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The gallery itself is a pleasant and unintimidating space. It’s small enough to be intimate and yet large enough to showcase a satisfying variety of works. With exhibitions regularly changing, roughly every four weeks, it warrants return visits.

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“The international and local creative teams behind this project have produced something uniquely beautiful and majestic in its visual glossolalia and kaleidoscope of sexual jokes and nuance.”

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The real drama for the audience is in the dancing and is particularly evident in the final pas de deux between Principal dancers Jonathan Rodrigues as the Prince and Burnise Silvius as Cinderella.

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“An outstanding voice of the night was long blond haired Capetonian Richard Skirton who blew everybody away with his vocal prowess on Paul Simon’s ‘Sound of Silence’ and the iconic ‘Bohemian Rhapsody’.”

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Dwayne Combrinck is a man with demons. You can see this as he walks into his workshop, a bloodied baseball bat in hand. You can see this in the anger he articulates and the acerbic vitriol he spews when provoked.

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“By the end of this piece, it feels as though you’ve been privy to something that is both too ghastly and too private for it to be staged in a theatre.”

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“Be warned: you will be lost in your own laughter way before the plot grabs you by its own tale. It’s a convoluted one, but it doesn’t matter. The work is so crisply constructed…”

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With the focus on the fragile and ever-changing relationships between the protagonists, Van Graan illuminates those moments where change is possible – when the chance to act humanely flickers momentarily.

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The writing is palpably beautiful and you want to hold and savour each turn of phrase, but it is the potency of Sello Maake kaNcube’s performance that makes it sing as a theatre piece, with all the requisite dignity and vulnerability that holds it together.

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A simple tale about bullying and friendship which is told with a deft directness, a sparkly sense of self and a true spirit of collaboration, enabling everyone on the creative team to give of their very best.

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The amateur thespians are played by a cast of professional actors, although you could count the uncooperative, malfunctioning stage as a ninth cast member.

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The director and writer look at the clash of cultures, but also how these different cultures can live together in harmony – a kind of blueprint for which was to follow many decades later.

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This tender and quivering yet seemingly bruised body of close to 40 works, is collectively about quirky humour, dark laughter and the slithery teasing apart of mythical practices, fairytales and idioms.

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It’s at once charming and chilling, with physical theatre so subtly incorporated that, by the end, you feel like the human condition is light on its feet.

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“Director Fred Abrahamse sticks to some conventions – males play female characters, and the original style and tone is retained – while managing to wrap it in a blanket of originality.”

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