In 2018 during our interview with theatre-maker Dara Beth, we spoke about the return engagement of her play, Nasty Womxn. Now, 18 months later, Nasty Womxn is back for its third return engagement, this time featuring a new cast, a reworked script and coinciding with Dara’s latest theatrical offering, The Chronicles of Athena, Babes. Tasked with staging two independently produced works which almost run concurrently, we ask Dara to share her thoughts around this creative process. Continue reading
Kyra Loubser is a Cape Town-based hair and makeup artist, stylist and beauty editor for Kuier Magazine. Initially entering the industry as a hairdresser, Kyra was introduced to the world of television with M-Net working as part of the styling team for the Miss Soweto Pageant. She then went on to be a part of the styling team for the Miss South Africa Pageant, which she considers to be a career-defining moment. Kyra was then approached by Idols winner, Karin Kortje to do her styling, hair and makeup which jumpstarted her career as a stylist, hair and makeup artist and saw her work expanding into theatre. This led to introductions to names such as Alistair Izobell and Kim Engelbrecht. About a year later, she was offered the position as Tracey Lange’s stylist for Bravo! on Kyknet. Kyra also spends her time mentoring and upskilling four ‘Kyra Fairies’ who have shown an interest and passion for the industry. Her work has spanned TV, film and theatre but it’s her latest project, which sees her designing and creating the makeup looks featured in Kinky Boots at the Fugard Theatre, that has everyone buzzing. Continue reading
Carin Bester is a performance artist, actress, set designer and art director who has been working in the film, television and theatre industry for the past 10 years. In 2015, Carin performed her first performance art piece Verlies. She was drawn to performance art because of its immediacy and honesty. She views it as a medium in which she can express herself freely as she interrogates issues of social importance effectively. In 2017, she did My Body My Life, a performance installation which took the statistics of gender-based violence in South Africa directly to the viewer. Since then she has done various other pieces about gender-based violence in South Africa. Currently, she is experimenting with documentation of performance elements to create print and video art. A piece called Dress of Remembrance, which was worn on August 1st 2018 as part of the #TheTotalshutdown March against gender-based violence to Parliament, has been included in an exhibition at the Iziko Slave Lodge Museum. Cape Town audiences recently saw Carin’s set design featured in Figure of 8 Dance Collective’s Wag/Waiting which debuted at the Baxter Theatre. She will be performing a new piece Till Death Do Us Part this August as part of the Vavasati International Women’s Festival at The State Theatre in Pretoria.
During our conversation with storyteller Buhle Ngaba in 2017, she spoke about winning the Brett Goldin Bursary and creating her show, Swan Song during her time at the Royal Shakespeare Company. Now, almost three years later and after a successful developmental and award-winning run at the Klein Karoo National Festival in 2017, Swan Song has its eyes firmly focused on Vrystaat Kunstefees. Prior to its run, Buhle has launched Going For A Song, an art auction with a difference, making a difference to make art accessible. At the auction which will take place at the Book Lounge on July 1st, bidders will raise funds to get Swan Song on stage in front of a wider audience. On the night, it’ll be chosen at random and announced to guests which items will be up for auction – sold, to the highest bidder! – and which will be raffled. This split is symbolic of what Buhle hopes to do with Swan Song, and her wider body of work: to democratise art in a way that allows accessible participation and an easy buy-in to art that maintains its value. Those purchasing ‘tickets’ will do so at a fixed cost and post them into the “bidding box” beside each artwork to stand a chance to make it their own. In celebration of the upcoming auction, Buhle writes about the evolution of Swan Song. Continue reading
Naledi Majola is an actor, performance-maker and sound designer. In 2018, she was seen on stage in Tara Notcutt’s historic all-female production of The Taming of the Shrew and in Stream, a multimedia performance work led by Jennifer Steyn at the Baxter Theatre. She makes her feature film debut later this year in The Banana Splits. Her performance work, Where is the black samurai? debuted at Arcade, a durational live art platform curated by Gavin Krastin, and was most recently performed at the 2018 ICA Live Art Festival. Naledi also designs sound for performance, having recently done so for her own work, as well as AMES, written and directed by Andi Colombo in 2018 and the upcoming production of Tales from the Garden written by Ameera Conrad, which will run at the Baxter Theatre’s Masambe Theatre followed by a run at the Edinburgh Fringe Festival later this year.
Tessa Denton is an actor, director, choreographer and designer. She was recently appointed to Gate69’s art department where she is tasked with creating the obscure, creative, daring and over the top wigs, headpieces, earrings and accessories. Over the years, she has created many looks for a variety of clients, whether it be with make-up, body paint, dress setting, sets, decor, props, wigs, accessories or even just conceptualising ideas events. As an actor, some of her TV credits include; Die Boekklub, Getroud met Rugby, Donkerland, Binnelanders, 7de Laan and Generations. Select theatre credits include; Mis, Altyd in my drome, The Rocky Horror Show, Grease, The Full Monty and Lady Macbeth in the adult pantomime Macbeth. Later this year she’ll be seen on stage in Mis in Johannesburg followed by two TV appearances in Fynskrif and Sara se Geheim. Currently, her wig designs can be seen on stage at Gate69 in their latest show, Non-Specific.
Janni Younge is a director and producer of multimedia, theatrical and visual performance works, with an emphasis on puppetry arts. Janni’s work has been performed widely internationally and she has gone on to be awarded the Standard Bank Young Artist Award for Theatre, several Fleur du Cap awards for puppet design and the Nagroda award for direction. A former director of Handspring Puppet Company for four years, she currently runs Janni Younge Productions and concurrently directs UNIMA SA. Janni’s works include the creation and direction of Ouroboros which toured extensively in South Africa, Europe and India, The Firebird which toured in the USA and Take Flight, currently touring Europe. With Handspring, Janni also directed revivals of William Kentridge’s Woyzeck on the Highveld and Ubu and the Truth Commission and worked with Handspring on War Horse and on the Bristol Old Vic’s Midsummer Night’s Dream. She also created and directed puppetry for the Royal Shakespeare Company’s Tempest.
Lukhanyiso Skosana is an actress, performance artist, vocalist and theatre-maker. Her performing credits include Love Like Blue directed by Puleng Lange-Stewart, Khanyisile Mbongwa’s performance art piece kuDanger, Ndawo directed and written by Thapelo Tharaga and Nguvu Ya Mbegu directed by Mandla Mbothwe. To continue her collaborations with womxn of colour, she was in the dance piece Bana Ba Mobu choreographed by Tshegofatso Mabutla. She is in the continuous process of touring and reworking Womb Of Fire, a production written and performed by Rehane Abrahams and directed by Dr Sara Matchett for which she was recently awarded a Fleur du Cap Theatre Award for Best Original Music Score. She continued her longtime collaboration with The MotherTongue Project by performing in their performance piece Walk in India at the ITFOK festival, at the National Arts Festival in 2018 and at Woordfees 2019. She recently choreographed her debut dance piece entitled Zinyile i’Queers and also participated in Body Politics in a durational Butoh piece titled UMGOWO. In 2018, Lukhanyiso made her directorial as well as playwriting debut with her graduation piece Inguquko.
Lucie de Moyencourt is an artist best known for her many exhibitions of suburbs in and around Cape Town. As a former architect, Lucie loves drawing the city, observing people going about their daily lives. Lucie has spent many years backstage, watching her mother perform as a dancer in various productions and is thrilled to be back in the wings to draw over 60 projections for the play Happy New Year (A Play With Songs) at The Fugard Theatre. The play coincides with a solo exhibition at the Voorkamer Gallery at Chandler House, of 300 Cape Town sketches painted over the summer of 2018/2019. Both the play and the exhibition celebrate Cape Town and the people who live and pass through it.
Kanya Viljoen is a theatre-maker, performer and designer. Recently, Kanya wrote and directed RAAK, which debuted at the Vrystaat Kunstefees and was nominated as Best Production of the festival. Furthermore, it has been nominated for two Kyknet Fiësta Awards and is heading to US Woordfees 2019 for a limited run. Earlier this year, Kanya was awarded South African Theatre Magazine’s Best Emerging Director Award. In 2018, Kanya directed Like Hamlet, which was performed at the Theatre Arts Admin Collective as part of the Annex Theatre Bursary. Her script, mank, was selected for further development by Kunste Onbeperk’s Teksmark and she was awarded a writer’s bursary for this script. Currently, Kanya is an Andrew W Mellon scholar, completing her MA in theatre-making at the University of Cape Town.