"15 Min of Fame" opening at UJ Arts Centre

On Thursday night 31st March 2011, the curtain at the University of Johannesburg Arts Centre will lift on the Tshwane Dance Theatre (TDT) to reveal the four newly choreographed works based on the 1979 quote by Andy Warhol: "In the future everyone will be famous for fifteen minutes." The season will run until 9 April 2011 for 8 performances only.

Titled '15 Mins of Fame' - each choreographer was given only 15 minutes to show their mettle in shaping the movements of some of the most skilled and talented dancers in South Africa. The top South African choreographers invited to work with the company are: Timothy le Roux, Celeste Botha, Mari-Louise Basson and Thabo Rapoo. As with previous TDT seasons the productions will feature innovative and cutting-edge stage and lighting designs by Wilhelm Disbergen.

“All the Kings Horses”, choreographed by Timothy le Roux, deals with the issue of colonialism. Timothy asks: "Who is to blame?" and questions the political mentality of "Let them eat cake". In his exquisite and very stylish "White Mischief" decadence scene, the differences between the haves and extreme have-nots become all too apparent where the current rulers live in glass palaces. For this audacious piece, Le Roux will use the full company of twelve dancers. Audiovisuals of animal trophies against living room walls and Mozart's Requiem further darken this already stark interpretation.

“Synonyms for Seth”, choreographed by the internationally acclaimed Mari-Louise Basson, follows in an adventurous vein by positioning the dancers atop a specially constructed security boom. “Synonyms for Seth” deals with barriers - both physical and mental – and the stupefying fear and inherent paralyses instilled by modern living. Mari-Louise 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.

On a lighter note, “Here and Now”, choreographed by Celeste Botha, interrogates the defining moments in one's life - a simple and on-the-spur-of-the-moment decision can unleash a series of unexpected events that can change the course of one's life. Celeste was been nominated for a Naledi award for her superb choreography for The Boys in the Photograph, which played at the Joburg Civic theatre in 2010. Celeste has worked with well-known dance and ballet companies in South Africa and abroad. She was a company member of Jazzart Dance Theatre and the Free Flight Dance Company, and has collaborated with overseas companies such as Le Nomades in Switzerland and the Magnet Theatre. She has also performed with the Copenhagen International Ballet in Denmark at the Bellevue Theatre.

The last work on this extraordinary bill is by Thabo Rapoo, the Standard Bank Young Artist of the Year in 2008. His “Silken Road” charts a journey along a path towards the eventual intersection/connection between two worlds. “Silken Road” turns on the term ‘Sangam', which literally means ‘two rivers meet'. Audiences can expect to see a unique synergy of contemporary, eastern, and African dance – and even ballet! Ritualistic music from Kodo and Avishai Cohen comprises the soundtrack.

Thabo's choreography has been seen in South Africa, Europe, and Indonesia, and he has often been commissioned by the Dance Umbrella to create new works. He is one of South Africa's leading choreographers and has lit up the dance stages with his exquisite choreography that is influenced by his internship in Surakarta, Indonesia, to learn and study Javanese classical dance. During this time he collaborated with Eko Supriyanti, one of the best Indonesian choreographers, and created a dance work which they performed at the Jakarta festival, Indonesia. For TDT, most recently he created "Exodus (ex orders)", for its E-Boyz seasons in Johannesburg and Pretoria, and co-choreographed "Peter and the Wolf" with Esther Nasser.

TDT is under the artistic directorship of Esther Nasser, an award winning choreographer and well-known in the dance world for building dance companies such as the State Theatre Dance Company and the Jozi Dance Company.

The TDT dancers are Mari-Louise Basson, Kristin Wilson, Ipeleng Merafe, Liyabuyo Gongo, Tertia Coetzee, Laura Cameron, Kyle Roussow, Andre Regazzoni, Johan Dippenaar, Gregory Magagula, Lance Booysen, and Zenzeli Letsoela.

Video highlights of TDT's previous seasons presenting Redha's Giselle, E-Boyz, and Peter and the Wolf can be viewed on YouTube at http://www.youtube.com/wildis2
Critics unanimously praised the standard of these performances:

"... intricately organic choreographic crafting ... a movement vocabulary pulsating with an intrinsic physicality" (Adrienne Sichel, The Star).

"...technically astute and athletic ... fuelled by testorerone chor
eography demands stamina ... it is exciting to see a young company handle such a work" (Tammy Ballantine, Business Day).

"... redefines brilliance in dance. It will leave you sweating, on the verge of tears and on your seat's edge, clamouring for more" (Robyn Sassen, Sunday Times).

"Peter and the Wolf" was been nominated for a Naledi award for the Best Production of a Play or Musical for Children in 2010, the first time that a dance company has been nominated for a Naledi theatre award.

“15 Mins of Fame” will be staged at the University of Johannesburg Arts Centre from 31 March to 9 April 2011 for 8 performances only.
Bookings are already open on Computicket
http://www.computicket.com/web/event/15_mins_of_fame/309492999/0/23775689
Prices are R50 (for the preview on 31 March), and R80 or R120 for all other performances.
TDT is generously funded by the National Lotteries Distribution Trust Fund.
Inquiries:
Wilhelm Disbergen

On Thursday night 31st March 2011, the curtain at the University of Johannesburg Arts Centre will lift on the Tshwane Dance Theatre (TDT) to reveal the four newly choreographed works based on the 1979 quote by Andy Warhol: "In the future everyone will be famous for fifteen minutes." The season will run until 9 April 2011 for 8 performances only.
Titled '15 Mins of Fame' - each choreographer was given only 15 minutes to show their mettle in shaping the movements of some of the most skilled and talented dancers in South Africa. The top South African choreographers invited to work with the company are: Timothy le Roux, Celeste Botha, Mari-Louise Basson and Thabo Rapoo. As with previous TDT seasons the productions will feature innovative and cutting-edge stage and lighting designs by Wilhelm Disbergen.
“All the Kings Horses”, choreographed by Timothy le Roux, deals with the issue of colonialism. Timothy asks: "Who is to blame?" and questions the political mentality of "Let them eat cake". In his exquisite and very stylish "White Mischief" decadence scene, the differences between the haves and extreme have-nots become all too apparent where the current rulers live in glass palaces. For this audacious piece, Le Roux will use the full company of twelve dancers. Audiovisuals of animal trophies against living room walls and Mozart's Requiem further darken this already stark interpretation.
“Synonyms for Seth”, choreographed by the internationally acclaimed Mari-Louise Basson, follows in an adventurous vein by positioning the dancers atop a specially constructed security boom. “Synonyms for Seth” deals with barriers - both physical and mental – and the stupefying fear and inherent paralyses instilled by modern living. Mari-Louise 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.
On a lighter note, “Here and Now”, choreographed by Celeste Botha, interrogates the defining moments in one's life - a simple and on-the-spur-of-the-moment decision can unleash a series of unexpected events that can change the course of one's life. Celeste was been nominated for a Naledi award for her superb choreography for The Boys in the Photograph, which played at the Joburg Civic theatre in 2010. Celeste has worked with well-known dance and ballet companies in South Africa and abroad. She was a company member of Jazzart Dance Theatre and the Free Flight Dance Company, and has collaborated with overseas companies such as Le Nomades in Switzerland and the Magnet Theatre. She has also performed with the Copenhagen International Ballet in Denmark at the Bellevue Theatre.
The last work on this extraordinary bill is by Thabo Rapoo, the Standard Bank Young Artist of the Year in 2008. His “Silken Road” charts a journey along a path towards the eventual intersection/connection between two worlds. “Silken Road” turns on the term ‘Sangam', which literally means ‘two rivers meet'. Audiences can expect to see a unique synergy of contemporary, eastern, and African dance – and even ballet! Ritualistic music from Kodo and Avishai Cohen comprises the soundtrack.
Thabo's choreography has been seen in South Africa, Europe, and Indonesia, and he has often been commissioned by the Dance Umbrella to create new works. He is one of South Africa's leading choreographers and has lit up the dance stages with his exquisite choreography that is influenced by his internship in Surakarta, Indonesia, to learn and study Javanese classical dance. During this time he collaborated with Eko Supriyanti, one of the best Indonesian choreographers, and created a dance work which they performed at the Jakarta festival, Indonesia. For TDT, most recently he created "Exodus (ex orders)", for its E-Boyz seasons in Johannesburg and Pretoria, and co-choreographed "Peter and the Wolf" with Esther Nasser.
TDT is under the artistic directorship of Esther Nasser, an award winning choreographer and well-known in the dance world for building dance companies such as the State Theatre Dance Company and the Jozi Dance Company.
The TDT dancers are Mari-Louise Basson, Kristin Wilson, Ipeleng Merafe, Liyabuyo Gongo, Tertia Coetzee, Laura Cameron, Kyle Roussow, Andre Regazzoni, Johan Dippenaar, Gregory Magagula, Lance Booysen, and Zenzeli Letsoela.
Video highlights of TDT's previous seasons presenting Redha's Giselle, E-Boyz, and Peter and the Wolf can be viewed on YouTube at http://www.youtube.com/wildis2
Critics unanimously praised the standard of these performances:
"... intricately organic choreographic crafting ... a movement vocabulary pulsating with an intrinsic physicality" (Adrienne Sichel, The Star).
"...technically astute and athletic ... fuelled by testorerone choreography demands stamina ... it is exciting to see a young company handle such a work" (Tammy Ballantine, Business Day).
"... redefines brilliance in dance. It will leave you sweating, on the verge of tears and on your seat's edge, clamouring for more" (Robyn Sassen, Sunday Times).
"Peter and the Wolf" was been nominated for a Naledi award for the Best Production of a Play or Musical for Children in 2010, the first time that a dance company has been nominated for a Naledi theatre award.
“15 Mins of Fame” will be staged at the University of Johannesburg Arts Centre from 31 March to 9 April 2011 for 8 performances only.
Bookings are already open on Computicket
http://www.computicket.com/web/event/15_mins_of_fame/309492999/0/23775689
Prices are R50 (for the preview on 31 March), and R80 or R120 for all other performances.
TDT is generously funded by the National Lotteries Distribution Trust Fund.
Inquiries:
Wilhelm Disbergen

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FRANS SWART's NALEDI ACCEPTANCE SPEECH 2011

Accepting the Naledi Executive Director's Award, Frans Swart said: Thank you very much Mr Chairman, Board, Executive Director and all members of the Naledis. It is indeed an honour for me to accept this Executive Director’s Award on behalf of Lefra Productions as well as on behalf of all actors, artists, directors, writers, designers, technicians, staff, theatre managements and everybody involved in our productions through the years. Each and every production has been a wonderful experience as well as an exciting journey in what we love most - theatre. It is therefore such an honour for me to be recognised in such a wonderful manner. Lefra is raakgesien. Thank you Naledis! Thank you Dawn!

I would like to thank my wife, Hannelie and kids, Anmari, Phillru and Frans-Hendrik for supporting me all the way. Theatre doesn’t keep time and is a bit of a monster to feed every day. Thanks for your continued support. Then to my management staff – you are the greatest. Charl Senekal, Shaun van Eck, Zena Kannemeyer and Hugo Hewitt. Without you, there is no Lefra!

Dames en Here – dit gaan goed met Afrikaanse Teater. Sekere Afrikaanse Mediagroepe het egter eers begin om kunsblaaie te verminder en later totaal te verwater. Alles draai deesdae net om Hollywood sensasie en ons eie popkultuur, want dit verkoop koerante. Ek het nie ‘n groot probleem daarmee nie (dis nou om koerante te verkoop nie), maar bestuur van hierdie magtige koerant en tydskrif groepe – dink ook net vir ‘n oomblik dat julle ‘n verantwoordelikheid het teenoor die Afrikaanse kultuur, waarvan teater ‘n baie groot tradisie het. Sir Winston Churchill het gesê ‘n land se status word aan sy kultuur geken. Produksiehuise soos Lefra kry nie ‘n sent subsidie van nerens nie – ons moet teaterproduksies totaal op eie stoom finansier en aanbied. As julle nie meer bereid is om spasie af te staan aan die uitvoerende of beeldende kunste nie en selfs ook nie aan die letterkunde nie – wat doen julle vir die bevordering van die Afrikaanse kuns en kultuur in ‘n rugbymal samelewing. Julle het ‘n verantwoordelikheid – kom dit na en help ons om te bou aan ‘n teaterkultuur in Suid-Afrika.

Soos Van Wyk Louw sy Beiteltjie geslyp en geslyp het totdat hy klink en blink – so slyp ons by Lefra aan teater hier in Suid-Afrika. Met die hulp van ons Hemelse Vader is ons in baie opwindende tye en gaan dit goed met teater in Suid-Afrika. And for this, we are very thankful. Thankful towards all our talented performing artists and thankful towards all our audiences. Once again – thank you very much Naledi for this honour! I thank you!
Accepting the Naledi Executive Director's Award, Frans Swart said: Thank you very much Mr Chairman, Board, Executive Director and all members of the Naledis. It is indeed an honour for me to accept this Executive Director’s Award on behalf of Lefra Productions as well as on behalf of all actors, artists, directors, writers, designers, technicians, staff, theatre managements and everybody involved in our productions through the years. Each and every production has been a wonderful experience as well as an exciting journey in what we love most - theatre. It is therefore such an honour for me to be recognised in such a wonderful manner. Lefra is raakgesien. Thank you Naledis! Thank you Dawn!

I would like to thank my wife, Hannelie and kids, Anmari, Phillru and Frans-Hendrik for supporting me all the way. Theatre doesn’t keep time and is a bit of a monster to feed every day. Thanks for your continued support. Then to my management staff – you are the greatest. Charl Senekal, Shaun van Eck, Zena Kannemeyer and Hugo Hewitt. Without you, there is no Lefra!

Dames en Here – dit gaan goed met Afrikaanse Teater. Sekere Afrikaanse Mediagroepe het egter eers begin om kunsblaaie te verminder en later totaal te verwater. Alles draai deesdae net om Hollywood sensasie en ons eie popkultuur, want dit verkoop koerante. Ek het nie ‘n groot probleem daarmee nie (dis nou om koerante te verkoop nie), maar bestuur van hierdie magtige koerant en tydskrif groepe – dink ook net vir ‘n oomblik dat julle ‘n verantwoordelikheid het teenoor die Afrikaanse kultuur, waarvan teater ‘n baie groot tradisie het. Sir Winston Churchill het gesê ‘n land se status word aan sy kultuur geken. Produksiehuise soos Lefra kry nie ‘n sent subsidie van nerens nie – ons moet teaterproduksies totaal op eie stoom finansier en aanbied. As julle nie meer bereid is om spasie af te staan aan die uitvoerende of beeldende kunste nie en selfs ook nie aan die letterkunde nie – wat doen julle vir die bevordering van die Afrikaanse kuns en kultuur in ‘n rugbymal samelewing. Julle het ‘n verantwoordelikheid – kom dit na en help ons om te bou aan ‘n teaterkultuur in Suid-Afrika.

Soos Van Wyk Louw sy Beiteltjie geslyp en geslyp het totdat hy klink en blink – so slyp ons by Lefra aan teater hier in Suid-Afrika. Met die hulp van ons Hemelse Vader is ons in baie opwindende tye en gaan dit goed met teater in Suid-Afrika. And for this, we are very thankful. Thankful towards all our talented performing artists and thankful towards all our audiences. Once again – thank you very much Naledi for this honour! I thank you!
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Dali Tambo's Welcoming Address at the 8th Naledi Awards 2011

Good Evening Ladies and Gentlemen. On behalf of the board members of the Naledi’s, our executive director and our sponsors – Welcome to the 8th annual Naledi Theatre Awards.

Master of ceremonies, Ladies and Gentlemen I believe that the Naledi’s board members would wish me to say at the outset that the Naledi’s continue to exist in large measure because of the tireless efforts, tenacity and exuberant determination of Dawn Lindberg and Des Lindberg. May we by means of encouragement give them both a round of applause and our heartfelt thanks.

I would like to welcome all present here tonight in particular our nominees who, in each category have over the last year exhibited creative excellence as practitioners of South African theatre in all fields.

From playwrights, producers, directors, choreographers, actors and actresses, to set designers, costume designers as well as lighting and sound designers – congratulations and welcome. We gather here tonight to celebrate your collective and collaborative ingenuity as you continue to enrich our lives and nations culture.

I would also like to welcome our judges, who have attended, assessed and adjudicated so many productions during 2010. They are all lovers of theatre and their informed, unbiased perspective is essential in the Naledi’s desire to highlight and reward those productions and people who make us proud of South African Theatre and proud to be South African.

Ladies and Gentlemen, Athol Fugard in referring to a play called Still Life, written by Emily Mann and produced at the Market in 1983 by the late gentle giant of South African Theatre Barney Simon relays how Barney spoke to him about the play and used the word TESTIMONY several times.
Athol made him check its dictionary definition: It means TO BEAR WITNESS. Athol described the phrase “TO BEAR WITNESS” as “A perfect definition of the challenge South African theatre faces at this moment in our country’s history.”

Barney was right, Athol was right, they did not mean that South African theatre should bear witness to our times as a cold reportage of the facts; rather what Barney and Athol were insinuating is that theatre’s role in society is not to tell us merely what is happening or has happened, the news and newspapers do that well enough. They were saying that the theatres role is to tell us how it felt and what it meant to be ordinary people in extraordinary times. That was in 1983, today in 2011, in post apartheid South Africa, the need to bear witness is still as great. The need to tell the stories of the past, present and future through live theatre is ever-present.

Watching the news and seeing the incredible events taking place in North Africa and the Middle East, one wonders how their playwrights and artists will remould and tell the stories of their times to their people and the world tomorrow. Because with the unleashing of liberty, freedom of speech, freedom to dissent and freedom of assembly, they will soon have the freedom to express themselves and in so doing – they will bear witness to the momentous events taking place in a way only theatre can.

The hard facts of their struggles today will be distilled by their playwrights into their nation’s cultural heritage. I have no doubt that the new season of liberty will inspire in North Africa and the Middle East a cultural Renaissance in which theatre will take its place as one of the best performance tools in a people’s cultural arsenal.

Equally I have no doubt that in their plays they will speak of their agonies and triumphs, about what it meant and what it felt like to be oppressed. With the use of drama, song, satire, laughter and tears, they will take their audiences on journeys that display the best and worst aspects of the human condition. I’m sure you will support me when I say we wish them freedom and we wish them theatre.

In South Africa we are fortunate indeed to have had in the past, the present and in the future, playwrights, producers, directors and performers who in succeeding generations have staged works of national and international repute and acclamation.

As theatre practitioners you are the interpreters of our times, our mass cultures and our most intimate moments. You give us character. You provoke, ridicule, challenge, educate and inspire. You create introspection and deep social observation. You are creators of social text in a way television can never be! And in your testimony, as you bear witness to our times with your individual ingenuity, you define us and our era.

The Naledi’s, Ladies and Gentlemen exists to salute you and recommend your work to public inspection and perusal - to promote theatre as popular entertainment and to promote the social practice of theatre going itself so that more South Africans will understand the emotional fulfilment one experiences as one leaves the theatre, or the lure of live entertainment.

How a great play can provide us with such psychological and physical pleasure and become part of our personal culture and identity.

How Theatre is both social activity for the audience and yet a precious art that lives beyond the run of the play and beyond production and consumption, to take its place in the annals of human endeavour.
Our goal as the Naledi’s is therefore to increase the number and variety of bums on theatre seats by drawing the nation’s attention to the diamonds of our theatre industry – our shining stars. This is made possible because of the power of your prose, the passion of your performances, the wonderful and often hilarious expression of your minds, bodies and souls.

We wish as the Naledi’s Ladies and Gentlemen, to call on both government and the private sector to subsidize, fund and cherish this vital national asset as an essential part of South Africa’s unique cultural legacy and heritage.

Subsidy in theatre is the organic fertilizer essential to its growth since the dawn of film and television. It is only through subsidy that developmental theatre, community theatre and rural theatre can blossom. It is through subsidy and enlightened private sector funding that we will discover across the length and breadth of our country the jewels, the precious stones that will light up the stages of tomorrow.

Master of Ceremonies, Ladies and Gentlemen, if we want the South African Theatre Industry to honour its past, sustain its present and nurture the theatre practitioners of the future, if we want it to be a truly united instrument of our national culture we must as a nation celebrate, support, subsidize and promote South African Theatre as never before, so that it may continue to give testimony – So that you, our theatre practitioners, the flowers of our nation, may continue to bear witness!

Have a very good evening and Welcome to the Naledi’s!
Good Evening Ladies and Gentlemen. On behalf of the board members of the Naledi’s, our executive director and our sponsors – Welcome to the 8th annual Naledi Theatre Awards.

Master of ceremonies, Ladies and Gentlemen I believe that the Naledi’s board members would wish me to say at the outset that the Naledi’s continue to exist in large measure because of the tireless efforts, tenacity and exuberant determination of Dawn Lindberg and Des Lindberg. May we by means of encouragement give them both a round of applause and our heartfelt thanks.

I would like to welcome all present here tonight in particular our nominees who, in each category have over the last year exhibited creative excellence as practitioners of South African theatre in all fields.

From playwrights, producers, directors, choreographers, actors and actresses, to set designers, costume designers as well as lighting and sound designers – congratulations and welcome. We gather here tonight to celebrate your collective and collaborative ingenuity as you continue to enrich our lives and nations culture.

I would also like to welcome our judges, who have attended, assessed and adjudicated so many productions during 2010. They are all lovers of theatre and their informed, unbiased perspective is essential in the Naledi’s desire to highlight and reward those productions and people who make us proud of South African Theatre and proud to be South African.

Ladies and Gentlemen, Athol Fugard in referring to a play called Still Life, written by Emily Mann and produced at the Market in 1983 by the late gentle giant of South African Theatre Barney Simon relays how Barney spoke to him about the play and used the word TESTIMONY several times.
Athol made him check its dictionary definition: It means TO BEAR WITNESS. Athol described the phrase “TO BEAR WITNESS” as “A perfect definition of the challenge South African theatre faces at this moment in our country’s history.”

Barney was right, Athol was right, they did not mean that South African theatre should bear witness to our times as a cold reportage of the facts; rather what Barney and Athol were insinuating is that theatre’s role in society is not to tell us merely what is happening or has happened, the news and newspapers do that well enough. They were saying that the theatres role is to tell us how it felt and what it meant to be ordinary people in extraordinary times. That was in 1983, today in 2011, in post apartheid South Africa, the need to bear witness is still as great. The need to tell the stories of the past, present and future through live theatre is ever-present.

Watching the news and seeing the incredible events taking place in North Africa and the Middle East, one wonders how their playwrights and artists will remould and tell the stories of their times to their people and the world tomorrow. Because with the unleashing of liberty, freedom of speech, freedom to dissent and freedom of assembly, they will soon have the freedom to express themselves and in so doing – they will bear witness to the momentous events taking place in a way only theatre can.

The hard facts of their struggles today will be distilled by their playwrights into their nation’s cultural heritage. I have no doubt that the new season of liberty will inspire in North Africa and the Middle East a cultural Renaissance in which theatre will take its place as one of the best performance tools in a people’s cultural arsenal.

Equally I have no doubt that in their plays they will speak of their agonies and triumphs, about what it meant and what it felt like to be oppressed. With the use of drama, song, satire, laughter and tears, they will take their audiences on journeys that display the best and worst aspects of the human condition. I’m sure you will support me when I say we wish them freedom and we wish them theatre.

In South Africa we are fortunate indeed to have had in the past, the present and in the future, playwrights, producers, directors and performers who in succeeding generations have staged works of national and international repute and acclamation.

As theatre practitioners you are the interpreters of our times, our mass cultures and our most intimate moments. You give us character. You provoke, ridicule, challenge, educate and inspire. You create introspection and deep social observation. You are creators of social text in a way television can never be! And in your testimony, as you bear witness to our times with your individual ingenuity, you define us and our era.

The Naledi’s, Ladies and Gentlemen exists to salute you and recommend your work to public inspection and perusal - to promote theatre as popular entertainment and to promote the social practice of theatre going itself so that more South Africans will understand the emotional fulfilment one experiences as one leaves the theatre, or the lure of live entertainment.

How a great play can provide us with such psychological and physical pleasure and become part of our personal culture and identity.

How Theatre is both social activity for the audience and yet a precious art that lives beyond the run of the play and beyond production and consumption, to take its place in the annals of human endeavour.
Our goal as the Naledi’s is therefore to increase the number and variety of bums on theatre seats by drawing the nation’s attention to the diamonds of our theatre industry – our shining stars. This is made possible because of the power of your prose, the passion of your performances, the wonderful and often hilarious expression of your minds, bodies and souls.

We wish as the Naledi’s Ladies and Gentlemen, to call on both government and the private sector to subsidize, fund and cherish this vital national asset as an essential part of South Africa’s unique cultural legacy and heritage.

Subsidy in theatre is the organic fertilizer essential to its growth since the dawn of film and television. It is only through subsidy that developmental theatre, community theatre and rural theatre can blossom. It is through subsidy and enlightened private sector funding that we will discover across the length and breadth of our country the jewels, the precious stones that will light up the stages of tomorrow.

Master of Ceremonies, Ladies and Gentlemen, if we want the South African Theatre Industry to honour its past, sustain its present and nurture the theatre practitioners of the future, if we want it to be a truly united instrument of our national culture we must as a nation celebrate, support, subsidize and promote South African Theatre as never before, so that it may continue to give testimony – So that you, our theatre practitioners, the flowers of our nation, may continue to bear witness!

Have a very good evening and Welcome to the Naledi’s!
.

The Naledi Awards: Winners of a Star-Studded Ceremony!

The first ever Naledi Awards evening that really was stylish, slick and absolutely entertaining! Dawn Lindbergh herself deserves a Naledi Award for the .of the televised production took place at the gracious Lyric Theatre at Gold Reef City last night. The foyer was awash with excitement and glamour as theatre industry luminaries showed up in their numbers, dressed to the nines – some no doubt at sixes and sevens with others - to either receive accolades or show support to those who were in the awards limelight.

The Naledi’s have had their share of drama and controversy in the past, and this year’s event went off without a hitch or anyone throwing their toys, and, no doubt was the most spectacular and enthusiastic to date. The MC, Nik Rabinowitz, with his cutting and intelligent wit kept the show rolling along and the audience happy. Nic is undoubtedly one of our most talented comedians with an astounding sharpness of both eye and tongue. The presenters roster glittered with slick end really well-dressed celebrities. The Naledi Chairman, Dali Tambo (I am publishing hi welcoming speech as a separate item), and Executive Director, Dawn Lindberg, also lent their presence to the proceedings. The designer label, Stoned Cherry, gave Dawn quite an amazing ethnic look – they must have been stoned while designing this outfit because “The Lindbergh” looked positively supercalifragilisticexpialidocious.

There was one really sour moment to the end of the evening when one of the presenters, comedian David Kibuuka, (he started off so brilliantly) remarked that one of the founding sponsors of the awards and, the sponsor of three of the top categories, probably funded the event in the hope of getting some “pussy” after the curtain came down. Well, Mr. Kibuuka, for your information – and over and above the fact the it is doubtful if this benefactor would be interested in “pussy” - Mr. Christopher Seabrooke is one of South Africa’s most respected businessmen and has poured millions of rand into the “quiet “ sponsorship of the performing arts over many years. And, the theatre is not even his real business - it is simply a kind of hobby. And furthermore, arsehole, the reason why you don’t know anything about this amazingly urbane man is exactly because he never seeks any publicity for his altruistic deeds.

So, next time, Funny David, when you are back in your cage, do your homework a bit more astutely. Why not rather get your laugh by mentioning that despite Lebo M’s big outburst two years ago there still is no category carrying his name and sponsorship for one of the development categories or another previously disadvantaged genre of South African theatre? No, instead of putting his money where his mouth so widely opened at the time, he either stayed at home last night or, more probably, was somewhere in the world negotiating the rights to another foreign money-spinning musical.

Kibuuka apart, the presenters were really good and top-drawer entertainment was provided by the multi-Grammy Award-winning Soweto Gospel Choir, the Bala Brothers, PJ Powers, Alan Committie and the quartet Complete (from Songs of Migration). Angela Killian, who’s currently playing the title role in Evita at the Pieter Toerien Theatre, almost brought the house down with her rendition of that musical’s show-stopping number, “Don’t Cry for Me, Angentina”. The same roar of approval met Abba’s “Dancing Queen” performed by Mamma Mia’s Gina Schmukler, Kate Normington and Ilse Klink. The Lifetime Achievement Award was presented to “SA’s most famous white woman”, Evita Bezuidenhout, for her witty, refreshing and fearless observations of the social fabric of our country over the past 30 years, whilst the Executive Director’s Award was similarly given for three decades of service - to Frans Swart of Lefra Productions, for their promotion of Afrikaans Theatre. Mr. Swart made significant remarks about the Afrikaans media moguls and their neglect of Afrikaans culture. I will publish his acceptance speech separately.

Thanks to funding from the Lottery Distribution Board (for the first time this year), as well as the participation of regular corporate sponsors, Wharfedale Pro, Matrix Sound, Distell, and Chauvet Lighting, and individual sponsors, Christopher Seabrooke and Percy Tucker, this has been the most lavish and entertaining Naledi Awards evening to date.

The Naledi judges, who comprise theatre and television personalities, arts journalists, and drama teachers and academics, have spent weeks discussing and debating the various nominees, and - as usual - it could not have been the easiest task to come up with one winner in each category. But come up with winners they did, and last night was the turn of the victors to claim their laurels and bask in the fanfare. Last year I criticized the fact that in some categories nominations were made while judges did not bother to attend see competing productions. From where I sat last night I believe that my criticism was heard and that the judging process has been much improved.

I would like to point out that the design of the programmes were absolutely beautiful. It reflected our “South Africanness” and was clean and easy to follow. It is a pity that this crisp new look did not transfer to the audiovisual that linked the evening – it looked “messy” and a number of late cues could easily have spoilt an otherwise an almost flawless evening.

Just as an aside, I would like to thank Bridget van Oerle for her superb and very professional approach to handling the media and the general public relations of this event.. If Dawn Lindbergh was easy to work with she would not have been able to hold the Naledi’s together for all these years – yet, she and Bridget seem to maintain a good working understanding and Bridget brings to the Naledi Awards a charming, flexible, good-natured and patient face. Her very able assistant, Christabel Zulu, not only pulls rabbits out of hats, she also gives the best hugs in town!

The Winners:

BEST PRODUCTION OF A MUSICAL (The Joan Brickhill Award) – Sponsored by Christopher Seabrooke

Evita - a Pieter Toerien production directed by Paul Warwick Griffin.

BEST PRODUCTION OF A PLAY

Death of a Colonialist, produced by The Market Theatre, written by Greg Latter and directed by Craig Freimond.

BEST NEW SOUTH AFRICAN PLAY OR MUSICAL PRODUCED

The Girl in the Yellow Dress, produced by The Market Theatre (Johannesburg), Live Theatre (Newcastle) and The Citizen's Theatre (Glasglow). Directed by Malcolm Purkey and written by Craig Higginson.

BEST PERFORMANCE BY AN ACTOR IN A LEAD ROLE (PLAY)

Jamie Barlett, for his portrayal of the veteran teacher Harold Smith in Death of a Colonialist.

BEST PERFORMANCE BY AN ACTRESS IN A LEAD ROLE (PLAY)-

Marianne Oldham, as the English coach in The Girl in the Yellow Dress.

BEST PERFORMANCE IN A MUSICAL (MALE)
Sponsored by Christopher Seabrooke

James Borthwick, for his portrayal of Juan Peron in Evita.

BEST PERFORMANCE IN A MUSICAL (FEMALE)
Sponsored by Christopher Seabrooke

Angela Kilian, for the title role in Evita.

BEST CUTTING-EDGE PRODUCTION

Butcher Brothers - Presented by The Market Theatre, originally produced by Dark Laugh and supported by Wits 969 2010 and a part of Arts Alive 2010. Directed by Sylvaine Strike.

BEST DIRECTOR OF A PLAY OR MUSICAL
Sponsored by Percy Tucker

Craig Freimond - for Death of a Colonialist.

BEST COMEDY PERFORMANCE (PLAY, MUSICAL OR REVUE)

Matthew Ribnick - for his performance in Geraldine Naidoo's Monkey Nuts.

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE/CAMEO

Nat Ramabulana - for his contribution to Master Harold and the Boys.

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE/CAMEO

Kate Normington - for her contribution to Mamma Mia!

BEST MUSICAL DIRECTOR/SCORE/ARRANGEMENT
Sponsored by Matrix Sound

Charl-Johan Lingenfelder and Louis Zurnamer (MD) - for Evita.

BEST ORIGINAL CHOREOGRAPHY

David Gouldie - for Evita.

BEST PERFORMANCE BY A NEWCOMER / BREAKTHROUGH
The Brett Goldin Award

Khaya Maseko - for his contribution to African Tapestries.

BEST PRODUCTION OF A PLAY OR MUSICAL FOR CHILDREN

Beautiful Creatures - Produced by Ed Jordan and Alan Glass, in association with Showtime Management. Directed by Paul Warwick Griffin.

BEST THEATRE LIGHTING DESIGN
Sponsored by Chauvet

Jannie Swanepoel and Gareth Hewitt Williams - for Evita.

BEST COSTUME DESIGN

Penny Simpson - for Evita.

BEST THEATRE SET DESIGN

Johan Engels - for The Boys in the Photograph.

BEST THEATRE SOUND DESIGN
Sponsored by Wharfedale Pro

Freddy Malesa - for Songs of Migration.

BEST COMMUNITY THEATRE PRODUCTION

The award was shared between:

Awaiting Trial
by Movers Theatre Production; directed by Velaphi Mthimkhulu.

and

We Can, This is our Home
presented by SANCTA One Act Festival in Mpumalanga; directed by Mandla Sibaya.

The first ever Naledi Awards evening that really was stylish, slick and absolutely entertaining! Dawn Lindbergh herself deserves a Naledi Award for the .of the televised production took place at the gracious Lyric Theatre at Gold Reef City last night. The foyer was awash with excitement and glamour as theatre industry luminaries showed up in their numbers, dressed to the nines – some no doubt at sixes and sevens with others - to either receive accolades or show support to those who were in the awards limelight.

The Naledi’s have had their share of drama and controversy in the past, and this year’s event went off without a hitch or anyone throwing their toys, and, no doubt was the most spectacular and enthusiastic to date. The MC, Nik Rabinowitz, with his cutting and intelligent wit kept the show rolling along and the audience happy. Nic is undoubtedly one of our most talented comedians with an astounding sharpness of both eye and tongue. The presenters roster glittered with slick end really well-dressed celebrities. The Naledi Chairman, Dali Tambo (I am publishing hi welcoming speech as a separate item), and Executive Director, Dawn Lindberg, also lent their presence to the proceedings. The designer label, Stoned Cherry, gave Dawn quite an amazing ethnic look – they must have been stoned while designing this outfit because “The Lindbergh” looked positively supercalifragilisticexpialidocious.

There was one really sour moment to the end of the evening when one of the presenters, comedian David Kibuuka, (he started off so brilliantly) remarked that one of the founding sponsors of the awards and, the sponsor of three of the top categories, probably funded the event in the hope of getting some “pussy” after the curtain came down. Well, Mr. Kibuuka, for your information – and over and above the fact the it is doubtful if this benefactor would be interested in “pussy” - Mr. Christopher Seabrooke is one of South Africa’s most respected businessmen and has poured millions of rand into the “quiet “ sponsorship of the performing arts over many years. And, the theatre is not even his real business - it is simply a kind of hobby. And furthermore, arsehole, the reason why you don’t know anything about this amazingly urbane man is exactly because he never seeks any publicity for his altruistic deeds.

So, next time, Funny David, when you are back in your cage, do your homework a bit more astutely. Why not rather get your laugh by mentioning that despite Lebo M’s big outburst two years ago there still is no category carrying his name and sponsorship for one of the development categories or another previously disadvantaged genre of South African theatre? No, instead of putting his money where his mouth so widely opened at the time, he either stayed at home last night or, more probably, was somewhere in the world negotiating the rights to another foreign money-spinning musical.

Kibuuka apart, the presenters were really good and top-drawer entertainment was provided by the multi-Grammy Award-winning Soweto Gospel Choir, the Bala Brothers, PJ Powers, Alan Committie and the quartet Complete (from Songs of Migration). Angela Killian, who’s currently playing the title role in Evita at the Pieter Toerien Theatre, almost brought the house down with her rendition of that musical’s show-stopping number, “Don’t Cry for Me, Angentina”. The same roar of approval met Abba’s “Dancing Queen” performed by Mamma Mia’s Gina Schmukler, Kate Normington and Ilse Klink.

The Lifetime Achievement Award was presented to “SA’s most famous white woman”, Evita Bezuidenhout, for her witty, refreshing and fearless observations of the social fabric of our country over the past 30 years, whilst the Executive Director’s Award was similarly given for three decades of service - to Frans Swart of Lefra Productions, for their promotion of Afrikaans Theatre. Mr. Swart made significant remarks about the Afrikaans media moguls and their neglect of Afrikaans culture. I will publish his acceptance speech separately.

Thanks to funding from the Lottery Distribution Board (for the first time this year), as well as the participation of regular corporate sponsors, Wharfedale Pro, Matrix Sound, Distell, and Chauvet Lighting, and individual sponsors, Christopher Seabrooke and Percy Tucker, this has been the most lavish and entertaining Naledi Awards evening to date.

The Naledi judges, who comprise theatre and television personalities, arts journalists, and drama teachers and academics, have spent weeks discussing and debating the various nominees, and - as usual - it could not have been the easiest task to come up with one winner in each category. But come up with winners they did, and last night was the turn of the victors to claim their laurels and bask in the fanfare. Last year I criticized the fact that in some categories nominations were made while judges did not bother to attend see competing productions. From where I sat last night I believe that my criticism was heard and that the judging process has been much improved.

I would like to point out that the design of the programmes were absolutely beautiful. It reflected our “South Africanness” and was clean and easy to follow. It is a pity that this crisp new look did not transfer to the audiovisual that linked the evening – it looked “messy” and a number of late cues could easily have spoilt an otherwise an almost flawless evening.

Just as an aside, I would like to thank Bridget van Oerle for her superb and very professional approach to handling the media and the general public relations of this event.. If Dawn Lindbergh was easy to work with she would not have been able to hold the Naledi’s together for all these years – yet, she and Bridget seem to maintain a good working understanding and Bridget brings to the Naledi Awards a charming, flexible, good-natured and patient face. Her very able assistant, Christabel Zulu, not only pulls rabbits out of hats, she also gives the best hugs in town!

The Winners:

BEST PRODUCTION OF A MUSICAL (The Joan Brickhill Award) – Sponsored by Christopher Seabrooke

Evita - a Pieter Toerien production directed by Paul Warwick Griffin.

BEST PRODUCTION OF A PLAY

Death of a Colonialist, produced by The Market Theatre, written by Greg Latter and directed by Craig Freimond.

BEST NEW SOUTH AFRICAN PLAY OR MUSICAL PRODUCED

The Girl in the Yellow Dress, produced by The Market Theatre (Johannesburg), Live Theatre (Newcastle) and The Citizen's Theatre (Glasglow). Directed by Malcolm Purkey and written by Craig Higginson.

BEST PERFORMANCE BY AN ACTOR IN A LEAD ROLE (PLAY)

Jamie Barlett, for his portrayal of the veteran teacher Harold Smith in Death of a Colonialist.

BEST PERFORMANCE BY AN ACTRESS IN A LEAD ROLE (PLAY)-

Marianne Oldham, as the English coach in The Girl in the Yellow Dress.

BEST PERFORMANCE IN A MUSICAL (MALE)
Sponsored by Christopher Seabrooke

James Borthwick, for his portrayal of Juan Peron in Evita.

BEST PERFORMANCE IN A MUSICAL (FEMALE)
Sponsored by Christopher Seabrooke

Angela Kilian, for the title role in Evita.

BEST CUTTING-EDGE PRODUCTION

Butcher Brothers - Presented by The Market Theatre, originally produced by Dark Laugh and supported by Wits 969 2010 and a part of Arts Alive 2010. Directed by Sylvaine Strike.

BEST DIRECTOR OF A PLAY OR MUSICAL
Sponsored by Percy Tucker

Craig Freimond - for Death of a Colonialist.

BEST COMEDY PERFORMANCE (PLAY, MUSICAL OR REVUE)

Matthew Ribnick - for his performance in Geraldine Naidoo's Monkey Nuts.

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE/CAMEO

Nat Ramabulana - for his contribution to Master Harold and the Boys.

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE/CAMEO

Kate Normington - for her contribution to Mamma Mia!

BEST MUSICAL DIRECTOR/SCORE/ARRANGEMENT
Sponsored by Matrix Sound

Charl-Johan Lingenfelder and Louis Zurnamer (MD) - for Evita.

BEST ORIGINAL CHOREOGRAPHY

David Gouldie - for Evita.

BEST PERFORMANCE BY A NEWCOMER / BREAKTHROUGH
The Brett Goldin Award

Khaya Maseko - for his contribution to African Tapestries.

BEST PRODUCTION OF A PLAY OR MUSICAL FOR CHILDREN

Beautiful Creatures - Produced by Ed Jordan and Alan Glass, in association with Showtime Management. Directed by Paul Warwick Griffin.

BEST THEATRE LIGHTING DESIGN
Sponsored by Chauvet

Jannie Swanepoel and Gareth Hewitt Williams - for Evita.

BEST COSTUME DESIGN

Penny Simpson - for Evita.

BEST THEATRE SET DESIGN

Johan Engels - for The Boys in the Photograph.

BEST THEATRE SOUND DESIGN
Sponsored by Wharfedale Pro

Freddy Malesa - for Songs of Migration.

BEST COMMUNITY THEATRE PRODUCTION

The award was shared between:

Awaiting Trial
by Movers Theatre Production; directed by Velaphi Mthimkhulu.

and

We Can, This is our Home
presented by SANCTA One Act Festival in Mpumalanga; directed by Mandla Sibaya.

.

ANDRÉ RIEU: LIVE IN SOUTH AFRICA

JAMES BHEMGEE: SOUTH AFRICAN TENOR TO SWEEP AUDIENCES OFF THEIR FEET
ADDITIONAL TICKETS NOW ON SALE. Tenor and former street sweeper, James Bhemgee, has been chosen to perform with André Rieu during his upcoming SA Tour. Bhemgee, the winner of a popular local television talent show, caught the world’s attention with his incredible voice and rags to riches story, as well as the ear of the biggest touring classical artist in the world, André Rieu.

A true South African success story, James Bhemgee will have the opportunity to perform on stage with some of the best classical musicians in the world during André Rieu’s nationwide Tour this March.

Bhemgee who hails from Mitchell’s Plain in Cape Town, was invited to Maastricht to rehearse with André Rieu and his Johann Strauss Orchestra and had this to say upon his return: “I am so honoured to have been chosen by André to perform with him and his orchestra. We had such a lovely time rehearsing in Holland and all I can say is that the South African audiences will be blown away by the concerts. All of this is truly a dream come true for me!”

Having topped the tour rankings with his sold out SA Tour last year, the Dutch violinist and conductor’s magnificent grand-scale production will once again feature his Johann Strauss Orchestra, choir and soloists, as well as SA’s nightingale, Kimmy Skota, who stole the hearts of everyone during her incredible performances last year.

With multi-platinum status, André Rieu has over 30 million albums globally, and has broken all classical concert records, packing stadiums with over 700,000 adoring fans each year. He has sold over 300,000 DVD’s in South Africa alone, earning him a special place in South Africans hearts and minds and truly being one of contemporary musical geniuses.

A musical phenomenon, André Rieu is unlike anything else in the entertainment world. His audience members are known to jump to their feet and dance in the aisles at his unparalleled music spectaculars. Now with added South African flavour, this is a concert that is definitely not to be missed.

Artists Seats has just been released so additional tickets are now available to accommodate the overwhelming response from fans.

Book now at Computicket (www.computicket.com or 083 915 8000) to avoid disappointment.
Tickets range from R400 – R1,050.

ANDRÉ RIEU’S SOUTH AFRICA 2011 TOUR DATES:

Grand Arena, Grand West Cape Town:
Fri, 11 March 2011 at 8pm
Sat, 12 March 2011 at 8pm
Sun, 13 March 2011 at 6pm

Superbowl, Sun City:
Friday, 18 March 2011 at 8h30pm
Saturday, 19 March 2011 at 7pm
Sunday, 20 March 2011 at 7pm

ICC, Durban:
Wednesday, 23 March 2011 at 8pm

Olde 'n New Music Recitals: DUO ZAPPA MAINOLFI

FROM ITALY, A SPECIAL RECITAL SUNDAY 6TH MARCH: THE DUO ZAPPA MAINOLFI

If you haven't booked yet don't delay. Tickets have been flying! Saul Bamberger of Olde ‘n New will be hosting a fantastic recital on Sunday 6th of March. This is going to be very special! So much so that I couldn't pass-up the opportunity.

Mattia Zappa (Cello) and Massimiliano Mainolfi ( Piano) of Italy will be performing.

They will be performing works by Sibelius, a beautiful Brahms Sonata for Cello and Piano, an Intermezzo by Grieg and Le Grand Tango by Piazzola.

The Duo Zappa Mainolfi, who have appeared several times at Carnegie Hall as well as other prestigious international venues, will be performing at Olde'n'New as part of their South African tour. Massi and Matti have played at Olde'n'New before to huge acclaim. Their repertoire is astoundingly varied, vast and accomplished . They also involve themselves in enrichment projects in South Africa and are met with affection by all who know them.

They are two of my most treasured musicians and friends and a perfect choice as the last musicians to play at '' the ol' place"

Their website address is www.duozappamainolfi.com

You simply have to be there!!!!

Here are the details:
DATE: Sunday 6th March.
TIME: 3:30 for 4:00 pm
PRICE: R120 pp. Including refreshments.
VENUE: Olde'n'New,Cnr Stanley (Empire Rd Extension) and Cedar Avenues, Aucklandpark.
R.S.V.P by return of email to saulb@polka.co.za For enquiries call 083 414 0041
--------------------------

NIGHT DRIVE World Premiere sets scene for SA movie release.

The World Premiere event of local slasher film, NIGHT DRIVE, held on Thursday 3rd February, had over 600 of the industry’s elite executives, A-list celebrities and cast members abuzz and has become one of the most talked about events of 2011 thus far, ahead of the movie's release this Friday, 4th March 2011.

Guests met at Jo’burg’s hottest nightclub Latinova in Rosebank, they sipped on cocktails while their anticipation grew, knowing any minute they would be whisked away to a secret screening location of the film. Excitement escalated as specially branded Night Drive double-decker busses pulled up, courtesy of the Gauteng Film Commission, and escorted by the metro police the guests traveled like true VIPs to The Zone in Rosebank, where they where greeted with cosmopolitan cocktails created by The Zone’s Liquid Chefs. This set the perfect tone for the uniqueness of Night Drive, a south African film with international distribution, its world wide premiere executed on home soil as unique as the film itself.

Featuring an all-star cast and set against the backdrop of a bushveld game reserve, the new South African slasher film, Night Drive, will open on 4 March.

Released by independent distributor Indigenous Film Distribution, Night Drive was written and directed by AFDA graduate and award-winning short film director, Justin Head. He says: “Night Drive had its genesis when The Film Factory was toying with the idea of a horror film set in the bush, an environment for which I have a great love. Coupled with that, the opportunity to work with such a talented cast and crew made the film a wonderful project.”

The film stars Christopher Beasley, known to South African audiences as bad boy Len Cooper in the popular soap Isidingo, for which he has received three best actor nominations. He is also an accomplished stage actor and stuntman. Corine du Toit starred in Egoli and Getroud Met Rugby. She has also appeared in many commercials, both locally and internationally. Greg Melvill-Smith, one of the country’s most respected actors, has starred in many theatre productions, major television series, as well as numerous feature films, including The Sorcerer’s Apprentice, Mr Bones, Drum, The Bang Bang Club, and the international hit, District 9. Yule Masiteng has appeared in drama series Mzansi, and stars as the sly conman Jomo Zungu in Scandal!. He also has several international television series and films to his credit. Brandon Auret is best known for his role as Dup (Leon du Plessis in Isidingo: the Need), but has since moved on into film and has starred in District 9, The Race-ist and Winnie. He has also starred in several local musical productions and is well known in theatre world.

Night Drive is a gritty, nail-biting thriller-slasher set in the unforgiving South African bush. While out on a night safari an eclectic mix of tourists are left stranded when their vehicle breaks down in the middle of nowhere. Local folklore speaks of the Hyena Man, a ruthless criminal mastermind notorious for heading up a well-armed, well-trained group of poachers on the hunt for not only animal’s and animal body parts but also for human being’s, dead or alive! As a series of terrifying events unfold, they realize wild animals are the least of their worries, folk lore becomes reality and their deepest fears unfold as the fight for survival begins.

Night Drive releases around the country on Friday 4th March in the following cinemas:

Gauteng
MonteCasino, Fourways
Festival Mall, Kempton Park
The Zone, Rosebank
Maponya Mall, Soweto
Key West, Krugersdorp
Zambezi Mall, Pretoria
Sterland, Pretoria

Kwa-Zulu Natal
Pavillion, Durban

Western Cape
Canal Walk, Cape Town
Parow, Cape Town

In celebration of Night Drive’s release, the celebrity cast will be attending various screenings of the movie and doing autograph signings: Please keep up to date by visiting the Night Drive facebook page on http://www.facebook.com/permalink.php?story_fbid=10150096488336651&id=669536650#!/pages/Nightdrive/65747453472


Friday, 4 March
12h30 - 13h30 Soweto – Soweto Campus Shavathon
Leroy Gopal (Augustino)

Friday, 4 March
18h00 – 19h30 The Zone @ Rosebank
Christopher Beasley (Sean Darwin)
Kenneth Fok (Chang)
Tema Sebopedi (The Refugee)

Saturday, 5 March
12pm – 1pm Westgate Shavathon
Greg Melvill-Smith (Jack Darwin)
Tema Sebopedi (The Refugee)

Saturday 5 March
12h30 – 13h30 Clearwater Mall Shavathon
Brandon Auret (Ian)
Jennifer Steyn (Cynthia Darwin)

Sunday 6 March
15h00 – 16h00 MonteCasino Nu Metro Foyer
Greg Melvill-Smith (Jack Darwin)
Brandon Auret (Ian)
Corine Du Toit (Karen)
Antonio David Lyons (Denzel)

Tuesday, 8 March
18h00 – 19h00 Maponya Mall, Soweto
Antonio David Lyons (Denzel)


The Premiere was made possible thanks to the generous sponsorship of : The Zone, Liquid Chefs, Latinova and Itec Central.

For more information visit the official NIGHT DRIVE website at: http://www.nightdrivemovie.com
The NIGHT DRIVE Trailer can be viewed at: http://www.youtube.com/watch?v=ipNEdQfOPuk
To whet your appetite, here are some behind the scenes interviews to enjoy:
Behind the Scenes part 1 : http://www.youtube.com/watch?v=qUT0lnWxyUA
Behind the Scenes part 2 : http://www.youtube.com/watch?v=-8zF9GDriyE&feature=related

NIGHT DRIVE : Some things are worse than dying.... Terror has a new destination