Dinner for One Too, served in two courses
Most of us have seen ‘Dinner for One’ (also known as “The 90th Birthday”) traditionally shown on TV on New Year’s Eve and which has become a cult movie in Germany after it had been filmed in Hamburg in 1963.This slapstick comedy sketch takes place in an ancient English mansion, where the last remaining member of the family, Miss Sophie, is celebrating her 90th birthday. The entire sketch takes place in the dining room, with Miss Sophie (Elize Cawood) at the head of the table with places laid for her ‘guests’- whom she has outlived. Come and experience this classic as well as its spoof. Watch the butler, James (Wilson Dunster), serving a four course meal to all the guests, as well as a different alcoholic beverage for each course. As none of the guests are actually there in person, Miss Sophie insists that James drinks the toasts as the four different characters… ”Same procedure as every year, James” James becomes more and more inebriated…. The tension is increased by a tiger skin rug, the head of which he has to negotiate on every trip from the sideboard to the table. And then … the sequel: Dinner for One Too… In the second version (or spoof) of ‘Dinner for One’ the roles have been reversed: Wilson plays Miss Sophie and Elize plays the butler, James, without turning it into a ‘Drag-show’. It has also been South Africanise and the classic version is so well-known, the audience knows exactly what to expect, but with Dinner for One Too… it has been toyed with somewhat and some liberties have been taken! The reversal of the roles – Elize portraying James, the ‘plaasjapie’ and Wilson playing the ‘English Lady’ – in itself demanded a constant re-think and re-evalution of the characterisations. With the virtuoso talents of both Elize and Wilson a new, fresh and credible spoof that could be as popular as the original has been created. Directed by: Andrè Stolz (who directed the first version and initiated the idea to reverse the roles) and Johan Engelbrecht (who directed the bonus spoof). Cast: James - Wilson Dunster & Miss Sophie - Elize Cawood Directed for stage by: Andrè Stolz Costumes by Hollywood Costumes Costume Designer: Heidi du Tpoit & Douw Brits Prosthetics: Wilna Bronkhorst Special Effects: Terry du Toit, Paula Gerber and Charmaine Stapelberg. Costume Production: Marie van der Westhuizen, Magrit van Wyk, Hanneke Bosman and Rose Bico. Wardrobe: Ester (Shorty) du Preez Wigs: Mike and Liz Hairpieces & Paco Tapestries Stills Photographer: Hennie Coetzee - Imbewu Photography Sponsors: Phoenix Rising Media - Andrè Frauenstein, Liquor City, Jaegermeister and 1Time Airlines. Painting by At Botha Lefra Productions | Frans Swart, Charl Senegal and Shaun van Eck. Joburg ProMusica Theatre, Roodepoort Sound & Lights: Johannes Mojapelo Stage Manger: Ralson Netshitavha Runner: Jenna Dunster Sound: Chris Allsop from Biosound Final mix: Andrew Butcher from Biosound Editor: Johan Engelbrecht Camera: Lourens Human, Koos Rotes and Dirk Mostert Director of Photography: Dirk Mostert Shoot facilitated by DMCP Legal Advisor: Charlenes Groenewald, GVD Inc. Director: Johan Engelbrecht Produced by: Wilson Dunster & Elize Cawood Music: Florence Foster Jenkins sings, 'The queen of the Night' from Mozart's Magic Flute and Edita Grobarova sings.
Die storie is eenvoudig, die gevolge nie. Ná jare ontmoet ’n man en vrou mekaar weer by hul kind se graf, maar hulle is ander mense – hy het aanbeweeg, sy nie. Hulle het ’n kind verloor, toe hulleself, toe mekaar. Hoe nou? Hierdie vertoning is opgeneem tydens die 2017 Vrystaat Kunstefees. The story is simple, not the consequences. After years, a man and woman meet again at their child's grave, but they are different - he moved on, she didn't. They lost a child, then themselves, then each other. What now? This performance was recorded during the 2017 Vrystaat Arts Festival.
Tin Bucket Drum
Tin Bucket Drum is a South African Theatre classic which speaks powerfully to a wave of protest, resistance and change sweeping across the globe. Described by one reviewer as the sort of tale Ben Okri and George Orwell might have contrived had they put their imaginations together, Tin Bucket Drum seamlessly weaves together elements of magical realism, African storytelling, shadow puppetry and live percussion. The play, in its close and minutely explored world, takes a broad swipe at age-old global systems of restriction enforced for personal gain by those in power, and the way these restrictions affect the man or woman on the ground. Above all, it celebrates the transcendent power of creativity. Through a lyrical and deceptively simple script and the creative use of lighting and sound, one woman, the Narrator, succeeds in evoking a host of characters as this allegorical tale of oppression and liberation plays itself out. It is a story that offers a host of lessons for many places and many times Special thanks to Ntando Cele for her contribution to the production.
Cape of Ghosts
Created by Sifiso and the cast, Cape of Ghosts digs deep to find the core of what constitutes the ownership of land. Heritage? Economy? Legacy? Ancestral land is far more than a few grains of sand. It holds a profound spiritual connection to the earth for many and marks the place where forefathers were laid to rest. For others, land is merely earth, without layers of meaning, but instead a means to an end. Choreographer & Construction: Sifiso Kweyama Choreographic Contribution: Current and original cast Poet: Khadija Tracey Heeger Opening Poem: Lewellyn Afrika, Voice over by Shaun Oelf Costume Designer: Roderick Jaipal Photography: Mark Wessels Camera Operator: Tony Mittelmeyer Production Coordinator: Nkosinathi Sangweni Dancers: Darion Adams, Gabriela Dirkse, Keenun Wales, Siphosethu Gojo, Vuyolwethu Nompetsheni Poet: Khadija Tracey Heeger Music: Radical Face – ‘Asleep on A Train’, Radical Face – ‘Black Eyes’ and Max Richter – ‘Space. Jazzart Dance Theatre, founded in 1973, is acknowledged as one of South Africa’s leading contemporary dance companies renowned both internationally and locally, as an award winning company that influences and preserves the sustainability of dance, choreography and dance performance. Dance is used as a transformation tool to integrate social awareness and cultural inclusiveness that embodies the nature of South Africa’s Bill of Rights. Through training, performance and inter-disciplinary collaborations with diverse role-players we develop multi-skilled performers and create work that promote excellence, innovation and social change.
Limitless Self is a work that explores the pinnacles of discovering oneself. As an artist one constantly sharpens and deepens one’s understanding of who we are as performers by being vulnerable and open; our joy, sorrow, pain, and pleasure, juxtaposed with the discipline and self-reflection is necessary to create an artist and embrace the landscape of our lives. Choreographer: Shaun Oelf Costumer: Lee Kotze Camera Operator: Tony Mittelmeyer Production Coordinator: Nkosinathi Sangweni Dancers: Darion Adams, Gabriella Dirkse, Keenun Wales, Luyanda Mdingi, Siphosethu Gojo, Tanzely Jooste, Vuyolwethu Nompetsheni Jazzart Dance Theatre, founded in 1973, is acknowledged as one of South Africa’s leading contemporary dance companies renowned both internationally and locally, as an award winning company that influences and preserves the sustainability of dance, choreography and dance performance. Dance is used as a transformation tool to integrate social awareness and cultural inclusiveness that embodies the nature of South Africa’s Bill of Rights. Through training, performance and inter-disciplinary collaborations with diverse role-players we develop multi-skilled performers and create work that promote excellence, innovation and social change.
“Solid”, skilfully and sensitively interlaces the individual stories into one fluid and cohesive dance that progresses through life’s intricate journey and materialises as a hopeful, unified human element, protective and nurturing of one another and of the environment we call home. Choreographer: Sifiso Kweyama Camera Operator: Tony Mittelmeyer Production Coordinator: Nkosinathi Sangweni Dancers: Beverley Swartz, Chesney Stanfield, Emile Petersen, Jay Dee America, Kananelo Ngaleka, Keagan Damons, Liam Lottering, Lisakhanya Nongqongqo, Mihlali Gwatyu, Nosipho Tsengwa, Phiko Luke, Rian Jansen, Savannah Petrus, Sinenhlanhla Sihlangu, SiphesihleDuma Jazzart Dance Theatre, founded in 1973, is acknowledged as one of South Africa’s leading contemporary dance companies renowned both internationally and locally, as an award winning company that influences and preserves the sustainability of dance, choreography and dance performance. Dance is used as a transformation tool to integrate social awareness and cultural inclusiveness that embodies the nature of South Africa’s Bill of Rights. Through training, performance and inter-disciplinary collaborations with diverse role-players we develop multi-skilled performers and create work that promote excellence, innovation and social change.
Die Nag van die Slang-Uil
Die skeppers van Bal-Oog en Brommel en Nagwandelaars bied aan: Nag van die Slang-Uil – ’n aksiebelaaide, komiese, misdaadriller met privaat speurder Gert “Staal” Geldenhuys, ’n geharde oud-polisieman en voormalige lid van die Valke. Sy meisie, Kassandra, word ontvoer. In ’n poging om haar te bevry, volg Staal raaiselagtige leidrade wat hom al hoe dieper in ’n komplot oor kernwapens lei. Staal moet teen geharde skurke en moorddadige robotte veg om Kassandra en die Snelstroom planeet te red. The creators of Bal-Oog en Brommel and Nagwandelaars present: Nag van die Slang-Uil - an action-packed, comic, crime thriller with private detective Gert “Staal” Geldenhuys, a hardened former cop and former member of the Hawks. His girlfriend, Kassandra, is kidnapped. In an effort to free her, Staal follows enigmatic clues that lead him deeper into a nuclear weapons plot. Staal must fight against hardened villains and murderous robots to save Kassandra and snelstroom the planet.
Zaf'ingane Ancestral Jazz
Liso the Musician brings her individual flair to a musical style she has coined ‘Ancestral Jazz.’ She joins forces with music video director and cinematographer Motion Billy to create Zaf’ingane, a theatrical, story-driven and spiritual performance. This performance calls on South Africans to pray to God and praise the Ancestors to help the country through the pandemic and the ongoing social ills that so many of its people face. She will be accompanied by instrumentalists Ray Morgan (drums), Bradley Prince (lead guitar), Faresani Sikhwivhilu (bass guitar), and Lwazi Knowledge Masuku, Sonwabile Mhlonyane, Mendy The Musician as backing vocalists. Award winning stage and screen actor Tshamano Sebe, currently on Netflix in the SA horror film, 8, will make a cameo appearance in his debut musical performance. Writer: Liso The Musician Co-Writer: Mandisi Sindo Adaptation: Ligo The Musician Director: Mandisi Sindo Co-Director: Liso The Musician Producer: The Sindos Foundation Executive Producer: KASI RC Co-Producer: National Arts Festival Associate Producer: Mandisi Sindo Costume Designer: Ntsikelelo Ntleki Costumer: VATOH Props Master: George Kirkinis Set Designer: Mandisi Sindo Video Operator: Leila Kidson Production Manager: George Kirkinis Editor: Motion Billy Sound Editor: Octopi Original Music Composer: Liso The Musician
Tankiso Live, The audacity to be
This show is the second instalment of a long term musical project by Cape Town-based musician Tankiso Mamabolo. Tankiso has made it her business to take protest and turn it into educational and engaging material in the form of original music, spoken word and the use of projected imagery and comedy.
Then . . .
In this experimental re-imagining, filmed during two different levels of the South African national lockdown, mostly in isolation, and using only FaceTime and basic screen recording functionalities, two characters, faced with confinement, loneliness and regret, have to confront their fears and desires as they come to terms with their (seemingly) (in)finite situation, a situation that borders on both the desperately disastrous, and the disastrously desperate. CREDITS ADAPTATION BY Rian Terblanche WRITTEN BY David Campton DIRECTION Rian Terblanche CAST Phythick - Carrick Keating Miss Kitty - Kaitlin Groves CAMERA OPERATOR Rachael van Rensburg EDITOR Lizanne Schultz
Wie is ons as individue, in groepe, soos gesien deur ander, en wat word ons identiteite dan? Wat is die duike in ons gemeenskap en ook in onsself?Wat bind ons saam en wat bind my aan wie ek regtig is en wie ek wil wees? Die stuk ondersoek die duike en bande van individuele én gemeenskaplike identifikasie en vernaamheid. Persoonlike, gemeenskaplike en universele vertellings en identiteite word deur sang, dans, stories en musiek gevier. In ’n ontdekking van die verlede, die hede en die toekoms lê ’n buitengewone reis oor wat ons uniek maak en wat ons saambind. Die projek is ’n interdissiplinêre vertoning, ’n spanpoging tussen die UV, die Vrystaat Kunstefees en PIKO. Ondersteun deur UV Studentesake en die Koninkrijk der Nederlanden. Opgeneem tydens die 2016 Vrystaat Kunstefees. Who are we as individuals, in groups, as seen by others, and what then are our identities? What are the DENTS in our society as well as in ourselves? What TIES us together and what TIES me to who I really am and who I want to be? I-dent-I-ties explores the DENTS and TIES of both individual and communal identification and distinctiveness. What does it mean to be me? What does it mean to be South African? What does it mean to be human, especially in an increasingly interconnected, albeit turbulent world? I-dent-I-ties is a large-scale interdisciplinary performance project, a partnership between UFS, Vrystaat Kunstefees and PIAD. Supported by UFS Student Affairs and Kingdom of the Netherlands. Recorded during the 2016 Vrystaat Arts Festival.
Generasie Z is nog nie eens gedefinieer nie en die volgende is reeds daar, die eerste milleniërs wat in die 21ste eeu gebore is en waarskynlik Alfa genoem sal word. Waarvoor sal hulle onthou wil word? Met die steun van NATi, die Koninkryk van Nederland en die Vlaamse regering (België) sal ’n kreatiewe span van Suid-Afrika asook internasionale kunstenaars die vrae met Suid-Afrikaanse tieners ondersoek. Watter nuwighede kan ons van dié generasie verwag? Opgeneem tydens die 2018 Vrystaat Kunstefees. Most generational experts are still busy profiling Gen Z. However, the upcoming generation after them is truly the first millennial generation born into the 21st century. It is most likely that the new generation will be known as Alpha. How will the world remember them? With support from NATi, the Kingdom of the Netherlands and the Flemish Government (Belgium) a creative team of South African and international artists explore these questions with South African teens. What new inventions can we expect from them? Recorded during the 2018 Vrystaat Arts Festival.
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