Litnet

"Op papie’ issi storie van ses gevangenes intriguing, die typa storie wat jy sal dink isse drama type. Ongelukkig, issie vehaal nie so eenvoudig’ie – die question van vryheid, die notions van wat normaal is, die strategy van survival, alles is inni microcosm vanni tronk geplace." | Hierdie resensie vorm deel van die LitNet | STAND-teaterresensieslypskool.

"In ’n tyd waarin die relevansie van teater soms vraagtekens trek, bied Die ontelbare ’n verfrissende alternatief." | Hierdie resensie vorm deel van die LitNet | STAND-teaterresensieslypskool.

"Dit staan kunstenaars vry om die kritiek te gebruik om hul werk te verbeter, maar om tweespraak te maak, wil ek sê dit is húl plig teenoor die teaterganger om sonder sentimentaliteit – soos die resensent ook maar moet doen – te gaan besin en juis dit te doen." Hierdie resensie vorm deel van die LitNet | STAND-teaterresensieslypskool.

"Salome se swye word byna die hardste stem op die verhoog. In haar alomteenwoordigheid lê die konstante herinnering van gebroke beloftes." Hierdie resensie vorm deel van die LitNet | STAND-teaterresensieslypskool.

"The church scene in Around the fire takes the issue of femicide and displays comically to the audience how South Africans have become desensitised to femicide." | This review is part of the LitNet | STAND theatre review workshop.

"The use of puppetry introduces an ancient elemental magic that captures the folklore and imbedded oral storytelling of its Karoo people." | This review is part of the LitNet | STAND theatre review workshop.

"This immersive theatre experience was nothing short of extraordinary, paying meticulous attention to detail while honouring the authenticity of South African stories. It was an experience that transcended conventional theatre, immersing us in the world of amaDongwe." | This review is part of the LitNet | STAND theatre review workshop.

"The core of Monster lies in its narrative structure, a mosaic of tragedy, complicity and moral ambiguity. The clever integration of all parts within the theatre space and the unconventional approach to storytelling set Monsters apart from the other productions at the Woordfees that deal with violence and tragedy."| This review is part of the LitNet | STAND theatre review workshop.

"Herman noem sy seer en verwerping wat hy as kind ervaar het sy 'oerwond'. ’n Oerwond waarmee hy net nie vrede kan maak nie en wat oor sy skouers bly hang soos ’n swart jas." | Hierdie resensie vorm deel van die LitNet | STAND-teaterresensieslypskool.

"There is no working actor more physically capable than Carlo Daniels. You can’t help but admire his technique as he moves (light on his feet) for an hour straight without the audience losing a single word." | This review is part of the LitNet | STAND theatre review workshop.

"Die skone absurditeit laat die gehoor toe om die uitdagings van menswees en geestesuitdagings op die karakters te projekteer. Manipulasie, "gaslighting", skuldgevoel en die vermoë om onmenslik op te tree, word kunstig uitgebeeld en laat die gehoor nadink oor die sondes van die mens."

"Lizz Meiring’s attention to detail, her understanding of comic timing and her emphasis on story above anything else truly shine through. And finally, there is the actor. He must stand on the stage and bring all those aspects together."

"The set was extremely realistic at the start of the play, but became more chaotic and broken as the play progressed. It paralleled Anna’s own mental decline."

"Carlo Daniels delivers a highly energised and nuanced performance. His physicality is commanding. It is not an easy piece to act in. There are huge physical demands, a highly packed text, multiple characters to play and a very wide emotional range required."

"I was reminded of why I really love theatre: not because it is artsy, deep and meaningful, but because it has the unrivalled power to transport us to another world."

"The mix of different types of music (on the radio, by the actors, by the band – with violins, guitars, a blikkitaar and even a mouth whistle) creates contrasts and combinations that immerse the audience in a cultural tapestry."

"This is old-fashioned, realistic theatre: a staffroom on the stage and outfits that match the three personality types to a T."

"Die dag toe Guppie sweef is unique children’s theatre that refrains from being didactic. For children who are growing up in an increasingly complicated world, and in a country with fraught tensions, it is essential that we encourage them to ponder solutions rather than prescribing them with answers. And to listen, dream and take a good leap of faith when needed – much like Guppie."

"Tuis, ek’s liefie has all the ingredients of a top-notch comedy piece: a strong text, beautiful set and costumes, a witty and clever directing style and a stellar cast."

"Judy en Johnny is ’n paartjie wat vreeslik gelukkig getroud is. Soos wat mense in die 1950’s gelukkig getroud was. Byna soos in die ou grappie – die een is gelukkig en die ander een is getroud."