At 91, Albie Sachs remains one of the most quietly extraordinary figures in South Africa's history: a man who survived a car bomb, helped write the Constitution, and chose grace over revenge at every turn. This new one-person play captures his remarkable life with warmth, lyricism, and a central performance of rare emotional honesty.

Paul Slabolepszy's beloved classic returns to the Joburg stage in a production that is funny, heartbreaking, and ultimately, deeply uplifting. Ashley Dowds builds an entire world from nothing but a street lamp and his own extraordinary skill, drawing audiences into one of the most distinctly South African stories ever written for the theatre.

What does it cost a person to be truly extraordinary? The Opera Singer explores that question with sharp wit, genuine warmth, and a fearlessness that is rare in new South African writing.

Nobody Told Me brings the Warsaw Ghetto to life through inventive stagecraft, committed performances, and a large ensemble that moves with purposeful energy across the stage. It's powerful, immersive theatre that reminds us why bearing witness to history matters, particularly in our current moment when the lessons of the past feel urgently relevant.

This haunting play about three childhood friends torn apart by the Bosnian War refuses to look away from war's darkest truths. In an intimate setting lit by trembling torchlight, it asks uncomfortable questions about witness, complicity, and what happens when ideology transforms ordinary people into monsters. Brave, necessary, and devastatingly relevant.

The Dumb Waiter creates seventy minutes of masterful tension that feels both deceptively simple and profoundly unsettling. It’s a contemporary meditation on power and obedience, with compelling performances that make the rising dread palpable.

A powerful revival of Master Harold… and the Boys turns Fugard’s legacy into a raw, urgent reckoning — one of the most affecting nights you’ll spend in a theatre.

A brilliantly acted exploration of self-imposed narratives, 'A Doll's House, Part 2' invites us to question the stories we tell ourselves - resulting in a raw, funny, and profoundly moving theatrical experience that resonates long after the final bow

My review of Paul Slabolepszy’s latest masterpiece: Bitter Winter, a tender embrace of South African theatre and the people who live and breathe the art itself.

A name contains so much of our identity. When we ignore that, we ignore someone’s humanity. This show explores that through the lens of the rape crisis in South Africa.