Guy Willoughby

<i>Love and Green Onions</i> is a rich musical feast enlivened by great performances and some fine, infectious songs, writes Guy Willoughby.

Accompanied by a group of unsung folk musicians, David Kramer has gone back to his roots, writes Guy Willoughby.

Now in its fifth year, this hugely successful funny-folk festival has made marvellous strides, writes Guy Willoughby.

‘Stamp collecting is a passion South Africans refuse to grow out of’, writes Stephen Gray.

Athol Fugard’s <i>Valley Song</i> has been set to music by composer Thomas Rajna, writes Guy Willoughby, the instigator of the project.

Nelson Mandela’s favourite tales come alive on stage, thanks to Janice Honeyman’s obsessive inclinations, writes Guy Willoughby.

<i>At Her Feet</i> is a brilliant, precocious theatrical achievement — that doesn’t know when to stop, writes Guy Willoughby.

Opera in South Africa — and in Cape Town in particular — stands at a critical but exciting crossroads, writes . As Cape Town Opera CEO Angelo Gobbato recently remarked, with casts now overwhelmingly black, the search is on to win an audience fitting the same description.

Cape Town may be buzzing with culture, but it needs effective marketing, writes Guy Willoughby

<b>Review:</b> <i>The Shades</i>

by Ashraf Jamal

(Brevitas)

<b>Q&A</b>: Clifford Bestall with Guy Willoughby.

Athol Fugard’s plays have tackled every hidden corner of life under the grossest of sociopolitical orders, creating as he went a record of inestimable value, writes Guy Willoughby.