Latest news with #BaxterTheatre
IOL News
9 hours ago
- Entertainment
- IOL News
Experience the magic of the 4th Aviva Pelham Operetta Competition
The 2023 winners of the Aviva Pelham Operetta Competition Image: Supplied Lovers of music, theatre, and emerging talent, mark your calendars for an enchanting evening. The highly anticipated 4th Aviva Pelham Operetta Competition will take centre stage on Monday, 4 August at 7pm at the Baxter Theatre, promising a dazzling night filled with charm, sparkle, and musical brilliance. Established in 2022 by South Africa's beloved operatic doyenne Aviva Pelham, this competition celebrates the often-overlooked and delightful genre of operetta—characterised by its playful, poignant storytelling and rich dramatic potential. The competition serves as a vital springboard for Africa's rising vocal stars. 'This competition is about joy,' said Pelham. 'It introduces young singers to a repertoire that is wonderfully entertaining and technically demanding. We want to ensure that this music continues to live and inspire—and that our singers are equipped to carry it to stages across the world.' Hosted in collaboration with Opera UCT and its visionary director, Professor Jeremy Silver, the competition promises to do more than simply showcase talent. It presents audiences with a unique opportunity to witness the future of classical music in Africa and for performers to evolve into the next generation of global ambassadors for the art form. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ 'Operetta stretches a singer's artistic range—vocally, musically, and theatrically,' explained Silver. 'Through this competition, we are nurturing young artists who understand not only the technique but the joy and storytelling of this repertoire.' The finalists will perform solo arias and duet pieces drawn from the vibrant Viennese, French, and Spanish Zarzuela operetta traditions, with themes ranging from comedic satire to romantic whimsy. What makes this event even more thrilling is that the competition will be judged live on the night, with winners announced in the following categories: Aaria Prizes: First – R10 000 | Second – R6 000 | Third – R3 000 First – R10 000 | Second – R6 000 | Third – R3 000 Duet Prize: R10 000 (shared by duet partners) R10 000 (shared by duet partners) Audience Prize: R1 000 (voted live by the audience) Importantly, the competition not only nurtures the next generation of operatic talent but also highlights Opera UCT's commitment to broadening access to high-quality musical training and performance opportunities. Through initiatives like this, Opera UCT continues to champion artistic excellence and cultural vitality in South Africa. This year's competition has an added allure for audiences, as it will serve as a sneak preview of the exciting operatic season ahead, including a production of the genre's most famous and frothy masterpiece, Die Fledermaus by Johann Strauss, in celebration of the composer's 200th birthday and coinciding with World Opera Day. Don't miss this unique opportunity to cheer on Africa's operatic future and immerse yourself in the lighter side of classical music.
IOL News
11-07-2025
- Entertainment
- IOL News
Aldo Brincat's shape-shifting theatre captivates Joburg in his solo memoir 'The Moon Looks Delicious From Here'
The Moon Looks Delicious From Here will run at the Baxter Theatre, from 20 to 31 May. Tickets are available via Webtickets. The award-winning solo production The Moon Looks Delicious From Here is now captivating Johannesburg audiences at The Market Theatre, where it runs until July 27, following a successful appearance at this year's National Arts Festival. Written and performed by interdisciplinary artist Aldo Brincat, the semi-autobiographical work has earned acclaim both locally and internationally, including a Standard Bank Silver Ovation Award in Makhanda and the Special Jury Award at London's Bitesize Theatre Festival. Described as "a masterclass in writing and performance" by the Bitesize Festival jury, The Moon Looks Delicious From Here is an intimate, character-driven work that explores themes of identity, sexuality, heritage and belonging through the eyes of a first-generation South African. Brincat, who is of Mauritian, Egyptian and Maltese descent, draws on his own life growing up in apartheid-era South Africa in the 1970s and 80s. At the heart of the piece is a tender, complex relationship between father and son - two men from different motherlands, navigating their place in a divided and often hostile country. The play unfolds through a rich tapestry of characters, all portrayed by Brincat - some rooted in Durban's cultural landscape, others shaped by foreign lands. The backdrop of political unrest, oppressive legislation, and shifting societal norms, form a powerful counterpart to the personal struggles of language, faith, love, ambition and sexual identity. 'Pain is pain. Love is love. Life is delicious," reads the show's tagline - a line that encapsulates the play's emotional range. Audience members and critics alike have praised Brincat's ability to move seamlessly between humour and heartbreak, bringing each character to life with empathy and nuance. Directed by poet and performance artist Sjaka Septembir, and underscored with original music by internationally recognised composer Bongeziwe Mabandla, the production is both sparce and immersive, drawing on aesthetic principles of Poor Theatre to place emphasis on storytelling and emotional truth. Tony Lankester, CEO Edinburgh Festival, called the piece " authentic and endearing and moving in equal measure," while arts critic Billy Suter hailed it as "one of the best things I have seen on stage in some while, … Brincat mesmerises throughout." Reviewers have also highlighted the work's broader social and historical significance. In a review from The Critter, Steven Kretzmann noted: " it is also an important play in that it contributes to the tapestry of our shared history and trauma... invites us to reconjure our own memories and confront some difficult truths." Following this run, the production will travel to the Toyota Stellenbosch Woordfees. More details will follow. Tickets for The Moon Looks Delicious From Here are available via Webtickets at In-house Bookings at 083 246 4950.
News24
09-07-2025
- Entertainment
- News24
‘This is physical': Arthur Schnitzler's La Ronde gets a daring modern twist at the Baxter
La Ronde, Arthur Schnitzler's 1897 text, adapted to the modern South African context, is on at the Baxter until Saturday, 12 July. The production is directed by Leila Henriques and features the Baxter's Fires Burning Company. Actor Aidan Scott gives insight into the rehearsal process of the production and comments on the South African theatre industry. A techno beat throbs through the Baxter Theatre as La Ronde opens to South African audiences with a daring and visually striking reimagining of Arthur Schnitzler's 1897 play. Directed by award-winning theatre-maker Leila Henriques and running from 20 June to 12 July, the production situates Schnitzler's classic text in the contemporary pulse of Cape Town nightlife, transforming the work's historical eroticism into a culturally resonant exploration of intimacy, power, and class in modern-day South Africa. Schnitzler's text explores ten interconnected sexual encounters across different social classes, a circular structure of interlocking scenes between pairs of lovers. Henriques' production doesn't shy away from this raw material. Instead, it leans in, transforming the stage into a pulsing, strobe-lit dance floor where bodies move intensely and precisely. Sexual morality and class ideology are debated and bent through the characters, and intimacy is exposed in the dynamics of the scene partners. The play opens with a fiery, techno-fuelled dance sequence choreographed by Crystal Finck, immediately immersing the audience in the sensory language of club culture. Transactional erotica is established in the first few beats, and a driving pulse encompasses the production. In Henriques' hands, La Ronde becomes a sweaty dance through modern South African identity, where club culture, class politics, and erotica collide. The characters' actions are honest and large, exposing people in their extreme sexual moments and calling out the contrasts and duality of personhood. The ensemble, featuring Awethu Hleli, Lyle October, Tamzin Daniels, Nolufefe Ntshuntshe, and Carlo Daniels, with Berenice Barbier and Aidan Scott, tackles their roles with a visceral intensity, each playing into their archetypal characters with honesty and edge. These characters — the student, the actor, the soldier, the domestic worker — remain familiar even in their abstraction. Across a spectrum of social class, each character burns with a restless hunger for connection, for escape, for something just out of reach. Their sexual encounters become expressions of desperation, a hope to eradicate boredom and live with an idealised yet clichéd excitement. 'Nothing has changed' 'The themes written 150 years ago were bold and daring at the time — the beginnings of feminism, sexual liberation, class, and power. When you read the play, you realise that nothing has changed,' says Aidan Scott. 'We take that language and situate it in modern South Africa, where the problems that people were experiencing 150 years ago are literally the same as we are experiencing now, and the archetypes of the different characters have not changed. Every character that one is going to see when they watch the show is someone they know.' Scott emphasises that for the actor, the physical demands of a play are deeply rooted in sexuality. 'It's a sex play. That's what it is. Each character, at some point, has sex, and we ask how sex changes a person and how it changes a person in relation to who they have sex with. As an actor, this is physical: how do you walk into a scene? How does the sex change you physically onstage? Do you become more relaxed or highly strung?' Navigating such intimacy required care in the rehearsal room. Scott notes that the theatre industry lacks the intimacy coordinators that film sets require, and oftentimes, it is up to the actors to navigate intimacy in the rehearsal space. The cast handled this by going through the mechanics of intimacy first, blocking what it feels like to be close with someone, and giving it the time and space required to produce safe work. La Ronde is particularly significant as it features the Baxter's newly formed Fires Burning Company, an ensemble initiative that mirrors the model of state-funded theatre companies from the 1970s and 80s. 'It's one of the greatest things happening in SA theatre right now,' Scott says. 'A company that grows together gets better together and builds a theatre culture.' Scott commends Baxter for restarting the theatre company model, an investment in long-term ensemble work that is a rarity in today's theatre landscape. Henriques brings a distinct approach to collaboration shaped by her time working with Barney Simon at the Market Theatre. 'She wanted to discover, deeply discover, allow choices to emerge from those discoveries,' says Scott. The production is bold, sexy, and urgent—qualities that Scott hopes will draw younger audiences to the theatre. 'It's contemporary. It's fresh. It's South African. It's diverse. And it's still really good theatre.' As with much of South African theatre, the challenge remains in attracting audiences. 'With the rise of film and short-form content, theatre has become secondary,' Scott says. 'Audiences will always be an issue.' Still, he remains hopeful. 'This year looks to be one of the most exciting years in South African theatre we've had in a long time. I've seen shows in London and New York, and the work happening here, whether in performance, direction, or design, is just as good. It's beautiful work.'
IOL News
03-07-2025
- Entertainment
- IOL News
Simphiwe Dana's shocking revelation: 'I've been stolen from for five years!'
Simphiwe Dana reveals that she has been stolen from by her people for over five years. Image: Instagram Singer-songwriter Simphiwe Dana, known for her sharp social commentary and activism through music, has come forward with a shocking revelation. The seasoned singer revealed that for the past five years, she has been a victim of exploitation and theft, with her own 'people' implicated. With a career spanning over two decades, Dana has built a reputation for using her platform to speak truth to power. Since coming onto the music scene in 2002, her music has tackled everything from inequality to social justice. But behind the scenes, Dana's team had been quietly taking advantage of her trust. According to the artist, the exploitation began five years ago, and she feels betrayed. 'I'm actually getting madder by the moment. I know I bring genius things. For the past five years, I've been stolen from. And my people have been a part of it. I'm tired. The betrayal is painful,' said Dana. The news has sent shockwaves through the music industry, with many of Dana's industry peers and fans expressing outrage and support. Singer Moneoa Moshesh took to the comment section to show Dana support. 'You're a legend. I'm really sorry for whatever it is you're going through, but please always know you're literally one of my biggest inspirations for individuality and authenticity in writing and the style of expressing music. 'They can't compete where they don't compare. You're amazing. We love you,' said Moshesh. Another industry peer, Thebe Ikalafeng, also shared words of encouragement with Dana. 'No one can steal your excellence and authenticity; the rest won't last. I love you. Let me know if there's anything I can do to help you,' he said. Additionally, the 45-year-old Butterworth-born artist celebrated 20 years of her debut album 'Zandisile', with a concert in June at the Playhouse Theatre as well Baxter Theatre.
Time Out
02-07-2025
- Entertainment
- Time Out
UNRULY
Photograph: Retha Ferguson UNRULY , starring acclaimed performer Andrew Buckland and double bassist Chantal Willie-Petersen, returns to the Baxter Theatre for a limited season from 17 July to 2 August. This immersive storytelling performance – rooted in rigorous academic and creative research – delves into the uneasy coexistence of humans and urban baboons in the fictional town of Skemer Baai. When a revered baboon matriarch vanishes under mysterious circumstances, long-standing tensions erupt, revealing deeper truths about territory, survival, and belonging. Thu, 17 Jul 2025 Sat, 19 Jul 2025 Sat, 19 Jul 2025 Tue, 22 Jul 2025 Wed, 23 Jul 2025 Thu, 24 Jul 2025 Fri, 25 Jul 2025 Sat, 26 Jul 2025 Sat, 26 Jul 2025 Tue, 29 Jul 2025 Show more By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. 🙌 Awesome, you're subscribed! Thanks for subscribing! Look out for your first newsletter in your inbox soon! Discover Time Out original video
