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Nomangesi Mbiza, The Cape Argus, 20 November 2008
Cape Town City Ballet dancers gave a special performance for the young patients of the oncology unit at the Red Cross Children's Hospital and proved a delightful distraction.
The performance on Wednesday followed a special request from the dancers who wanted the chance to return to the hospital after first performing there two years ago.
Children and parents alike sat awe-struck throughout the performance.
Kholiwe Ngxoli, who is looking after her grandson Bukhulubakho at Red Cross, said the excitement on his face gave her joy.
"My grandson was so happy and it was nice to see a smile o his face," she said, adding that the children desperately needed such distractions to take their minds off their illnesses.
"They felt like any other kids and it was really nice to see that," Ngxoli said.
Danie Kruger, father of Marko Kruger, 8, said he hadn't thought his son would enjoy the performance, but he couldn't take his eyes off the dancers.
"I really appreciate what the dancers did for the children," he said.
Robin van Wyk, artistic director of the Cape Town City Ballet, said the dancers had been keen to return to the hospital and had specially selected costumes that would appeal to the young patients.
The ballet company's executive director, Elizabeth Triegaardt, urged other hospitals to invite the dancers to also entertain their patients.
"If other hospitals invite us, we will be there," she said.
Felicity Douglas, sister in charge of the oncology outpatient facility, said they were delighted with the efforts of the dancers.
"How happy it made the children was obvious to everyone," she said.
"Their little faces just lit up and they couldn't take their eyes off the dancers."
Beverley Brommert, The Argus Tonight 21 October 2008
Sterling casting underpinned by impeccable Latvian duo
Not for nothing is Veronica Paeper's Romeo and Juliet a welcome inclusion in Cape Town City Ballet's repertoire. It combines brilliant spectacle with intense pathos, a heady amalgam seasoned with the dry humour that is Paeper's hallmark.
The latest production has other merits as well. The return of the acclaimed Latvian duo, Raimond Martinov and Elza Leimane, added technical lustre on opening night, while the list of secondary characters in the cast reads like a who's who of ballet celebrities from the recent past.
Regular patrons of ballet in Cape Town will be delighted to see the likes of Nicolette Loxton (Nurse), Janet Lindup (Lady Capulet), Eduard Greyling (Friar Lawrence), and Philip Boyd (Price of Verona) on the stage once more, their presence and personality as commanding as ever even in minor roles.
Show-stealers on opening night were Robin van Wyk (Mercutio) and Xola Putye (Tybalt). Both exploit to the maximum the potential of their differing and highly antagonistic personae, the former ingratiating, sensual, and full of swagger, the latter darkly brooding and sinister.
Van Wyk, in particular, brings great panache to both his dancing and his portrayal. Johnny Bovang (Paris) injects some humour into this sombre tale with his foppish affectation - an amusing cameo role.
Fiona Gordon, Artslink.co.za 21 October 2008
In line with my sentiments expressed after their recent annual celebration, it seems Cape Town City Ballet has a lot they can be excited about.
Ballets on this grand scale are a rare treat in the economic climate that prevails, but with support from members of the CTCB apprenticeship programme, Dance For All and the Cape Junior Ballet, there are easily enough dancers to make an effective crowd on stage, and the result is highly successful. It is easy to see why this is one of Paeper's most popular ballets.
The appropriately energetic Robin van Wyk is the mischievous Mercutio, with Johnny Bovang playing the haughty Paris (to whom Juliet is betrothed against her will), whose ubiquitous page boy is just delightful. Newcomer Jason Inniss shows off his skills in his performance as the lead "tumbler". If this cameo is anything to go by, he is definitely worth watching out for in upcoming seasons. The dramatic effect of repetition with many in symmetry is excellently employed in the dances of the court. The sluts are suitably slutty, and the drunks, drunk, with the trademark Paeper humour coming across in some marvellous comic moments. And the music… even without the live orchestra, it's quite easily worth the trip to the theatre just for the music!
Sheila Chisholm, Cape Times 21 October 2008
One can barely fault their (Elza Leimane and Raimond Martinov) technical prowess. For a tall man, Martinov has the ability to jump high and cut through space with remarkable speed. His batterie is excellent, while Leimane's footwork is impeccable and her port de bras very graceful … Theirs is a solid partnership. Their pas de deux were beautifully handled.
Two bright sparks were Nicolette Loxton's Nurse and Robin van Wyk's Mercutio. Loxton never lost her character as the loving nurse able to pull out some bawdy gestures without losing her dignity. Van Wyk caught just the right balance between being a happy-go-lucky character with an underlying seriousness, and turned in a moving account of his dying after Tybalt's treacherous stabbing.
One must commend the young dancers co-opted to boost CTCB's ranks. They come from Dance For All's scholarship programme and the Cape Junior Ballet. Everyone pulled out the stops to dance with enthusiasm and vitality in the crowd scenes, where Jason Inniss makes a remarkably good Tumbler.
Sheila Chisholm, Cape Times 9 October 2008
Both [Johnny Bovang and Manie Irving] have been dancing for many years, but whether it's a small or major role, neither fails to give of their best. Irving, partnering Lauren Rogers, bounded with oomph in the Sheherazade pas de deux.
Enthusiastic performances in various parts in Raymonda, Don Quixote and Spartacus were turned in by Megan du Plessis, Jane Fidler, Angela Hansford, Kerryn Howard, Kirsten Isenberg, Frieda Mennen and Lauren Rogers. And it was pleasing to see what a fine artiste Laura Bosenberg is becoming.
However, the best performance of the evening was given by Megan Swart as Aegina in Spartacus. Blessed with a splendid technique, beautiful port de bras, and easy flowing movement, she has lately developed such a strong stage presence the entire stage lit up when she appeared. Shortly to be seen as Juliet in CTCB's presentation of Paeper's Romeo and Juliet, Swart has the criteria to make her interpretation an interesting one.
Die kombinasie van Xola Putye en Reika Sato was, te oordeel na die gehoor se reaksie, 'n gewilde keuse. Hulle het met uitstekende tegniek, aangrypende beheer en 'n vurige aanslag die verhoog betree.
In die gedeelte uit die tweede bedryf van Paeper se Spartacus het Megan Swart as Aegine, bygestaan deur Johnny Bovang as Gracchus, met vertroue en 'n slinkse, sensuele verleidelikheid die verhoog oorheers.
Eduard Greyling, Die Burger 21 July 2008
Soos 'n blink juweel was die Sheherazade pas de deux, gedans deur Manie Irving as die goue slaaf en Lauren Rogers as Zobeide, die hoogtepunt van die vertoning. Uitstekende tegniek en styl is aan die dag gelę. Geen mens kan daarmee stry nie - dit was 'n besonderse, merkwaardige vertoning deur Irving en Rogers.
Die kombinasie van Xola Putye en Reika Sato was, te oordeel na die gehoor se reaksie, 'n gewilde keuse. Hulle het met uitstekende tegniek, aangrypende beheer en 'n vurige aanslag die verhoog betree.
In die gedeelte uit die tweede bedryf van Paeper se Spartacus het Megan Swart as Aegine, bygestaan deur Johnny Bovang as Gracchus, met vertroue en 'n slinkse, sensuele verleidelikheid die verhoog oorheers.
  
  
Photo - Allison Foat
At a glam evening on the 10th of September hosted by the 'Friends and Balletomanes' of Cape Town City Ballet, several of that company's most talented dancers were recognised and honoured for their extraordinary achievements over the past year. From L-R: Laura Bosenberg (the Phyllis Spira Memorial Award and Best Female Dancer Award), Emmerich Schmollgruber (the Best Male Dancer Award), Megan Swart (the Brian van Rheede and Geoffrey Nieman Award for the Best Performance of the Year), Xola Putye (the Most Outstanding Newcomer Award) and Manie Irving (the David Poole Award). Pictured above them is the late Adelaide Tambo who up until her passing, was Cape Town City Ballet's Honorary Life Patron.
Click here to view the benefits of joining Friends and Balletomanes
Sheila Chisholm, Cape Times 16 September 2008
It was a gala occasion at the University of Cape Town's School of Dance, when Friends and Balletomanes, formerly respectively known as Friends of Cape Town City Ballet and Balletomanes, paid tribute to Cape Town City Ballet (CTCB) members at the society's awards evening last week.
Five dancers were honoured in various categories.
The recipient of the Phyllis Spira Memorial Award, which acknowledges a dancer who shows the same attributes as our late Prima Ballerina Assoluta, went to Laura Bosenberg, who was also the recipient of the Best Female Dancer award.
The Best Male Dancer award went to Emmerich Schmollgruber.
The Brian van Rheede and Geoffrey Nieman award for the Best Performance of the Year went to Megan Swart for her role in Kenneth MacMillan's ballet Concerto.
Xola Putye was considered CTCB's Most Outstanding Newcomer, while the David Poole award, which honours a dancer who has given sterling service to the company for five years or more, was awarded to Manie Irving.
Beverley Brommert, The Good Weekend 19 October 2008
When he is not rehearsing for Cape Town City Ballet's upcoming production of Romeo and Juliet, in which he fills the role of Paris, Johnny Bovang is cooking up a storm - along with other leading lights of the ballet company.
The reason behind all this culinary activity is the need to keep the [CTCB] new coffee shop at the University of Cape Town School of Dance supplied with tempting fare on a daily basis, not just for the dancers, but also for the increasing number of patrons from the general public, to whom the venue is available.
Named The Fifth Position, the charming little eatery's popularity is not surprising. Apart from the unusual fare on offer, which is all home-cooked and ridiculously low-priced, there is the added bonus of watching the company rehearse in the adjacent studio while you have lunch or mid-morning coffee.
For ballet lovers, that is a pleasure hard to beat.
Lindile Sifile, Daily Dispatch (School Sport), 31 July 2008
East London ballet students had an opportunity of a lifetime when they got to perform with professional dancers from Cape Town City Ballet last week.
Four dancers from Cape Town City Ballet were in town to perform The Ugly Duckling at the Guild Theatre and they were joined by 60 students from East London ballet schools for the production, which ran for three nights.
Speaking ahead of the last show on Saturday, Emma Fraser, 16, from Stirling High School said their inclusion in the show had boosted their confidence.
"It was a lovely opportunity to dance with them because it gave us a taste of what it could be like if we want to dance professionally after school," said Fraser. "We learnt a lot of different things from them - to pay attention to the smallest details, as well as new steps. Basically, this whole experience built us up."
The Ugly Duckling was directed by Robin van Wyk from Cape Town City Ballet.
The show is based on the tale by Hans Christian Andersen, and the Guild Theatre show featured skaters, huntresses, gypsies and elegant swans.
Although most of the students had performed in other shows, they said taking part in The Ugly Duckling had its challenges, as the production was larger than the ones that they were used to.
"It was an experience of a lifetime."
Hermione Ballinger, Die Burger (Port Elizabeth), 11 July 2008
Met die choreografie behartig deur Robin van Wyk, die artistieke direkteur van die Kaapstadse Stadsballet, is "betowerend" die enigste woord om hierdie produksie mee te beskryf.
Die besoekende danser Grant Swift was nogal prominent in al die karakters wat hy vertolk het, en daar was baie verskillende rolle. Hy het 'n sterk tegniek, 'n verruklike humorsin en uitstekende karakterisering in sy verskeie rolle getoon.
Beverley Brommert, Cape Times, 11 May 2008
When the curtain rose on the premičre of Cape Town City Ballet's latest production of The Merry Widow yesterday, the audience had the pleasure of seeing a stellar partnership filling the leads. [Elza Leimane and Raimond Martinov]
Both visitors are impressed by the calibre of CTCB's dancers, "especially the women", says Martinov. "Megan is a very light dancer, and she can jump like a man."
Beverley Brommert, Cape Times, May 2008
This production of the well-loved ballet Coppélia has all the freshness and vitality of youth.
The show-stealer is, without a doubt, Laura Bosenberg as Swanilda. She is secure in her dance technique and convincing in her dramatic interpretation of her role.
Her partnership with the elegantly-limbed Andile Ndlovu as Franz succeeds, as the pair are well-matched in both age and physique. Moreover, they give the impression of enjoying every moment of their time on stage.
Beverley Brommert, Cape Times, 22 January 2008
The sentimental plot and warmth with which it is presented, as well as the sylvan charm of Maynardville's stage, makes this ballet appealing to both heart and eye.
For al fresco entertainment on a summer's evening, this offering from CTCB is pretty hard to beat.
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Beverley Brommert, Cape Times, December 2007
Ballet at its bounciest is what Cape Town City Ballet has chosen to celebrate this festive season.
Veronica Paeper's Orpheus in the Underworld is firmly tongue-in-cheek, at times outrageous, and offering plenty of spectacle with large-scale sets, imaginative '30s costumes, and sizeable ensembles.
Well served by their musical accompaniment, the members of CTCB surrender to enjoyment of their performance, which makes this a particularly jolly show for Christmas entertainment.
Derek Wilson, Cape Times, 4 December 2007
Cape Town City Ballet's Robin van Wyk has come up with a new ballet using 15 themes from the James Bond movies.
The idea for the new ballet came to Van Wyk after the Port Elizabeth dance personality Monica Hewitson told him it was time for a 'different' youth ballet.
Sheila Chisholm, Cape Times, 9 October 2007
From start to finish it was go, go, go for this thoroughly agreeable visual and aural spectacle.
The performance offered an opportunity to see how sensitively Grant Swift continues to develop his role as Master Time - the constant reminder of Mercury's mortality.
And to watch how stunningly Megan Swart (as Barbara, Mercury's wild love) tackles every part she dances - fully justifying her recent promotion from senior soloist to principal dancer.
A pleasing newcomer was Reika Sato. She, together with Stanislav Tchalov, Xola Putye and Megan du Plessis danced brightly in the fun piece I Want to Ride my Bicycle.
Add Tay Dall's inventive sets, Shamiel Abrahams innovative lighting and funky costumes by Gavin Rajah, Craig Port, Malcolm Klük and Christiaan Gabriel du Toit to all the action and Queen at the Ballet becomes great entertainment.
Beverley Brommert, Cape Times, August 2007
Veronica Paeper's sensitive adaptation of La Traviata to ballet form in Camille is heart-rending under normal circumstances, but when - as in the case of this production - the work signals an adieu to two dancers whose partnership has delighted Cape Town audiences for many a year; there is an extra measure of poignancy.
Leads Tracy Li and Daniel Rajna went through their final opening night with aplomb, and with more than usual intensity, which suited the character of this narrative ballet. Li's first entry on stage was arresting, the power of her personality out-weighing her petite physique; and when she was joined in one pas de deux after another by Rajna, the chemistry generated between them was manifest.
Technique honed by years of experience allow the couple to sail through the choreographic demands with equanimity, and their performance more than meets the high expectations which ballet-lovers have of them. Li's feet have lost none of their quicksilver quality, while Rajna's body language retains the eloquence of passionate youth.
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A small stage and chattering audience were not the best conditions for Megan Swart’s debut as Odette in Swan Lake’s second act. But despite these drawbacks, within seconds of her appearance, Swart’s warm personality, lustrous brown eyes and physical delicacy established her as an engaging Odette.
Combining these qualities with beautifully articulate feet, a lyricism tempered by a steely technique, fluid port de bras (arm movements), she successfully modified her normal sweeping movement breadth to match the stage’s size without ever appearing cramped or hampered, thereby rendering her Odette debut a splendid one.
As Prince Siegfried, Johnny Bovang contributed substantially to Swart’s success.
In this act Siegfried’s function is totally supportive. Dancing not a single step, it takes considerable humility – from the male dancer to stand aside to ensure Odette has centre stage and is shown off to advantage. Bovang performed this role superbly. And if the pair didn’t generate magic sparks this could (partly) be attributed to the closeness between stage and audience detracting from the illusionary effect distance in larger theatres creates. Space and limited backstage facilities meant adapting entrances, exits and pattering for principals as well as 16 corps de ballet swans.
Good marks to producer Elizabeth Triegaardt that these minor changes didn’t detract either from traditional expectations nor leave the company appearing uncomfortably confined.
A Bonbon waltz selection from six popular ballets, introduced lightness, variety and solo opportunities for several newer members. Celeste George’s charm attracted attention as did a much improved Devan Joseph and Lee Fennell among the men. At Maynardville, the production incorporated parts of Peter Cazalet’s Much Ado About Nothing décor (the Shakespeare play showing there week nights) providing a classic frame for Swan Lake, and the larger stage furnished the space necessary.
Tracy Li as Odette with Daniel Rajna as Prince Siegfried provided a confident and assured performance built on their long standing partnership and musical harmony. The same, unfortunately, cannot be said about the recordings.
Contributing gracious moments were the four Princesses in the Swan Lake Waltz: Christy Johnson (in eye-catching blue/grey chiffon and long white gloves) and Lara Turk partnered by Bovang in Veronica Paeper’s elegant Emperor Waltz.
CTCB’s annual Maynardville season has become an important artistic out-door summer happening. With upgraded recordings this lightweight programme should draw good houses.
SHIELA CHISHOLM
 Three of the Cape Town City Ballet's (CTCB) youngest male dancers have been chosen by CTCB ballet master Keith Mackintosh to attend the Prague International Master Classes summer course this August in the Czech Republic. The boys, all aged 19 to 20, are Bathembu Myira and Lee Fennell, both full-time members of the company, and Emmerich Schmollgruber, who is a student at the UCT School of Dance and a cadet member of the company.
"All three boys will benefit enormously from the experience of studying with such prestigious teachers while at the same time measuring themselves against fellow dancers attending the course from all over the world," says Mackintosh. "I expect them to come back enriched and inspired to continue their work with the CTCB."
The three dancers will be attending the Prague summer course on scholarships offered to Mackintosh by Czech-born English National Ballet (ENB) prima ballerina Daria Klimentová. The two met up while Mackintosh was guest-teaching at the ENB recently.
Klimentová’s links to South Africa go back to the early 90s, when she won the Sanlam International Ballet Competition in Pretoria. Following this win, she was invited to join CAPAB Ballet (now CTCB), where she performed before returning to Europe and the UK, where she danced as a principal with Scottish Ballet and then with ENB in London.
For the 2005 Prague International Master Classes, Daria heads a faculty of teachers that includes ballerinas Viviana Durante and Monica Zamora, Laurent Novis of the Paris Opera Ballet, Ivan Cavallari of the Stuttgart Ballet and ballet master Vaclav Janecek, together with the choreographers Christopher Hampson and Mark Baldwin.
It was Klimentová’s wish to support the development of young male talent in the CTCB that led to her offering these scholarships. "Looking around at summer schools on offer, we decided to fill a gap in what was available, and give people a chance to learn from the stars they may have seen on stages around the world," she says. ‘It is rare to have an opportunity to attend master classes from artists who are still performing, and we wanted to change this."
The scholarships offered by Klimentová cover tuition only for the two-week course. Sponsorship has been secured for the dancers’ accommodation and the ever supportive Balletomanes have made a generous donation but funding is still required for the return air fares of R8,000 each for the boys.
If you’d like to help one of these talented young men get to Prague to learn from the stars, please contact Keith Mackintosh at the Cape Town City Ballet on 021 650 2400 or 082 744 7789.
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