The high end musical Pretty Woman never pretends that the arrangement between Vivian and Edward is anything other than what it is. She’s a prostitute; he’s a rich guy. It is a deal, and both of them know it. But knowing something and feeling it are two different things.
Telling your own story with its sensitive veils of family nuance is never easy. The “I” in the tale can be tyrannical and cause more damage than healing. Bo Petersen’s portrayal of apartheid and of her father’s choices is compassionate and complex. You weep with empathy; you stave off judgement.
In ‘Stinkhout’, Frank Opperman and Wilhelm van der Walt take you flawlessly through three generations of white South African men. Hands-on emotion is hard. It’s embarrassing. Shame-worthy. They’ve been definitively schooled by defining moments of war and loss. Mental illness flows through the family’s blood. Taboo must be kept taboo.
BETHANY DICKSON AND Kenneth Meyer are the two best reasons you need to see Matilda: The Musical. This internationally feted production which pushes kids to their very limits boasts polish and cohesion, humour, cruelty, victory and madness, is bruised by sound design, in the Johannesburg venue. Matilda is […]
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