Megan's Head

A place where Megan gets off her head.

Tag: Sandra Prinsloo

Cueless again

I broke my promise to never read a word of Cue again because I wanted to see if anyone had said anything about The Feather Collector. So I went on line and started reading Theresa Edlmann’s latest review. With every sentence I realised that I had no idea what the production was. The headline is “Emotional production is a festival highlight”, and nowhere in the whole review does she actually say the name of the play! I finally gathered that she was talking about ‘night Mother because in the bowels of the review she mentions Sandra Prinsloo, and I know that this is what Sandra is doing. Yowzer. Just saying.

Simon Says

More from the theatre festival that I wish I was at! Here is Simon’s Day 2.

Noticed another difference today – most of the tickets here are reserved seating unlike Grahamstown.   Doesn’t seem to make any real difference though except to idiots like me who still want to sit anywhere until they remember they can’t.

Make a huge note of “JANNEMAN” – Sandra Prinsloo, Franci Swanepoel & Hannah Borthwick : direction and script translation – Hennie van Greunen.   DO NOT FORGET THOSE NAMES.  If it comes to a theatre anywhere near you, or even far away from you, kill to get tickets.   Megan says capitals in emails = textual shouting.    MAGNIFICENT, BRILLIANT, WONDERFUL, WONDERFUL THEATRE.   The story of the three women in a family – Grandmother, Mother and Daughter : Karien, Lorraine and Ané.     Funny, sad, insightful and just so well performed and staged.    The “Janneman” of the title is the old man or perhaps the very new to the world man or perhaps both – they don’t appear on stage but they provide the impetus for a lot of what happens.   Same theatre as the first show – no one left.  The actors speak one at time telling of what is unfolding in their lives over the period covered by the piece – the audience started by applauding every time Sandra P spoke; they ended applauding all three after every speech and rose to a man/woman at the end to acclaim “JANNEMAN”.   Sandra P is as always, brilliant; her timing is impeccable, her delivery perfect but, man, the other two match her word for word.   The familial expletive [dismissive expletive] “Jou gat, my skat” will live in my memory for a long time.   SEE THIS SHOW !!

After that went back to Iets Anders [our venue] to see “HATS” [actually “HOEDENS” for the duration of the KKNK] – saw this delightful piece in Grahamstown last year and Pieter Bosch Botha [the director] has “re-edited” the piece.   It is still very good.   Richard Antrobus and Tristan Jacobs entertain and amuse and they are magnificent movers and dancers and acrobats – let’s just say all  round physical theatre performers.  Quite a small audience but an enthusiastic reception and I am sure it will pick up as word of mouth spreads.

Have inside information that “LONDON ROAD” will be reviewed in the festival newspaper, Die Krit, tomorrow.   Breath is bated to see what they thought of it.  We had a decent audience this evening and a good review will hopefully boost us to very decent to sold out ???


Fleur du Cap, fun, feast, faux pas

I’m supposed to be asleep; it’s a public holiday after all, but the Distell red has woken me I think. And my feet are a bit swollen from those damn shoes.

Last night was the Fleur du Cap awards and this year I was a proper nominee, which basically meant preparing an outfit in advance. Big Friendly chose my shoes, which looked great, gave me the extra height, but were impossible to actually live in.

As usual it was a pretty glam affair, with lots of air kissing on arrival. All the nominees I spoke to beforehand gave away their insecurities by saying how much they hated these kinds of things, but I could see their eyes sparkling.

Off we went for the ceremony and show. This year’s offering was directed by Hennie van Greunen, the director of Die Naaimasjien (winner of best new SA script and Best Actress Sandra Prinsloo), and on the whole I think he did a really nice job; it was quite short with a great opening number. I have to say though, I felt like he didn’t really know his Cape Town audience. I got the feeling that the whole thing had been put together and rehearsed up country and then shipped down for the night. Luckily, most of the presenters of the awards (actors and others) made up for it. My favourites were kept for last; Soli Philander and Helen Zille! They were brilliant, hilarious and totally entertaining. I had no idea she had it in her! (The same can’t be said for old Fiona Coyne, who did not exactly embrace the generous spirit of handing over awards!)

There were two awards that I was absolutely delighted about. Tara Louise Nottcutt’s award for Best New Director, and Angels on Horseback’s award for Best Performance in a Cabaret. And Rob Murray for Best Lighting. Naturally, I was disappointed that none of the ones I was associated with won; especially for Dicky Longhurst and Alfred Rietmann, both nominated in the same category, Best Set Design, for Noah of Cape Town and The Tent.

The big mess of the evening for me was the damn voice over announcing Noah of Cape Town in the category of Best New South African Script. It was a hellova voice over, that went on for ever, pronounced my name wrong (twice!) and then announced Jacqui Singer as the director of the show. What a disgrace! Surely not! Surely every singe piece of material had the right Jaci de Villiers down as the director! Surely. I’m still a bit bitter actually.

Soli and Helen put me back in the mood though. They rocked. Then it was back into the fray to chow and drink. I was very well behaved and didn’t overdo it for once in my life. Big Friendly was so excited by the dessert tables he got stage fright! At a totally respectable 10.30pm we (I) hobbled up those endless stairs, thinking of everything I need to do this year to make sure I get to go to next year’s one!

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