Adapting classic stories for either the stage or screen is a complex task that comes with all kinds of audience expectations. This is the challenge that faced two new versions of Charles Dickens' 'A Christmas Carol' and Mozart's 'The Magic Flute'. The songs are rooted in their operatic traditions, but the twist is that they been reworked with elements of South African dialogue, lyrics and music.

The result is as vibrant and joyful as any theatrical experience one has had this year. The dialogue crackles and pops with humour and pathos, and the actors have the kind of chemistry that most performers can only dream of.

Helmed by Mark Dornford-May, the Golden Bear winning director of U-Carmen eKhayelitsha, the two plays are steeped in a gritty background of poverty and hardship. Whilst 'A Christmas Carol' is set in the backstreets of shanty towns, 'The Magic Flute' has been transplanted to a mythical realm teeming with all kinds of Africana.

The most entrancing figure in both plays is Pauline Malefane, a gifted actress who makes the stage shimmer with her presence. Playing the dual roles of Scrooge and Queen of the Night, she wrings drama, greed and finally, redemption from the most subtle changes in her facial expression. When she sings in 'The Magic Flute', her voice segues back and forth in elastic stretches of sound, whilst frequently hitting the rarely-written top F note.

The other performers complement her with effortlessness, some often doubling as the orchestra which is exclusively made up of marimbas. These are not simple adaptations, but instead they seem to be a reflection of the performers' genial spirit and exuberance. When they dance, they do so with gusto, swivelling their hips like serpentine enchanters.

'A Christmas Carol' and 'The Magic Flute' are two wonderful shows that will inspire joy and excitement during the holiday season. Definitely one for the entire family.

by Diriye Osman