The Critter

This shrill shrewd coloured woman trope, as we’ve so often seen her depicted, as we continue to represent her, whether for tragedy or for laughs, is rooted in a gendered, racialised, class-specific gaze. These characters, these aunties, their way of speaking and being have been mined for comedic value by many. Coloured woman are often reduced to a punch-line. Unworthy of specificity or backstory. Here, it’s deconstructed.This production does something remarkable in showing this up. It caricaturizes and problematizes simultaneously… READ FULL ARTICLE HERE

‘Art as archeology, as excavation’ is the approach director/producer Qondiswa James uses in devising this story through its iterations, ‘rewriting the archive, we tell our own story’. Ndinxaniwe is a radical, tragic story that recognizes the fuckery of the Rainbow Nation lie, and excavates the truth of the past… READ FULL ARTICLE HERE

Jitsvinger takes the stage wearing his signature Graasies (Grasshoppers), sunglasses and afro-comb, he commands the space yakking (dressed in) an outfit with old school VHS print. A consummate performer, Jitsvinger is a self-composing jazz cat and an Afrikaaps rapper with finessed flow… READ FULL ARTICLE HERE

Trigger warning: Suicide, Sexual assault. Watch it with a brah, not alone. We see our mothers, our grandmothers, our fathers, our grandfathers, our partners. It shouldn’t be that easy to see our lives and lineages in these scenes. READ FULL ARTICLE HERE

It feels wrong to be cheerful at a time like this – this is Anton’s most poignant observation. But we must. We must find levity in a time like this. And in HA!Man’s whistled melody, we start to find it. In the final few moments, the duo asks the audience: do we want serious or silly? This question, this asking, reminds me that we have this choice. In the midst of our cratering pain, we can still be silly if we so choose… READ FULL ARTICLE HERE