The Liaoning Ballet’s Yu Chuanya performing in the opening night of Joburg Ballet’s Swan Lake. Photo by Bill Zurich

“China is now producing superb classical dancers, among the best in the world,” said Joburg Ballet’s artistic director, Iain MacDonald. And he should know, considering his tour to China with the company last year, and Joburg Ballet’s collaboration with China’s Liaoning Ballet for their current season of Swan Lake. And now you’ll have a unique opportunity to see for yourself, not just by watching the dancers on the Joburg stage, but in their warm-up class too.

This Saturday, 25 April 2015, Joburg Ballet is hosting an open day at their studios, featuring the 20 Liaoning Ballet dancers as they take class with the company and warm up for their performances. The open day starts at 1pm to coincide with the dancers’ class, followed by tea from 2pm. Tickets are R120 (which includes the tea) and bookings can be made with Edgar on 011 877 6898 or edgar@joburgballet.com.

See the Liaoning Ballet’s principal dancers, Ma Ming and Yu Chuanya, in ballet class during Joburg Ballet’s Open Day on 25 April 2015. Photo by Bill Zurich

Big collaboration for Swan Lake

The combination of Joburg Ballet, the Liaoning Ballet, as well as guest dancers from Cuba and the United States plus additional performers appearing in this production brings together an impressive 80 dancers for Swan Lake.

The 20 dancers from the Liaoning Ballet will perform alongside Joburg Ballet’s dancers in principal, soloist and corps de ballet roles, with two performances during the season (Sunday 19 April at 3pm and Saturday 25 April at 7:30pm) featuring principal dancers from the Liaoning Ballet in the leading roles of Odette-Odile and the Prince. You can find the full casting details here.

The Liaoning Ballet of China was founded in 1980 and is one of China’s major ballet companies, performing ballets on Chinese themes as well as a strong classical repertoire, including Swan Lake, Le Corsaire, Don Quixote, The Nutcracker, Giselle, The Sleeping Beauty and Spartacus. The company has 64 dancers in its roster and tours extensively, with past destinations including Europe, Australia, Japan, Cuba, Russia and Canada.

Here is a video clip of the company performing a traditional Chinese folk dance en pointe.

Booking details for Open Day:

Dates: Saturday 25 April 2015 from 1pm to 2pm, followed by tea.
Venue: Joburg Ballet studios off Hoofd Street, Joburg Theatre, Braamfontein, Johannesburg
Tickets: R120 per person (includes tea), bookings via Edgar on 011 877 6898 or edgar@joburgballet.com

Booking details:

Dates: Friday 17 April – Sunday 3 May 2015.
Venue: Joburg Theatre, Braamfontein, Johannesburg
Tickets: from R100 to R400 via JoburgTheatre.com or 0861 670 670

Classical ballet in grand style, Joburg Ballet’s La Bayadère is on at Joburg Theatre from 12 to 28 September 2014. Photo courtesy Joburg Ballet.

Known as one of the greatest 19th century ballets, La Bayadère (or ‘the temple dancer’ in English) is set in the royal India of the past where the exotic story of love, betrayal, vengeance and justice unfolds. Marking a first for Joburg Ballet, La Bayadère premieres at the Joburg Theatre from 12 September through to 28 September 2014.

Large cast assembled from South Africa and Cuba

Enter the ethereal plane of the Kingdom of the Shades. Photo by Lauge Sorensen

To stage such a big ballet as La Bayadère requires opulent stage sets and a large cast of dancers, particularly for choreographer Marius Petipa’s iconic Kingdom of the Shades scenes where columns of shades (spirits) descend with their synchronous arabesque sequence.

To achieve the grand scale, the company has assembled a large cast including Joburg Ballet’s own principal dancers, soloists and corps de ballet, a guest artist from the National Ballet of Cuba, dancers from the Joburg Ballet Academy, Joburg Ballet Cuban School, additional freelance dancers and extras, as well as two veteran ballet personalities for the mime roles.

In celebrating 5 years of the South Africa-Cuba ballet partnership begun by CEO Dirk Badenhorst in 2009, Joburg Ballet has cast National Ballet of Cuba guest artist Luis David Valle Ponce in the lead male role for certain performances (see full casting below).

Valle Ponce will share the role of the warrior Solor with Ramiro Samón, Juan Carlos Osma and Jonathan Rodrigues. As for the temple dancer Nikiya, the bayadère will be danced by Joburg Ballet’s prima ballerina Burnise Silvius as well as Shannon Glover, Nicole Ferreira-Dill and Lindé Wessels. The rival love interest of Princess Gamzatti will be performed by Claudia Monja, Angela Revie, Sanmarie Kreuzhuber-Hagler and Dayana Hardy Acuna.

Shannon Glover and Luis David Valle Ponce as Nikiya and her warrior love Solor. Photo by Lauge Sorensen

One of the ballet’s spectacular male showpieces, the Bronze Idol, will be shared by Luis David Valle Ponce, Javier Monier, Jonathan Rodrigues, Ramiro Samón and Randol Figueredo, while the two major mime roles – the Rajah and the High Brahmin – will be portrayed by the highly experienced Manuel Noram and Nigel Hannah.

Admitting to the huge undertaking that is La Bayadère, artistic director Iain MacDonald says he’s proud of the dedication and passion of the team, adding that “a classic like La Bayadère is a supreme challenge for any ballet company and our audiences can look forward to a major new addition to our repertoire, beautifully danced by the whole company.”

Casting for La Bayadère:

Casting details (subject to change) are as follows for the roles of Nikiya, Solor, Gamzatti and the Bronze Idol:

• Friday 12 September at 7:30pm: Silvius, Samón, Monja, Valle Ponce
• Saturday 13 September at 3pm: Glover, Valle Ponce, A. Revie, Monier
• Saturday 13 September at 7:30pm: Ferreira-Dill, Osma, Monja, Rodrigues
• Sunday 14 September at 11am: Wessels, Rodrigues, Kreuzhuber-Hagler, Samón
• Sunday 14 September at 3pm: Glover, Valle Ponce, A. Revie, Figueredo
• Tuesday 16 September at 11am: Glover, Valle Ponce, A. Revie, Samón
• Sunday 21 September at 11am: Ferreira-Dill, Osma, Monja, Rodrigues
• Sunday 21 September at 3pm: Silvius, Samón, Acuna, Figueredo
• Wednesday 24 September at 7:30pm: Wessels, Rodrigues, Kreuzhuber-Hagler, Samón
• Friday 26 September at 7:30pm: Silvius, Samón, Monja, Rodrigues
• Saturday 27 September at 3pm: Ferreira-Dill, Osma, Kreuzhuber-Hagler, Valle Ponce
• Sunday 28 September at 3pm: Silvius, Samón, Acuna, Monier

Booking details:

Dates: Fri 12 Sep 7:30pm (½ Price Night); Sat 13 Sep 3pm & 7:30pm; Sun 14 Sep 11am & 3pm; Tue 16 Sep 11am (School Performance); Sun 21 Sep 11am & 3pm; Wed 24 Sep 7:30pm; Fri 26 Sep 7:30pm; Sat 27 Sep 3pm; Sun 28 Sep 3pm.
Venue: Joburg Theatre, Braamfontein, Johannesburg
Tickets: from R100 to R400 via JoburgTheatre.com or 0861 670 670

Special booking offer – Ballet Combo: 20% off all performances except ½ Price Nights if booking for both La Bayadère and The Nutcracker Re-Imagined at the same time. (When booking online, add the code joburg ballet into the coupon field and click on the green plus button to activate the discount to your purchase.)

Claudia Monja dances with the Nutcracker Prince and the Rat King in Joburg Ballet’s The Nutcracker. Photo by Bill Zurich.

We’re told that year after year, from the 1980s until the turn of the century, the hugely popular Christmas classic The Nutcracker was always a firm feature on Pretoria’s festive season calendar. That all changed after the closure of The State Theatre Ballet in 2000, and even the subsequent South African Ballet Theatre moved from Pretoria to Johannesburg soon after.

But now years later, the magic will be sparked anew when the newly renamed Joburg Ballet (previously SA Mzansi Ballet) brings their production of The Nutcracker to Pretoria’s SA State Theatre for the first time from 22 to 30 November 2013, with nine performances featuring the full ballet company.

See Joburg Ballet’s Angela Maree and Javier Monier when they perform in Pretoria in November 2013. Photo by Bill Zurich.

Joburg Ballet’s Nutcracker is based on the much-loved traditional classical version, which first premiered in Russia all the way back in December 1892. The current production has been further developed by artistic director Iain MacDonald, with the help of ballet mistresses Angela Malan and Lauren Dixon-Seager.

Set to Tchaikovsky’s magical melodies, The Nutcracker tells the story of a young girl called Clara who receives a nutcracker soldier as a Christmas gift. She dreams her nutcracker turns into a handsome prince who then leads her to strange and enchanted places, like the Land of Snow and the Kingdom of the Sweets. The audience gets swept away too and meets a delightful assortment of Sugar Plum Fairies, Nutcracker Princes, Christmas Tree Fairies, Chinese, Russian and Spanish dancers, waltzing stars, dancing snowflakes and more.

Good cheer and family fun…

While you remind yourself of the simply marvelous music, have a good laugh at these three South African ballerinas giving the funniest rendition of The Nutcracker ever, caught on camera as they wait in the wings during a 2008 performance by the South African Ballet Theatre.

Booking details:

Dates and Times:
22 & 29 November 2013 at 7:30pm
23, 24 & 30 November 2013 at 3pm
23, 27, 28 & 30 November 2013 at 11am
Venue: The Opera at the South African State Theatre, Pretoria
Tickets: from R50 to R340 via Computicket.

Special deals and discounts:

• 10% for block bookings of 10 or more;
• 15% for pensioners;
• 20% for Friends of the Ballet;
• 50% for children aged 4 to 7;
• 50% off all Opening Night seats (22 November);
• R50 for school shows on 27 and 28 November at 11am.

Every little detail counts – artistic director, Iain MacDonald, coaches Shannon Glover during final dress rehearsals for Cinderella. Photo courtesy Joburg Ballet.

What does it take to create a brand new ballet? Robynn Burls visited Joburg Ballet to meet the real fairy godmother godfather working behind the scenes in the company’s recent season of Cinderella. This is what she discovered about the man behind the magic…

I extended my hand out as I walked up to meet Iain MacDonald, Joburg Ballet’s artistic director, but before I knew it the handshake became a hug. This, I came to learn, is Iain’s way, and it was quickly apparent why he’s so well liked by everyone who knows him.

Cinderella’s magical carriage and charming/comical horses arrive to cart her off to the Prince’s ball. Photo by Susanne Holbaek.

We were sitting down for a coffee and a talk following another successful performance of Cinderella, but any plans I might have had of some form of structured interview were tossed aside two minutes into what immediately became a lively, animated chat, delving into Iain’s latest creation.

He’s naturally warm and easy-going, but clearly equally intense with his enthusiasm for his craft. And the more we talked, the more I could identify his inspired signature all over this brand new ballet – from the little comic moments (like the bobbing of the horses heads as they pulled Cinderella’s carriage) to the laugh-out-loud antics of the ugly sisters, to the very grand and extended final wedding pas de deux.

Balancing act – mixing grand moves with traditional expectations

Iain admits that he created the kind of ballet he would’ve loved to dance himself. Being particularly fond of the pas de deux scenes, but not the stop-start solo variations in-between, he opted to drop the traditional approach and go for one big, impressive final pas de deux instead.

“I wanted it to be a wow thing,” says Iain. “I mean, the whole ballet was based around the final pas de deux. You’ll notice there are no big variations, where he goes, she goes, and I did that intentionally, because I think we’re so used to that.”

And ‘wow’ it was. The final pas de deux was certainly complicated, challenging and dazzling. It was also quite possibly game-changing, especially for the poor Prince who required tremendous strength and a deep stash of stamina to make it through this piece. And just when you thought they’d completed their final hoorah move, the couple went on to do another aerial trick and another (one-armed) lift.

Burnise Silvius and Jonathan Rodrigues created a magic all of their own in Cinderella’s big and dramatic final wedding pas de deux. Photo by Susanne Holbaek.

Iain knew his final pas de deux was tough, but he created it anyway confident that his opening night Prince Charming had the strength to pull it off. In fact, the handsome Jonathan Rodrigues couldn’t be a better fit for the role, leaving more than just Cinderella swooning over his suave, effortless strength and purrrfectly toned b…

Ahem, getting back to the story, Iain said, “For me, the prince is a tall, dark, good-looking guy and I wanted every woman in the audience to be oohing and aahing over him, which works, and the pas de deux is ridiculously hard and Jonathan’s a strong, strong partner”.

Uh-huh, no doubt about that. You can see Jonathan rehearsing with the lovely Burnise Silvius in this video montage from the SABC…

But it’s not only Iain’s final scene that was “ridiculously hard”, the corps were challenged right from the very start too. He had the flower sellers, bakers and dressmakers doing multiple pirouettes while still holding their baskets and breads. (You try doing a double pirouette en pointe while holding a big basket of stuff!) “They asked me if they could put it down” laughs Iain, “and I said no!”

And watch this short video clip (43 seconds) where Iain talks to Top Billing about Cinderella’s entrance and the big pas de deux…

Last minute changes and unexpected surprises

Apart from creating challenges for the dancers, Iain had a few challenges tossed his way too when at the last moment – at 6pm on the final dress rehearsal night – they still had to change sets and rework certain key entrances and exits. But that’s show-business for you.

Iain admits he also had a few flat-lining days during the choreography process, circling in a creative drought not sure how to proceed. And then there were the freak-out moments too.

In particular, he laughs at the cosmic joke that was played on him a few weeks before opening night, running out of time to still teach and finish the ballet. At the height of this stress, with no time to spare (or so he thought), in glided the ever-so-cool-and-calm Colombian choreographer, Álvaro Restrepo, who then wooed almost the entire Cinderella cast into a collaborative Colombian-South African piece for Celebration 5. While Iain helplessly watched the time tick away, itching to get things moving along as swiftly as possible, Álvaro had all the dancers sitting in a large circle… meditating… for three days!

Iain laughingly concedes though that it was probably exactly what everyone needed to calm the frenetic pace and frazzled nerves.

Finding the funny side

In fact, Iain seems quick to spot the humour in most things, which is probably why laughter and giggles bubbled up so naturally from the audience throughout his Cinderella production. Humour was not an afterthought, but rather a very central consideration for Iain.

After commenting on some piece of comic choreography, Iain said to me, “I hope you got the humour throughout the whole ballet. I wanted mom, dad and kids to come to the ballet and for the father not to think, oh my gosh, I’m so bored I can actually cry. I wanted there to be humour for them as well.”

Much of the comedy was also a collaborative process, where Iain allowed the dancers to experiment. “We laughed till the tears were running in the rehearsals,” he said. However, Iain has a strategy even in humour and explained that “it’s a fine line being so funny but not actually telling the story.”

Cinderella’s stepsisters brought a serious dose of comedy to the show, while the stepmother made for an impressively intimidating character. Played here from left, Carlos Santos, Kitty Phetla, Luis de Castro with Burnise Silvius as Cinderella.

In the end, after months of thinking, dreaming and dancing, through inspiration and frustration, and despite time-munching meditating circles and last minute hiccups, Iain and his Joburg Ballet colleagues created a beautifully balanced ballet, as well as a jolly good show.

Coming attractions

“So what’s next?” I asked Iain, to which the answer became another hour-long talk, revealing the mind of an inspired creator, where every song and movie holds the potential for a brand new ballet idea or a creatively updated classic.

But while (always) dreaming up fantastic ideas for future ballets, he’s also preparing for next year’s seasons of the light-hearted Coppélia and then the highly challenging classic, La Bayadere. But also look out for a few fun twists to The Nutcracker coming up in the meantime too.

Wrapping up our talk, with only five minutes to spare before his next appointment, I asked about the long and all-consuming hours he puts into his work. “But for me,” Iain says, “it’s what I love doing, I’m passionate about it. I come to work every day being inspired.”

Here are a few more photos for you to enjoy (click on an image to open the gallery):