1 00:00:00,080 --> 00:00:04,320 Speaker 1: One of South Africa's most accomplished and recognizable musical theater performers, 2 00:00:04,440 --> 00:00:08,320 Speaker 1: A singer an actor whose powerful voice and commanding stage 3 00:00:08,360 --> 00:00:11,920 Speaker 1: presence have made him a firm favorite with theater audiences 4 00:00:11,960 --> 00:00:15,159 Speaker 1: for many years. Whether it's starring in major productions like 5 00:00:15,200 --> 00:00:17,880 Speaker 1: The Phantom of the Opera or Evita, or stepping onto 6 00:00:17,880 --> 00:00:21,720 Speaker 1: stage with one of his own concert shows, Jonathan rox 7 00:00:21,720 --> 00:00:24,760 Speaker 1: Smith brings big energy and of course my favorite thing, 8 00:00:24,840 --> 00:00:27,479 Speaker 1: musical storytelling. Well, he's back in Cape Down now with 9 00:00:27,600 --> 00:00:29,760 Speaker 1: Key Change and it's running this month at Theater on 10 00:00:29,800 --> 00:00:33,600 Speaker 1: the Bay. It's a show that celebrates the piano driven singers, 11 00:00:34,000 --> 00:00:37,559 Speaker 1: entertainers and musical influences that have shaped his sound and 12 00:00:37,600 --> 00:00:38,760 Speaker 1: his style over the years. 13 00:00:38,800 --> 00:00:40,920 Speaker 2: Jonathan, welcome back, Thank you so much, ask. 14 00:00:41,159 --> 00:00:44,239 Speaker 1: Now Capedon audiences are obviously very happy to have you 15 00:00:44,280 --> 00:00:46,000 Speaker 1: back in the city and doing a show that really 16 00:00:46,040 --> 00:00:48,640 Speaker 1: speaks to the heart of you as a performer. Yes, 17 00:00:49,320 --> 00:00:51,560 Speaker 1: just as a way to introduce you to anyone who's 18 00:00:51,560 --> 00:00:54,600 Speaker 1: actually never heard of you or never been to a show, 19 00:00:55,720 --> 00:00:57,680 Speaker 1: tell us a little bit about what are some of 20 00:00:57,720 --> 00:01:01,560 Speaker 1: those influences in your life that have made you this 21 00:01:01,640 --> 00:01:03,440 Speaker 1: wonderful performer that you are today. 22 00:01:03,760 --> 00:01:05,760 Speaker 2: I would say a lot of them are musical. You know, 23 00:01:07,080 --> 00:01:08,880 Speaker 2: when it comes to the fact that I'm a pianist 24 00:01:09,400 --> 00:01:11,640 Speaker 2: was I became a pianist when I was younger because 25 00:01:11,760 --> 00:01:13,880 Speaker 2: when I would hear how the piano could be used, 26 00:01:14,040 --> 00:01:16,240 Speaker 2: or the emotions that a piano could stir up in 27 00:01:16,280 --> 00:01:19,160 Speaker 2: you just by playing it, I became obsessed with it. 28 00:01:19,240 --> 00:01:22,360 Speaker 2: And I started noticing that the piano was everywhere, literally 29 00:01:22,400 --> 00:01:25,080 Speaker 2: in movies, on television, even the news used a piano 30 00:01:25,120 --> 00:01:29,800 Speaker 2: in octaves. The original SABC theme was a piano. That 31 00:01:30,000 --> 00:01:34,560 Speaker 2: is I mean, I mean knew it for nutt is 32 00:01:34,600 --> 00:01:37,520 Speaker 2: a piano. A lot of John Williams stuff in the 33 00:01:37,520 --> 00:01:41,160 Speaker 2: films is a piano, so you know, you have that 34 00:01:41,360 --> 00:01:43,360 Speaker 2: introduction to the instrument, and then you start finding out 35 00:01:43,360 --> 00:01:46,520 Speaker 2: people who have the piano as their sort of act Elton, 36 00:01:46,600 --> 00:01:50,800 Speaker 2: John Billy, Joel Vanessa, Carlton, Alicia Keys, John Legend. You know, 37 00:01:50,880 --> 00:01:53,960 Speaker 2: it goes on and on and on, and I started 38 00:01:54,000 --> 00:01:56,880 Speaker 2: realizing that the piano was everywhere, so I thought, O me, 39 00:01:56,960 --> 00:01:59,280 Speaker 2: let me write a list of all of those pieces 40 00:01:59,280 --> 00:02:01,720 Speaker 2: that come to mind. Even the Nokia ring tone, which 41 00:02:01,800 --> 00:02:04,280 Speaker 2: used to be a piano. Did did did it? Used 42 00:02:04,280 --> 00:02:06,920 Speaker 2: to be a piano. Gosh, I didn't even know, so 43 00:02:07,160 --> 00:02:09,760 Speaker 2: you know, or it's it's ubiquitous, that's the word for it. 44 00:02:09,880 --> 00:02:12,200 Speaker 2: So I sort of did this. Listen. I looked at 45 00:02:12,280 --> 00:02:14,600 Speaker 2: us like this could be a really interesting show. And 46 00:02:14,639 --> 00:02:17,320 Speaker 2: we did the first performance in twenty twenty three. And 47 00:02:17,320 --> 00:02:20,720 Speaker 2: the thing about the music is the piano, of all 48 00:02:20,760 --> 00:02:23,440 Speaker 2: the instruments, sort of brings a nostalgia right to the fore. 49 00:02:23,480 --> 00:02:24,920 Speaker 2: And that's what people responded to. 50 00:02:25,000 --> 00:02:26,760 Speaker 1: Do you think that's why I'm crying for all these ads? 51 00:02:26,800 --> 00:02:29,359 Speaker 2: I wouldn't be. I wouldn't be. There's probably a piano underscore. Yeah, 52 00:02:29,400 --> 00:02:30,240 Speaker 2: I'm going to check. 53 00:02:30,080 --> 00:02:32,240 Speaker 1: Now if there's like a piano check check. 54 00:02:32,960 --> 00:02:37,560 Speaker 2: It's the most manipulative instrument. I mean, even on when 55 00:02:37,600 --> 00:02:40,120 Speaker 2: they have those reality shows and then or even on 56 00:02:40,160 --> 00:02:42,920 Speaker 2: those talent shows, until they go to the backstory, you know, 57 00:02:43,000 --> 00:02:45,680 Speaker 2: my sister and the piano comes in, You're like, oh, 58 00:02:45,720 --> 00:02:46,720 Speaker 2: here comes to Toronto. 59 00:02:47,480 --> 00:02:51,840 Speaker 1: How easy, Jonathan, that these things are so because it's 60 00:02:51,880 --> 00:02:55,280 Speaker 1: almost like it's so deeply connected to us as humans. 61 00:02:55,520 --> 00:02:57,960 Speaker 1: Oh yeah, it's it's something. It's a script that runs 62 00:02:57,960 --> 00:02:59,120 Speaker 1: in the background, doesn't it. 63 00:02:59,160 --> 00:03:01,600 Speaker 2: Well, it doesn't matter what language you speak. It doesn't 64 00:03:01,639 --> 00:03:04,320 Speaker 2: matter where you live, It doesn't matter exactly. There's just 65 00:03:04,360 --> 00:03:06,160 Speaker 2: something about music, and I know it's a cliche to 66 00:03:06,160 --> 00:03:08,240 Speaker 2: say to the universal language, but it's got to do 67 00:03:08,280 --> 00:03:10,760 Speaker 2: with frequencies. And there are certain chords that when you 68 00:03:10,800 --> 00:03:13,240 Speaker 2: play them, just goes right through you. I mean, even 69 00:03:13,560 --> 00:03:16,560 Speaker 2: your duet with Jack and Sally there's a piano introduction. 70 00:03:16,840 --> 00:03:19,360 Speaker 1: I know, so that's normally where I'm in the puddle 71 00:03:19,480 --> 00:03:22,200 Speaker 1: or there you go. Tell us a little bit about 72 00:03:22,720 --> 00:03:26,000 Speaker 1: who had a big role in shaping your career when 73 00:03:26,000 --> 00:03:28,120 Speaker 1: we look back, Peter Soren comes up. 74 00:03:30,360 --> 00:03:33,080 Speaker 2: When it comes to when it comes to musicals. Particularly 75 00:03:34,520 --> 00:03:37,840 Speaker 2: when I met Peter, I was doing shows in the 76 00:03:37,880 --> 00:03:40,960 Speaker 2: Barnyard and they had an audition for Butting the Beast 77 00:03:42,040 --> 00:03:44,800 Speaker 2: and it was the most bizarre thing. I just had 78 00:03:44,800 --> 00:03:46,800 Speaker 2: a feeling that I think I can do that part 79 00:03:47,080 --> 00:03:48,600 Speaker 2: Gaston in Beating the Beast. 80 00:03:48,400 --> 00:03:53,680 Speaker 1: You know, very Gaston looking at her, and it was 81 00:03:53,720 --> 00:03:55,400 Speaker 1: just one of those moments I went, oh, this is 82 00:03:55,400 --> 00:03:56,360 Speaker 1: what I've been trying to find. 83 00:03:56,640 --> 00:03:59,440 Speaker 2: There you are, and everything just clicked. And I don't 84 00:03:59,480 --> 00:04:01,560 Speaker 2: believe in coincidence or anything. I think it has to 85 00:04:01,600 --> 00:04:03,360 Speaker 2: do with timing. It had to be at that time 86 00:04:03,480 --> 00:04:07,240 Speaker 2: at my life, that building, that city, at that moment, 87 00:04:07,440 --> 00:04:10,000 Speaker 2: and from there to here, it's been an incredible journey. 88 00:04:10,080 --> 00:04:12,200 Speaker 2: And you know, even in musical theater, the use of 89 00:04:12,240 --> 00:04:15,800 Speaker 2: the piano is everywhere. Even in Wicked, Dum Dum, Dumb, 90 00:04:15,840 --> 00:04:18,200 Speaker 2: dumb Dumb is a piano. You know, it's all over 91 00:04:18,200 --> 00:04:21,880 Speaker 2: Broadway musicals. So that was my original world and then 92 00:04:22,080 --> 00:04:24,400 Speaker 2: this world that I'm in now, I am performing as myself. 93 00:04:24,960 --> 00:04:28,560 Speaker 2: To have the piano with me makes it possible. I 94 00:04:28,560 --> 00:04:30,000 Speaker 2: wouldn't be able to do it just on my own. 95 00:04:30,160 --> 00:04:31,279 Speaker 2: I need the piano with me. 96 00:04:31,680 --> 00:04:34,120 Speaker 1: We're talking to Jonathan Rocksmith is back on stage with 97 00:04:34,200 --> 00:04:38,640 Speaker 1: his show Key Change. It is happening at Theater on 98 00:04:38,720 --> 00:04:41,920 Speaker 1: the Bay from tonight until the twenty eighth of March. 99 00:04:42,360 --> 00:04:45,240 Speaker 1: If you have a question for him or a call, 100 00:04:45,320 --> 00:04:47,840 Speaker 1: you more than welcome way in too one four four 101 00:04:47,880 --> 00:04:50,600 Speaker 1: six or five six seven or seven two five six, seven, 102 00:04:50,720 --> 00:04:54,440 Speaker 1: one five six seven. Now you've had such a varied 103 00:04:54,480 --> 00:04:57,320 Speaker 1: career on stage when you look where you are, now, 104 00:04:57,520 --> 00:05:01,840 Speaker 1: what still excites you the most about performing live the fact. 105 00:05:01,600 --> 00:05:05,159 Speaker 2: That anything can go wrong. So it becomes an extremely addictive, 106 00:05:05,279 --> 00:05:10,479 Speaker 2: extreme sport because the audience can feel you know, it's 107 00:05:10,520 --> 00:05:12,719 Speaker 2: literally like you and I talking to each other and 108 00:05:12,839 --> 00:05:15,280 Speaker 2: the people in the studio watching us. It's that immediate. 109 00:05:15,279 --> 00:05:18,080 Speaker 2: Whereas with a film it's edited in such a way 110 00:05:18,120 --> 00:05:19,520 Speaker 2: every time you watch it's going to be the same. 111 00:05:19,960 --> 00:05:22,680 Speaker 2: Theater is never the same, no matter how consistent you are, 112 00:05:23,240 --> 00:05:25,599 Speaker 2: So it depends on the energy in the room that night, 113 00:05:26,160 --> 00:05:28,279 Speaker 2: It depends on how people are feeling, it depends on 114 00:05:28,320 --> 00:05:30,920 Speaker 2: what they give you, and you just sort of ride 115 00:05:30,920 --> 00:05:34,400 Speaker 2: this wave. And it's addictive because everything's it's like I 116 00:05:34,440 --> 00:05:38,400 Speaker 2: always compare it to snowflakes. They're never ever identical, right, 117 00:05:38,680 --> 00:05:41,839 Speaker 2: every single moment on stage is different. You can't say 118 00:05:41,839 --> 00:05:43,200 Speaker 2: that about any other performance. 119 00:05:44,839 --> 00:05:47,080 Speaker 1: I think it's true for live radio also, I must 120 00:05:47,120 --> 00:05:50,800 Speaker 1: be honest, Oh sure, sact reason why I'm in live 121 00:05:50,920 --> 00:05:54,120 Speaker 1: radio and have many opportunities to be on television. But 122 00:05:54,200 --> 00:05:56,120 Speaker 1: it's such a ball like honestly, it's it's like a 123 00:05:56,160 --> 00:05:59,679 Speaker 1: hurry up and wake job and there's no interaction. So again, 124 00:05:59,760 --> 00:06:03,320 Speaker 1: like year, every day is different because you engaging with 125 00:06:03,400 --> 00:06:05,640 Speaker 1: the audience and you're getting back from them as much. 126 00:06:05,680 --> 00:06:10,520 Speaker 1: But I would imagine in a theater settling it's much 127 00:06:10,560 --> 00:06:15,640 Speaker 1: more intimate and much more immediate are you always? Has 128 00:06:15,680 --> 00:06:17,960 Speaker 1: there ever been a moment where you didn't get the 129 00:06:18,040 --> 00:06:21,760 Speaker 1: kind of response from audiences that you expect. 130 00:06:22,480 --> 00:06:25,880 Speaker 2: That's what makes it special. That's exactly what makes it special, 131 00:06:25,920 --> 00:06:28,800 Speaker 2: because sometimes the way you said the line last night 132 00:06:28,960 --> 00:06:31,000 Speaker 2: and got such a great laugh tonight, you say it 133 00:06:31,000 --> 00:06:33,279 Speaker 2: and they just look at you. Then you think, oh, 134 00:06:33,320 --> 00:06:35,200 Speaker 2: I have to change my tax so you instantly tap 135 00:06:35,200 --> 00:06:37,279 Speaker 2: into your sixth sense as a performer, and you're listening 136 00:06:37,320 --> 00:06:39,279 Speaker 2: to the audience all the way through, and you go, 137 00:06:39,920 --> 00:06:44,400 Speaker 2: they prefer the smart humor as opposed to the kind 138 00:06:44,400 --> 00:06:47,039 Speaker 2: of humor, so let's use more words this time as 139 00:06:47,080 --> 00:06:49,320 Speaker 2: opposed to facial expressions. And then it works, and you go, 140 00:06:49,480 --> 00:06:51,800 Speaker 2: I've worked them out. And they pick up on the 141 00:06:51,800 --> 00:06:53,560 Speaker 2: fact that you've worked them out, so they go, oh, 142 00:06:53,600 --> 00:06:57,200 Speaker 2: he gets us. Yeah, so everything changes. That's what makes 143 00:06:57,200 --> 00:07:01,080 Speaker 2: it incredible, because when the audience is predictable or you're predictable, 144 00:07:01,120 --> 00:07:03,360 Speaker 2: you're dead in the water. As soon as they can't 145 00:07:03,400 --> 00:07:06,440 Speaker 2: work you out, and vice versa, it becomes a detective 146 00:07:06,480 --> 00:07:09,039 Speaker 2: story and it's addictive when you get it right. 147 00:07:09,160 --> 00:07:11,520 Speaker 1: I can see why your face that you really really 148 00:07:11,640 --> 00:07:14,679 Speaker 1: enjoy it. Let's get into the return of the show 149 00:07:14,880 --> 00:07:17,560 Speaker 1: key Change. I love that name. It's at Theater on 150 00:07:17,640 --> 00:07:21,400 Speaker 1: the Bay for listeners who might not have seen Key 151 00:07:21,480 --> 00:07:24,720 Speaker 1: Change before. You've explained a little bit about the idea. 152 00:07:24,840 --> 00:07:27,920 Speaker 1: So it's you and the piano. But why did you 153 00:07:28,000 --> 00:07:29,080 Speaker 1: want to bring it back? Now? 154 00:07:30,240 --> 00:07:33,120 Speaker 2: They asked for it, which is the best reason to 155 00:07:33,160 --> 00:07:35,720 Speaker 2: bring anything back? And I'll tell you why. I think 156 00:07:35,720 --> 00:07:37,680 Speaker 2: I should explain the title because key change. If you 157 00:07:37,720 --> 00:07:41,600 Speaker 2: don't know, people think key chain. No key change in music. 158 00:07:41,680 --> 00:07:43,880 Speaker 2: As soon as you want to elevate the emotional intensity 159 00:07:43,920 --> 00:07:45,600 Speaker 2: you put in a key change. The way I explain 160 00:07:45,640 --> 00:07:47,840 Speaker 2: it is, if you ever listen to Whitney Houston singing 161 00:07:47,840 --> 00:07:50,760 Speaker 2: I Will Always Love You. Halfway through that drum goes doom, 162 00:07:50,800 --> 00:07:53,600 Speaker 2: and that is a key change, so the whole song 163 00:07:53,640 --> 00:07:56,240 Speaker 2: clicks you. So if you look it up, the definition 164 00:07:56,320 --> 00:07:59,520 Speaker 2: is a shift internality. So what I've said is, if 165 00:07:59,520 --> 00:08:02,000 Speaker 2: that's true music, it can also be a metaphor for life. 166 00:08:02,040 --> 00:08:05,080 Speaker 2: I've had many shifts internality in my life, brought about 167 00:08:05,080 --> 00:08:08,360 Speaker 2: more often than not by my musical interests. So as 168 00:08:08,400 --> 00:08:10,480 Speaker 2: a metaphor, I talk about how my life has changed 169 00:08:10,480 --> 00:08:12,840 Speaker 2: according to the music that I'm listening to, and that's 170 00:08:12,840 --> 00:08:15,920 Speaker 2: the concept. And I think because everybody understands that, I mean, 171 00:08:15,920 --> 00:08:18,600 Speaker 2: you've just said it. You can keep coming back to 172 00:08:18,640 --> 00:08:21,080 Speaker 2: the show over and over again. You'll get something different 173 00:08:21,160 --> 00:08:23,360 Speaker 2: every time. And that's why we can come back a 174 00:08:23,400 --> 00:08:26,000 Speaker 2: third time and why people ask for a third time 175 00:08:26,040 --> 00:08:27,600 Speaker 2: and hopefully a fourth time. 176 00:08:27,480 --> 00:08:30,760 Speaker 1: And for finasic, There you go, Ollie says, the piano 177 00:08:30,840 --> 00:08:34,000 Speaker 1: e is an eighty eight string guitar. Explain that to. 178 00:08:33,920 --> 00:08:36,440 Speaker 2: Me, I wouldn't say it's a string guitar because it's 179 00:08:36,480 --> 00:08:39,760 Speaker 2: not plucked, it's struck struck. And the thing is it's 180 00:08:40,000 --> 00:08:43,760 Speaker 2: actually two hundred and forty string. In fact, more than 181 00:08:43,760 --> 00:08:45,280 Speaker 2: that if we're talking at eighty eight, because there are 182 00:08:45,280 --> 00:08:48,240 Speaker 2: three strings per Mont. But the idea is I think 183 00:08:48,280 --> 00:08:51,600 Speaker 2: what he means is, yes, it's technically a string instrument. 184 00:08:52,559 --> 00:08:55,320 Speaker 2: And what makes that amazing is that each note has 185 00:08:55,320 --> 00:08:58,200 Speaker 2: got three different strings, so three different tones, so each 186 00:08:58,280 --> 00:09:01,000 Speaker 2: one vibrates at a different free Then you play all 187 00:09:01,000 --> 00:09:04,000 Speaker 2: of it and it's like an entire sort of frequency 188 00:09:04,000 --> 00:09:06,640 Speaker 2: goes through you. So I think that is why it's 189 00:09:06,640 --> 00:09:08,079 Speaker 2: so emotive. That has to be it. 190 00:09:08,240 --> 00:09:10,760 Speaker 1: Ah Keith wants to know, who do you consider the 191 00:09:10,760 --> 00:09:16,160 Speaker 1: best pianist ever, and why oh. 192 00:09:15,120 --> 00:09:18,520 Speaker 2: That is it depends. It depends on the world that 193 00:09:18,520 --> 00:09:22,680 Speaker 2: they're in, because a classical technician in the concert sphere 194 00:09:23,360 --> 00:09:25,240 Speaker 2: more often than not doesn't have the personality of a 195 00:09:25,280 --> 00:09:30,000 Speaker 2: Vegas show performer. But then vice versa. So it's tricky 196 00:09:30,040 --> 00:09:33,560 Speaker 2: to say. I would say in the context of the show. Ironically, 197 00:09:33,960 --> 00:09:36,560 Speaker 2: the pianist who gets the greatest response from the audience 198 00:09:37,000 --> 00:09:39,560 Speaker 2: is Jim Steinman, because we do a meatloaf for Medley 199 00:09:40,160 --> 00:09:44,360 Speaker 2: and that tears the roof off the theater every single night. No, 200 00:09:44,640 --> 00:09:46,760 Speaker 2: if I say Jim Seinman is a pianist versus LIBERACEI 201 00:09:46,840 --> 00:09:49,800 Speaker 2: or Elton John, different story. If we're talking in the 202 00:09:49,800 --> 00:09:52,599 Speaker 2: context of the show, go on, Jim Steinman. 203 00:09:54,480 --> 00:09:54,920 Speaker 1: Thank you. 204 00:09:55,760 --> 00:09:55,920 Speaker 2: Now. 205 00:09:55,960 --> 00:10:00,000 Speaker 1: The show celebrates the piano based performance that've influenced you. 206 00:10:00,800 --> 00:10:05,280 Speaker 1: If you think back to all the piano artists, I mean, 207 00:10:05,280 --> 00:10:08,480 Speaker 1: you spoke about yeuring the instrument everywhere, but if you 208 00:10:08,520 --> 00:10:13,320 Speaker 1: think about the first artists that actually you were like, yeah, 209 00:10:13,440 --> 00:10:15,440 Speaker 1: this is this is speaking to me. Who were some 210 00:10:15,480 --> 00:10:17,239 Speaker 1: of those very early early influences. 211 00:10:17,320 --> 00:10:20,400 Speaker 2: I remember the late eighties, early nineties, I can't remember 212 00:10:20,400 --> 00:10:23,880 Speaker 2: the date, but do you remember the winter Olympics back 213 00:10:23,920 --> 00:10:27,040 Speaker 2: in the day, they had this theme called Winter Games 214 00:10:27,040 --> 00:10:29,079 Speaker 2: and was by a guy called David Foster who calls 215 00:10:29,160 --> 00:10:31,360 Speaker 2: himself the hit Man. He wrote all of those songs 216 00:10:32,040 --> 00:10:36,400 Speaker 2: on Celine Dion's albums, for instance, and he wrote Winter Games. 217 00:10:36,520 --> 00:10:38,520 Speaker 2: And every time it came onto the TV, I apparently 218 00:10:38,520 --> 00:10:40,280 Speaker 2: would run into the lounge and sit in front of 219 00:10:40,320 --> 00:10:42,840 Speaker 2: the TV because it was a piano and it was 220 00:10:42,840 --> 00:10:45,439 Speaker 2: a dun dun dun dun dun dun dun dun dun 221 00:10:45,520 --> 00:10:49,080 Speaker 2: dun dun. Not original key, but it's fine, And that 222 00:10:49,120 --> 00:10:51,560 Speaker 2: showed me already. It just had an influence on me. 223 00:10:51,640 --> 00:10:53,760 Speaker 2: There was something about it. I also love the fact 224 00:10:53,760 --> 00:10:57,480 Speaker 2: that you used both hands equally dexterously guitar. You used 225 00:10:57,520 --> 00:11:00,439 Speaker 2: one hand to, you know, figure out the cards on 226 00:11:00,440 --> 00:11:02,160 Speaker 2: the fret board, on the other hand to strum. This 227 00:11:02,200 --> 00:11:06,280 Speaker 2: is a different technique altogether. And I watched a video 228 00:11:06,280 --> 00:11:08,480 Speaker 2: where they had a brain sort of sensor on a 229 00:11:08,520 --> 00:11:11,200 Speaker 2: pianist while they were playing, and you use both parts 230 00:11:11,200 --> 00:11:13,240 Speaker 2: of your brain when you're playing the piano. It's a 231 00:11:13,280 --> 00:11:16,200 Speaker 2: fascinating thing to see what happens to you physiologically when 232 00:11:16,240 --> 00:11:18,160 Speaker 2: you sit down at the instrument and then there's pedals 233 00:11:18,559 --> 00:11:19,200 Speaker 2: like the organs. 234 00:11:19,240 --> 00:11:21,640 Speaker 1: So hello, have you ever tried to play the drums? 235 00:11:21,920 --> 00:11:22,200 Speaker 1: I have. 236 00:11:23,000 --> 00:11:24,080 Speaker 2: I never did it again. 237 00:11:26,200 --> 00:11:28,560 Speaker 1: Because I always wonder they've also had all four lumbs. 238 00:11:28,600 --> 00:11:30,720 Speaker 1: I have to move kind of separately. That's always. 239 00:11:30,920 --> 00:11:32,760 Speaker 2: It's like it's like with the bass as well, like 240 00:11:33,280 --> 00:11:35,440 Speaker 2: really really well known bass players like Nick Ford in 241 00:11:35,480 --> 00:11:37,440 Speaker 2: Cape Town, for instance. It also does upright. I watched 242 00:11:37,480 --> 00:11:39,800 Speaker 2: him on Chicago. I'm just like, how are you doing that? 243 00:11:40,440 --> 00:11:42,040 Speaker 2: And that was also just a cheeky shout. 244 00:11:41,880 --> 00:11:44,520 Speaker 1: Out, oh yeah. And that, by the way, that musical 245 00:11:44,520 --> 00:11:46,199 Speaker 1: cast in Chicago, while that. 246 00:11:46,320 --> 00:11:48,000 Speaker 2: Entire show, well do you know that again, you had 247 00:11:48,000 --> 00:11:49,960 Speaker 2: a live piano on stage. You see do you know 248 00:11:49,960 --> 00:11:52,040 Speaker 2: what I'm saying? It was a real piano on stage 249 00:11:52,040 --> 00:11:54,560 Speaker 2: in the middle. So there's something about that instrument. It's 250 00:11:54,640 --> 00:11:55,280 Speaker 2: just seductive. 251 00:11:55,520 --> 00:11:57,760 Speaker 1: Your Hunt says, I think the piano can create such 252 00:11:57,840 --> 00:12:02,560 Speaker 1: atmosphere with movies and on stage, and then Kenton says, 253 00:12:02,640 --> 00:12:05,520 Speaker 1: good afternoon. As I have said before, it should be 254 00:12:05,880 --> 00:12:09,400 Speaker 1: illegal to be as talented as Jonathan regards Kenton. 255 00:12:09,559 --> 00:12:11,520 Speaker 2: That's very kind, thank you, Kin, And. 256 00:12:11,440 --> 00:12:15,320 Speaker 1: Then Jill says, I saw Jonathan's show the other night, 257 00:12:15,400 --> 00:12:20,080 Speaker 1: and it is the most extraordinary show. So you've got. 258 00:12:19,960 --> 00:12:22,120 Speaker 2: A lot of love out there. That's really lovely. 259 00:12:22,400 --> 00:12:27,240 Speaker 1: Four shows like this, it obviously traces different parts of 260 00:12:27,280 --> 00:12:29,640 Speaker 1: your own musical life when you're putting this together. Is 261 00:12:29,679 --> 00:12:31,480 Speaker 1: it a little bit about like a trip down memory 262 00:12:31,559 --> 00:12:32,000 Speaker 1: lane for you? 263 00:12:32,280 --> 00:12:35,240 Speaker 2: Oh? It has to be otherwise if it doesn't hit 264 00:12:35,320 --> 00:12:37,360 Speaker 2: me on a personal level, I can't be vulnerable in 265 00:12:37,440 --> 00:12:40,360 Speaker 2: front of an audience, not in front of with an audience. 266 00:12:40,760 --> 00:12:42,800 Speaker 2: What makes it even more special is I've got a 267 00:12:42,800 --> 00:12:44,360 Speaker 2: band of five musicians with you. 268 00:12:44,520 --> 00:12:44,800 Speaker 1: Yes. 269 00:12:45,240 --> 00:12:48,160 Speaker 2: So what that does is we get to recreate the 270 00:12:48,240 --> 00:12:51,400 Speaker 2: music as it sounds on those original recordings. But I 271 00:12:51,440 --> 00:12:53,720 Speaker 2: also have a team around me who love doing what 272 00:12:53,720 --> 00:12:56,560 Speaker 2: they're doing, and we all as a team of six. 273 00:12:56,600 --> 00:12:58,640 Speaker 2: If somebody's having a bad day, the other five buck 274 00:12:58,720 --> 00:13:02,000 Speaker 2: that person up. So it's almost like we're charging people 275 00:13:02,040 --> 00:13:04,680 Speaker 2: to come watch our musical therapy. It's the best experience 276 00:13:04,679 --> 00:13:07,640 Speaker 2: in the world because when we hit that, when the 277 00:13:07,679 --> 00:13:09,960 Speaker 2: beat drops in exactly the right place and we're all together, 278 00:13:10,000 --> 00:13:13,120 Speaker 2: you see everybody look at each other like yeah, Because 279 00:13:13,120 --> 00:13:15,240 Speaker 2: if it was just me and a piano, like that's 280 00:13:15,240 --> 00:13:17,679 Speaker 2: a very limited performance. As soon as you have other 281 00:13:17,760 --> 00:13:20,120 Speaker 2: musicians you see that magic that happens between us, and 282 00:13:20,120 --> 00:13:21,120 Speaker 2: there's an alchemy to it. 283 00:13:22,000 --> 00:13:25,480 Speaker 1: Back at Theater on the Bay for this run, is 284 00:13:25,520 --> 00:13:26,720 Speaker 1: that a special venue for you? 285 00:13:27,600 --> 00:13:30,120 Speaker 2: Certainly? The Theatre on the Bays where I've done all 286 00:13:30,160 --> 00:13:32,680 Speaker 2: of my original work. 287 00:13:32,880 --> 00:13:34,920 Speaker 1: It's such a lovely little intimate theater. 288 00:13:35,080 --> 00:13:36,280 Speaker 2: Do you know what I think it comes down to? 289 00:13:36,320 --> 00:13:38,720 Speaker 2: Aside from the fact that you arrive at the theater 290 00:13:38,920 --> 00:13:42,040 Speaker 2: and you have the best sunset in Cape Town, just 291 00:13:42,160 --> 00:13:44,720 Speaker 2: sammer at the door as you do. Then you go 292 00:13:44,800 --> 00:13:47,320 Speaker 2: inside and you have the most incredible bar facilities and 293 00:13:47,360 --> 00:13:51,920 Speaker 2: then refreshments. You've got a beautiful restaurant upstairs with the view, 294 00:13:52,559 --> 00:13:54,400 Speaker 2: and then you go downstairs and you're in a theater 295 00:13:54,440 --> 00:13:57,920 Speaker 2: where there is no bad seat. As a performer, I 296 00:13:57,960 --> 00:14:01,720 Speaker 2: can see everybody's eyes, That's true. Even in the background. 297 00:14:01,720 --> 00:14:04,880 Speaker 2: I can see their faces. And what that means is 298 00:14:04,960 --> 00:14:08,920 Speaker 2: I can monitor you like a school mistress. But what 299 00:14:08,960 --> 00:14:11,640 Speaker 2: that means is everybody feels like I'm talking to them, 300 00:14:11,679 --> 00:14:17,720 Speaker 2: not at them. So beauty food, beverage, Son, Why are 301 00:14:17,720 --> 00:14:18,720 Speaker 2: were still having this conversation? 302 00:14:18,760 --> 00:14:22,600 Speaker 1: Why are we having this conversation? Okay, last question. After 303 00:14:22,760 --> 00:14:26,040 Speaker 1: everything that you've done on stage so far, what still 304 00:14:26,120 --> 00:14:29,000 Speaker 1: keeps you curious and creatively hungry as a. 305 00:14:28,960 --> 00:14:34,440 Speaker 2: Performer, understanding myself through the material that I perform for 306 00:14:34,440 --> 00:14:35,480 Speaker 2: people I haven't met yet. 307 00:14:36,760 --> 00:14:39,000 Speaker 1: So then that means with the show like this that 308 00:14:39,040 --> 00:14:42,360 Speaker 1: you've done before, there's still growth for you every time 309 00:14:42,400 --> 00:14:43,240 Speaker 1: you're doing it. 310 00:14:43,240 --> 00:14:46,640 Speaker 2: It's not like I can do the show until I'm 311 00:14:46,640 --> 00:14:50,960 Speaker 2: eighty eight. There is just something about sitting on stage 312 00:14:50,960 --> 00:14:53,400 Speaker 2: every time we begin the show. I don't know how 313 00:14:53,440 --> 00:14:54,760 Speaker 2: it's going to go, but I'm gonna give it my 314 00:14:54,840 --> 00:14:58,240 Speaker 2: damn best shot, and there will be instances afterwards. But 315 00:14:58,280 --> 00:15:00,600 Speaker 2: you know, it also happens afterwards. They people come and 316 00:15:00,640 --> 00:15:03,080 Speaker 2: talk to you and they share their stories with you. 317 00:15:03,560 --> 00:15:05,920 Speaker 2: And there's something about the foyer theater on the Bay 318 00:15:05,920 --> 00:15:07,680 Speaker 2: where people just come and tell you all things. A 319 00:15:07,760 --> 00:15:09,720 Speaker 2: lady last night came to me and said, I lost 320 00:15:09,760 --> 00:15:12,600 Speaker 2: my husband three months ago and the show reminded me 321 00:15:12,640 --> 00:15:15,760 Speaker 2: about the music that we love together. I mean, you're 322 00:15:15,800 --> 00:15:17,720 Speaker 2: going to make me cry just from and you know, 323 00:15:17,920 --> 00:15:21,640 Speaker 2: I'm just performing on stage. I'm not saving lives out there, 324 00:15:21,760 --> 00:15:24,400 Speaker 2: but something happens, and when you use the right music, 325 00:15:24,960 --> 00:15:27,640 Speaker 2: people's heart's open, and that's addictive. I'll never stop wanting 326 00:15:27,680 --> 00:15:27,920 Speaker 2: to do. 327 00:15:27,880 --> 00:15:33,040 Speaker 1: That, and it's the piano. Yeah, summer, Thank you so 328 00:15:33,160 --> 00:15:35,280 Speaker 1: much for coming today. 329 00:15:35,600 --> 00:15:37,040 Speaker 2: You've got to come and chunk at the theater. 330 00:15:37,280 --> 00:15:39,320 Speaker 1: I have to come and chunk at this Theater on 331 00:15:39,360 --> 00:15:42,360 Speaker 1: the Bay now, guys. The show is called Jonathan Rosmith's 332 00:15:42,440 --> 00:15:46,000 Speaker 1: Key Change, My Favorite Pianist. Senate runs from tonight until 333 00:15:46,040 --> 00:15:48,200 Speaker 1: the twenty eighth of March at Theater on the Bay. 334 00:15:48,360 --> 00:15:51,760 Speaker 1: Tickets are available at web tickets. It's between two hundred 335 00:15:51,760 --> 00:15:54,560 Speaker 1: and fifty and three hundred and fifty round run run 336 00:15:54,600 --> 00:15:56,880 Speaker 1: to web tickets. Get it now and all the best 337 00:15:56,880 --> 00:15:58,520 Speaker 1: for the run. We look forward to seeing you again. 338 00:15:58,640 --> 00:15:59,400 Speaker 2: Thank you.