“CrashDance” explodes on UJ Arts Centre Stage

The audience at the world premiere of internationally-acclaimed French choreographer extraordinaire Redha’s ‘CrashDance’ jumped to their feet as the lights faded on the huge circular cage in which the dancers hung suspended and lifeless in mid-air at the end of the performance. The applause just went on and on and on until, eventually the great master took a rare bow on stage. It was also his birthday! See video extracts at: http://www.youtube.com/watch?v=a6_VOMaBpHw

It is when an audience lingers in a foyer after a performance, chatting excitedly, that one knows instinctively that the experience will loiter in the collective memory for many years to come. It has happened in South Africa’s dance world before: When I was 13 years old in 1967, the ballet ‘Raka’ premiered at the Civic Theatre, now renamed the Joburg Theatre. Based on the epic 1939 poem by the genial N.P. van Louw and set to 12 tone music by Graham Newcater and the unforgettable choreography of the great Frank Staff, the audience simply could not leave the theatre afterwards. The premier of ‘CrashDance” was very similar and one can only hope that this work also will be filmed and distributed worldwide. At the time, Raka was commissioned by the Performing Arts Council of the Transvaal (PACT) and the ballet proved such a success that it was soon made into an international hit film by 20th Century Fox. There is no reason why ‘CrashDance’ cannot be South Africa’s next international high art sensation.
The opening indeed was a triumphant event and the Tshwane Dance Theatre – seven boys and six girls – after 6 weeks of daily toil, non-stop learning and total devotion, emerged a leaner meaner and world-class company. Esther Nasser, the TDT’s Artistic Director has shown, despite great difficulties and the constant need to trim the budgets, that she still has the flair and impeccable taste to bring to our audiences works that can compete on any stage abroad. Tonight’s offering was right up there with the very best one could wish for.

In this work the dancers are taxed beyond all limits and at times one feels as if all of reality becomes suspended. Over and above a myriad of dancing skills required for the intricate and demanding choreography of this work, the members of the TDT also had to become gymnasts and acrobats!

It is hard to single out any one dancer but, I will be forgiven if I make mention of Mari-Louise Basson. On opening night she also entered her 6th month of pregnancy, while dancing like never before! Of all the dancers she was the one who performed most of the acrobatic work but, then that is not quite so unusual in that she had received master classes directly from her hubby who is one of the world’s greatest trapeze artistes and teaches at the circus school in Toulouse.

Set in a huge circular cage - symbolic of the human cranium - the dancers represent the memories, the experiences, the ideas and the aspirations of both the individual and society. New ideas enter the cage and engage in combat with old ideas; some ideas and thoughts merge to create fresh insights and other ideas again climb out of the cage to enter the collective conscious.

Redha collaborated with South Africa’s multi-award winning Sbonakaliso Ndaba in molding TDT Artistic Director Esther Nasser’s very edgy and sexy conceptualization of a dance work which incorporates both the terse movements of the martial arts and the weightless motion of dancers flying through the air. Pascal Angelier, acclaimed French trapeze teacher, came to South Africa to guide the TDT dancers in exploring movement in, over and around the cage.

Designs by Wilhelm Disbergen reflect current fashion’s pre-occupation with urban elements incorporated into the rigid framing of the human body. This exciting production teeters on the very edges of the mirror which has become humanity’s daily playground and will appeal to young an old but, for very different reasons!

This production of the Tshwane Dance Theatre (TCT) is generously supported by the South African National Lottery Distribution Trust Fund. “CrashDance” will be on the stage of the UJ Arts Centre for a short season until 29th October – thereafter transferring to the stage of the State Theatre Arena in Pretoria from 2nd to 6th November.

1. UJAC Theatre, Johannesburg

Sat 22 Oct 15:00
Tue 25 Oct 20:00
Wed 26 Oct 20:00
Thu 27 Oct 20:00
Fri 28 Oct 20:00
Sat 29 Oct 15:00

2. State Theatre Arena

Thu 3 Nov 20:00
Fri 4 Nov 20:00
Sat 5 Nov 15:00
Sat 5 Nov 20:00
Sun 6 Nov 15:00


Ticket Prices:

R 100.00 per person

R 50.00 per person for students and pensioners

Block Booking R 50.00 per person for 8 or more persons

Tickets-R100 per person
Tickets-R50 for students and pensioners
Block booking -R50- for more than 8 people

The Perfect Season! SA Ballet Theatre Star Shining Bright!

It is not for nothing that our family motto reads: Le Coq à chanté de bon matin! There I was - this holy Sunday morning - attending yet another performance of the SABT’s Sleeping Beauty at the Joburg Theatre which, for all intents and purposes, has become my church. And, believe me: It was worth the earlier rise!

In today’s cast we saw the exquisite principal, Burnise Silvius, dancing an Aurora as she had never danced the role before! Arms, hands, feet – every elegant extension – were absolutely flawless. Coupled to her beautiful technique, Silvius is also intensely musical and well on her way to earning the title of prima ballerina assoluta. She is, without any doubt in my mind, the company’s star.
Today was the third time during this season that I saw young Humberto Montero dancing. This boy’s Prince Florimund had just become better and better during the course of this season. He is a really competent dancer and any ballerina, I am sure, would love to dance with a partner that shows off the very best of her!

ChloéGrové as the Lilac Fairy is so beautiful and so delicious and so very very good! What more can I say Chloé?

In the pit was Sonja Bass, making a small JPO sound HUGE! Yes, girl, you now work that Tchaikovsky like a seasoned ballet conductor! This Madam had evolved from a very fast-paced and, at times, hectic opening night (it was a first ballet night for her!) to a remarkably sensitive and supportive Maestra, never taking her eyes off the dancers while controlling simultaneously the musicians with an iron baton! Had it not been for the sumptuous and scrumptious Sleeping Beauty that the SABT so magnificently unfolded on that stage this morning I could happily have sat with my eyes closed just listening to the exquisite tones of that JPO Big Band Sound!

To Trish Downing and Iain MacDonald: Good Stuff!

To the Company: Thank you for all the pleasures you gave me this season!

SABT Babies Shine Like Stars!

I went to the Joburg Theatre this morning just to see if those babies of the SA Ballet Theatre still were as wonderful as they were on opening night when, because of unexpected injuries - and with 15 minutes’ notice - they took over from the star cast and danced themselves into star cast. Well, at this morning’s 11:00 performance, they did it again and even better!
No doubt Shannon Glover is a star. When a dancer has all the technique and poise they become stars if they also has great musical sense. Glover has really got it - every time she beautifully anticipates a note and pulls it from the orchestra pit. All the great ones seem to have this in common.

Sonja Glass, the conductor of the JPO, has become a really fine ballet conductor since opening night. She has gained sensitivity to both the dancers and understands the music so much better. It was pure Tchaikovsky that flowed from that pit today! Congratulations Sonja!

Humberto Montero gave a solid but cautious performance on opening night but, today, excelled himself in the Grand Pas de Deux which really is the Prince’s only big moment in the ballet. And, what a wonderfully supportive dancer he is!

I never mentioned the Lilac Fairy on opening night. That was for no particular reason other than my being overwhelmed by the other young stars. Today I have to mention Nicole Ferreira. Great performance! Brava girl, bravissima!

The Bluebirds were even more a spectacular than on opening night when I thought their performance amazing. Jessica Overton and James Fraser, from Corps de Ballet, once again repeated their flawless performance and young Fraser even bettered his opening night score to 12 /10! Nice lean and strong body he has and that is going to be a real asset to the company in years to come.

All of these babies from the SABT makes one confident for the future.

The SABT company is in the best form it has been for many years. I would have been proud to show any of my international friends this production. It sparkles with excellence, enthusiasm and dedication. Don’t miss it. Quiet a number of performances for the remainder of the week and including coming Sunday. Bookings may be made through the Joburg Theatre on 0861 670 670 or www.joburgtheatre.com and for more information contact Edgar at SABT on 011 877 6893 or email edgar@saballettheatre.co.za

‘Reading Gay’ set to sizzle at UJ’s Con Cowan Theatre

In celebration of Lesbian Gay Bisexual Transgender (LGBT) History Month, the month-long annual observance of LGBT history, gay rights and related civil rights movements, UJ Arts and Culture in collaboration with the Artscape New Writing Programme proudly presents READING GAY, presents a season of staged readings of multi-award winning new South African gay plays from 26 to 30 October 2011.

The plays in the season all feature in “SA Gay Plays 1” compiled by Robin Malan and published by through his independent press, Junkets Publisher. “The social issues addressed in the collection include more than just LGBT themes,” says Grace Meadows who is the Manager of Performing Arts at UJ and the producer of the season of readings. “Sexual awakening, issues of identity and abandonment are interlaced with the added grit of revenge, passion and sex. Most important of all is that the work is young, fresh and compelling,” she adds.

The Season Director of READING GAY is Alby Michaels who has pulled together a formidable team of new young directors, UJ students, UJ alumni and professional guest performers to tackle the five plays:

• Wednesday 26 October at 19:30: Capetownian Jade Bowers directs "The Boy Who Fell from the Roof" (2007) by Juliet Jenkin leads the line-up. A heartfelt story about a boy, Simon, who, with his best friend, Georgina, falls into the cold bath waters of homosexuality, race, love, death and growing up in contemporary Cape Town.

• Thursday 27 at 19:30: UJ Arts Academy alumnus Motlatji Ditodi directs Gideon van Eeden’s "Myth of Andrew & Jo" (2010) which is the last of the plays in the collection which toured to Dublin. A contemporary tale of a gay couple, a lesbian couple and a pregnancy – how will the live, how will they love and how will they laugh?

• Friday 28 October at 19:30: Musical Theatre star Neels Clasen directs Ashraf Johaardien’s “Happy Endings Are Extra,” (2006) which was the first of the plays in the collection to be invited to Dublin. A provocative story of love and betrayal unravels as one man comes to terms with the life he’s leading and the one he’s left behind.

• Saturday 29 October at 19:30: Alby Micheals, who is the resident Director of the UJ Arts Academy, takes on "Dalliances" (2008) by Pieter Jacobs. Leo and Janet are friends. Ken is involved with Andy. When Ken meets Leo and make out in a lift, the lives of these four characters intersect with extraordinary results. Jacobs scooped the KKNK Nagtegaal Debut Prize for his Afikaans play “Plofstof” earlier this year.

• Sunday 30 October at 16:00: television personality, Jacques Bessenger who plays Renier in Erfsondes 2 on SABC2 directs the lesbian themed "Careful" (2009) by the late Fiona Coyne. "Careful" was her last play. “(It is) about woman and lesbianism, about friendship and fear, or fear and friendship, and being willing to take the risk to care, both about oneself and others.” (Fiona Coyne) “This season is a precursor to the PLAYING GAY Festival we are planning for next year; a multi-layered and textured smorgasbord of performing and visual arts aimed at social interchange,” says playwright Johaardien who is also the new Head of Arts and Culture at UJ.
READING GAY is supported by LIBERATI, UJ’s LGBT student society and Babylon Bar, Gauteng’s premier gay clubbing experience. Readings are each on for one night only at the Con Cowan Theatre located at UJ’s Bunting Road Campus (adjacent to the SABC in Auckland Park). Tickets are available at R30 for public audiences and R20 for valid student card holders through Computicket. Season Tickets at R100 for all five plays are available from the UJ Arts Centre on the Kingsway campus. For further details contact 011 559 3058 or visit www.uj.ac.za/artscentre.

Alby Michaels

Alby has been performing from a young age- whether with or without an audience. In 1998 he graduated at the University of Pretoria, cum laude, and made his professional debut that same year in Antoine de Saint-Exupery’s The Little Prince, according to him – a good omen.
Highlights of his stage career include Vonke Uit die Vuurklip, in which his portrayal of Stefanus earned him a Vita award nomination in 1999, Amy’s View (Toby) directed by Alan Swerdlow in 1999, Adamas (Adam) directed by Louw Verwey in 2001, Skilpoppe (Ching Kung) directed by Lizz Meiring in 2001, Jo’burg Zoo Storie (Albie) directed by Christo Compion in 2000, Vlerkdans (Anton) directed by Lizz Meiring in 2001, Macbeth (Malcolm) directed by Janice Honeyman in 2000, The Artful Dodger (Oliver Twist) 2002 and Alan Strang in Equus, directed by Thorsten Wedekind in 2011. The small screen beckoned in 1998, when Alby made his television debut as Eugene in Die Netwerk. His credits include Jozi Streets (2004), Binnelanders (2005) and 7de Laan (2006) as well as Luke Taylor in One Way in 2006/2007.

In 2003, Alby joined the Business Against Crime campaign as co-creator and artistic director of the educational theatre project, No Time for Crime. Not only where the learners exposed to groundbreaking edutainment, but also took part in several Youth Against Crime Festivals across South Africa. He received a School Enrichment Award in 2006 for his efforts and contribution.
Although his portfolio reflects a range of diverse projects, it is directing that offers the greatest career satisfaction. South African theatre audiences have experienced Alby’s disciplined attention to detail and abundance of creativity in shows such as Jozi (2002), You Cant Keep a Good Love Down (2003), SING with Tobie Cronje, Lizz Meiring and Terrence Bridget (2008/2010), Vrou in die Maan for Lizz Meiring (2009), Youth Oratorio composed by Jeanine Zaidel-Rudolf (2009), It Takes Two for Rocco De Villiers (2009), The Crucible for Promusica (2011) and [K]not for Eloise Clasen (2011).

Alby sites his involvement with the University of Johannesburg Arts Academy as the most rewarding experience of his career thus far. He joined the Academy in 2004 as Resident Director, describing it as the perfect environment in which to live and express his passion for directing as well as education and training. Highlights from the 27 productions he has directed for the academy include; Die Keiser (2004), Ain’t Misbehavin’ (2004), Metamorphoses (2006), We Shall Sing for the Fatherland (2006), Cabaret (2007), Our Town (2007), African Dust (2008), Jozi Ma Sweetie! (2009), The Far Off Off Broadway (FOOB) Festival (2011) and Flash – a musical blog (2011).

Neels Clasen

Neels Clasen has been an active member of the South African entertainment business for the past twelve years. During this time, he has made his marks as actor, singer, director, writer and lecturer. His most notable theatrical acting credits include leading roles in musicals like FAME (2003), WE WILL ROCK YOU (2006 – 2008 both locally and abroad) and MAMMA MIA (2010). In the musical theatre genre, Neels has also been seen in numerous Barnyard Theatre productions as well as three Janice Honeyman pantomimes at the Joburg Theatre.
Between 2006 and 2008, Neels was co-writer and actor on the comedy series KOMPLEKS I & II, nominated for four SAFTA awards including best writing and best comedy series. Other television credits include CINEMAGIC (presented with Barry Ronge), DIE CASPER RASPER SHOW, SOUL BUDDYZ (2005 – 2007), ZERO TOLERANCE, ISISDINGO and currently BINNELAND. Feature films include SLASH, SECRET OF THE WHALES and PLATTELAND, due to be released later this year.

Neels Clasen has directed numerous theatrical plays, musicals and corporate entertainment events. During his time as lecturer at the Tshwane University of Technology, he directed HELLO AND GOODBYE, NAG VAN LEGIO, WAITING FOR GODOT, ROOIKEPPIE AND THE SEVEN BERGIES as well as his acclaimed production of RENT in 2009. Other Directing highlights include Bruce J. Little’s THE LITTLE POOF I & II, FRIDA KAHLO’S EYES and numerous musical revue shows written and directed, for the Barnyard Theatre, Peermont Casino group and uShaka Marine World.

“I’m incredibly excited about HAPPY ENDINGS ARE EXTRA. I think it’s a brilliant play dealing with so many levels of the human condition. I’m truly looking forward to the reaction this play will evoke”.

Jacques Bessenger

Jacques Bessenger, a drama graduate from TUT, is a well-known face in the South African performing industry. He is best known for his roles in Song vir Katryn (Mossie) and Erfsondes 2,3&4 (Renier) SABC 2. He has also acted supporting roles in local TV series and soaps like Binnelanders, 7de Laan, Getroud met rugby, Villa Rosa, Justice for All, Jozi Streets and Thisa. He is also known for his part as Matthew Dekker in the SABC mini series House of love. Earlier this year he worked on a feature film, ‘Ordinary People’ which will be released world wide in April 2012. His passion for stage has seen him in productions like The Crucible (playing both minister Paris and Hale), The quiet violence of dreams (Grahamstown), The Zoo Story (Grahamstown), Die Afrikaner with Guys de Villiers, Varkdop (KKNK), The Picture of Dorian Gray (Lead), Die Kabaret with Amanda Strydom (Aardklop), Loving Apollo and For whom the Southern Bell Tolls. His educational theatre experience includes productions such as Macbeth, Antony and Cleopatra, Kringe in ‘n bos, Die keiser and various productions for the ATKV Children’s Theatre Company.

He is well experienced in the industrial and corporate theatre industry having worked for companies such as Eskom, The Nelson Mandela Foundation 46664, Hewlett Packard, Olthaver and List in Namibia, Department of Economics and productions for Bluemoon productions. As a director he directed the ACT/DALRO/Nedbank Scholarship Final programme for 2010 and 2011, Ligte Uit- a cabaret and educational programs.

Motlatji Ditodi

Motlatji Ditodi has been performing since the age of 3 throughout primary- and high-school. While completing her BA (Audiovisual Production Management) degree at the University of Johannesburg, she became a member of the (then) RAU Song and Dance, RAU Dramatic, and RAU Contemporary Dance companies. As a student, she played various lead roles in the productions Anything Goes, Jump for Joy (written and directed by Ian Von Memerty), West Side Story, and Cabaret. As a singer she performed with Rocco de Villiers, Antoinette Kellerman (Spier Arts Festival) and with jazz diva, Abigail Khubeka, in Black Street Jazz. She’s taken part in various projects under the WITS Drama For Life programme, notably being a current member of the DFL Playback Theatre Company. Television credits include playing Nombulelo in the SABC 2 sitcom Askies, as well as soon to be aired Thembi in the SABC 1 drama Zone 14.
She’s had some directing exposure from being Assistant Director to Alby Michaels (Resident Director at UJ – APK Campus). She assisted the UJ Drama and UJ Song and Dance company productions of The Far Off-Off Broadway Play Festival, and Flash – A Musical Blog respectively in 2011. Myth of Andrew and Jo will be her directing debut.

Jade Bowers

Jade Bowers graduated from the University of Cape Town with a Bachelor of Social Sciences in Drama and Sociology, she is currently doing her Honours degree at the University of the Witwatersrand with a focus on directing and design for the stage.
She has worked as a production manager, stage manager, festival director for WALE 4.0, director and designer.

Bowers has worked with the likes of Jay Pather, Mwenya Kabwe, Daniel Galloway, Ashraf Johaardien and Janni Younge.
She currently has her own production company, Jade Bowers Design and Management.

UJ ARTS & CULTURE is a world-class professional receiving house and performing arts training facility offering a diverse range of vocational programmes, hands-on practical training and community outreach programmes on all four UJ campuses. Facilities include the UJ Arts Centre including the Main Theatre, Gallery and Studios as well as the Experimental Theatre on UJ's Kingsway Campus and the Con Cowan Theatre and studios on the Bunting Road Campus.

The Sound of Heavenly Music

This week the Johannesburg Philharmonic Orchestra (JPO) performed as I have never heard those musicians perform before! While having dinner before the concert I said to my companion "Oh well, it is Schubert and Beethoven again but, at least, we have the world premiere of Phelelani Mnomiya’s Afroverture that will be new.” It is at the very moment when life and its pleasures seem to have become jaded that one is about to be surprised. And, not only was I in for a most satisfying surprise but, also for an experience of intense awe and majesty! By the end of the evening one had become acutely aware that the sound that came from that stage had filled one’s being with a rare wonder and a sense of godliness.

But, before I tell you about the entirely “new” Schubert and Beethoven that came to fill my senses during the course of the evening, it may be good rather to “start at the very beginning, a very good place to start!”

This unforgettable concert opened with Mnomiya’s Afroverture – an absolutely beautiful work with incredibly complex rhythms and melody lines super-imposed one upon the other like onion skins. I was so proud of being South African and being able to listen to such genius.
This is the first stand-alone overture that Mnomiya has written and the composer describes it as a piece of “absolute” music. While the title can lead one to assume that the work comprises a fusion of styles the composer says: “Afroverture has more to do with where I am as a composer, than being a stylistic tag.” That may be so and I agree that the work has way more in common with Bernstein than the African continent. But there is present in the composition an undeniable suggestion of African singing styles and rhythmic patterns which are skillfully woven throughout the dense orchestration.

This overture was written and orchestrated earlier this year on a commission from the South African Music Rights Organisation (SAMRO). Congratulations to the JPO for performing new home-woven works! Now it remains for the work to receive the exposure it merits from being available on CD and of being cast on our radio waves.

Let us now talk about Simon Wright.
Firstly, I am saddened by the fact that Maestro Wright is in the country only to conduct this week’s three concerts of the same programme. Wright is a musician in every sense of the word and he managed to tease from that orchestra sensitivity rarely heard on any concert stage anywhere in the world.

Respected by all as a musician of the utmost integrity, Wright has stood in front of many orchestras greater than the JPO but, he managed to elicit from one of a handful of African orchestras the kind of sound you would expect from the Royal Philharmonic Orchestra on one of their best nights.

After the performance I went to talk to him he towered above my 1.88 metres!
Simon Wright is both a physical and intellectual giant. He does not use a podium – he does not need one as he towers above even the harp and double bases! Despite his bodily bulk, he is sensitive in the extreme and conducts the orchestra in an unusually controlled fashion, giving the audience access to the full range of nuance and colour that a performance of Schubert should contain.

My blasé attitude of “I had heard it all before”, very soon dissipated as Maestro Wright, delicately, lead the listener into the first movement of the Schubert Symphony No. 3. I soon realised that I had in fact never heard or understood Schubert before. Wright made all four the movements sound like world premiere experiences.

And, it was only on hearing the Beethoven 5th Piano Concerto (The Emperor) - after the interval - that then I fully understood why there was this break with the convention of the symphony being the last offering of the evening. Like the Schubert, Beethoven became a heavenly rendition and very much indicative of a collaboration of the gods: Conductor, orchestra and pianist cooperated in a musical conspiracy that resulted in a “godly first time” experience for most of the audience. There was no way that one could have listened to any other music once the thunderous applause following the piano concerto had died down.

The Beethoven 5th Piano Concerto is a warhorse of many notes and played to death everywhere that one goes, but, the Du Toit/ Wright/ JPO alliance in this instance gave the Johannesburg audience a rare “virgin” moment.
Francois du Toit is one of the finest pianists that I have ever heard. For him it is more than sheer technique and fireworks: It is also about soul, sincerity and the utmost respect for music. His playing is reflected in his admirabel sense of occasion, his impeccable style of dress and his neat, lean and fit body. When he walked, confidently, onto that stage dressed in his tails, white tie, crisp white shirt and off-white cumber band, you already knew that the offering on hand wiould be the best that that anyone could ever give.

I can continue many hours discussing the gracious way in which piano and orchestra fused into one entity; how this performance transcended to be piano concerto and symphony all at the same time; how Du Toit didn’t smudge a single note; how the arpeggios sparkled like ice cold champagne bubbles; how the huge chords sunk into a bed of warm orchestral sound. All I need say is that if a true music lover missed this concert it can only be regarded as a tragedy for him or her.

The first concert of the Johannesburg Philharmonic Orchestra’s Fourth Season for 2011 was an once-in-a-lifetime experience and, unless I can have my Schubert and Beethoven stirred up this way in future, I really am not interested.

In conclusion, I bow to conductor, pianist and orchestra and I say: “Your Majesties, for the first time in my life Beethoven did not only march through my brain – his music also danced on in the most pleasant of music-induced dreams for the remainder of the night! Even now, as I write, I continue to hear the heavenly ring of divine sound! Thank you.”

A Star is Born! SABT Triumphs!

Soloist, Shannon Glover, catapulted to the status of Principal Dancer in an opening night in which she suddenly was thrust into the role of Princess Aurora in this superb production of the SA Ballet Theatre’s Sleeping Beauty at the Joburg Theatre’s Mandela Auditorium.
It was an opening night of great excitements as Glover and Humberto Montero - with 15 minutes’ notice - took over the leads from the company’s opening night stars, Burnise Silvius and the visiting Australian guest star who injured his calve just before the curtain went up.

And, it was an absolutely beautiful performance! The SABT hasn’t been in such great form for many many years! It was a total delight to see the company dance in the spectacular costumes and absolutely charming sets by the late Anthony Farmer who was in his late eighties when he designed this breathtaking production many many years ago! It is a feather in the cap for all concerned that the original masterpiece has been so beautifully preserved!

But, the star of the night was no doubt Ms Glover who had worked her way through the ranks since 2004 she was accepted onto The South African Ballet Theatre’s Graduate Programme and during her Graduate year performed the solo in ‘Kopano’ and the role of Clara (including the Dance of the Sugar Plum Fairy) in ‘The Nutcracker’. In 2005 she was accepted into SABT as a member of the corps de ballet. And, she has shone brightly ever since.

Shannon was promoted from Senior Solist to Principal after the performance. Good move SABT!
As he stepped onto the stage in Act III as Prince Florimund, Humberto Montero appeared to be cautious but he gave a solid performance and truly showed off the beaming Aurora in the plethora of fish dives – beautifully executed and to thunderous applause! And, the audience roared with delight quiet often – from the Blue Bird Pas de Deux through to the Cats and Little Red Riding Hood with her Wolf – we had endless fun and delight on an evening of rare ballet de leux

Here I need to make mention of two of the company's baby-members - two dancers from the Corps de Ballet who gave an absolutely flawless performance as the Bluebirds. This is one of the most demanding Pas de Deux in the entire ballet repertoire and no gala night is without it. Jessica Overton and James Fraser were absolutely flawless when they danced this very difficult show stopper - and they did stop the show! What an achievement! Here are two future stars!
During the current season of this fairytale ballet, The Sleeping Beauty, the delight will be more than before as three well-known theatre couples add their own slight and charm to the performances with a number of guest appearances during the run.

From 30 September to 16 October 2011, theatrical star couples such as Des and Dawn Lindberg; Michael De Pinna and Carolyn Steyn (nee Barkhuizen); and Lena Ferugia and Robert Davies will grace the stage (as the royal king and queen in respective performances) along with the dancers from the SABT.

The SABT company includes stars such as principal dancer Burnise Silvius and international guest artist Adam Thurlow, his second time performing with The SABT, who will dance in the principal roles, and local guest artists Yolandi Olckers and Turiso Magongwa performing the Bluebird couple.

Based on the original Marius Petipa choreography, The Sleeping Beauty promises is a memorable family entertainment experience.

Des and Dawn Lindberg are well known throughout South Africa for their work as entertainers, singers and theatre producers over the past four decades. Dawn studied ballet with Sheila Wartzki, and has a teacher’s diploma in the Cecchetti method. She also studied contemporary dance in Detroit USA and danced with Bluma Rubin and Rhoda Orlin.

Dawn, together with Artistic Director Iain MacDonald, looked regal and enjoyed this rather unusual stage appearance thoroughly!

Michael de Pinna and Carolyn Steyn co-present the radio show Whispers on Radio Today where they regularly interview celebrities and Film-making couple Lena Ferugia and Robert Davies is indeed fit for their roles as on stage royals.

The Johannesburg Philharmonic Orchestra will accompany for this very special ballet season, except for performances on 6, 7 and 13 October, when it will be danced to recorded music. The conductor for the JPO for this production is Sonja Bass, her first time conducting for the ballet.

Ticket prices for The Sleeping Beauty range from R50 to R320, except for the Sunday morning (11am) performances, when all tickets are just R110 - an affordable and family treat that cannot be missed - be it by a balletomane or just someone who loves the beautiful!

Bookings may be made through the Joburg Theatre on 0861 670 670 or www.joburgtheatre.com and for more information contact Edgar at SABT on 011 877 6893 or email edgar@saballettheatre.co.za