Undivided attention at magical Divide Tour

It’s disgusting how talented some people are; gifted even. Sadly, it’s very seldom that these rare precious gems are given the credit they deserve in their lifetime. But sometimes, they capture our undivided attention at the right time and we give them a platform on which to make their magic as we watch divided between feelings of awe and envy.

That’s exactly what we experienced at Ed Sheeran’s Divide Tour.

Ed Sheeran, Divide Tour, South Africa
Credit: Big Concerts

On Sunday evening, 24 March 2019, at South Africa’s FNB Stadium in Johannesburg, 65 000 people were fixated on the musical geniuses before them. The plural, yes, because not only did Ed Sheeran mesmerise the crowd, but so did lovely local lady, Shekhinah, and UK talent, Passenger. How is it possible that one lady with a microphone and two guys with guitars can captivate an audience? Easy. They are not average. They are musical magicians who have raw talent beyond measure.

Shekhinah, Divide Tour, South Africa
Credit: Big Concerts

Shekhinah’s smooth, angelic voice eased the crowd with hits such as “Back to the Beach” and “Your Eyes”. It is needless to say that this SA talent needs to be heard more often. Radio stations and event organisers: take note. You won’t be disappointed.

Passenger, Divide Tour, South Africa
Credit: Big Concerts

Passenger (Michael Rosenberg)…what can I say? He blew us away.
His quintessential British humour and relaxed stage presence left us feeling as if we’d known him for years. We heartily sang along to thought-provoking songs reminiscent of Bob Dylan’s hits, such as “I Hate,” and shed a few tears as Passenger passionately played his own version of Paul Simon’s “The Sound of Silence” to a hushed audience and “Survivors” while surrounded by twinkling cell phone lights. Those who do not want to admit that they cried, had goosebumps. I can guarantee it. It was, needless to say, magical. The magic is due to continue in November this year...

Then…the opportunity of a lifetime I’d been anticipating since I heard on the radio he was coming to SA; the man himself: Ed Sheeran. From the first strum of his guitar, all eyes were glued to the stage.

Ed Sheeran, Divide Tour, South Africa
Credit: Big Concerts

Sheeran took us on a journey of various emotions through his poetic lyrics and masterful guitar playing. We were torn between toe-tapping highs with hits such as “Castle on the Hill” and “Galway Girl,” to tear-shedding, lump-in-throat dips with his beautifully haunting rendition of “Tenerife Sea” (personally, this was the highlight of the evening). It takes someone special to render a spectator speechless and move them to uncontrollable tears with just his voice and a guitar. It takes someone like Sheeran to make “Love Yourself” sound like what he actually meant it to sound like (full of scorn) when he wrote it for Justin Bieber. That’s Ed Sheeran for you.

Ed Sheeran, Divide Tour, South Africa
Credit: Big Concerts

It was refreshing to experience, as with Passenger, a mega star who reacted so naturally to his audience. Sheeran still appreciates his audience and doesn’t forget from whence he came. He, unlike many musicians I’ve seen, smiles shyly when the crowd cheers. This, somehow, makes a massive difference when watching a genius at play. It makes them so much more relatable, even to the point where you feel as if you could achieve just as much if only you’d put your mind to it.

Ed Sheeran, Divide Tour, South Africa
Credit: Big Concerts

Humongous kudos must be given to those who were involved with stage effects, lighting and sound. It was first-class to say the very least. The screens on stage were curved in such a way that from where I sat, some of the images looked 3D. More genius at play? Absolutely.

Without a shred of doubt, Ed Sheeran’s Divide Tour is magic that everyone, fan or no, should experience. Would you want to see Shakespeare in action if he were still alive? Would you want to meet Einstein, or hear Mozart himself play live? Yes? Then you know what you have to do…Give your undivided attention to the magic of Ed Sheeran’s Divided Tour.

Links:
Ed Sheeran
Passenger
Shekhinah
Big Concerts



Review by Andrea Vermaak

Wild, Wild Bastille

It was wet. It was cold. It was wild.

Fans did not budge from their muddy spots in anticipation to soak up the nostalgic melodies of none other than…Bastille.

Credit: Wolf James

The final stop on the British band’s Wild, Wild World Tour was Emmarentia Dam in Johannesburg on Saturday 7 October 2017. As if to echo the lyrics of hit single ‘Pompeii’, the sky was dark and grey, intermittently pouring down on the huddled crowd and splitting in two with the odd flash of lightening.

Despite the threatening conditions both on and off stage, fans were promised they’d experience Bastille live…and Bastille delivered above and beyond expectations, with frontman Dan Smith’s energetic and charismatic stage presence gushing forth in torrents.

The wild experience included favourites from their debut album, Bad Blood, as well as their latest album, Wild World, creating a great mix of mellow melodies, such as ‘Things We Lost in the Fire’, and more puddle-splashing beats, such as ‘Good Grief’.

Fans may have left a little soaked to the bone and slightly muddy, but all were glowing in awe of Bastille (and perhaps a bit of the afternoon sun that decided to make a cameo appearance). The wet wait was worthwhile!

Heart-wrenching Hamlet: Tears worth spilt

National Theatre Live's Hamlet
Review by Andrea Vermaak

Hamlet (Benedict Cumberbatch)
Photo by John Persson

The stars – William Shakespeare, Benedict Cumberbatch and director Lyndsey Turner – have aligned to present National Theatre Live’s theatrical phenomena, Hamlet. Were it that Shakespeare were still alive to see his longest, and very likely most performed play with such life breathed into it that it instils a hushed awe of deeply emotional proportions in a captivated audience, he, like I, would weep.

I knew from the first scene that it was going to be intense, but amazing. Although I watched the live theatre performance from a Cinema Nouveau seat in Pretoria, South Africa, the atmospheric production was as great and intense an experience as sitting in the Barbican in London itself.

Hamlet (Benedict Cumberbatch)
Photo by Johan Persson

It’s as if Shakespeare knew that Cumberbatch was to play Hamlet, and wrote the role especially for him. Cumberbatch’s genius performance is heart-wrenching to the core. He takes on the immense role head-on, physically embracing the very essence of Hamlet’s loaded speeches. Hamlet’s frustration, anger, pain and grief visibly courses through Cumberbatch’s veins, leaving the audience in a pool of their own tears. During interval, a friend turned to me and said, eyes wide, “I can feel it.” All I could do was nod in agreement, rendered speechless at Cumberbatch’s magnificent performance. I can still feel it.

No matter how many times I’ve read or watched Hamlet, Cumberbatch introduced me to Hamlet as if for the first time. I now can’t imagine anyone else playing Hamlet but Cumberbatch. Give him all the awards possible.

Ophelia (Siân Brooke)

Photo by Johan Persson

New life is also breathed into the rest of the characters. No character is left to be pondered upon, but is as real and true as the stage on which the actors stand. Cornelius (Ciarán Hinds) and Gertrude (Anastasia Hill) are more infuriating than ever. Cornelius is perfectly showcased as the sinister king he is, while Gertrude’s weaknesses are left bare on her wedding feast table for all to see.

Laertes (Kobna Holdbrook-Smith) is the definition of blood boiling, calculated action, counteracting Hamlet’s depressive procrastination and irrational actions perfectly. Siân Brooke embodies Ophelia’s innocence, confusion and mad grief like no other actress before her. Like Cumberbatch to Hamlet, Brooke climbs into Ophelia’s very soul and pulls her out, leaving the wretched maid exposed and raw as I’m sure Shakespeare intended.

Although brief, Karl Johnson’s performances as the Ghost of Hamlet’s father and the Gravedigger, is spine-chilling and endearing, respectively. Polonius (Jim Norton) is, for once, also somewhat endearing in his awkward ignorance and irritating incoherence, while Horatio (Leo Bill) is the ever loyal, but now also ‘hip’ friend everyone wants to have, making Hamlet as relevant for our times as it was when first performed in 1601.

Karl Johnson (Ghost of Hamlet's Father)
in Hamlet at the Barbican Theatre
Photo by Johan Persson

Turner’s use of modern costume and sets also makes Hamlet a suave and relevant production. Her flawless direction also does absolute justice to the masterpiece. She creates an ominous atmosphere through emotionally charged speech (only some may realise that the heart of the production, Hamlet's 'To be or not to be?' speech, is newly positioned in the script, yet cleverly adds to the dark atmosphere), magnificent visual artistry, and transitions as smooth and natural as the acting. Deep, thundering sound, and impressive lighting gives, like Cumberbatch’s performance, physical effect to the horror and grief that lies within Hamlet’s soul, leaving the audience unsettled. The moving set is what Aristotle would call spectacular, cleverly used to its utmost potential. In all, this production of Hamlet is mesmerising and magically breathtaking to say the very least.

Personally, this production of Hamlet left me weeping, but wanting more. I went to watch it twice, but would have gone to the cinema as many times as I could, had I the time and money. Some may call me a masochist, but I would gladly be left penniless and exhausted if I could watch this particular interpretation live. It stirred something deep within my subconscious, holding a mirror up to my inner Hamlet, though I’ve read Hamlet at least three times, and seen a few other interpretations of the play (yes, Hamlet is my soul brother; my spirit animal. Of this I am convinced). To put it bluntly, I was kicked in my already raw emotions, but it is the kind of catharsis I would gladly experience again.

Ciarán Hinds (Claudius) in Hamlet at the Barbican Theatre
Photo by Johan Persson

I could gush for eternity about this production, but I fear I would run out of adjectives, too many of which I have already used. I also fear that I may become as verbose as Polonius, if I am not so already. I will, however, leave you with this: Every time I encounter the Danish prince, I learn something new. Cumberbatch, Turner, as well as the rest of cast and crew, reminded me of everything I already knew and taught me everything I still need to learn about Hamlet. I am now fulfilled, although also heartbroken, in Hamlet. National Theatre Live’s Hamlet is a production of spectacular proportions that would leave even its author in tears.  

Gertrude (Anastasia Hille) and Hamlet (Benedict Cumberbatch)
Photo by Johan Persson

Images courtesy of National Theatre Live.

Woodstock Mafia

 

Independent, thumping grunge rockers, Woodstock Mafia, is an energetic band out of Cape Town, making waves in 2013. Not only has Woodstock Mafia’s world class debut single ‘Electric Light’ been playlisted on 5FM and PUKS FM, but it has reached the Top 10 on the prestigious, only all-rock radio station in the country, TUKS FM 107.2, and the number one spot on the TUKS FM Most Wanted Top 20. Their music video for ‘Electric Light’ also held the number one position on DSTV’s MKtv for four consecutive weeks. Watch it here to see why:

 

 

Woodstock Mafia also received two MK Music Awards nominations this year in the Best Rock and Best Newcomer categories.

Launched in April 2011, the band has played most music festivals in the Western Cape, including Rocking the Daisies, Synergy, Rock the River, Up the Creek, and Ramfest. They are currently on their ‘Born Wild Tour’ of South Africa, having just performed at Splashy Fen music festival, Arcade Empire in Pretoria, and The Bohemian in Jo’burg. They will end their tour back home in Cape Town at Mercury on Friday 5 April 2013. See the Facebook event page for details: http://www.facebook.com/events/160835410735751/

 

 

It’s not difficult to understand why Woodstock Mafia is a band to watch out for in 2013!

Listen out for ‘Rebel Dreams’, Woodstock Mafia’s second single, as well as keep a look out for its music video. A third catchy, guitar riff single ‘Trigger and Gun’, will follow hot on its heels.

 

Woodstock Mafia is:

Joe Theron – Vocals
Nick van Rensburg – Guitar
Ryan Matthews – Bass
Owen Ingarfield - Drums

Links:

Website: www.woodstockmafia.com
Facebook fan page: www.facebook.com/woodstockmafia
Twitter: @woodstock_mafia
Listen to Woodstock Mafia: www.SoundCloud.com/WoodstockMafia

 

Lara Eidi: music in her veins



Lara Eidi (Photograph by Eftihia Liapi)



I first met Lara Eidi at a Scottish Universities International Summer School in Edinburgh in 2006. Her bubbly personality lit every step she took and people were filled with laughter and joy where ever she went. However, late one summer evening, while relaxing beneath a tree on campus, hired guitar in hand, Lara sang and all listening were silent. The echo of her voice and guitar in my mind still gives me goosebumps. Crystal clear, sincere, heartfelt. It was then that I realised that music runs through Lara’s veins. It is not just something she does, but it is a part of her very being, far more than just an intense passion.

     

Two years later, I met up with Lara again in Edinburgh. She decided to entertain at our favourite pub, Bannermans, with a rendition of “With or without you” by U2, during an open mic night. It was no surprise (not to me, at least) when a talent scout approached her with a business card and told her that she’ll organise a gig for Lara.

     

I’ve since been watching my gifted friend bloom and grow into the true artist I always knew she was. To this day, I don’t know if Lara knows exactly how amazingly talented she really is because music and Lara are one and the same – it’s how it’s always been. Music is something she has always shared with the world.

     

I simply just had to have an exclusive interview with Lara, the first international artist to be featured on Culture Box.

     

Here follows the interview:

You have a diverse background. Tell us a bit about your family and upbringing.

Lara Eidi (Photograph by Eftihia Liapi)

Ah. Yes. I have trouble explaining it myself. Well, I’ll give it a go. I was born and raised in Greece. My parents are of Lebanese-Palestinian-Canadian descent. We conversed in three languages simultaneously, not by choice, and often confusing. I soon understood all Lebanese follow their way of speaking by the same means. I went to an international school; all my friends were Greek so I learned Greek there. I imagined myself studying in Scotland. I’ve travelled and have been grateful for the opportunity to do so. I have always seen myself as an outsider, culturally, as I believe we are human beings first before we are a nationality.

When did you start to show an interest in music?

I’ve always been into music. I knew it was something I could identify with as a kid, when all else failed and, as I grew older, something I could create and share. Now I understand how it is an extremely spontaneous art form that can often elevate as much as it can remind us of dark times. I tried following the conservative way of learning music, studying at various music conservatories on and off, but very seldom did very few teachers show me the way to make music as a way of life, not as a job.

Is your family musical at all?

Yes! (smiles) Most members of my family here [in Greece] and abroad are either accomplished or amateur musicians.

What instruments can you play, and when and where did you learn to play each?

I played classical piano since the age of eight and enrolled in a conservatory (Odeo Kodaly) where I was part of an amazing vocal children’s choir, which opened my eyes to the possibilities of vocal harmony (Mr. Patseas). I taught myself guitar, jamming with friends at 14. I stopped playing piano around 19 years old, due to tendonitis, and started taking up lessons again only recently. All lessons took place in Greece.



Lara Eidi (Photograph by Eftihia Liapi)


Have you had any voice training? You sound like an angel!

I trained with amazing voice teachers; two different, but very positive human beings (Karen Solomon and Nina Kaloutsa). Karen, I had known a long time and trained with her for about three years on and off. She helped me discover my voice again after a period of not being able to sing for three years, as I had nodules on my vocal chords and refused to see a doctor. When I did, and had an operation, she helped me regain my ‘speaking’, as well as singing. Nina was responsible afterwards for finding the power in my voice and giving me a final nudge out the door, so to speak.

What qualifications do you have and why did you choose to study in that/those directions?

This is a question which I try to avoid, as I only really have a few! (laughs) I have a Degree in English Literature and Journalism because, besides music, I am an avid fan of the literary arts and love writing, especially literature for children. Roald Dahl was my hero growing up and, often times, my comfort zone. I have a few qualifications from the London College of Music, but most of the qualifications I have in the arts are not written on paper. Having said that, a musician’s and writer’s role, I feel, is to continuously learn and never stop, by practicing and playing, not by means of certificates on a wall.

Lara Eidi (Photograph by Eftihia Liapi)

Was it always your plan to be a professional musician/singer/songwriter? If not, what made you change your mind to pursue a career in music?

I honestly can’t say that I’ve chosen music as a career, as I’ve seen that nowadays musicians’ careers (successful ones at least) last for a period of three years maximum. I always struggled with the idea of taking up music professionally because I feel that I can’t handle the whole ego thing with musicians (who can?), as well as the competition. I never actually saw myself as a singer-songwriter; more as a singer who can play the piano well enough to write some songs, and with a lot to say. I feel that inspiration to document everything down musically led to my decision, therefore, to choose music as a life path.

I believe you have performed both as a solo artist and as a band member. Which do you prefer? How are the dynamics different, if at all?

It’s a give and take situation, both ways. In a band, you learn to put your personal feelings aside so that they can correlate harmoniously within a group. You offer some part of your soul through your instrument, but not all. As a solo artist, you do the same actually, but this time, it’s tougher because you have to continuously lead and inspire people, i.e. your band mates. I think, although I reject the idea of being called a leader because I like to learn from people who are better musicians than me, I prefer the second, as it gives me more room to create and more artistic space.

You’ve performed in pubs and at big festivals – which do you prefer and why?

Well, I have a long way to go (laughs), but er, so far I think I prefer small audiences. They’re nicer and you can see who you’re playing for. Of course, festivals aren’t so bad either. As long as I can play music big enough to fill all that standing space!

Lara Eidi (Photograph by Eftihia Liapi)

When did you start writing your own songs?

Two years ago.

What inspires/influences your music?

Everything.

What do you believe people can gain/learn through music?

I hope, that at the point I’m at, I can give some calm to people in this crisis - I don’t feel like an entertainer, I feel like a person who wants to sing and play for people who will listen and feel relaxed, as well as happy. Music for me is supposed to drown out the noise in our heads.

What is it about music, no matter what genre, that makes it so universal?

When words fail, music takes shape and form and speaks for us. (Yes, I know Shelley, Byron and Keats ALL said that. But it’s so true!)

What do you think it is about music that can move you from one emotion to the next?

Its spontaneity - it’s so many things all at once: sound, shape, tonal frequency, rhythm, harmony - they all follow our emotions, which change invariably. And I guess the more complex the emotions, the more complex the music.

Any other achievements/comments you would like to add?

Hmm, well, I hope to go back to Scotland one day and my dream is to play at the Festival. And I hope to be able to play one day for Palestine. Music has the power to transcend borders on a grand scale; people just don’t see it yet.

Upcoming gigs?

Yep, I’ll be playing with my current band mates at a beautiful location in Plaka, Athens, called Vrysaki. After that, I believe I’ll be singing at a festival for charity in Beirut. Anything I can get my hands on, anything I believe in.

Lara Eidi's EP titled "Little People"

Any albums in the pipeline?

Well, a small and humble effort was made this summer to record a mini EP of four tracks, which will be available end September on CDbaby!

Other future plans?

Gig, gig, write, gig and write some more. And of course, travel with music!

Visit Lara’s website: www.laraeidi.com

Like her Facebook fan page: http://www.facebook.com/#!/LaraEidi

Follow her on Twitter: @LaraEidi

Watch Lara’s first track on Youtube: http://www.youtube.com/watch?v=RF5v1sADuCk

Lara Eidi - Singing Ah (revolution song)

Margaret's Daughter: a musical journey

Ami and Etienne of Margaret's Daughter

Adri-Mari, better known as Ami or Margaret's Daughter, is one of South Africa’s top singer-songwriters. Etienne Ghyoot is a multi-instrumentalist and indie producer. Together, this Johannesburg-based duo is the much loved pop-rock band Margaret’s Daughter.

Margaret's Daughter: Black Hole
Express (album cover)

So far, Margaret’s Daughter has released three melodic English albums, including Margaret's Daughter (The Early Days) (2006) and Simplicity... (2007). Their latest English album, Black Hole Express (2009), co-produced by Matthew Fink, is easy, chilled out, even nostalgic listening, showcasing master song writing skills by Ami, as well as her soothing voice and the rhythmic tones of acoustic guitars. With a hint of folk, this album is sure to appeal not only to pop-rock fans, but to fit in quite snuggly with the internationally emerging folk-rock scene.

Several tracks have been playlisted on many South African radio stations, including RSG, East Coast Radio, KFM and OFM. .

The beautiful, full-colour, illustrated cover booklet is a graphic representation of the Black Hole Express by renowned CapeTown-based, French artist Brice Reignier.

Ami: In 'n oogwink (album cover)

The duo have now ventured into recording in Afrikaans. In ‘n oogwink is the duo’s first album in their mother-tongue. The album was produced by Ami and Etienne themselves, and is marketed under Ami to avoid any confusion. It aims to appeal not only to an adult comtempory audience, but to all their fans young and old, English and Afrikaans speaking. Due to a great response from both fans and critics, the originally planned EP blossomed and grew into a full eleven track album. Ami and Etienne played all the instruments on the album, except the drums, which were played by long-time collaborator Andy Maritz.

In 'n oogwink also showcases pop-folk-rocky, easy listening ballads, yet stands strong on its own two feet among their English albums. It is refreshing in a vast ocean full of repetitive sokkie treffers that seem to get churned out on demand every second day. Here, Ami's song writing gifts are undeniable - thoughtful, deep, nostalgic, cheerful. Ami has surely set the benchmark for new Afrikaans music in South Africa with this album.

The duo have performed extensively both nationally (where they have shared the stage with most of South Africa’s top artists and played most major festivals, including Splashy Fen and the White Mountain Festival) and internationally (Zihuatanejo International Guitar Festival in Mexico, and STRAB and FORR in Mozambique). Margaret’s Daughter is adaptable to venue and mood, performing either as an acoustic duo or as a full rock band, involving different musicians as needed. Ami and Etienne have also performed individually at KKNK and Aardklop (South Africa), UKkasie (England) and Eurokasie (Netherlands).

There is no doubt that once you have listened to Margaret’s Daughter and Ami that their music will grow in your heart. Musical talent such as this is often hidden in South Africa, often ignored in such a saturated industry. It is time that more gems like this are discovered, brought out into the light and given our support.

Visit Margaret’s Daughter’s official website for all the latest news, gig guide and more: http://www.margaretsdaughter.com/index.html.
Sign up to their mailing list online and receive a free MP3!

Black Hole Express is available at Look & Listen stores countrywide. International fans can find the album on iTunes, Amazon and all major online retailers.
 

In ‘n oogwink is also available countrywide. Find out more and listen to samples at http://www.ami-sing.co.za/.

The Inklings: The University of Pretoria's Literary Society

Cast of She Stoops to Conquer
(Photo by Idette Noome, 2006)

The Inklings, the Literary Society of the University of Pretoria, is a dynamic group of students and alumni from various disciplines who have devoted much energy and time to promoting literature, creative writing and the amateur drama on the Tukkies campus, for over a quarter of a century. Many members have gone on to be successful academics, writers and actors, and have made their marks in various other professions too. In this way, the Inklings have contributed much to, and continue to make a mark in, arts and culture in South Africa.

The group was formed in 1982 and registered as a society on campus in 1985. It is one of the longest running societies on campus and possibly the only literary society to have survived this long on any South African campus.

Although the initial focus was more academic, the aims of the society became more broad over time. The Inklings is a space for people who enjoy literature to get together and enjoy reading, writing and socialising within a literary theme. Most importantly, the Inklings create a space for people who may be in other disciplines, but who also have a passion for these things, to enjoy them too.

The society started with a group of senior students who were interested in the Bloomsbury group. The late Professor Bill Maxwell-Mahon (then in the Department of English at Tuks and affectionately known as M²) encouraged the students to write a revue of the period to showcase their research. They decided to do a show on the period 1890 to 1914. They formed a group called ‘The Holists’, led by Wendy van der Stoep. In 1983, an eager group of Prof. M²’s first-year students took up the challenge to write and perform another revue, ‘You’ve gotta be joking (1914-1945)’. In 1984, the Holists wrote and performed ‘The Breakaway (1945-1960)’ and started a creative writing group. They then started working toward formally registering as a society on campus and finally registered under the new name ‘The Inklings’ in 1985. 

The name ‘The Inklings’ is a play on words. It includes the notion of ‘an inkling’, the society’s logo (an inkpot) and is a tribute to the original Inklings in Oxford, which included J.R.R. Tolkien and C.S. Lewis. Idette Noomé (née Skawran) was the first Chair of the Inklings (she was awarded the SRC medal for Best Chair in 1990 and is still Treasurer of the Inklings, having served the society in various capacities since 1985). She now lectures in the Department of English. Her contribution to the Inklings over the years has been invaluable, especially when it comes to keeping alive and guiding committee members in the true spirit of the society.

Creative Writing Workshop poster
(By Michelle Ganter, 2007)

The Inklings creative writing group was started to promote creative writing in English and Afrikaans and to provide a safe forum to expose one’s own writing. The third revue was collaborated on during the first meetings. Elizabeth Burroughs (née Nel), then a junior lecturer in the English Department, led some of the workshops. Since then, many of the weekly workshops have invited students from many disciplines to share ideas, poems and prose in an informal setting and give each other constructive criticism on how to hone their writing skills.

The creative writing group has organised several poetry competitions and feed Inclinations, a bilingual poetry and prose magazine. Inclinations was published from 1985 to 1996 to showcase the writing of students and other members, including lecturers and friends of the Inklings. Key to the publication is quality. The current committee is committed to reviving Inclinations.



Mort amateur production poster
(by Peter Hubbard, 2007)

The Inklings also produce at least one amateur drama production every year. They have performed over thirty sell-out productions over the years. The Inklings’ forté is comedy – some sparkling productions include Oscar Wilde’s The Importance of Being Earnest, George Bernard Shaw’s Arms and the Man, Androcles and the Lion, How He Lied to Her Husband and Pygmalion, Brandon Thomas’s Charley’s Aunt (from Brazil where the nuts come from…), P.G. Wodehouse and Ian Hay’s Leave It to Psmith, various Stoppard productions and some productions based on Terry Pratchett novels.

She Stoops to Conquer
(Photo by Idette Noome, 2006)

The Inklings have made a point of presenting plays and setworks seldom seen on the South African stage, including the classic Lysistrata by Aristophanes. Oliver Goldsmith’s She Stoops to Conquer, directed by Bonnie Kneen, is a favourite of last decade. Some Medieval and Renaissance plays were commissioned and performed for the South African Society of Medieval and Renaissance Studies’ international conferences, including The Second Shepherd's Pageant and Noah's Flood, Doctor Faustus by Marlowe, Everyman and Beaumont’s The Knight of the Burning Pestle. Last year,  Betrayal by Harold Pinter was acted in three different versions.



Betrayal
(Photos by Stephanie Carlsson and Heather McLachlan, 2010)

The Inklings’ productions give most members involved an opportunity to gain experience in a diverse number of related fields, including administration, front-of-house, back-stage, ticket sales, wardrobe, lighting and sound, besides writing, directing and acting. The society has also premiered a few plays written by members.



A number of  actors and writers who started out with the Inklings have gone on to make their mark in a bigger arena. Among them are Anton Robert Krueger, award-winning dramatist and novelist, now lecturing drama at Rhodes. Aside from starring in a number of Inklings productions, his In the Velvet City and In the Blue Beaker premiered with the Inklings. His plays have been staged in South Africa, as well as in England, Wales, Australia, the U.S.A., Monaco, Venezuela, Argentina and Chile. Anton’s Living in Strange Lands (also known as Tsafendas), a play about Hendrik Verwoerd's assassin Dimitri Tsafendas, was awarded a special trophy by the South African Community Theatre Association in 2001, and was nominated for South Africa’s highest stage award, the FNB/Vita prize. His most recent achievement is his novella Sunnyside Sal.

Other past members who have made a name for themselves include Annelize Nienaber, advocate and professor in the Faculty of Law at the University of Pretoria, who has co-edited the book Plain language for a new democracy, and has published research related to a variety of human rights issues; the late Werner Viljoen, former Perdeby editor, who worked for CODESA; Sarel van Vuuren, whose voice, reporting for SABC news is familiar to all; Stephen Naudé, Managing Director at Pearson Education; Elizabeth le Roux, formerly of the Africa Institute and Unisa Press; Adalbert Ernst, Cape Town anaesthetist, and many more.

The acting experience gained with the Inklings has inspired some to take this pastime more seriously: Stewart Clegg is now acting professionally in the UK, Danie Struwig has also gone professional, and Peter Hubbard, who has had several lead roles in Inkling productions, now acts in his spare time for two amateur production companies in Amsterdam, one of which, the Queen's English Theatre Company, has produced The History Boys in Amsterdam and in Edinburgh during the Fringe Festival in August 2010.  



The Inklings' social events are always based on a literary theme. Events include picnics and dinner parties, such as a white picnic at the Union Buildings, a Shakespeare in Love Valentine's dinner, a Great Gatsby dinner party, a Narnia ‘kid’s’ luncheon and a 1950’s party. During such okkasies, members dress according to the theme, indulge in a delicious, theme-based, home-cooked meal and appreciate like-minded company. One the society's great strengths – its most enriching privilege –is that everybody in it values intellect without any airs, quirkiness and eccentricity without pretentiousness. It is a place where people with brains can be themselves and be liked for it!

  



1920s Jazz Party
(Photo by Andrea Vermaak, 2010)



The Inklings wish to continue their tradition of promoting arts and culture in the spirit of friendship and fun, giving anyone who is interested a chance to express him- or herself through writing or performing arts, and gain experience in various related fields without any pressure. Although the Inklings may be a small group of mostly UP students, it is an essential group which contributes much to academics, literature and stage in South Africa, with friendships and abiding ties that last long after its members leave university.



Anyone who has a great appreciation for the literary arts and loves to indulge in its beauty as an art form is welcome to join the Inklings. UP students may register as members, while members of the public are also welcome to get involved in the fun and support the society.

Join the Inklings’ Facebook page to keep up-to-date with news, socials events, creative writing workshops and productions: http://www.facebook.com/home.php?sk=group_2262130317

Words by Andrea Vermaak and Idette Noomé