestra’s Music Investment Project, funded by the National Lottery Distribution Trust Fund, was started in 2002. Currently, over 600 children in townships and impoverished areas of the Nelson Mandela Metropolitan Municipality receive tuition on orchestral instruments and in choral training.

Guy Butler Theatre, Monument Sunday 7 July

15:00

Duration

1 hour 30 minutes (including interval)

Age restriction

None

Tickets R40 (Full) R35 (Student / Scholar)

60 The National Arts Festival with support from MNET presents

Frank Sinatra & Friends Conductor Richard Cock Featuring Nic Nicolaidis and Zwai Bala With the KwaZulu-Natal Philharmonic Orchestra

egular audiences at the National Arts Festival will recognise this concert as a sequel to the series of earlier successes that have been conceptualised and conducted by maestro, Richard Cock. In 2011, Andrew Lloyd Webber & Friends sold out within days of bookings opening. In 2012, Louis Armstrong & Friends was presented in a larger venue and once again, the sold out show meant that a number of music enthusiasts had to be turned away. In 2013, Frank Sinatra & Friends will have two performances. In this concert, Nic Nicolaidis and Zwai Bala accompanied by the notable KwaZulu-Natal Phiharmonic Orchestra will serenade audiences with melodies such as Fly me to the moon, I’ve got you under my skin, Fascinating Rhythm, Unforgettable and of course the singularly popular Sinatra signature song, My way. A percentage of proceeds from this concert will be donated to the Theatre Benevolent Fund, a registered South African charity founded and administered by caring arts professionals to provide a reasonable standard of care and comfort to those performers who find themselves incapacitated and destitute by virtue of their illness.

Richard Cock Programme Tribute to ol’ Blue Eyes

arr Moss

Fly me to the Moon

(NN)

Bart Howard

I’ve got you under my skin

(ZB)

Cole Porter arr M Cheyne

Over the rainbow

Harold Arlen

Straighten up and fly right

(ZB)

Nat King Cole/Irving Mills arr M Cheyne

Night & Day

(NN)

Cole Porter arr M Cheyne

Jazz Legato Nic Nicolaidis

Zwai Bala

Fascinating rhythm

Leroy Anderson (NN)

Moon River

Guy Butler Theatre, Monument Monday 1 July

14:00 & 19:30

Duration

1 hour 30 minutes (no interval)

Age Restriction

None

Tickets R60 (Full) R50 (Student / Scholar)

George Gershwin Henry Mancini

I got rhythm

(ZB)

George Gershwin arr M van Dijk

Unforgettable

(NN)

Nat King Cole arr S Cock

The Golden Years

Leroy Anderson

All the things you are

(NN)

Jerome Kern

The way you look tonight

(ZB)

Nat King Cole/Irving Mills arr M Cheyne

What a wonderful world

(NN & ZB) Thiele/Weiss arr S Cock

My way

(ZB)

Paul Anka/Claude Francois/ Jacques Revaux arr M Cheyne

62 Eastern Cape Department of Sports, Recreation, Arts & Culture in association with the National Arts Festival presents the

Photo: Sarah Garrun

2013 Eastern Cape Indigenous Music and Dance Ensemble T

he Department of Sport, Recreation, Arts and Culture in collaboration with the National Arts Festival has elevated its endeavour to provide more branding for the Eastern Cape subtribes by providing opportunities where they will be able to showcase their rich cultural history through this revamped Eastern Cape 2013 Indigenous Music and Dance showpiece. The latter is an amalgamation of artists from the Indigenous Music Orchestra and Eastern Cape Cultural Ensemble.

Victoria Theatre Thursday 27 June Friday 28 June

14:00 15:00

Duration

1 hour

Age restriction

None

Tickets R55 (Stalls) R50 (Balcony) Full R45 (Stalls) R40 (Balcony) Student / Scholar

The productions will highlight the vibrancy of the Eastern cape subtribes – amaBhaca, abaThembu, amaKhoisan, abeSuthu, amaNdiya and amaMpondo – to display their rich music and dance heritage. This will be a potpourri of traditional dance and music ranging from the foot-stomping of amaBhaca dance to the animal movement of the Khoisan. Dedicated performers from each of the sub-tribes or clans use this opportunity to showcase their rich diverse indigenous music and dance thus, through such media, celebrate their political freedom.

63 KwaZulu-Natal Philharmonic Orchestra in association with the National Arts Festival present

A Brahms Serenade A Nonet Programme Johannes Brahms (1833-1897) Serenade in D Major, Op. 11, No. 1 for winds and strings Allegro Molto Scherzo: allegro non troppo Adagio non troppo Minuette Scherzo: Allegro Rondo: Allegro Musicians Sabine Baird Irene Chen Nicole Starr Vessela Minkova Sorin Osorhean Violeta Osorhean David Snaith Marguerite Spies Mihail Sirakov

Flute Clarinet Clarinet Bassoon French Horn Violin Viola Cello Double Bass

ohannes Brahms originally composed his Serenade in D for a chamber ensemble of nine players, but at the urging of conductor Joseph Joachim, he expanded the orchestration to include the full orchestra. Although the original version for chamber ensemble was performed during Brahms’ lifetime, the score was destroyed, and the original version was eventually lost to the sands of time. In the 1980s, through careful study of the orchestral score as well as Brahms’ habits and approach to other chamber compositions, an authentic reconstruction of the original orchestration was arranged and this is the version that will be presented by members of the KZN Philharmonic. With solos passing between winds and strings, as well as some of Brahms’ most pastoral melodies, audience members will be transported to the bucolic setting of 19th century Germany. Rhodes Chapel Friday 28 June Sunday 30 June

19:00 21:30

Duration

1 hour

Age Restriction

12+

Tickets R60 (Full) R50 (Student / Scholar)

64 The Odeion String Quartet and the National Arts Festival with support from the Mandela Bay Development Agency present

Hidden Treasures Samson Diamond Sharon De Kock Jeanne-Louise Moolman Anmari van der Westhuizen

First violin Second violin Viola Cello

he Odeion String Quartet was established at the University of the Free State (UFS) in 1991 as a permanent fulltime resident string quartet. It is the only resident string quartet at a South African university. The quartet is a flagship of the UFS and symbolises the university’s commitment to the arts. It plays an important strategic role in the development of symphony orchestra music and in classical music training in the Free State. Samson Diamond, 2010 Standard Bank Young Artist for Music, was appointed as first violin and leader of the Odeion String Quartet in January this year.

Hidden Treasures is kindly sponsored by the Mandela Bay Development Agency Beethoven Room Friday 5 July Saturday 6 July Duration Age Restriction

19:00 15:00 Hidden Treasures is kindly sponsored by the Mandela Bay Development 1 hour 15 minutes Agency (no interval) 12 years +

Tickets R60 (Full) R50 (Student / Scholar)

Little Theatre, Athenaeum (Port Elizabeth) Monday 8 July Tickets R60

19:00

About the programme Hidden Treasures is a project comprising of compositions by contemporary composers Arvo Pärt, Philip Glass, and John Tavener, who are regarded as the most influential composers in the genre of minimalism. The works of the composers share many features: chiefly modal harmony, soft dynamics, slow tempi, and regular repetition of phrases without development. But the strongest characteristic of the composers’ music is a tendency towards static ambience. The work of Estonian composer Arvo Pärt is profoundly sacred and evokes a feeling of melancholia. Summa is a short, but highly emotive piece. Philip Glass is an American composer and his composition of Company was written as instrumental music for Fred Neumann’s adaptation of Samuel Beckett’s novella titled Company. In the case of the English composer John Tavener, the qualities of timelessness and lack of movement are fundamental to his purposes, considering that he regards his music as icons in sound. Hidden Treasures, the theme of the concert, draws the listener into a reverential mood that is paradoxically calm and suspenseful, suggestive of an ecstatic experience that transcends simple emotions. The music moves very slowly, with an almost indeterminate pulse, and is more spatial than linear in conception and perhaps quite meditative. Karl Jenkins is a well-known British composer and his String Quartet No. 2 was written for the Smith Quartet. “I have included his work because I had the privilege of working with both the Smith Quartet and Jenkins on separate occasions, which sparked my interest in contemporary music” – Samson Diamond Programme Arvo Pärt (1935–)

Summa

Philip Glass (1937–)

“Company” String Quartet No. 2

John Tavener (1944–)

Hidden Treasures

Karl Jenkins (1944–)

String Quartet No. 2 The Fifth Season Tango Waltz Romance Bits

65 KwaZulu-Natal Philharmonic Orchestra in association with the National Arts Festival presents

A Trio Programme French Impressionist works for Flute, Viola and Harp Flute Viola Harp

Sabine Baird David Snaith Linor Steinhausen

Terzettino Theodore Dubois (1837-1924)

erzettino is a brief but lovely and melodious piece that makes perfect use of the contrasting timbres and characters available in this unique and all-too-rarely used ensemble. Theodore Dubois was best known as an organist, and his compositions for organ are some of the highlights of 20th century repertoire for the instrument. Dubois’ skill as an organist was so great, that he even took over for Camille Sainte-Saëns as organist at the Church of the Madeleine in Paris upon the latter’s departure. The Terzettino features distinctive attention to instrumental colour, perhaps inspired by Dubois’ experience using the stops of the organ to orchestrate his own solo music. The legato phrasing that carries the piece’s melodies from one instrument to the next is also indicative of the type of singleness of phrasing across contrasting timbres to which a great organ soloist would be accustomed.

Sonate en trio, for flute, viola and harp, L. 137 Claude Debussy (1862-1918) Pastorale Interlude Finale

Debussy originally set out to write six chamber sonatas for various combinations of instruments. The Sonata for flute, viola, and harp is the second of these. However, Debussy’s death in 1918 after the completion of the third in the series cut the cycle short. The remarkable quality of these final pieces is proof of the ailing Debussy’s commitment to continued musical development and personal evolution. As with much of Debussy’s music, this sonata has an air of ambiguity. The composer himself said he was unsure if the piece “should move us to laughter or tears. Perhaps both?” Debussy’s lenient treatment of harmony is regarded as one of his signature contributions to the development of musical language, but his use of time and rhythmic space in this sonata cannot be discounted in adding to the overall mesmerising effect created by the piece.

Trio for Flute, Viola and Harp Alan Stephenson (1950 -)

Cape Town-based composer, Alan Stephenson’s Trio for Flute, Viola and Harp (written in 1978) adds a lighter dynamic to this programme. Programme notes will be made available at the performance.

Beethoven Room Friday 28 June Saturday 29 June

16:00 10:00

Duration

1 hour 10 minutes (no interval)

Age restriction

12 years +

Tickets R60 (Full) R50 (Student & Scholar)

66 KwaZulu-Natal Philharmonic Orchestra in association with the National Arts Festival presents

“Celli-bration” T

his eclectic programme features a wide variety of classical, world and pop music. Audience members will experience the extremes of the musical pendulum from Bach to “rock” and everything in between. Among the more conventional composers represented will be Bach and Caccini, but these talented performers will quickly demonstrate their versatility with repertoire drawn from beyond the walls of the usual chamber music library. Tangos and Celtic dances are sure to be show-stopping excitement, and for the rock fans in the audience, keep your ears open for some of Metallica’s hits! While fans of great classical cello music won’t be disappointed, get ready to completely reconsider everything you thought you knew about this almost limitless instrument.

Cellists Boris Kerimov Ralitsa Todorova Marguerite Spies Fiona Grayer Stephane Pechoux - Guest soloist (percussions)

Programme

Beethoven Room Saturday 29 June Sunday 30 June

14:00 18:00

Duration

1 hour 15 minutes (no interval)

Age Restriction

12 years +

Tickets R60 (Full) R50 (Student / Scholar)

J. S. Bach

Prelude + Ave Maria

P. Lucia

Cepa Andaluza

E. Francini

La vi llegar

A. Piazzolla

Fuga Misterio Tanti Anni Prima Libertango

J. S. Bach

Chaconne

J. Caccini

Ave Maria

M. Mores

Cafetin de Buenos Aires

Metallica

Nothing else matters Pray

Irish traditional

Toss the feathers

KwaZulu-Natal Philharmonic Orchestra in association with the National Arts Festival presents

Wind Octet/Nonette Programme Serenade No. 11 in E Flat Major, K375 Wolfgang Amadeus Mozart (1756-1791) Allegro moderato Menuetto I Adagio Menuetto II Allegrow

rue to its title, Mozart’s unforgettable Serenade number 11 was originally written for an outdoor performance. The first version was scored for pairs of clarinets, bassoons, and horns. Mozart added the oboes later, in an attempt to get the piece performed in the court of the emperor. The performers involved in the première so appreciated Mozart’s music, that a few weeks later they assembled themselves to thank him with an impromptu performance. Mozart wrote to his father the following day: “At eleven o’clock at night I was treated to a serenade performed by two clarinets, two horns and two bassoons – and that of my own composition…These musicians asked that the street door might be opened and, placing themselves in the centre of the courtyard, surprised me, just as I was about to undress, in the most pleasant fashion imaginable with the first chord in E-flat.”

Clarinets Bassoons French Horns

Adagio, Allegro Andante Cantabile Scherzo: Allegro Moderato Finale: Allegretto

The second piece that will be presented by the winds of the KZN Philharmonic was inspired by the superb example that Mozart’s serenades for wind instruments provided. Charles Gounod looked to the music of his compositional forefathers, Mozart and Bach, as the gold standard of musical greatness. With Mozart’s wind band as model, Gounod added a flute to the ensemble and created a perfectly miniaturised symphony suitable for chamber performance. With the compact orchestration, the natural personalities of the individual instruments are given a chance to emerge, and the economical form of each of the movements will allow you to easily grasp his musical ideas from the first hearing.

Rhodes Chapel Saturday 29 June

Musicians Flute Oboes

Petite Symphony for 9 winds Charles Gounod (1818-1893)

Sabine Baird (Petite Symphony) Nuria Cabezas Castano, Magritte Deppe Irene Chen, Nicole Starr Vessela Kinkova, Lubomir Minkov Sorin Osorhean, Tzanko Tzankov

12:00

Beethoven Room Monday 1 July

10:00

Duration

1 hour 10 minutes (no interval)

Age restriction

12 years +

Tickets R60 (Full) R50 (Student / Scholar)

68 The National Arts Festival presents

Ben Schoeman A Piano Recital Programme Joseph Haydn (1732-1809) Sonata in C Major, Hob. XVI: 50 • Allegro • Adagio • Allegro molto Robert Schumann (1810-1856) Kreisleriana, Op. 16 • Äußerst bewegt • Sehr innig und nicht zu rasch • Sehr aufgeregt • Sehr langsam • Sehr lebhaft • Sehr langsam • Sehr rasch • Schnell und spielend Richard Wagner (1813-1883) / Franz Liszt (1811-1886) Isoldes Liebestod (Ending scene from Tristan und Isolde), S. 447 Surendran Reddy (1962-2010) Toccata for John Roos (2007)

choeman has chosen Robert Schumann’s large-scale piano work Kreisleriana, Op. 16 as the centrepiece of his recital. This is a set of eight fantasies and was composed in an astoundingly short period between March and May 1838. As in many of Schumann’s works there is a strong relation to literature and Kreisleriana refers to the “eccentric, untamed, ingenious Kapellmeister” Johannes Kreisler, one of the main characters in E.T.A. Hoffman’s novel The Life and Opinions of the Tomcat Murr. The erratic qualities of Hoffman’s writing correspond very well with the juxtaposition of extrovert and introvert emotions in Schumann’s work. The visceral and extrovert elements of the faster sections are contrasted by moments of extreme tenderness – obviously written for his wife and eminent interpreter of his music, Clara Wieck Schumann. The programme opens with the humorous Sonata in C major Hob XVI: 50 by Joseph Haydn. Often described as one of the ‘English Sonatas’, this work was written during Haydn’s second visit to England during 1794. On this tour, organised by the great impresario Johann Peter Salomon, Haydn met the pianist Therese Jansen, a student of Clementi. The virtuosic elements in this Sonata attest to Jansen’s formidable technique, whilst the rich variety of dynamics and timbre exploits the sonority of the English pianos of the time.

Rhodes Chapel Tuesday 2 July

19:00

Duration

1 hour 5 minutes (including pauses between works, no interval)

Age Restriction

12 years +

Tickets R60 (Full) R50 (Student / Scholar)

Schoeman also pays tribute to Richard Wagner’s bicentenary and performs the final scene of his epic music drama Tristan und Isolde (1857-1859). Franz Liszt created a remarkable pianistic account of Isoldes Liebestod (Isolde’s Love Death), capturing the dense and colourful orchestration as well as the huge dynamic range in Wagner’s original score. The final work in this programme is the joyful Toccata for John Roos (2007) by the South African composer and pianist, the late Surendran Reddy. This was the commissioned work for the 11th UNISA International Piano Competition and epitomises the composer’s unique stylistic blend between twentieth-century (almost Scriabinlike) pianistic devices, South African jazz and mbaqanga dance music.

The National Arts Festival presents

Ben Schoeman & Anzél Gerber

in a Cello and Piano recital Programme Richard Strauss (1864-1949) Sonata for Cello and Piano in F Major, Op. 6 Allegro con brio Andante ma non troppo Finale: Allegro vivo Bohuslav Martinů (1890-1959) Variations on a theme of Rossini for Cello and Piano (1942) Sergei Rachmaninoff (1873-1943) Sonata for Cello and Piano in G minor, Op. 19 Lento – Allegro moderato Allegro scherzando Andante Allegro mosso David Popper (1843-1913) Elfentanz for Cello and Piano, Op. 39

ellist Anzél Gerber and pianist Ben Schoeman were the overall winners of the Ibla Grand Prize Competition in Italy (2012). They were hailed by the South African press as “an impressive duo” and praised for their “superb artistry” and “intimate rapport”. Their programme includes some of the pinnacles of the vast repertoire for cello and piano. The youthful Sonata for Cello and Piano, Op. 6 by Richard Strauss can be seen as a forerunner to the composer’s witty and colourful orchestral works for piano and orchestra. The Czech composer Bohuslav Martinů’s Variations on a theme of Rossini (1942) is based on a theme from Rossini’s opera Mosè in Egitto is a highly imaginative work that consists of a rich tonal palette and a particularly beautiful almost chorale-like slow third variation. The main work in this programme is Sergei Rachmaninoff’s Sonata for Cello and Piano in G Minor, Op. 19. In this Sonata the two instruments are very much on the same level and it often happens that the piano introduces important thematic material before the cello embellishes upon this. The programme ends with a late-Romantic showpiece, Elfentanz, Op. 39, by the Bohemian cellist David Popper who died one hundred years ago.

Anzél Gerber has been praised by various critics for her ability to capture the audience through her mature artistic approach, extraordinary musicality and inimitable technique. After initial studies in South Africa she went on to hone her craft in Oviedo and Moscow with some of Russia’s most prominent teachers and soloists. She is the recipient of several national prizes and awards. Her first prize (along with duo-partner Ben Schoeman) in the 2012 Ibla Grand Prize International Music Competition in Italy has led to an invitation to give a début recital at New York’s Carnegie Hall in 2014. Her keen interest in the development of gifted young musicians served as inspiration to complete postdoctoral research in 2010 at Temple University, Philadelphia, USA on the talent development of gifted young cellists in China, Japan, Korea, Russia, Austria, the UK and the USA. Anzel Gerber plays on a cello made by Antonio Gagliano (Napoli ca. 1820), on loan to her from the Maggini Foundation in Switzerland. Ben Schoeman was the winner of the 2011 Standard Bank Young Artist Award for Music. He is regarded as one of South Africa’s foremost pianists, winning major prizes, including the first grand prize in the 11th UNISA International Piano Competition, Pretoria (2008) as well as the coveted gold medal in the Royal Over-Seas League Music Competition, London (2009). He has given solo, chamber music and concerto performances throughout Europe, Canada and South Africa in such prestigious concert halls as the Wigmore, Barbican, Cadogan and Queen Elizabeth Halls in London, the Konzerthaus in Berlin, the Gulbenkian Auditorium in Lisbon, the Teatro del Giglio in Lucca, the Cape Town City Hall and the Romanian Athenaeum in Bucharest. He is completing doctoral studies at the Guildhall School of Music and Drama and City University, London. His début solo album, featuring works of Franz Liszt, was released in 2011 under the TwoPianists label and is sponsored by Standard Bank.

Rhodes Chapel Monday 1 July

13:00

Duration

1 hour 10 minutes (including pauses between works, no interval)

Age Restriction

12 years +

Tickets R60 (Full) R50 (Student / Scholar)

The National Arts Festival presents

The Chanticleer Singers A

fter their spellbinding performances last year, the Chanticleer Singers return to the Festival to celebrate the centenary of the birth of Benjamin Britten and 400 years since the death of Carlo Gesualdo, whose life was so full of drama and passion.

A CANDLELIGHT RENAISSANCE

CELEBRATING BRITTEN

In their second programme which will be performed by candlelight, The Chanticleer Singers expose two contrasting Renaissance composers: Palestrina representing the conservative ecclesiastical side, and Gesualdo, whose music initiates his life in its drama and colour.

Benjamin Britten (1913-1976)

Giovanni Palestrina (1525-1594)

Missa Papae Marcelli

Carlo Gesualdo (1560-1613)

Moro lasso al mio duolo Dolcissima mia vita Luci serene e chiare

Linor Steinhausen harpist for the KwaZulu-Natal Philharmonic Orchestra joins the choir for Ceremony of Carols

Giovanni Palestrina was appointed organist and singing-master at St Agapit in Palestrina when he was 19 years old. A prolific composer, he was maestro di cappella of the Julian Choir in Rome and, in 1955, Pope Julius III made him a member of the Pontifical Choir. Carlo Gesualdo, Prince of Venosa, was an Italian composer and highly accomplished lutenist. His works include seven books of madrigals and two of Sacrae cantiones, responds for six voices. His work is notable for its chromatic harmony. In 1960 Stravinsky orchestrated three of his madrigals, to mark the 400th anniversary of his birth. Rhodes Chapel Saturday 29 June Sunday 30 June

15:00 19:00

Duration

1 hour 10 minutes (no interval)

Age Restriction

None

Tickets R58 (Full) R48 (Student / Scholar)

Celebrating Britten A Candlelight Renaissance

The Britten programme includes some of his earliest choral works, written when he was 17, to one of his final works, the large scale Sacred and Profane, set to medieval texts.

• Hymn to the Virgin • Hymn to St Cecilia • Ceremony of Carols • Five Flower Songs • Sacred and Profane Benjamin Britten entered the Royal College of Music when he was 17, studying composition and piano under Harold Samuel, John Ireland and Arthur Benjamin. He was a conductor, pianist and prolific English composer of the 20th century. In 1946 his Peter Grimes had its American première at Tanglewood with Leonard Bernstein as conductor. Britten and his long-time companion, Peter Pears, founded the Aldeburgh Festival in 1948. Among his known works are War Requiem, The Turn of the Screw, Hymn to St. Cecilia, Peter Grimes, Rejoice in the Lamb, Billy Budd, A Midsummer Night’s Dream, Death in Venice, Ceremony of Carols, Serenade, The Rape of Lucretia and The Prodigal Son.

Conducted by Richard Cock

71 The National Arts Festival presents

Conduct Unbecoming II With Richard Cock & Bryan Clarke

musical director wasn’t happy with the performance of one of the percussionists. Repeated attempts to get the drummer to improve failed. Finally, in front of the orchestra, the director cried in frustration: “When a musician can’t handle their instrument, they give him two sticks and make him a drummer!” A whisper was heard from the percussion section: “And if he can’t handle that, they remove one of his sticks and make him a conductor.” After two successful years of presenting sold out performances of CONDUCT UNBECOMING at the National Arts Festival, the charismatic and renowned conductor, Richard Cock, will team up with former orchestra percussionist, Bryan Clarke (whose stories, from the players’ side, are not always complimentary about conductors), in a sequel that will unravel even more stories from the amazing world of conductors and musicians. Richard Cock will wave his baton and Bryan Clarke his drumsticks as two of South Africa’s most entertaining music celebrities enthral their audience with anecdotes, music and insights into why the conductor has the advantage of not seeing the audience.

Richard Cock was born Photo: Suzy Bernstein in Port Elizabeth and educated at Woodridge Preparatory School and the Diocesan College, Cape Town. He pursued his musical studies at the Cape Town College of Music, from which he graduated in 1971. In 1972, he won a scholarship to the Royal School of Church Music (RSCM), where he was awarded several prizes and diplomas. In 1978 he became Director of Music at the Cathedral Choir School and assistant organist at Chichester Cathedral. During his years in England he became a Fellow of the Royal College of Organists. After his return to South Africa in 1980, Richard breathed new life into the National Symphony Orchestra, where he was appointed Music Director in 1991. He founded the Symphony Choir of Johannesburg and the internationally recognised Chanticleer Singers over 30 years ago. In 1999, Richard left the orchestra to pursue a freelance career and to stimulate music activities throughout South Africa. As a conductor, he is in much demand countrywide. In May 2000, he received an Honorary Doctorate in music from Rhodes University. He is chairman of the Apollo Music Trust, serves as a board member of Business Arts South Africa, the Ingoma Trust, and the Johannesburg Festival Orchestra, and is a member of the National Arts Festival Committee.

Bryan Clarke was the founder of the Steel Drum Foundation and Principal Percussionist of the KwaZulu-Natal Philharmonic Orchestra. He is currently a freelance percussionist. In 1989 he won the prestigious SASOL Music Prize, which enabled him to study Jazz and Performance Studies at Ithaca College in New York, where he was awarded bursaries, gave recitals and represented South Africa at an international conference. Returning to South Africa in 1992, Bryan won the SAMRO competition, and spent some time studying African musicology with Andrew Tracey in Grahamstown. Bryan has performed Marimba concertos with both the Cape Town Symphony Orchestra and the KZNPO. He currently spends most of his energy teaching for the Steel Drum Foundation. He also runs highly popular team-building drum circles and percussion workshops, which he has conducted throughout Africa. Bryan holds down the position of Durban Director of the Field Band Foundation, a music outreach programme. Victoria Theatre Thursday 4 July

12:00

Duration

1 hour

Age Restriction

Adults only

Tickets R60 (Stalls) R55 (Balcony) - Full R50 (Stalls) R45 (Balcony) - Student / Scholar

72 The South African National Youth Orchestra in association with the National Arts Festival presents

Music You Can Feel

A Youth Orchestra Concert Conducted by Gérard Korsten Programme Carl Maria von Weber (1786-1826)

Symphonic Metamorphosis of Themes

Paul Hindemith (1895-1963)

Concert Music for Strings and Brass: Symphony No. 7 in D Minor, Op. 70 Antonín Dvořák (1841-1904)

Robert Fokkens

Première of a work commissioned specially by the SAMRO Foundation

he National Youth Orchestra was founded in 1964 and formalised in 1979 as the National Youth Orchestra Foundation. In its sparkling history it has hosted annual orchestra courses, concerts, international and national tours and workshops for young musicians, and has become one of South Africa’s most successful music institutions. The Orchestra’s training pathway has been created to nurture the musical development of South Africa’s finest young musicians, from emerging gifted school-age students to those on the verge of a professional career. Along the way their concerts bring delight to thousands. Both Gérard Korsten and Robert Fokkens are National Youth Orchestra alumni. Photo: Sarah Schafer

Guy Butler Theatre, Monument Saturday 29 June

11:00

Duration

2 hours (Including a 20 minute interval)

Age Restriction

None

Tickets: R60 (Full) R50 (Student / Scholar) The SA National Youth Orchestra and Kingswood College will present two concerts on the Fringe Programme: a programme of Grieg, Strauss and Dvorak at 15:00 on Friday 28 June; and, joined by the the world-renowned Amsterdam Ensemble, they perform Brahms, Glinka and Schubert at 15:00 on 4 July. Both will be at the Kingswood Chapel.

Sasol as its principal sponsor has supported the National Youth Orchestra since 1979. Born in South Africa, Gérard Korsten began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and with Sándor Végh in Salzburg. Following his studies in the US and Europe he became Concertmaster and Assistant Music Director of the Camerata Salzburg and later Concertmaster of the Chamber Orchestra of Europe from 1987-1996 when he left the COE to concentrate on conducting. He is currently Music Director of the London Mozart Players and Principal Conductor of the Symphonieorchester Vorarlberg Bregenz. He held positions of Principal Conductor of the State Theatre in Pretoria and the Uppsala Chamber Orchestra before he was appointed Music Director of the Orchestra del Teatro Lirico di Cagliari from 1999-2005. Gérard Korsten has appeared in the most notable opera houses and concert halls around the world. His past symphonic engagements have included concerts with the Budapest Festival Orchestra, Leipzig Gewandhaus, Orchestre National de Lyon, Salzburg Mozarteum, Orchestra Sinfonica Nazionale della Rai Turin, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Deutsche Kammerphilharmonie, Swedish Radio Symphony, Yomiuri Nippon and Melbourne Symphony orchestras. He has recorded numerous CDs and DVDs and his 2011 DVD of Le Nozze di Figaro (La Scala 2006) has been awarded a Diapason D’Or.

73 The National Arts Festival presents

Beautiful Creatures A Children’s Concert Featuring Ed Jordan and Nicholas Nicolaidis with members of the KwaZulu-Natal Philharmonic Orchestra Conducted by Richard Cock

oddy the Rambunctious Rhino, Horace the Hysterical Hyena, Mafutha the Elephant, Lucas the Lazy Lion, Harry the Hungry Hadeda and many other beautiful creatures will come to life in this concert specially commissioned for children. These wonderful characters will be introduced by Ed Jordan and Nicholas Nicolaidis and their rhythmic music will have toes tapping and fingers snapping long after the concert ends.

Programme Roddy the Rambunctious Rhino Monkey Business Horace the Hysterical Hyena Three Hearts to Love You Mafutha the Elephant

Lucas the Lazy Lion Harry the Hungry Hadeda Down Comes the Rain Imvubu the Happiest Hippo Beautiful Creatures

Photo: Lauren Rawlins

Under the baton of charismatic conductor and entertainer Richard Cock, the KwaZulu-Natal Philharminc Orchestra offer a fun-filled concert where you will hear the songs and stories of Beautiful Creatures who live in South Africa and who need our love and protection.

Nicholas Nicolaidis began his musical career as a chorister with the world famous Drakensberg Boys’ Choir School. Since then he has continued his singing career both as a member of the Chanticleer Singers and as a distinguished soloist, whilst expanding his musical disciplines to include conducting and recently, specialised teaching. Guy Butler Theatre, Monument Photo: Daron Chatz Ed Jordan is a SAMA award-winning, platinum selling musician, and a TV and Radio presenter. His most recent work was for Spud, the movie, starring John Cleese, where he wrote and produced the orchestral score and the theme songs, as well as supervising the music for the film.

Monday 1 July

17:00

Duration

55 minutes

Tickets Free

74 The Eastern Cape Department of Sports Recreation, Arts & Culture in association with the National Arts Festival presents

Jazz at Dakawa An Eastern Cape Jazz Development Initiative

outh African music embodies the spirit of celebrating social cohesion. The Eastern Cape Department of Sport, Recreation, Arts and Culture’s Jazz at Dakawa initiative is a developmental programme. It strives to offer a platform for Eastern Cape Community jazz groups to be a part of the National Arts Festival and to use the power of their music to redress social imbalances and promote cultural opportunities in historically disadvantaged communities.

The vibrant programme showcases community-based jazz groups from the seven Provincial districts in a platform that provides the artists with adequate exposure to allow their work to be seen outside of their own communities.

Alfred Nzo Ensemble Monday 1 July