Megan's Head

A place where Megan gets off her head.

Category: Cape Town (Page 2 of 89)


Yes I know it has been, day 1 news of hideous shooting in Melville, day 2 Trump war, day three the actual horror of the whole of burning OZ and day 4 the start of more load shedding, but I am feeling good. Happy. Clear. Excited. Healthy.

I have done (not enough but definitely more than usual) a bit of forward planning and visualising for the year ahead, and I am starting it with energy and positivity as well as a sense of quiet confidence.

I feel like I have a few things up my sleeve. I feel in it. And I like how it feels. I look forward to tomorrow, and getting back into the swing of things. I am ready to work, and play and create and write and manifest. I had a great walk and swim and chat and relax today, and I am going to sleep now, to dream into it all. See you later. For more.

A busy week of abundance

Even though I have really wanted to believe, I have always, in the deep recesses of my brain, been sceptical about ‘asking the universe’ or ‘visualising’, or ‘tapping into the source of abundance ‘. Which is ridiculous, because even when my asks have been outrageous, or half hearted, or even totally unrealistic, I have generally had pretty good results.

Here is a little case in point story that goes like this. I popped into my agents to sign a contract for a tiny TV series role (I had asked for it and gotten it without even realising that it was me getting what I had asked for) and I announced to the fabulous Onida and divine Suzi that I needed to land an ad to help get me back to NYC in mid March 2020 (because my play Lost Property is going into full production in Jersey City! Another thing that happened by me asking the universe very nicely and clearly) and Suzi said, “Ask for it here, in the office. Visualise it.” I did. And I got confirmed on an ad that I am shooting this week. It is my first ad in years. It is a lovely part, for a product I am comfortable with. When Suzi let me know about the callback she called the job the ‘Get Megan to NYC’ campaign.

This is powerful stuff if we allow it in. It works best with accompanying feelings of gratefulness and humility. It works in both positive and negative ways. It seems to work properly if there is clarity of intention.

In the next week I will be looking back on this year that was filled with beautiful and amazing actualisations and terrible, dark times of despair. I will be looking forward and articulating how I want to be, and who and what, in the year to come. And I will be asking, with the clarity and gratitude that it is already happening. Here’s to life.

A delightful and cheery end of year light

Last night we performed our final ImproGuise pop up improv show of the year at the Drama Factory in Somerset West. It’s also one of the last shows to perform in the old Drama Factory before it moves a few units down into a bigger space. Sue Diepeveen is one of my theatre heroes, going it alone in that neck of the woods with her fierce and independent little theatre; doing the marketing, front of house, and even jumping in to do our lights at short notice. She has more energy than a teenage party goer, more staying power than super glue, and she is a fabulous actor and director in her own right. Next year I will definitely be performing The Deep Red Sea there, and hopefully, I will be able to do more work there in general.

We also performed our signature format of TheatreSports last night, and we were a team of mixed oldies and newbies. It was so much fun, and there was singing, accents, emotions, story, and lots of corpsing by me.

It’s a great thing to have done as my last outing on stage for 2019.

In comparison to the rest of the year which has had me working in fits and starts, this last month has been full, and rewarding with work. I hope this sets the tone for 2020, where projections are looking pretty good. I don’t want to jinx it, so no details here yet, but I am excited.

December blues, greens and deep sea grey

As I type dust particles collect in the grooves of my laptop keyboard, blown through cracks in ancient ceiling boards, and under doors and improperly sealed windows. Courtyard plants stand sideways in pots and dog hair tumbleweed rolls through the rooms. It is December in Cape Town and the wind is here.

It is hot now and becoming dry. Traffic is mad, and impatient and brainless. And there is load shedding. Load shedding in Cape Town in December. Restaurants are losing their shit. Nobody can manage a traffic light turned 4 way stop.

Now it is 1030pm on a Sunday night and the wind is whirling though the courtyard, lifting the hatch that goes into the ceiling and battering the turning chimneys on the neighbours’ braais. I have spent the day negotiating the wind and load shedding.

I want to go to sleep but I am rattled and unsettled.


FB break

It’s been almost 3 full days of not being on Facebum and I can already feel the difference. I am a social media addict for sure. The reality is unless I have a project to promote I get too involved in the sad, the political, the vegan, the incomprehensibly racist, and I was being very contentious and grumpy. I think Facebum breaks are necessary for a bit of perspective.

The result has been that I have been writing (a teeny bit) more, and being a little bit more in the actual real world. I have been exercising more, and for longer, I have been in the kitchen more, and healthier. Oh I am sure the old bad habits will creep in, but I am enjoying the one restriction I have placed on myself; my primary distraction, procrastination, opinion making place.

Some of the other things on my mind are, what next? Should I carry on with more shows of The Deep Red Sea? Should I write a screenplay? Where can I perform improv weekly to a paying audience. How can I become a theatre producer?

On Screen – Our Land

Yesterday I went to watch myself (albeit very briefly) in one of the AFDA 3rd year director’s final exam movie. The Labia was a hive of students dressed as celebs, friends, family, young and old, and casts and crew. It was properly exciting.

We saw two movies, with my appearance as an Afrikaans mother in Our Land, director and writer Casey Milledge’s tribute to father son relationships in our torn and divided country.

Although I had great fun and was very impressed by the passion and professionalism of the team on the day we shot, I struggled to visualise the film, and I admit here, I was anxious about how it was going to turn out. I shouldn’t have worried.

What Casey and his creative and technical team have managed to produce is a beautiful looking, hard hitting, stereotype avoiding and deeply personal political film. Shot largely in hand held close-ups and brilliantly edited, the pace, passion and heart of the movie is distilled and made powerful. The choice to make a black and white film, mimicking historical news film of apartheid, was deliberate but not obvious, and the touches of red slashes, so unsettling in the black, grey, white were shocking: A symbol of (bloody) transformation we were told in the Q&A afterwards.

Student films suffer incredible challenges. Performers have to be begged. Resources are terribly limited. Students are over stretched and are often involved in more than one project at the same time. None of that shows in this film. I was seriously, unreservedly proud.

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