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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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“A controversial figure in real life, the Eva Peron portrayed in Evita is not particularly likeable, but certainly she appears as a fascinating force of nature.”

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Whether you’re sold on hypnotism or a complete sceptic, it doesn’t actually matter. You’ll either love the show believing everything you see, or you’ll be completely fascinated as you doubt or try to work out what’s going on.

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But the feeling that ultimately takes over is one of amazement and wonder. To think that it takes 1500 hours to prepare a specimen and that each specimen was once a living human being is mind-blowing.

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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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The play’s biggest challenge is that it’s difficult to find emotional connectivity with these half-baked characters. The acting, too, is never commanding.

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“Insisting on playing all their instruments in real-time – in an era when most international bands are supremely reliant on computers and pre-programmed sequencing – ensured an impactful set.”

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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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You will not regret taking up the invitation to attend this exuberant and, at times, poignant, Greek wedding with all its traditional – and not so traditional – features.

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“A cursory understanding of Judaism and the general political backdrop of the 1950s is helpful to truly appreciate this piece of theatre and catch the inside jokes.”

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Way ahead of her time, our female protagonist is feisty, funny and eternally optimistic, a great role model for girls everywhere. The cast, crew and entire team present a delightful, colourful and upbeat spectacle.

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“Expect send-ups of famous musicians, parodies, glittery zebra wellies, awesome piano playing, and even a cheeky bit of nudity.”

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No artistic ability is required. The idea is to have fun and perhaps a few drinks while you bring out your inner Monet and/or your inner child (a selection of brushes is provided, but finger painting is entirely acceptable).

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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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Each scene is visually impressive, making a grand, almost Old Master painting of colour and design. The poised opening of the Capulet ball with its rich reds is sumptuous, while the stark lights fading into the cowled figures and lit candles in the Capulet crypt send shivers down the spine.

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“Beautiful dancers stream onto the stage, legs flailing about in synchronicity, and we are hurled – mouths agape – into an Irish fairyland.”

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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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“Sugar and spice and with a touch of vice, that’s what regular fairy tales are made of. Add aerial flights and daredevils on ice, that’s what Cinderella on Ice is made of.”

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It’s not everyday that one gets to be suspended in the air without the sinking feeling of free-falling, but rather the elation of soaring. What is particularly appealing about this zip slide compared to others is that you lie on your stomach in a canvas bag of sorts instead of sitting in a harness.

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