The Wizard Of Fu is a fun, updated version of the well-known show ‘The Wizard Of Oz’. After landing in the Land Of Fu after a storm, Dorothy from the small town of Kroonstad, goes on a journey to find the Wizard, to help her get home. All is not well in the land, however. People are missing things. The Lion is missing his courage, Mr Tin has lost his heart, and The Scarecrow has lost his dancing skills. And, worse yet, Miley Cyrus has lost Hannah Montana and Justin Beiber has lost his voice! Dorothy kindly takes it upon herself to put everything right and, in the process, finds herself caught up in a wacky adventure of song, dance and wild antics!Who is Fu?
The story is linked together by an upcoming new band called Sergeant Fu. Sergeant Fu burst onto the music scene in 2010 with their internationally successful World Cup song “Vuvuzela”. Their eagerly awaited album will hit the stores in April, and their music also appears in the soundtrack selection of the upcoming new movie ‘Superhelde’. Sergeant Fu has introduced a new genre of music to the world called ‘Feel Good’. As this would suggest, their aim is to bring light and happiness into people’s lives. Their music provides the ideal accompaniment to this colourful, funky and upbeat show.
Our children – our pride and joy
The show is produced by StageWorx performing arts and Journey School of Arts, in association with The Joburg Promusica Theatre.
All show profits will be going to Journey, a fulltime arts school for children with special needs, to raise funds for much-needed equipment. The two schools have collaborated to produce a professional quality production that is suitable for the whole family, and is sure to warm your heart and leave a broad smile on your face.
There is a tendency to separate children with special needs into their own schools, and this makes sense in terms of the kind of attention and teaching methods they require. StageWorx recognises, however, that children are children, no matter what their specific needs, and youngsters from special needs schools need to mix with other children their age, as there is so much that they can learn from each other.
Families are asked to come and support this wonderful initiative, and group bookings are currently being taken for schools and churches.
For more information on the Journey School of Arts, or to book your tickets, please contact Gemma on gemmalouisedonnelly@gmail.com
Please visit our websites:
www.journeyschool.co.za
and
www.stageworxperformingarts.co.za
***
VENUE: Joburg Promusica Main Auditorium
DATE & TIME: Sunday, July 8th and 9th at 11am
TICKETS: Adults: R60
Children: R50
Bookings of 10 and more: R40 per person
Bridget van Oerle/ Christabel Zulu
BUZ Publicity
011 482 3467/3489
083 263 6991/084 5522 417
FAX 086 694 4054
christabel@buz.co.za
PO BOX 1149 Auckland Park 2006
Arts and Culture Trust Publicist of the Year 1999/2004
Nominated in 2008 as one of SA top 10 PR Agencies by the advertising industry publication The Annual
Finalist in the category Sponsorship by a small Business for an Arts Project in the 2009 Business and Arts South Africa Awards
Complete with entirely original music and choreography DANCE of DESIRE is undoubtedly unique in its imaginative design. This ground breaking Irish production challenges the boundaries of other Irish dance productions and has uniquely elevated the world of Irish dance to a new level. DANCE of DESIRE is also one of a select few Irish resident and touring dance productions which was actually produced in Ireland and has received critical acclaim not just abroad but also at home in Ireland where creative distinction is reserved for only those who excel amongst their peers 
Firstly, Esther Nasser, Artistic Director of the TDT, without a doubt, has realized her dream of building a modern dance company that now knocks the spots off every other company in this country – including the Northern and Southern Sacred Ballet Cows. Laura Cameron and Kristin Wilson are two welcome additions to a group of 12 dancers who physically looks great and know how to strut their stuff. It seems that Esther is the only real Artistic Director left in South Africa’s world of dance – and, therefore, we should pray that she is blessed with immortality and loads of energy for the future. 
Another dream that is coming true is the long-held fantasy that, “one day”, again, we will see good male dancers gracing our stages. From last night I can confidently report, finally, that they are now stepping forward from the jagged chorus line of the past years. And, emerging from this superb group of TDT muscularity is Kyle Rossouw, tall and elegant and any female dancer’s dream partner. I will never forget the night that Iain MacDonald danced the role of the Zebra in PACT Ballet’s production of Still Life at the Penguin Café. The minute the backdrop parted and Iain’s appeared everyone in that audience knew he was going to be a great dancer. While Kyle is not blessed with MacDonald’s long legs and shorter torso, he has the poise and grace, in time, to become a dancer of considerable nobility. 
The third dream of last night’s world premiere programme was that of a young dancer who suffers from a terminal disease. Leigh Novis is 14 years old and in remission from Hodgkin’s cancer. Her wish to dance on a public stage has been with her all through her ordeal. The organization, “Reach For a Dream”, seeks to alleviate the strain of a life-threatening illness on children and their families by providing them with the opportunity to realize their dreams. They contacted the TDT to assist in fulfilling Leigh’s dream. Of the four 15-minute ballets it was Marie-Louise Basson’s “Synonyms for Seth” that did it for me. Most of the choreography is coordinated around and atop a specially constructed security boom. The ballet deals with physical and mental barriers and the inherent paralyses brought about by fear. Nasser thought it apt to include Leigh in this ballet and, a special pas de deux was choreographed into the ballet for her. Through Leigh’s courageous struggle with cancer, she fully epitomizes the determination and spirit required to deal with life-threatening events. 
I believe that Mari-Louise Basson has been very busy of late, jetting between commissions and commitments in France, and most recently, India. She is with TDT for three months before she leaves to pursue commissions in Denmark and Sweden. But, her real commitment appears to be her French fiancé and their plans to settle in France. And, I should have guessed: It could only be the French erotic ethos that could have inspired this celebrated choreographer to create such an aesthetically pleasing but, physically strenuous work imbued with sexual passion. Ms Basson really pushes the envelope and leaves the dancers, literally, hovering on the knife edge of the boom! This is clockwork precision choreography and involves totally integrated ensemble work that requires the total concentration and commitment of each of the dancers; one false move and everything can come tumbling down. The soundtrack for “Synonyms for Seth” is outstanding, utilizing extracts from Mandela’s inaugural speech - "But this fear cannot be allowed to stand in the way of the only solution which will guarantee racial harmony and freedom for all” – and also snatches from Nicolas Sarkozy’s “A New World Order” all set against Tchaikovsky’s “Sleeping Beauty”, Cia’s “My Love’ and Florence and the Machine’s “Heavy in your Arms”. What I found particularly pleasing was a whole new interpretation of Aurora’s Rose Adage danced with her four princes. More than a century after the original was choreographed, Basson brings us this tongue-in-the cheek but incredible balancing act with dives and jumps in mid-air; similar but yet light years away from Marius Petipa’s “La Belle au bois dormant” created for the Mariinsky Theatre in St. Petersburg in 1890. It would be a great pity of Ms Basson’s love and her career eventually moves away from our shores. Hopefully she will remember her Heimat and come back regularly to feed the starving dance public. My only heartfelt criticism of this work relates to the very ugly costumes designed by David Hutt. Really, those pink bubble fabric bathing costumes the boys wore looked more like rose-coloured nappies with big water-filled lesions on the surface. In my opinion, the whole look of this ballet needs to be reconsidered. (Ag sis man Mister Hutt and you made Judy Page look so good in her show – what then went so wrong here?) Timothy le Roux, in his ballet “All the King’s Horses” confronts issues of colonialism and asks, “Who is to blame?” He questions the political mentality of “Let them eat cake”. Le Roux also exploits the dancers’ technical capabilities in full and, in some of the scenes – especially in the Cossack-like legwork for the boys – he achieves moments of sheer brilliance. Backed by a superb soundtrack, which ranged from the Mozart Requiem, though Vivaldi, Bryas, Beethoven and Bach, including Eartha Kit, the dancers move in beautiful patterns across the stage and, from these ensembles arises, unexpectedly, the most beautiful pas de deux I have seen in a long time. The costumes and stage design by Wilhelm Disbergen - for this ballet - was superb to say the least. I don’t normally praise Wilhelm because I have always believed that he has far greater potential as a designer than he has let on up to now. But, my suspicion that there is a helluva lot more to him than we have seen thus far was confirmed last night; exquisite hues of blue costumes mingling with the orange-gold strobe lighting effects and the striking back wall projection. Well done Disbergen! From now on there are no excuses for you dear boy! Celeste Botha’s in her work, “Here and Now”, deals with the defining moments in a life. And, the ballet started off so beautifully. At one point she places three choreo-ordinated pas de deux couples in three pools of light on the stage – exquisite treplicated movements for the eyes to feast on. And then, poof, all of a sudden the beautiful lines and style achieved in the first half collapses into a silly broth of dancing steps – a bit like a Virgin Active body toning class! But, I suppose it really depicts the symbolical theme of this work: “A simple decision taken on the spur of the moment can unleash a series of unexpected events that can change the course of one’s life”. It surely changed the course of this ballet for me! The first ballet of the evening was called “Silken Road” by the multi-awarded and internationally celebrated young Thabo Rapoo. The choreographer sets out to take the onlooker on a journey along a path with an eventual intersection/connection between two worlds. It is about ‘Sangam’, which literally means ‘two rivers meet’. Where the three ballets that followed this work mirrored a great deal of movement (occasionally bringing about a tad of boredom) all I remember about “Silken Road” is that this ballet had a distinct style of its own. But, I am getting old and by the end of the evening could not remember much of it. On the other hand, this ballet may very well have been Rapoo’s 15 Minutes of Fame. 15 Mins of Fame is being staged at the University of Johannesburg Arts Centre until 9th April 2011 for 8 performances only. Bookings can be made through Computicket. Prices are R50 (for the preview on 31 March), and R80 or R120 for all other performances . When the curtain raised on the Tshwane Dance Theatre’s quartet of 15 minute ballets - based on the 1979 Andy Warhol quote: “In the future everyone will be famous for fifteen minutes” – many a dream became realized as an hour of superb dance unfurled. Firstly, Esther Nasser, Artistic Director of the TDT, without a doubt, has realized her dream of building a modern dance company that now knocks the spots off every other company in this country – including the Northern and Southern Sacred Ballet Cows. Laura Cameron and Kristin Wilson are two welcome additions to a group of 12 dancers who physically looks great and know how to strut their stuff. It seems that Esther is the only real Artistic Director left in South Africa’s world of dance – and, therefore, we should pray that she is blessed with immortality and loads of energy for the future. Another dream that is coming true is the long-held fantasy that, “one day”, again, we will see good male dancers gracing our stages. From last night I can confidently report, finally, that they are now stepping forward from the jagged chorus line of the past years. And, emerging from this superb group of TDT muscularity is Kyle Rossouw, tall and elegant and any female dancer’s dream partner. I will never forget the night that Iain MacDonald danced the role of the Zebra in PACT Ballet’s production of Still Life at the Penguin Café. The minute the backdrop parted and Iain’s appeared everyone in that audience knew he was going to be a great dancer. While Kyle is not blessed with MacDonald’s long legs and shorter torso, he has the poise and grace, in time, to become a dancer of considerable nobility. (Rumour has it that one of his nicknames is Petri and that he sometime finds himself stranded in Naboomspruit – but, I am sure that this is simply nasty dance-world bit of gossip!) The third dream of last night’s world premiere programme was that of a young dancer who suffers from a terminal disease. Leigh Novis is 14 years old and in remission from Hodgkin’s cancer. Her wish to dance on a public stage has been with her all through her ordeal. The organization, “Reach For a Dream”, seeks to alleviate the strain of a life-threatening illness on children and their families by providing them with the opportunity to realize their dreams. They contacted the TDT to assist in fulfilling Leigh’s dream. Of the four 15-minute ballets it was Marie-Louise Basson’s “Synonyms for Seth” that did it for me. Most of the choreography is coordinated around and atop a specially constructed security boom. The ballet deals with physical and mental barriers and the inherent paralyses brought about by fear. Nasser thought it apt to include Leigh in this ballet and, a special pas de deux was choreographed into the ballet for her. Through Leigh’s courageous struggle with cancer, she fully epitomizes the determination and spirit required to deal with life-threatening events. I believe that Mari-Louise Basson has been very busy of late, jetting between commissions and commitments in France, and most recently, India. She is with TDT for three months before she leaves to pursue commissions in Denmark and Sweden. But, her real commitment appears to be her French fiancé and their plans to settle in France. And, I should have guessed: It could only be the French erotic ethos that could have inspired this celebrated choreographer to create such an aesthetically pleasing but, physically strenuous work imbued with sexual passion. Ms Basson really pushes the envelope and leaves the dancers, literally, hovering on the knife edge of the boom! This is clockwork precision choreography and involves totally integrated ensemble work that requires the total concentration and commitment of each of the dancers; one false move and everything can come tumbling down. The soundtrack for “Synonyms for Seth” is outstanding, utilizing extracts from Mandela’s inaugural speech - "But this fear cannot be allowed to stand in the way of the only solution which will guarantee racial harmony and freedom for all” – and also snatches from Nicolas Sarkozy’s “A New World Order” all set against Tchaikovsky’s “Sleeping Beauty”, Cia’s “My Love’ and Florence and the Machine’s “Heavy in your Arms”. What I found particularly pleasing was a whole new interpretation of Aurora’s Rose Adage danced with her four princes. More than a century after the original was choreographed, Basson brings us this tongue-in-the cheek but incredible balancing act with dives and jumps in mid-air; similar but yet light years away from Marius Petipa’s “La Belle au bois dormant” created for the Mariinsky Theatre in St. Petersburg in 1890. It would be a great pity of Ms Basson’s love and her career eventually moves away from our shores. Hopefully she will remember her Heimat and come back regularly to feed the starving dance public. My only heartfelt criticism of this work relates to the very ugly costumes designed by David Hutt. Really, those pink bubble fabric bathing costumes the boys wore looked more like rose-coloured nappies with big water-filled lesions on the surface. In my opinion, the whole look of this ballet needs to be reconsidered. (Ag sis man Mister Hutt and you made Judy Page look so good in her show – what then went so wrong here?) Timothy le Roux, in his ballet “All the King’s Horses” confronts issues of colonialism and asks, “Who is to blame?” He questions the political mentality of “Let them eat cake”. Le Roux also exploits the dancers’ technical capabilities in full and, in some of the scenes – especially in the Cossack-like legwork for the boys – he achieves moments of sheer brilliance. Backed by a superb soundtrack, which ranged from the Mozart Requiem, though Vivaldi, Bryas, Beethoven and Bach, including Eartha Kit, the dancers move in beautiful patterns across the stage and, from these ensembles arises, unexpectedly, the most beautiful pas de deux I have seen in a long time. The costumes and stage design by Wilhelm Disbergen - for this ballet - was superb to say the least. I don’t normally praise Wilhelm because I have always believed that he has far greater potential as a designer than he has let on up to now. But, my suspicion that there is a helluva lot more to him than we have seen thus far was confirmed last night; exquisite hues of blue costumes mingling with the orange-gold strobe lighting effects and the striking back wall projection. Well done Disbergen! From now on there are no excuses for you dear boy! Celeste Botha’s in her work, “Here and Now”, deals with the defining moments in a life. And, the ballet started off so beautifully. At one point she places three choreo-ordinated pas de deux couples in three pools of light on the stage – exquisite treplicated movements for the eyes to feast on. And then, poof, all of a sudden the beautiful lines and style achieved in the first half collapses into a silly broth of dancing steps – a bit like a Virgin Active body toning class! But, I suppose it really depicts the symbolical theme of this work: “A simple decision taken on the spur of the moment can unleash a series of unexpected events that can change the course of one’s life”. It surely changed the course of this ballet for me! The first ballet of the evening was called “Silken Road” by the multi-awarded and internationally celebrated young Thabo Rapoo. The choreographer sets out to take the onlooker on a journey along a path with an eventual intersection/connection between two worlds. It is about ‘Sangam’, which literally means ‘two rivers meet’. Where the three ballets that followed this work mirrored a great deal of movement (occasionally bringing about a tad of boredom) all I remember about “Silken Road” is that this ballet had a distinct style of its own. But, I am getting old and by the end of the evening could not remember much of it. On the other hand, this ballet may very well have been Rapoo’s 15 Minutes of Fame. 15 Mins of Fame is being staged at the University of Johannesburg Arts Centre until 9th April 2011 for 8 performances only. Bookings can be made through Computicket. Prices are R50 (for the preview on 31 March), and R80 or R120 for all other performances . .
Even before the spot lights up Judy Page - dressed in a stark David Hutt 1930’s highly tailored man’s suit with an exquisite solitaire brooch - the first notes played by the talented young pianist Clinton Zerf on the shiny black grand piano, already set the stage for an unforgettable night of pure talent and entertainment. 
The technique, style and professionalism that have placed Judy Page centre stage for more than 5 decades now, still is all there, held together by the most extraordinary talents this country has ever had the pleasure to enjoy. And, nobody, but nobody handles a mike the way in which Judy manipulates that piece of evil electronic equipment! What an artiste does with a mike is always a good indication of the extent of their knowledge of stage craft – and, what Judy does with that mike is nobody’s business! I have only seen one other live performer in this country who could control a mike in such a mistressly way (and, she knew how to skip over a mike lead also) and that was the wonderful Sophia Foster. But, not even Sophia at her best could ever beat The Page at making the mike work so superbly for her! 
The show is really a musical tapestry of Judy Page’s legendary life. In a lighthearted way she allows us to peak into her career as an interpreter of songs, a chanteuse and, as the star of many of the grand musicals that graced our stages over many years. She chats to the audience about her life, her three husbands, her children and grandchildren – and, she shares anecdotes about her leading men, the impresarios she has worked with and suffered for; all the highlights, spotlights and lowlights are remembered and even though she makes the audience laugh, there are no barbs and no venom, just empathy, gratitude and a great deal of praise for everyone including her audiences. 
And, she intersperses this really easy narrative style with really difficult songs that spans her long career from her first audition at the Royal Hotel in Bulawayo (a show-topping rendition of Summertime which she admits she didn’t quite sing like now during that first audition!), her prolific career in South Africa as a band vocalist during the 1960’s and her later shining in cabaret and, as a very successful recording artist. Jerry Herman, George Gershwin, Burt Bacharch, Bob Dylan, Jacques Brel - the list goes on and on and then, after a stunningly big rendition of “The Parade Passes Buy” the lights suddenly cut and it is interval. The lady has just given the audience more than an hour of the finest entertainment – something not even the great Dietrich could do at this age! 
The second half starts and the spot lights up a Judy Page dressed in a long black dress with a beaded Merlin’s overcoat in sparkling black and silver. And, in this second half of the show, our star sparkles even more than the superb outfit she wears! A great surprise comes when Judy lights candles in remembrance of the those great South African stage performers that have passed on and pianist Clinton Zerf then accompanies his own superb singing of Michael Jackson’s “Gone too soon”. This is a really marvelous high tenor voice with beautiful undertones. Judy then sweeps up the sadness and raises the mood with a wonderfully raunchy “Good to Mama” from Chicago. Later she and Clinton get an opportunity to sing together in the very “unromantic” romantic duet “Do you Love me” from Fiddler on the Roof. The penultimate moment is a rousing Judy-ised interpretation of Sondheim’s “I am Still Here” followed, in impeccable Page Style, by the star thanking her audience for that which they had made her up to now by singing the hauntingly beautiful “In a Very Unusual Way” from the musical Nine. The lights dip, and every audience since opening night jumps to their feet while Judy and Clinton take their elegant bows and, very regally, leave the stage. It is then that you look at your watch and realize that The Page was on her feet for more than two hours and no fatigue showing at all! They simply don’t make troopers like her anymore! PAGE BY PAGE is a joyous celebration of unforgettable songs and hilarious anecdotes – if you miss this show you have missed one of the best offerings of its kind available to South African audiences for a long time now. It is a privileged opportunity to see one of South Africa's greatest greats - without any doubt the leading musical theatre personality of the day and doyenne of the musical stage - giving her all in re-telling her adventures coupled to some of the greatest songs from her enormous repertoire. Just a little note to young Clinton Zerf with the No 12 feet: Those shoes. honey, those shoes! Better you donate them to the Lesbian Benevolent Fund at the first possible opportunity. And, it could add to the show if the young Clinton comes dressed in a tuxedo – it is, after all, one of “those” classier shows in town! And, a note to our younger stage performers: You will be well-advised to get your bums over to Judy’s and take a few master classes. What this lady has forgotten most of you have yet to learn! Performances of PAGE BY PAGE take place Tuesday – Friday at 20:15 and Saturdays at 18:00 until 9 April 2011. Tickets are R120 per person and R80 for students and seniors. Bookings can be made by calling the theatre’s box office on tel. 011-883-8606 or 083-377-4969 or online: www.strictlytickets.com There are no booking fees or service charges to patrons! Brief additional synopsis of Judy Page’s career: In 1976 she was cast as the Countess Elsa in The Sound of Music for which she received the first of 5 Dalro nominations. She went on to perform in many musical compilations: Brel, Piaf, Jerome Kern, Rodgers & Hammerstein, Judy Garland and Jerry’s Girls for which she won the Dalro Award for Best Performance in a musical. She has tackled a series of greatly acclaimed major leads: Roxie Hart in Geoffrey Sutherland’s Chicago (1977) and Mama Morton (2002), Anna in Louis Burke’s production of The King and I, Dolly Levi in Hello Dolly and Mame Dennis Burnside in Mame. Judy has reached wider audiences on television, appearing in her own series Hey Jude, many musical programmes and even a soap opera – Westgate. Recent musicals include Deon Opperman’s My Fair Lady (Mrs Higgins) for which she won a Naledi Award for Best Supporting Actress and Fiddler on the Roof (Golde). In 2008, Judy played Jeanette, the eccentric piano player, in The Full Monty, for which she won the Naledi Award for Best Comedy Performance and as one of the vultures in Deon Opperman’s Jock Of The Bushveld. Most recently, she appeared in the pantomime, Robinson Crusoe.
