Matthew Krouse
Colosseum, Caesars Gauteng, Kempton Park. Breathless takes place in an informal bar atmosphere with hit numbers ranging from Sex Bomb to Lady Marmalade. Produced and choreographed by Amber Baty and Billy Hogg. Extended until February 2. Shows at 8pm. No booking, no charge. Tel: 928 1000.
Globe Theatre, Gold Reef City Casino. African Footprint, the song-and-dance
spectacular that has enthralled princes and presidents, has been extended until March. Shows on Tuesday to Friday at 8pm, on Saturday at 6pm and 9pm and on Sundays at 3pm. Book at Computicket. Tel: 248 5168.
Laager Theatre, Market Theatre complex, Newtown Cultural Precinct. Until
January 29 see Malika Lueen Ndlovu’s A Coloured Place, a thought-provoking look at stereotyping that plagues everyday lives in the coloured community. Not a very optimistic piece of work, it’s about the dreams and ambitions that coloured women have and don’t always realise. But it falls short of breaking entirely with the stereotypes we’ve come to accept. With Esmerelda Bihl and Crystal Tryon. Book at Computicket. Tel: 832 1641.
Liberty Theatre on the Square, Sandton Square. Until February 16 see Sue
Pam-Grant and Marcel van Heerden in Chasing Chairs, directed by Clare Stopford. It’s billed as “a witty and ironic dissection of modern marriage.” See Theatre Pick of the Week. Book at Computicket or Tel: 883 8606.
Nelson Mandela Theatre, Civic Theatre complex, Braamfontein. Bayede Shaka:
The Spear Is Born is written and directed by Edmund Mhlongo. This energetic musical portrays Shaka as a respected and gifted African legend and not as a barbarian, as is often the case. The production originally opened in Durban and toured to the United Kingdom, playing at London’s Royal National Theatre, Brixton Centre and at The Dome. Until February 8. Shows on Tuesdays to Saturdays at 7pm and Sundays at 2pm. Tickets are R45 at Computicket. Tel: 403 3408.
Pieter Toerien’s Montecasino Theatre, William Nicol Drive, Fourways. Now running is Tim Plewman’s production of Certified Male, with an all-star cast that includes Tobie Cronje and Gideon Emery. Until January 19. From January 30 to February 28 see Roger Dwyer’s production of Agatha Christie’s The Mousetrap with Malcolm Terrey, Paddy Canavaghn and Ashley Dowds. Book at Computicket. Tel: 511 1818.
Sound Stage, Midrand. Comedian Mark Banks appears in the one-hander Ek’s ‘n Doos from South Africa. A tagline in the press release suggests that this be pronounced “exodus from South Africa” so Banks is obviously going to rip into, among others, whites who’ve taken flight. It has a six-week run. Book at Computicket. Tel: 315 5084.
Theatre pick of the week
Chasing Chairs
Liberty Theatre on the Square
Until February 16
Hearing about somebody’s bad marriage is one thing watching somebody’s bad marriage is another. Which is to say, one can actually be entertained by a couple’s pettiness, internal angst and lack of compromise.
Chasing Chairs, written by DJ Grant and Sue Pam-Grant, works on the same principal as well-loved cartoons such as Andy Capp and The Lockhorns: through constant bantering and bickering.
This is the universe of the marital prattle where two individuals, trapped in their upward mobility, begin to experience the designer life as caged animals. Husband Simon (Marcel van Heerden) is embroiled in things of the spirit: water features, oriental tea ceremonies and such. Wife Katya (Sue Pam-Grant) goes in for objects of the good life on Earth: nostalgic furniture, kitchenware and retro gear. Somewhere along the line, naturally, their aesthetic sensibilities are bound to clash.
Clare Stopford’s production of this play began life as part of the Kultcha Klub’s 2001 season of new work called One Night Stand. It has now been brushed up and, like others, presented by the Liberty Theatre on the Square as a full stage production.
Its title is taken from Katya’s obsessive habit of constantly rearranging her collection of second-hand chairs.
At the same time, in their regular sessions with their shrink, the couple keeps changing points of view. This is indicated by the fact that they have a running debate about where they are going to sit.
If anything, the actions and meaning of the play wrap up too neatly, making the whole experience feel very contrived. Little is left to the imagination. The characters are drawn in relevant detail though, judging from the audience’s laughter of recognition.
Stopford’s production succeeds primarily because it approaches what appears to be highly personal subject matter with a lightness of touch. Matthew Krouse