The Control Project

Brighton Fringe

26th June – 12th July, 2021

As this was my final work for the Brighton fringe 2021 I was filled to the brim with expectation. The Control Project was a dance that told a story, presented in a science fiction idiom by Project Female. It would be the most insightful of modern arguments about grooming the human populous with the example of a view of an asylum corridor with bars on its doors.

On a very large stage the dancers grouped together as they obeyed announcements over the speaker. The large layout was spectacularly used with a big screen at the back, and two large tarp covered scaffolding boxes on wheels. These wheeled platforms were wheeled everywhere around the stage.

As did our dancers who made movements to music and songs that had the sense of being robotic but then in another scene soulful and husky. It looked like an action game but the dancing slowed the pace as well as speeding it up. All fell to the floor to lie in the dim light; the mighty unison of dance movements was pulled apart by one of them when they looked like waking up from this project into some kind of a revelation. The writing used all things old and new to make its points. It drew from wide ranging representation of a great many cultures (not least the science fiction body).

The props that were used were – lighting, screen footage, orb-lit people, film, all went ahead with the story as the dancing had us glued to experience of this story. The four or five levels worked great as the show grew and shrunk before us. The voice giving them instruction sounded soulless as she ordered them around all be it in a great dance.

They made the process magical of being in this world being brought to life and had a sense of the future about it. The pronouncement of the story really grabbed us with costume changes to suit the stars and the so many well done maneuvers in an ever widening tale. With the cast being so young it helped give it the certain atmosphere of youth being examined. The plot was fulfilled in the dance by the dancers, as it had its memorable moments of style and training.

This was a very rich looking, enriching us and at the end leaving us with a great sense of well-being. No words need be spoken when the story is this clear. The noise was controlled along with their behaviour and their personalities. We felt that this sci-fi world had been in control for a while and it was in that in abundance. The movements looked like reaching up and almost silently called on us to help escape the sterile organisation of females. Confronting and challenging us to think about this situation where the technological evolution had taken a step in a controlling environment.

They wore yellow robes with large barcodes seemed into the hem, they all had half their hair grey and half dark, they moved as one but their point of view was from a very human perspective. All offering; a humanity of unison, of selflessness, with an outspoken conforming into the whole; as if without a soul. The soul kept on appearing in the dancing when they looked stirred and in longing. It had a soft side to it even in the metal scaffolding. It was a theatrical cirque with no acrobatic props but plenty of vision, a vision that stirred and was soon to arrive.

Daniel Donnelly

The Travesty of Richard III

Brighton Fringe

28th May – 27th June, 2021

I’m sure if Shakespeare were here he would congratulate this play/movie made for the Brighton Fringe 2021. It worked as well as any adaptation since the time of the bard and I was glad when the credits included the playwrights name. The dynamic duo of Ian Renshaw and Helen Manners created every facet of the show from multiple characters to a great many costume designs.

It all came together as ‘The Travesty of Richard 111’ unravelled its unscrupulous plot to kill for a place on the English throne. In a performance to envy the war of the roses in the 15th Century was oddly represented in this play as an age of war made hilarious from strikingly well conducted acting.

The comedy aspect as it was written so long ago had the laughter was coaxed out of us, merging us with the modern world and the life of the 15th century. And so with only a cast of two; the scripts unfolding majesty which was about to unveil an insane plot for the throne through the devious developments of the Duke of Gloucester’s plan for King Edward’s demise. Any other obstacle to Richard claiming the throne of England was to be crushed with inane pleasure from Richard III.

He (Richard, Duke of Gloucester, who was one of a long list of characters, played by Ian Renshaw) had a compatriot in Elizabeth 1st (played by Helen) who strongly desired for the Duke to become King, not least because he tricked her into it. It was his most flattering charm and words that had her in the throes of his arms.

The exclamation brought about by the side of this play was in its element as an event made for the screen which gave the actors anther language to play with.

It was in good conscience a story of the screen with scenes of unearthly colours and make up, where Richard always looked a little grey but certainly no less charming. It created modes to revel in the characters in a modern and attention grabbing effects delivering the jokes of the century.

In its entirety the theatrical nuances seemed ahead of its time, dreaming of a perfect play made possible by technology. But no less an enthusiastic appraisement of Shakespeare’s work, a lyrical master stroke to stir our senses.

Without the atmosphere of live theatre, an audience, they clasped the chance to free up the medium and focus on a much wider aspect to come from. The Duke’s full face seemed to fall from grace. As happened when Richmond who had returned from campaigning to take the crown slayed Richard in battle

I say this in all seriousness but my funny bone was hyper active and I felt a natural high with my guilty laughs for what was a catastrophic passage of time. Richard’s aura and his black bob haircut, was thrown in with certain confusion for us, did we support his aims because he made us laugh? Whose side were we really on? Entwining us to all the characters was a revelry and interesting interaction performed by Ian and Helen both shown to bring with every blow, a transformational theatrical spirit. It was a tragedy of epic proportions that had the tempo to line the historic events.

Daniel Donnelly

Women Hold Up The Sky

Brighton Fringe

28th May – 27th June, 2021

‘Women hold up the sky’ was a film made for the Brighton Fringe 2021. In half an hour we would be told about what life is like in these Countries in Africa; Uganda, Republic of Congo and South Africa, the stories were clearly to give a voice to these women making and taking this footage of villages and local communities.

It began with the words; “The world is in deep crisis.”  In a narration from a women who presented the show for us. They spoke about how huge international conglomerates who own oil and coal were causing them major problems in the communities. It has become so bad for these women in these positions because of how the male dominated culture suppresses and holds them down. But things get a lot worse than that.

In the footage we were shown moving pictures of colour and thriving for these communities. But in the narration we found them speak about their heart rending experiences at the hands of Big Oil companies. We thankfully were hearing this news from the grass root people whom it has affected.

So many things were brought to light in this epic story. All of which were centred around these women and their own hopes and fears. The stories from these women affected us as they filmed them talking about horrifying nights when men with guns arrived to evict people from their houses. 

There were so many failings on behalf of the energy companies that were listed for legal purposes, in rights being checked. In a twist to the tail it turned out that one of the many loopholes was that a women cannot own land, there for has no rights. It was impressive to see how communities came together and started to fight this fight, and redeem their homes and livelihoods.     

Great strides have been and are being taken in these preliminary stages of proceedings now striking with the power of legal representation. That has just about saved at least some of these victims of moneys more complex world, taxing communities with a threat of death, and other equally bad things. 

It soon was to realize that the importance of sharing was paramount in establishing new and rigid laws about land ownership. But these catastrophic instances are on the rise and not the way out. As would please our displaced people back to the place they had worked so hard to create and maintain. 

They spoke of the lack of water now they are blasting and digging, loss of cows because the food sources dried up. They have the ambitions to send their children to school and have some kind of medical facilities but they are not being left alone at all to thrive in these things.  

They defiantly grew to positions where fighting giant oil or coal company might be becoming more prevalent, but with a disbelief as to the severity of their treatment. And our senses grew sharp from the displays of dancing, talking, singing all as a means to express them-selves and be together for it. As we listened to the stories we climbed on board to help sail these awfully rough seas. It’s an old fight that seems to lurk at the centre of many cultures who took on the mantle to bring about great change for these communities. From the women who have known how good things can be if they were just left alone to do it.

But they have and were given less at every stage of this very fiery issue that these women have to find a way through. There are cracks appearing in the door but as they said in ‘Women hold up the sky’ the battle seemed to be a one sided thing. But do these companies set out to destroy lives? are they playing with us like toys? These questions and more were asked as the righteous momentum of the women in the movie flittered by. “I think their intension is to kill us” was one quote for the feelings going around after tragedies like this, there is so much to endure, and to worry about. Still treating each other with great smiles and brimming confidence about the future which could have been resounding for African natives in general

This was a plea for the outcry of women in these villages who are suppressed on so many levels by mans conscious willingness to degrade and make less than nothing of other sentient beings 

Houses creeked, walls shook as the digging and blasting commenced. Whole zones where created with the results of buildings coming down that are now lost forever. Faceless Companies have offered many things but through legality they worm their way out and get away with it. The amazing potentials of fair legal representation are beginning to offer a very serious solace in the case and aim of the name of the people 

These women as they were together still have hope in the name future achievements. It’s a shame that for things like this to be happening there is no a chance to climb out of it. By this time we were left with a message of hope not just for these communities but for the planet as an entirety as we spur it into a cycle that may be it for us and a sign an end to all that we love. Congratulations to things like writing and theatre because the more we see of this the more aware we can become and even unite for at least a piece of land to thrive on. Men who still make these rules that place women at the bottom of just about everything have no idea that ‘Women hold up the sky’   

Reviewer: Daniel Donnelly   


Brighton Fringe

28th May – 27th June, 2021

This cleverly planned out piece of script both took us by surprise and put us to rest. In 2021 so far things are still a little weird so celebrating with the Brighton Fringe is a good thing, in its own happiness. And as we were introduced to our gracious host, BeeJay Aubertin-Clinton, who would play the role of Judas from the bible story. From our introduction we were preparing to be shocked by an American man in makeup. Was this his taste or was it part of his compelling, well acted and well read character we saw before us.

In fact he came out with it and said in no uncertain terms I am in fact Judas and I am 2000 years old (or there about), but it’s a great pleasure to meet you. The story grew and Aubertins skills grew with it. After what I thought was a shaky start I was hooked by the time of his third line, and I revelled in the acting.

It was just him on a screen in a room though he said himself that live would have been better, but instead he prepared himself for essentially a one way zoom call. But I’m sure he saw the irony of that. His piercing eyes deepened as he recalled his tail with his friend and lover Jesus.

It came across as a beginner’s recitation and mockery of the religious inferences, but more fool me I was soon to be set straight. He came at us with these comedy vibes and sharpened one liners but his delivery was to handsomely scratch out a vision of Judas to which he included his own personally universal sidelines.

He had us thinking from the get go even as we did not realize it. His points of view were stirred to such an extent as to be in the grip of Jesus love, and wept for his stories ending. By this time he was Judas. Speaking about him with a capable knowledge of the whole story and in a way he found after all this time to feel desperately sad about it and simply broke down in front of us.

From his straightforwardness he affected us as he wept and shook with an assuredly king sized sense of being a real lover of Jesus whom he fancied very much and professed to have loved. The timing kept swinging around the face and stances of our sufferer but also lover. In a way he was shining light on things from the Bible and our collective experiences with the force of emotions behind it.

The story he told was a pure recognition and straight down the line telling that had human love at heart rather than performing a dull sermon (these don’t really have to be dull). His clothes gave of the sense of something with a little rebellion in them. He wore a bandana, a white under shirt and was dolled up with attractive make up.

Maybe one of things he was saying was to sometimes be aware of appearances that can and do mislead us. It all really came from the heart of the character/Apostle Judas as he told of his friend Jesus as he went through his miracles and humble footage. Aubertin’s own self was as he said in the hands of Jesus and he was very impressed with the messiah.

He smoothed the radical edges into the air in a kind of spiritual over riding principle of love’s eternal

passing. His pain was real, his joy was real. He told of a love of a friend to last the ages and bring us into service with each other. Man this was close to a sermon but also couldn’t have been further away from it.

He got the story right; the acting was a revelation in his voice he so well used in his declaration, where he claimed a position of power to tell a more truthful story. Of true power, as he would say a good blush on the cheeks. When he dropped big names (like God) he was sufficiently humble about it. Very clever satire, total submersion and total greatness come that ye may listen and be enjoyed.

Daniel Donnelly

Heads or Tails

Brighton Fringe

28th May – 27th June, 2021

In a picture perfect way this showing of ‘Heads or tails’ written and performed by Skye Hallam was full of quiet moments that she shared in her delivery of her own after life proposition. It was for the Brighton Fringe 2021 an inescapable torrent of maybe the end not being quiet the suffering that we are led to believe.

She threw open the doors in a solo act by coming to us as a ghost who had died 3 years ago. From this positioning she whispered with a quality of stand up with a script. In a quiet unique way she bent the views we have and made instead quite an excellent picture of the afterlife where as she died she said goodbye to her earthly character as a person.

It was like watching a genuine interview with a ghost who it turned out was still on a waiting list after three years for some kind of furtherance. She used many theatrical nuances to complete the act including the ghost theme and also the voice on a tannoy announcing an hour’s deadline for her special return to earth where she could enlighten us about dead things.

In her meticulous side she carved up the dialogues into sections giving each a title such as for the 1st one ‘Death becomes us’ and in the last ‘Reasons to be fearful’ she elaborated about our lives and compared that to her own experience which was short as she passed at 25.

She spoke of the many freedoms of not inhabiting a body after it has already been experienced. But wisely spoke about fear in particular. Always keeping it up beat and lyrical but going through her own memories she realised things that she missed of this life after all.

She chose to express her joys in famous people she had loved and enjoyed, mentioning Michael Jackson and Elvis Presley with reverence and happiness. Her role as a ghost who delivered a dialogue had no qualms about its content as she went very close to the bone having a conversation with herself as well as us.

Skye Hallam

She put her feet up and chewed on some earth food she hadn’t had for a long time. We felt we were chilling out with her and found ourselves very interested in what she had to say. And cleverly she whispered uncomfortably in some of her moments as comedian. Then went on to list the great many harms in life such as children who have cancer and Donald Trump’s actions as American president.

Where she always left off was from the perspective of a wearisome validation of the experience of being dead for 3 years. She was relaxed and offered chilled answers in how to take these things and maybe not let them grow into unmanageable amounts. She was right to focus on fear, choosing it as an all encompassing experience that usually only result in loss of one kind or another.

She was interesting to watch being a writer and performer and her theatrical ideas were well swept and inventive. Giving us the relaxation of wiser things as she lay on the floor, gave us a big and different look in her eyes and after all as the countdown was close to 0 she simply said thank you for everything and passed onto the next journey we are all being led to. Colourful, fresh, exuberant and

informative Skye’s act leaves you with a lighter heart and a less jealous mind.

Daniel Donnelly

King Lear

Brighton Fringe

28th May – 27th June, 2021

As the 2021 Brighton fringe comes to its latter stages we were treated to a very entertaining play – an adaption of ‘King Lear’, presented by Oddbodies. This 5 act play was adapted and performed as a one-man show by Paul Morel.

The complicated story revolves around poor King Lear and his daughters who resolved to both kill him and kiss him. At a time when the (British kingdom) was being dissected into 3 and all stood on the shoulders of our royal patronage. It passed as a movie would but acted like a play, possibly adapted for film and theatre as something that came together from all sides working out very well as a whole Shakespeare production.

To give it a strong story he told it from the point of view of the fool who could’ve known the King the best. Wives, daughters, knights, soldiers and the rest all had the support of this fine actor as he delved into the story with great gusto and in a many faceted enterprise. He often sang us into the story or offered the plot movements through his guitar.

Paul Morel

It was a way of telling that he threw so many broad accents into the web of happenings that were all related to plots and plans of demise and relocation in a fresh take on the story. While staying awesomely true to the original writing; he drew us in at a good pace, and played story teller as well, giving us ample opportunities to keep apace of the plot that had King Lear suffering.

The stage was darkly lit and it looked a little like an oil painting with a wooden chair, a guitar behind his moving mass of interaction between them. When one thing went a certain way there was bound to be someone it didn’t serve or simply that someone didn’t like. 6 stones were thrown with ripples reverberating but somehow due to its quality the steady pace induced an interesting story that wasn’t too much to handle.

It was a well held example of theatre coming together that had the timeless sense to it; visually and audibly. Simple to follow with all the swishes we would hope for and all the blood splashes and many dastardly deeds done in the shape of breaking Lear to ascend the throne. Lear was no victim at least so far as he knew and though he ruled the world was a fragile character who lost his trust with every turn of the story.

Reviewer: Daniel Donnelly


Brighton Fringe
28th May – 27th June, 2021

I actually applauded to my laptop screen after this show! “Labyrinth” It was a brilliantly well written play by Moncho Rodreguez to be acted by Marta Carvalho. Brighton’s 2021 has become a bit of an online jump for joy that has moved in and out of a great many themes, none less than in this flying letter from Portugal. This was a video of a performance that was live in 2019 at the Camden People’s Theatre.

The set was dark, then lit up to show long large draped parted like a curtain patch work and a huge doily covered the floor. When she (Marta) revealed herself through the gap there was already an unsteady feeling in the air.

With her appearance she looked on with wild eyes and had a physical presence of eerie excitement. She wore a gown or dress looking thing that reminded me of Monet, Dracula or classical Greek. Like a goddess she stood, and as though in sacrilege she began a speech that was dark and murky.

This 2019 performance must by now be like a cult event in theatre. A specific moment when everything came together and was shown as if in an effortless conundrum. As she flew into the heart of this character her accent added to and her voice breathed into the entire room as if completely over taking it. Her lyrics were for songs without music as they blended her eternal feelings towards us.

Her vivid darkness had quiet another side to it as it completely tore through love and life. Acted with an assuredly tender and heart wrenching style of pain as to suit the murder of her partner by her own hand. There was such a commanding display of writing and speaking ever so well with words. She would below and seem to grow large a she condemned herself for her carnal crimes. Looking into life had her favours towards us leap in an emersion of some of the best descriptions I have ever come across.

Even we were not just in a room anymore her exact words must be seen and heard to try give grace to the plays proceedings. In it’s harsh enquiry of a woman in control or a woman being controlled, we believed her and we wanted to believe her. She let us in to such an extent into the core of her very psyche with an unlimited and in touch way of being human. How what we have lost could never be returned. The search for humanity was in all ways driven by her crime (imaginary or not). The great taste for the lyrical descriptions were highly revelled in this performance by let’s look only one person!

Her pain was in the heart of rending suffering, her fierce independence came across with a dazzling (dark) take on creation itself where we are lost in the sum of money. Over that she would have burned love and the world with hatred. When she did become quiet she was reduced to moments of innocence easing herself with a baby soft voice and very quite actions all inward looking. But then rose up as her hatred returned. She would hate everything about this seemingly dead man from his stench to his ashes, and as she also knew it was a complete hatred of herself she was toiling through.

She was magnificent when she was anywhere, but with that amazing dialogue of words composed to the greatest extent of any other poet or writer with a grasp on us of the greatest of calamity. A Labyrinth is an intricate combination of paths or passages which it is difficult to find one’s way or to reach the exit.

This play examined that directly as we looked on at her whose breath taking performance came to pass. An hour with a goddess, queen and empress. An hour of livened readings from an eternal craft, an hour of out stretched arms and flailing physical jolts. As a woman who in passion and in greatness throws her love around by killing its unborn master. As a subject and subjective, with honour screaming in blood at this test for all time.

Reasoned into eating his ashes so as not to sully the earth. Flaming hot, pronounced, vacuous, born of all creation with love and sunlight at their depth. She took two bows with flowers in her hands after something very special.

Daniel Donnelly


The Great Gatsby

Brighton Fringe
28th May – 27th June, 2021

Sit up straight for a play to rock the ages. ‘The Great Gatsby’ book was adapted here by both the; Wardrobe Ensemble and Wardrobe Theatre. There was excitement lurking about this play as the curtains opened (metaphorically). We began with Nick Carraway (Jesse Meadows) narrating a mouth full of things. Set in the swinging 20s at the so called Jazz Age in New York’s famous Long Island it seemed an innocent time that dreaded its own future.

Gatsby himself (played by female Tamsin Hurtado Clarke) was a most mysterious man worth millions and he had everyone talking about him in one way or another. On a white couch sat Jesse Meadows as Carraway and our journey began.

As the spirit of every character entered our two actor’s bodies they were off with; spoken dialogue into a microphone of a cavalcade of social thoughts and setting dates for parties. And as we were fed the narratives and dialogue that were so often fruitful (they celebrated each new chapter with an alcoholic toast) but with plenty of dysfunction’s as well.

We were starting to notice the cogs in the wheel he was riding on, or was it all just rumours? We couldn’t have known and neither could they. It’s hard to imagine a more fought for story than this. In truth F Scott Fitzgeralds novel flopped in sales and interest but posthumously as we took in the twentieth century his powerful book exploded on the scene.

The touching clasp that was in this newly adapted play had for itself great use of their theatre. And the set was moved around or changed colour to the rhythm of the acts floating by. As each turn of the many conversations between lovers or acquaintances took hold the party hardened and we saw great emotions building up together with the story.

The life of Riley never comes for free except perhaps for our old sport Gatsby who joined us a little later in the play. They kept to the story with the force of dedication befitting the two art worlds of Wardrobe Ensemble and Wardrobe Theatre; with their venues and very lofty and necessary roles. They are seeking out with what they call “…new plays that dissect the twenty first century experience”. I’m sure that they were thrilled and jumped at the perfect opportunity of putting this show together.

In the story there was, love, relationships and a not too healthy, if enjoyable, dose of decadence that would turn to grief soon enough. The time out of time feeling from the original was here turned into a play of futuristic fabulousness as we mingled with the upper social classes. Who among them created problems but never owned up to them. And Gatsby’s position was always ready to inspire often when he wasn’t even there.

His love of Daisy Buchanan had him gravitating to her after losing her all those years ago, but couldn’t get her back. A fact that grew in the circles of socialites who crowded Gatsby’s social scene. In the name of parties were his best qualities known to them but the man’s love was overriding.

The strong American twang accents of New York were part of the action that often became very loud. Of our two actors placed in the scene like a model from yesterday, played as though it were only yesterday. Giving fresh life to the tale and offering up with great dialogue the passages of the story.

The action went on untold in loud music, frantic lights and involved the painting of eyes on large sheets of strong paper to throw a party. It was the time of their lives. And as Carraway admitted she longed for it to last but couldn’t see how, she was right.

Tragedy struck suddenly in a car accident caused by Gatsby. We saw tiny toy cars represent the incident. But soon Gatsby almost brushed it all out by blaming someone else. He somehow didn’t become despicable by our judgement. Instead we consoled him and let him off. Gatsby fortunes were explained to the exclamation of some who never quite trusted him. But his great love shone out in truth as he was not reconnected with Daisy who had long moved on. He didn’t seek revenge; instead he thought of partying but instead of that he passed away.

Carraway in his wisdom took on the responsibility as funeral organiser to his dismay no one came, it was the end. We simply were darkened and left to our own enthralled selves to think again about Gatsby and the kerfuffle he had caused. With a green light that shone across the bay, to his sweet heart and to great journeys ahead.

Daniel Donnelly

Watch: The Great Gatsby


Brighton Fringe
28th May – 27th June, 2021

Brighton Fringe 2021 saw this evening’s performance from The South African Zip Zap Circus Production Company in a cavalcade of dance, film and circus theatre. In a celebration of culture, we were introduced by two giddy people to the amazing world of ‘Moya’, a treat for every genre. In every African style that belonged to the film/play/dance scenes with multi coloured displays to set the senses on fire.

We were warmly welcomed into the show that began for our man on the streets of Cape Town. He had been through the terrific process of events prevalent in the theatre of the streets. He used poetry and music to express his story like a beat street poet. From the scene of our street man crossing his legs to sit down on the pavement we saw his large and empowered eyes that reflected his story. From this final scene we were left with great pity in our hearts, but through Zip Zap for him it was the beginning of a way out.

The film that was made to work on all these levels opened a door to a world not yet seen by our man. Whose tender world became part of this circus who offered a new relationship for him cemented by dance. From the first dance scene filmed in a park; a grouping of people all gently soothed each other in the grass and sun. Blended with a choreography of epic proportions and native Caribbean music that had the sound of a careful beating heart.

The celebrations were underway with acts changing and stories being said. As the programmes flew by, the story took hold as in a juggling performance where in the street scene of a fruit stand out in the sun. The juggler threw his balls in the air with more and more appearing to greater and greater heights.

And taking another beautiful step into this world being set to open for our man from the streets. It came in the form of a moment with the trapeze that hung up to the rafters in its glory. Sharing the ropes with two or fewer entertainers. The noises and sounds that swirled around were from vocals that stemmed from somewhere special and for the film footage that joined along with the stunning overriding beauty of the several trapeze dances.

As the script took its great steps ahead the hold on the life of our man developed by him making the move himself now seeking company as happiness loomed. With this connectedness that was growing with each dance his affects changed, seeing this happen was moving and emotional.

The story of strength was harnessed in a scene of footage of a great African dessert road. Dancers gathered in intimacy to join as a group of about 6 who made this dance into something of a spectacle. Wearing the colours and attire of tribal life they did the rhythms of ancient African Gumboots and Pantsula. Stamping feet on the ground

There was being built; dances to strongly make important links between us. This ingeniously constructed film was amazing in the joy it expressed and in the pleasure it had and the freedom to strike with a rich note at the heart of the performers and the audience.

Magnanimously rising; the plots were worlds in themselves. With changes that made us sit up and interludes that flowed in visuals and sounds lifting us off our feet with a steady craft so close to and capable of love for its own beauty. For simple props the amazement was without flaw and each soft or flowing movement was made to look easy and to have untold pleasures to perform. It took us off to show us a wonderland of colour and culture in Cape Town. With experience giving us eyes and hearts to contemplate with an assured safety net of love placed beneath the dancing entourage.

Stunning, open, revealing a world of possibilities through the fabulous medium of dance storytelling, grab a seat and be loved.

Reviewer: Daniel Donnelly

Watch Moya Here

The Spirit Of Africa

Brighton Fringe

28th May – 27th June

If you want a vivid expression of humanity & in its purest form of joy, then stream no further than the soul-energizing hour of dance & song that is ‘Spirit of Africa.’ From the streets of South Africa come the Tshwane Gospel Choir, excelling in their great feast of African heritage which presents the pain of the struggle years & the beauty of love in celebratory expression of the African spirit.

At times uplifting & jazzy, at others balladic & stirring, watching this glorious riot of colour & happy vibes, it is impossible not to feel uplifted whatever our mood. The band is elegently slick, over which there sails a synchroisation of the voices, which are less windscattered harmonies, & more pure lazar bolts of single & intense meoldies. They also pull off some proper dance moves as the music never pauses, floating effortlessly from piece to piece.

The language bounces between Swahili, Zulu, Xhosa, Sesotho, Setswana, Sepedi & English, a testament to the colonial cauldron of culture that is South Africa. In this strange new of world of armchair auditoriums, I can safely say the Tshwane Gospel Choir is an irridescent success.

Watch The Spirit Of Africa