SYMPHONY OF DANCE. A programme of six ballets. Choreography Robin van Wyk, Veronica Paeper and Kirsten Isenberg. Lighting Faheem Bardien. Production Robin van Wyk. Graham Scott conducted The Cape Town Philharmonic Orchestra. Soloist Francois du Toit. Presented by Cape Town City Ballet. SHEILA CHISHOLM reviews.
THE idea of moving the Cape Town Philharmonic Orchestra (CPO) out from the orchestra pit to sit upstage to accompany Cape Town City Ballet (CTCB) dancers proved an inspired one. As did engaging a pianist of Francois du Toit’s status to play Sergei Rachmaninov’s Piano Concerto No 2 in C Minor Op 18 to premier Robin van Wyk’s ballet Romance. Also a brainwave was drawing upon UCT College of Music students San-Woo Jun (violin) and Yohan Chun (piano) to sensitively play Arvo Part’s Spiegel im Spiegel for Kirsten Isenberg’s Largo Variation.
This programme, framed by white mats, white borders, white legs, Faheem Bardien’s simply lit cyclorama, or backdrop, created an unusual dynamic link between audience, dancers, conductor, musicians and music. And while Graham Scott conducted with his back to the action he, never-the-less, “kept his eye” on dancers to successfully match tempi and variation endings. Yet, he still allowed du Toit space to print his own sensitive interpretation on Rachmaninov’s great music. A creditable achievement.
One advantage having a “resident” ballet company is the opportunity afforded regular patrons to observe junior members develop. Van Wyk, as CTCB’s artistic director, designed Symphony of Dance to (principally) showcase younger dancers. To do this, on opening night, van Wyk cast Meghan Henegan and Conrad Nusser as lead couple in his Ensemble for Six.
Henegan, is technically competent. Her facial expression has become livelier. Now she needs to communicate a joie de vivre when performing. Nusser didn’t perform with his usual deftness. In fact at times he danced downright untidily and expressionless. With one or two exceptions, this fault filtered through the male corps. Fifth positions, neat footwork were often neglected. And surely at this professional level men shouldn’t still be struggling to execute clean cut multiple pirouettes or double tours en l’air without hopping or falling over? At Keith Mackintosh’s recent Prague Scholarship Award evening we witnessed Australian trained, guest artist, Aaron Smyth spin like a top finishing without a wobble. If he can, why can’t every CTCB lad?
On the “up-and-coming” list are Elizabeth Nienaber and Revel Yon. Yon – a recipient of a Mackintosh Prague Scholarship Award – has boundless enthusiasm, leaps like a buck, but requires to harness his energy to finely tune and strengthen his basic technique.
Nienaber has an inner glow that shines through whenever she dances. In Isenberg’s neo-classical Largo Variation, Nienaber partnered by Yon held their own against the more experienced, senior principals, Laura Bosenberg and Thomas Thorne. Set to Arvo Part’s Spiegel im Spiegel Isenberg chose to follow Arvo Part’s violin’s melodic line rather than piano’s hypnotic three note part. She drew upon Degas and modern minimalist sculptors to craft her imaginative images in space. A mirror image here. A reflection there. Then a simple head movement. A shoulder shrug. A turn on demi-plie. An arabesque. A cradle-like lift. Arms at right angles or swinging across the body. A couple together, then dividing, made up this beautiful eight minute piece.
Isenberg has shown she’s highly inventive writing short abstract works. Perhaps future attempts should be on larger and longer ballets?
Veronica Paeper and van Wyk titled their sophisticated numbers after Johann Strauss Jnr’s The Emperor Waltz and The Blue Danube. Dressed in attractive 19th century frilled cream ball-gowns and men in military style jackets, Paeper’s charming waltz steps, patterns and shapes provided a chance to see how well-knit the partnership between graceful Angela Hansford and gallant Daniel Szybkowski is growing. A delightful couple to watch.
In The Blue Danube Van Wyk exhibited the togetherness and musicality of Cleo Ames opposite Craig Pedro and (once again) Henegan opposite Yon. Significantly stretching himself beyond basic classical steps, choreographically van Wyk branched into the contemporary and neo-classical idioms for Adagio to Strings – written to Samuel Barber’s popular Adagio for Strings(arranged from Barber’s 2nd movement of String Quartet Op 11). On music full of pathos van Wyk’s based this dramatic essay on a dysfunctional family. It began with Tusile Tenza beating a drum. To this barefoot young Hannah Ward acted out, in contemporary style, an angry solo. Then, to Barber’s Adagio for Strings, van Wyk introduced the target of her anger... younger sister (Jessica Brown), as well as siblings Szybkowski, Sarah-Lee Chapman, Ivan Boonzaaier and Milwhynne Williams. Sibling rivalry is a subject often chosen by choreographers. However, to fulfill its gut-wrenching potential, Van Wyk must work-out clearer distinction between each family member’s character.
Shortly after recovering from a serious spell of depression Rachmaninov composed his sublime Piano Concerto No 2 in C Minor Op 18. The work proved a sensation with one critic remarking “the music bears its heart on its sleeve.” For Romance Van Wyk picked up that comment to weave a romantic motif around Bosenberg and Thorne. Backed by six corps de ballet couples and two leading couples, costumed in exquisite magenta and lilac Juliet style dresses with men in full-sleeved deep lilac shirts and white tights, Bosenberg once again displayed her technical and artistic versatility.
An intelligent young woman, she brings a fresh approach to each and every role she dances. Never does one think “she’s just tossing this out” Doesn’t she deserve elevation to ballerina rank? Although Thorne is an excellent partner, his technical progress is slowing as is ability to individualise each characterisation. Some extra coaching will put him back on track.
Characteristically van Wyk’s choreography kept within the classical step repertoire... developpes, pose tours en manege, emboites, releves, grand jetes en tournant, “finger” turns, promenades in arabesque, one arm presages with occasional dips into the neo-classical.
However, regardless of Van Wyk’s novel patterns over three movements the love motif lost force. This resulted areas of the choreography looking like a series of classroom exercises unrelated to Rachmaninov.
Every new ballet requires editing. Once van Wyk applies his intellect to that, Romance could become a permanent part of CTCB’s repertoire.
Symphony of Dance was an original, interesting programme, unfortunately, not well supported.