Reviews — Pieter Toerien Productions
EQUUS-The Crits are out!
3rd Apr 2019 /by Mark Monte
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Dis opwindend om ’n opvoering in die opgeknapte Theatre On The Bay in Kampsbaai by te woon, want steeds is daar iets nuuts om raak te sien. Vir my was dit hierdie keer die besonderse matte.
Nadine Minnaar se stel sluit as’t ware aan by die sfeer en aantreklikheid van die teater self. Op die verhoog sien ons Monkswell Manor. Giles (Mark Sykes) en Mollie Ralston (Melissa Haiden) het dit onlangs geërf en dit in ’n gastehuis omskep. Hier is alles afgerond, netjies en strelend vir die oog. In die spel kom humor ook meer na vore as wat ek uit vorige produksies kan onthou. Dis asof die gewelddadigheid onder sulke omstandighede juis sterker uitstaan.
Laatmiddag, terwyl dit sneeu, begin die Ralstons se eerste gaste opdaag. Twee van hulle word deur baie bekende Suid-Afrikaanse spelers vertolk. Michele Maxwell se mevrou Boyle laat haar dadelik geld met ’n kragtige stem en dominerende liggaamstaal. Sy is beslis aan beter gewoond en is byna met niks tevrede nie. Sien jy vir Malcolm Terrey onthou jy sy voortreflikheid in komedies. Hier is hy afgetrede majoor Metcalf. In talle bronne word die majoor as gemoedelik en vriendelik bestempel. Dan uit London Mark Wynter. Hy het sy loopbaan as popsanger begin. Sedertdien het hy al opgetree in bv 23 musiekblyspele (onder meer van Andrew Lloyd Webber) en 38 toneelstukke. Hier is hy die enigmatiese mnr Paravicini wat darem aan die ramp met sy motor in die sneeu ontkom het. Dié meneer in swart hou blykbaar daarvan om homself te grimeer. Regisseur Jonathan Tafler het ook al baie toneelprestasies behaal in Brittanje, in die besonder as radioregisseur. Vroeër vanjaar was hy einste mnr Paravicini in St Martin’s Theatre, die Mousetrap-tuiste in Londen.
Twee jonger gaste het opgedaag vóór dié meneer: Casewell (Shannyn Fourie) en Christopher Wren (Matthew Lotter). Casewell kom as nie baie vroulik voor nie en haar kleredrag “bevestig” dit. Fourie vertolk haar as “privaat”. Bronne beskryf Christopher (vernoem na die beroemde argitek in die hoop dat hy self een sou word!) as ’n warkop en selfs neuroties. Maar Lotter skep van die soort tonele waarin ’n mens skielik treffende insigte kry. Iets bekend, maar wat nou kommentaar lewer op ’n belangrike element in die drama. Hy sit na aan die gehoor wanneer hy sê: “You never really know what anyone is like – what they are really thinking. For instance, you don’t know what I’m thinking about now, do you?”
Dit sluit aan by die bevinding van speurdersersant Trotter (Aidan Scott). Hy kom ondervra almal in die gastehuis. Al die pad op ski’s. ’n Moord is elders gepleeg. Die polisie het ’n “wenk” gekry dat die vermoorde se dood gewreek kan word deur iemand hier in die gastehuis te vermoor. In die ondervraging word dit duidelik dat dit ’n versameling vreemdelinge is, en dat hulle mekaar geensins kan vertrou nie. Christie het die moordgegewe gedeeltelik gebaseer op ’n werklike tragedie in 1945 toe ’n boer en sy vrou in Shropshire kinders wat by hulle in pleegsorg was grusaam mishandel het.
Aidan Scott vertolk speursersant Trotter as maar gewoon. Dit is opmerklik dat Christie nie ’n geskakeerdheid in sy karakter ingebou het soos bv in haar Hercule Poirot of Miss Marple nie. (Richard Attenborough het die rol vir die eerste keer vertolk.)
Waar het alles begin? In 1947 wil die BBC koningin Mary se verjaardag vier en sy kan ’n skrywer kies vir ’n hoorspel. Die uitverkorene is Agatha Christie. Sy skryf Three Blind Mice. Sy het ook ’n kortverhaal daarvan gemaak, maar dit mag nie in die Verenigde Koninkryk gepubliseer word voor die opvoer van The Mousetrap ophou nie. Dit is wel in die VSA gepubliseer.
Toe sy die vollengte verhoogstuk skryf, moet die titel verander word omdat Emile Littler dit reeds gebruik het. Skoonseun Anthony Hicks stel voor sy wend haar tot Shakespeare se Hamlet. In die derde bedryf, toneel twee laat Hamlet ’n toneelstuk opvoer. Koning Claudius vra wat die naam daarvan is. Hamlet: “The Mouse-trap. … This play is the image of a murder done in Vienna.” Dit heet eintlik “The Murder of Gonzago”. In bedryf twee het Hamlet egter besluit dat die wellusteling moet boet: “The play’s the thing wherein I’ll catch the conscience of the king.” In Monkwell Manor word verskeie karakters se gewetens wakker gemaak. Booshede van die verlede word opgerakel.
Die allereerste opvoering van The Mousetrap vind plaas op 6 Oktober 1952 in die Theatre Royal te Nottingham. Daarna word getoer met die stuk na verskeie teaters voordat dit op 25 November 1952 open in die Ambassador’s Theatre in Londen. Hier begin die legendariese opvoergeskiedenis. Dit is nie ’n geval van ’n toneelstuk wat oor jare, selfs eeue telkens herleef met ’n nuwe speelvak nie. Dit word deurlopend opgevoer. Op Saterdag 23 Maart 1974 verskuif alles en almal na die nabygeleë St Martin’s Theatre en reeds op Maandag 25 Maart 1974 stap ’n gehoor in.
As verjaardaggeskenk het Christie die regte aan haar kleinseun Matthew Prichard geskenk. In die goeie teaterprogram kry ons sy herinneringe aan haar. Hy moes aandag gee aan ’n paar voorskrifte solank as wat The Mousetrap nog opgevoer word. Geen verfilming; net een ander produksie per jaar in Brittanje.
Van die stel van 1952 is daar nog net een ding steeds in gebruik: die horlosie op die kaggelrak.
Met: Melissa Haiden, Mark Sykes, Matthew Lotter, Michele Maxwell, Malcolm Terrey, Shannyn Fourie, Mark Wynter en Aidan Scott.
Regie: Jonathan Tafler
Stel ontwerp en geskep deur Nadine Minnaar. Kostuums deur Marcel Meyer.
Aangebied deur Pieter Toerien in ooreenkoms met sir Stephen Waley-Cohen in The Theatre On The Bay, Kampsbaai. Tot 19 Januarie 2019.
21st Dec 2018 /by Mark Monte
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Agatha Christie’s THE MOUSETRAP- “well worth the wait and a really fun way to spend an evening at the theatre!”
13th Dec 2018 /by Mark Monte
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Mesmerising piece of work! – Beverley Brommert Cape Argus
Theatre on the bay is celebrating it’s newly renovated splendour in style with a production that will be remembered long after the end of it’s run: The Curious Incident of the Dog in the Night-Time is a stellar piece of entertainment on all counts-performances both lead and cameo, staging, direction and content.
Based on Mark Haddon’s intriguing novel of the same name, this two-act play traces the life-affirming ordeal of Christopher, and adolescent boy afflicted with Asperger’s Syndrome, but endowed with terrifying brilliance in theoretical disciplines like mathematics and physics.
Not the sort of material one would imagine readily adaptable to the stage, but dramatist Simon Stephens has successfully translated all the vitality and inner drama of the youth’s experience with a sensitivity akin to genius, and the result is stunning theatre.
Tina Driedijk’s austere set evokes the uncompromising nature of mathematical abstraction , but at the same time fulfils all the purely physical requirements of the cast, who in their turn become the props of the action.
An outstanding instance of this is the sequence where Christopher abandons himself to the fantasy of astral adventure and is borne aloft in communion with the night sky which he finds so much more conducive to joy than interaction with his fellow humans.
Complementing this inspired staging is Gareth Hewitt Williams’s lighting design , key to the work’s theme, and choice soundscapes devised by Charl-Johan Lingenfelder. The nightmare journey undertaken by Christopher to London is a visual and aural tour de force.
As a counterbalance to the potentially arid mathematical element of this play, there is also no lack of humour, the quietly sardonic variety that comes from politically incorrect or outrageous statements uttered in all sincerity by a naive young person, full of uncompromising honesty and logic.
Then there is the warm and fuzzy feeling generated by the presence on stage of animals, dead and alive….something for everyone.
To cap it all, there is a coda delivered by Brummer which is worthy in itself of recognition for sheer mental stamina-as if what has preceded were not enough to make this an unforgettable show.
5th Oct 2018 /by Mark Monte
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“A drum a drum, Macbeth doth come”
MACBETH is Shakespeare’s shortest tragedy, one of his shortest plays and one of his most unremittingly gruesome creations. MACBETH examines how dreams become nightmares when a man releases fear into his world. (‘Notes on this production’-from the program on sale in the foyer)
This production by Abrahamse and Meyer, presented by a company of 6 male actors, demonstrates the brilliance of the writing of a playwriter of centuries ago, which resonates even today. Demonstrating how far we’ve come and how little we’ve learnt in 400 years.
The press has unanimously raved about this production, calling it “passionate and chilling” and “..not an easy watch, but…a rewarding one!”
Jenny de Klerk-Saturday Star
Gayle Edmunds-Channel 24
This production of MACBETH has been offered to schools as an aide to learners studying the play this year. Performances during the week are: Wednesday and Thursday @11am and 3pm; Friday @3pm.
Saturday @4pm and 8pm and Sunday @3pm are the usual weekend performances.
There are NO evening performances during the week.
For school bookings contact Geraldine@montetheatre.co.za or 011 511 1988
23rd Aug 2018 /by Mark Monte
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Avenue Q – It’s A Blast!
‘Musical theatre isn’t an art form. It’s 14 art forms smashed together. And when they coalesce in exactly the right way, I believe it is more powerful than pretty much everything.’ – Lin-Manual Miranda
These words, by one of the genius’s of Musical Theatre of the 21st century, isn’t referring to Avenue Q, but in my opinion, most definitely could have been.
Avenue Q is a most surprisingly fresh, clever and brilliant on so many levels musical that anyone who loves theatre should see! Young thespians not only sing and dance and act but they now also manipulate puppets, bringing them to life in the most extraordinary way. It’s a remarkable piece of theatre that deserves to be supported.
The press have raved unanimously. Here is what they have to say:
It’s hilarious, touching, beautiful and rude: an utter tonic.-Robyn Sassen
Avenue Q is a difficult show to describe. This becomes evident when, despite having read all the publicity material in advance of opening night, the experience of actually watching the production overwhelms the ideas that have been put in your head.-Bruce Dennill
Gleeful energy crackles throughout this show, with its cast of cute and furry puppet people trying to find jobs, money, and the more elusive love and a purpose for even existing while navigating racism and homophobia. On the way they discover the truism that being kind to others is the best way of being kind to yourself.- Lesley Stones
unique, original and challenging – so the entire ensemble deserves every accolade they get.-Leon van Nierop
Avenue Q is a delightfully quirky production. It is still a huge hit on Broadway after 15 years, and a version is now in Johannesburg featuring a Proudly South African cast.-Peter Feldman
Avenue Q comes like a sneaky fresh breeze – cool as a cucumber.
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A Stark Raving Banks!
Mark Banks has paid his dues. He’s part of our psyche and as South African as Mrs Balls and Biltong so maybe through the years he’s got a little crazy and who would blame him?
In his latest show now on in the Studio Theatre, it’s just Mark visiting you, his shrink, because we all need to be able to tell someone our crazy!
It’s brave, stripped down, edgy and brilliant. Confessional, vulnerable and deeply funny. And he doesn’t leave the couch.
Still laughing! SHARMINI BROOKES
13th Mar 2018 /by Admin
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Hedwig! Funny, uncomfortable, harrowing and more than worth the journey!
Paul du Toit is Hedwig
VR Theatrical have once again come up with a show that we would not necessarily ever have seen in this country. With their aim and goal to make theatre that resonates with a new generation, that challenges and pushes boundaries but also entertains, they give us HEDWIG AND THE ANGRY INCH, now on at Pieter Toerien’s Montecasino Theatre until April 1st.
It’s not your usual fare, but those willing to give it a try will be all the better for doing it.
Here is what press have had to say:
No boxes, No labels, No judgment!
Dark, Funny and Harrowing! STAGE AND SCREEN
Aggressive and affecting; brazen and bruising. Go on! BRUCE DENNILL
It Rocks! PETER FELDMAN
Bold and Ballsy! LESLEY STONES
12th Mar 2018 /by Admin
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EVITA is “Simply Spectacular”
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Koeksusters, bobotie and reconciliation!
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When Wrong is BRILLIANT!
24th Apr 2017 /by Admin
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Hamlet! What a piece of work!
17th Apr 2017 /by Admin
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A Master in the house
24th Mar 2017 /by Admin
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BANKSRUPT – Just Four Shows Left
8th Feb 2017 /by Admin
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“This ain’t your granny’s Sherlock Holmes”
12th Dec 2016 /by Admin
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It’s a TRIUMPH! Annie wins hearts!
18th Oct 2016 /by Admin
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‘Psychedelic Pop in Totally Amazing Technicolor’ – Cape Times
29th Sep 2016 /by Admin
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24th Sep 2016 /by Admin
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Fatties and Friends!
19th Sep 2016 /by Admin
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All about Oskar
13th Sep 2016 /by Admin
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Joseph is ‘simply brilliant!’ – Theatre Scene Cape Town
26th Aug 2016 /by Admin
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Loving JOSEPH and his coat of many colors
23rd Aug 2016 /by Admin
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Jo’burg LOVES I Love You, you’re perfect, now change!
18th Aug 2016 /by Admin
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Let Ian von Memerty warm you up this chilly July!
1st Jul 2016 /by Admin
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The reviews are in for THE ECHO OF A NOISE! And an EXTRA PERFORMANCE has been added
8th Jun 2016 /by Admin
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A COCK & BULL STORY – The Reviews Are In!
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Joseph! Joseph! The media have raved!
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Committie’s Exuberant Delivery is a Tonic
25th Apr 2016 /by Admin
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“Committie Demonstrates his Sheer Genius” – 48 Hours
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LOVE FACTUALLY leaves you feeling slightly giddy. That’s a good thing.
20th Apr 2016 /by Admin
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Bohemian Rhapsody’s glorious underbelly. My View, The Arts at large-Robyn Sassen
21st Mar 2016 /by Admin
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Committe is on fire and deserves an Oscar for Sustained Comedy
7th Mar 2016 /by Admin
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It’s Official – Sweeney Todd is Brilliant!
24th Feb 2016 /by Admin
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LAST WEEK OF “impressive” ‘I’m Playing Your Song’
29th Jan 2016 /by Admin
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Uys is ‘n Tour De Force
10th Nov 2015 /by Admin
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‘Mesmerizing’ Sweeney Todd
19th Oct 2015 /by Admin
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Truly Memorable EPSTEIN
9th Oct 2015 /by Admin
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War Horse folk tunes make for meaningful listening
2nd Sep 2015 /by Admin
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Unmissable Epstein: Celebrating a secret god.
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What The Fox Say, Or Folk’s Finest In Formidable Fettle (Review: Bob Fox)
1st Sep 2015 /by Admin
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8th Jul 2015 /by Admin
https://www.pietertoerien.co.za/wp-content/uploads/2017/05/Reviews-are-in.jpg 420 600 Admin https://www.pietertoerien.co.za/wp-content/uploads/2018/08/ptp-black-logo.svg Admin2015-07-08 15:22:392017-08-02 12:10:45The REVIEWS Are In!