A SPARTACUS OF AFRICA
CAST: Brooklyn Mack, Elzanne Crause, Casey Swales, Kristin Wilson, David Krugel
CHOREOGRAPHY: Veronica Paeper
ACCOMPANIMENT: The Cape Philharmonic Orchestra conducted by Paul Hoskins
VENUE: Artscape Opera House
UNTIL: July 11
RATING: ****
Some masterpieces are diminished by reworking, while others are enriched in the process. Veronica Paeper’s Spartacus, rechristened A Spartacus of Africa, belongs to the latter category: taking it out of Roman history and setting it in an undated Africa underscores the universality of its theme, and the result is bold, brutal, and brilliant.
Paeper excels at narrative ballets, and familiar hallmarks of her choreography are present in this offering, notably expressive pas de deux with complicated lifts, as well as robust ensemble dancing.
In this production, however, there is a new dimension to Paeper’s approach as classical ballet meets African-accented contemporary dance, to refreshing effect and with the potential to appeal to an audience more inclusive than that of traditional ballet-lovers. In this exercise she has been assisted by David Krugel, an associate of Jiri Kylian in the Nederlands Dans Theater 3, himself a noteworthy dancer and choreographer who also performs in this production.
The sheer magnitude of this version of Spartacus is impressive by any standards, with a cast far larger than that usually seen even at Artscape Opera House.
It comes as a surprise that so much spectacle is generated with relatively few means: the set design by KMH Architects is of the simplest (some stylised trees, portable rocks, skins, and, in Act 2, a canopy of plaited plastic “vines”). Visual impact depends on inventive lighting courtesy of Nicholas Michaletos, and although there is no lack of colour in Dicky Longhurst’s costumes, they are scanty to the point of minimalism.
All of which allows attention to focus on the dancing, and this is well up to scrutiny. Brooklyn Mack of the Washington Ballet stars as Spartacus (renamed Amari), showing all the requisite athleticism in bravura solos as well as tenderness in pas de deux with Elzanne Crause as Fayola, Amari’s wife. Crause has elegant lines and musters pleasing lyricism both in partnership and solo dance.
Casey Swales, as the ambitious anti-hero Nagash and Amari’s sworn enemy, offers an arresting performance of intensity and commitment. His technique is excellent complemented by an intelligent reading of his role.
Kristin Wilson radiates venom and dances up a storm in her portrayal of the jealous Nadira, the lover of whom Nagash is beginning to tire. Her pas de deux with Swales are highlights of the evening.
A new addition to this reworked Spartacus is the character of Insenyaya, who affirms the African-isation of the original. Danced by Krugel, he represents an ancestral spirit who is seldom far from the action which he attempts to control. Ultimately, his intervention proves fruitless in the face of Amari’s despair. This persona is not challenged choreographically, but has to maintain a strong stage presence throughout – which Krugel does with eloquent body language.
As usual, the Cape Town Philharmonic Orchestra delivers ear-delighting accompaniment elicited by the baton of international conductor Paul Hoskins, easily meeting the demands made on the players’ collective stamina by Aram Kachaturian’s flamboyant music.
This spectacular staging of A Spartacus of Africa does justice to the vision of a national ballet production, brought to fruition by the South African National Dance Trust.