The legendary productions are brought to life through stage designs, costumes, paintings, sculptures, photographs, and programs. The documentary section of the catalog contains rich archival material, including letters, photographs, choreographic notes, and memoirs, many published here for the first time.
When Lin-Manuel Miranda’s groundbreaking musical Hamilton opened in London’s West End in December 2017, it was as huge a hit as it had been in its original production off- and on Broadway. Lauded by critics and audiences alike, the show would go on to win a record-equalling seven Olivier Awards – including Best Actor in a Musical for Giles Terera, for his portrayal of Aaron Burr. For Terera, though, his journey as Burr had begun more than a year earlier, with his first audition in New York, and continuing through extensive research and preparation, intense rehearsals, previews and finally opening night itself.
This electrifying new book thrives on revealing, not resolving, the ambiguities of Shakespeare’s plays and their changing topicality. It introduces an intellectually, theatrically and ethically exciting writer who engages with intersectionality as much as with Ovid, with economics as much as poetry: who writes in strikingly modern ways about individual agency, privacy, politics, celebrity and sex.
Two very different women meet during a long wait to buy subsidized rice and discover they have more in common than their poverty; an old man and child share a last, loving waltz; a cynical, disabled gangster learns humanity from a committed social worker; and a young girl finds her missing father and her role in the political struggle.
As South Africa continues to advance towards the fulfilment of its visionary constitution, significant shifts in the mode, style, and theme of its nation’s theatre have begun to take hold. The four plays in this collection, by Lara Foot Newton, Mike van Graan, Motshabi Tyelele and Craig Higginson, offer insights into an emerging national identity.
Whether as performers or as spectators, more people enjoy dance today than ever before. Its extraordinary range extends from classical ballet and baroque court spectacles to avant-garde modern dance, tap, and ethnic dancing.
Life in exile, the poet Roy Campbell, and the world of a boys’ boarding school are the three topics explored in this, the first collection of the work of one of South Africa’s leading playwrights, Anthony Akerman.
Happy Natives is very contemporary, looking at the way in which South Africans struggle to define their present identity. The play is extremely gripping, very funny and yet keeps surprising the audience with its insight into the complexities of cross-cultural relationships, ten years on from the start of the rainbow nation.
Of all the myriad stars and celebrities Hollywood has produced, only a handful have achieved the fame – and, some would say, infamy – of Orson Welles, the creator and star of what is arguably the greatest film ever, Citizen Kane. Many books have been written about him, detailing his achievements as an artist as well as his foibles as a human being. None of them, however, has come so close to the real man as Chris Welles Feder does in this beautifully realised portrait of her father.
Juxtaposing the work of a selection of international contemporary artists such as William Kentridge, Kara Walker, Lotte Reiniger, Jockum Nordström and Nathalie Djurberg with the tradition of European shadow theater – particularly as it is practiced in Turkey and Greece, where it is still very much an active art form – this volume examines the historical use of shadows in art.
With its mix of magnificent puppets, live actors, captivating costumes and evocative music, video projection and dance, “Tall Horse” has enchanted theatre goers world wide. This spectacular production is the result of an exceptional meeting between South Africa’s Handspring Puppet Company and Mali’s Sogolon Puppet Troupe. Mervyn Millar had unique access to the production, from development workshops through rehearsals to the first performances for the world tour.
With more than 40 pages of new material including illustrations and unpublished sketches, this book illuminates Julie Taymor’s entire career, from her theatrical apprenticeship to her most recent work for stage and screen.
In his introduction to this collection, Stephen Gray states that ‘there can be no artistic grounds on which to uphold a belief that “short” implies “lesser”‘; he goes on to make the point that ‘Fugard seems naturally to be most at ease when working in compact dense forms’.