What happens when artists challenge beauty, publishing and politics? A fair like no other
‘Artsronaut’ Nanna Venter lets us in on her process for designing book covers, including for Lauren Beukes’s ‘Afterland’
Napo Masheane draws on the Women’s March of 1956 to add depth to her play about politics in present-day South Africa.
Theatre director Greg Karvellas talks about the play that tells a story of remembrance and legacy.
A young playwright tells how the Sophiatown-era writer provided the inspiration for a new play.
Renowned actor and playwright John Kani talks to Brent Meersman about his new play, "Missing", now showing at the Baxter Theatre.
Reports of the death of stagecraft are exaggerated, says Brent Meersman. He turns the footlights on SA’s playmakers who are getting it right.
Sylvaine Strike’s perceptive play,<em> The Table</em>, has all the Chagall-esque components to make it a nice, whacky work of Jewish expressionism.
World-renowned and mostly overseas-based, Athol Fugard finds that he inevitably writes for fellow South Africans, whose code he mastered long ago.
Arthur Miller’s <i>Broken Glass</i> is an exploration of what happens to people when they surrender their own desires and disregard the truth.
Fringe playwright <b>Conrad Kemp</b> writes about his approach to making work for the National Arts Festival.
<em>Percy Zvomuya</em> is captivated by Jamie Bartlett in <em>Death of a Colonialist</em>, but where are the Xhosas?
Brent Meersman chats to the irrepressible playwright, Athol Fugard, ahead of the premiere of his latest play, <em>The Train Driver</em>.
