A Spartacus of Africa. Choreographed by Veronica Paeper; assisted by David Krugel. Presented by The South African National Dance Trust. Music by Aram Kachaturian played by the Cape Town Philharmonic Orchestra, conducted by Paul Hoskins. At the Artscape Theatre. DEBBIE HATHWAY reviews
BROOKLYN MACK is a striking, muscle-bound athlete, who can dance. After watching him command the stage in the lead role of Veronica Paeper's A Spartacus of Africa, that feels like an understatement. His demonstration of technique, elevation and partnering ability is one good reason to go and see the first of the South African National Dance Trust's (SANDT) grand-scale productions.
The award-winning Washington Ballet principal is one of several international stars adding substance to a cast that includes a group of 10 sharing the lead roles, 28 professional dancers and up to 60 “extras” drawn from students training with Cape Junior Ballet, Eoan Group, Martin Schönberg, UCT School of Dance, West Coast Dance Academy and Waterfront Theatre College for the Cape Town leg of the tour.
The 28-year-old Mack’s physique is the product of years of unfailing commitment to the development of his craft (his late-night hotel gym sessions during the production's gruelling 12-performance season in Johannesburg did not go unnoticed); his entry to the ballet world inspired by the athleticism displayed by male dancers at a ballet gala he attended while still at school. He decided that ballet training might improve his football skills, and asked his mother to sign him up for lessons.
My point? It's the kind of work ethic that makes good dancers great, that gets the attention of artistic directors, that secures the one contract contested by scores of equally talented applicants. It's the point also made last year by Annie Drower of Hamburg Ballet, while teaching some of John Neumeier's choreography to Cape Town City Ballet for their Spring and Fall season. Never sit down. Never stop trying to perfect your performance. Never relax. Not in the rehearsal studio, anyway. So by inviting guest artists of this calibre to feature in the SANDT's ambitious showcase for South African dance duly meets its goal to inspire young, aspirant dancers too ready to rest during their breaks instead of practising their parts.
Balletomanes may appreciate Paeper's effort to reinvent her original Spartacus choreography for Capab Ballet in 1984, because it is still “basically classical ballet with a lot of twists to it”. David Krugel was tasked with introducing contemporary and African elements to it in addition to filling the role of Isenyaya, an ancestor and manipulative spirit. He has spent most of the past 15 years working with the acclaimed Nederlands Dans Theater.
Educating audiences about the story of Spartacus is another one of the Trust's goals. The inspiration behind many artistic endeavours in print, on stage and for the big screen, he was a Thracian gladiator who led the slave uprising against the Roman Republic in 73 BC.
Paeper says that although her story has a strong political aspect to it “because it has a gentleman who will fight and die for the freedom he wishes to have, it still, (for me), is a love story about Spartacus and his beloved wife, Phrygia”.
Look out for fellow Washington Ballet member Andile Ndlovu (originally from Johannesburg) and Durban-born Casey Swales as the alternate leads opposite the South Africans, Lara Turk, currently with the Royal Ballet, Elzanne Crause, Michaela Griffin and Simone Botha as Phrygia. Swales and Willem Houck (previously of Hong Kong Ballet) alternate as the Roman consul, Crassus, while the role of Aegina (the concubine to Crassus) will be danced by Kristin Wilson and Crause.
Patrons may well be confused by these names, and others, because the programme insert lists the cast by their new “suitably African-style names” without linking to the programme notes that describe the Roman characters.
This, together with the added confusion of the purposely non-balletic battle scenes that dominate much of the action, can make immersion in the story challenging for some. More structured African contemporary dance sequences, with their required precision, patterns and timing, could have helped the Africanisation of the work.
The traditionally Roman set was also Africanised, and left to the concept and design skills of KMH Architects. Their solution – nine-metre-high, ingenuously sculpted acacia trees – makes for a striking device not only to establish context but also to divide the action on the full expanse of the stage.
Sadly many of the dark-skinned warriors disappeared against the black surround, a challenge that a different background and better lighting could have solved. There were also missed opportunities in lighting the changing African landscape at different times of the day.
The highlight of the performance is the grand pas de deux in the third act, danced on opening night by Mack and Crause, as his wife, Fayola.
Its success was partly due to the emptied stage, a welcome relief from the preceding fight scenes that had often distracted from, or blocked the view of the strong solo work demonstrated by many of the professionals.
Paeper's intention to encourage national collaboration in this project and the Trust's determination to forge ahead with planning, preparation and fundraising over a six-year period can certainly be admired. The opening night audience delivered due appreciation for their effort.
Under the baton of Paul Hoskins, musical director of Rambert Ballet, the Cape Philharmonic Orchestra adds a special quality to the season. Their contribution is as much a pleasure for the cast members as it is for the audience to experience.
l A Spartacus of Africa runs at Artscape Theatre until July 12. Tickets: R150 to R375. Book: Computicket 0861 915 8000.