Antonia Constantin

Antonia Constantin

REVIEW: Outlanders

Reading Time: 2 minutesOutlanders at Kings Place, a remarkable show part of the Scotland Unwrapped season, unfolded as a deep exploration of Scottish cultural migration phenomenon of the 18th and 19th century, driven by the collaborative brilliance of Nico Muhly, Robyn Stapleton, Sam Amidon, and the Aurora Orchestra.

REVIEW: Sacred and Profane

Reading Time: 2 minutesSamantha Gray's latest comedy at The Space, "Sacred and Profane," invites audiences into the tangled web of online dating, where love and deception collide in hilarious fashion. Set against the backdrop of modern romance, Gray deftly navigates the complexities of finding love in a digital world, delivering a witty and insightful commentary on the traps of online relationships.

REVIEW: The Girl In The Green Jumper

Reading Time: 2 minutesThe Girl In The Green Jumper at The Playground Theatre, part of the Gail Louw festival, is not your ordinary theatre experience. Coupled with a carefully curated Cyril Mann exhibition at Piano Noble, it transcends the boundaries of conventional drama, offering an immersive journey into the stormy relationship between an artist and his muse, partner, and wife. The exhibition sets the stage for the emotional rollercoaster to come. Meeting Renske, Cyril’s wife, whose autobiography served as inspiration for Gail Louw text, was a key moment in my experience of the play. Our conversation provided me with invaluable context, informative and emotional. She passionately pointed out details from the paintings to me, explaining their significance in the upcoming performance and urging me to remember them. I felt myself becoming an extension of her own memory. Each detail she emphasized felt like a thread connecting me to the story on stage. 

REVIEW: Rika’s Rooms

Reading Time: 2 minutesGail Louw's Rika's Rooms, part of the Louw season at The Playground Theatre, is a compelling and complex theatrical experience that examines the densities of memory, identity, and trauma caused by loss.  Based on Louw's novel, the play is inspired by the playwright’s own mother, who was sent away as a child from Nazi Germany to Palestine and then later as young woman moved to South Africa into the midst of Apartheid.  Now, aged 76, living in England with dementia, Rika dwells between two worlds: the present, which doesn’t make too much sense anymore, and the past, more coherent, but populated by people lost.