CINDERELLA Fairytale ballet. Choreography Veronica Paeper. Production Elizabeth Triegaardt. Music Serge Prokofiev. Lighting Shamiel Abrahams. Set Co-ordination Charles Petersen. Presented by Cape Town City Ballet. At Artscape’s Theatre until January 10. SHEILA CHISHOLM reviews.
HAPPILY-EVER-AFTER fairy stories are always warmly welcomed during Christmas festivities. Understanding this, Cape Town City Ballet (CTCB) chose choreographer Veronica Paeper’s 1975 three-act ballet, Cinderella, as their end of year treat for balletomanes - of all ages.
Scaled down to fit Artscape’s smaller theatre stage from Paeper’s original setting for Artscape’s Opera House, Charles Perrault’s fairytale hasn’t suffered too much as a result. True, taped music replaces a live orchestra and this Fairy Godmother (Angela Hansford) didn’t have mice to turn into horses; lizards into footmen, a rat into a coachman or a pumpkin to transform into a glittering coach.
Instead like magic the coach appeared from nowhere, leaving Buttons (Tusile Tenza) to push Cinderella (Laura Bosenberg) in her sledge-like silver tinselled coach to the Prince’s ball (Thomas Thorne).
However, these simplifications (and others) gave Cinderella a trimmed, contained intimacy suited to Artscape’s theatre stage. Cinderella begins with Prokofiev’s mysterious sounding overture alerting listeners about the coming fantasy. Then curtains part to show Cinderella, against an old-fashioned kitchen backdrop, scrubbing the floor. Unfortunately, under Shamiel Abrahams lighting, Bosenberg’s excessively pale make-up gave her a ghostlike appearance. This did improve as she started dancing under changing lighting effects. However, throughout the ballet she looked rather wan. A problem which could (probably) be solved by a tad more rouge.
Enter, bright and breezy Buttons with invitations to the ball at which the Ugly Sisters burst in in their outrageous costumes, plus Ivan Boonzaaier as Daffodil in his/her green “creation” and Johnny Bovang in his/her pink “concoction”. Not yet fully in tune with each other, the more experienced Bovang timed his antics to draw audience giggles. Boonzaaier, making his Daffodil debut, proved he has promise of becoming a good comedian, but in this role needs to temper his bossiness to become less aggressive and more comical.
None-the-less look out for this duo’s capers during dancing lessons with Dancing Master (Jesse Milligan) and their “love-sickness” over the handsome prince. Other spots to focus on are scenes with Count Fossil (Bradley van Heerden) and Marquis de Conceit (Daniel Szybkowski). These two gave their characterizations amusing streaks. Van Heerden, bent almost double, teetered along imitating an “over-sexed old fossil.”
Just a pity Szybkowski’s ill-fitting wig detracted from his Marquis de Conceit’s obvious love for his own good looks and nails.
A trip to Fairy Godmother’s fairy realm saw Elizabeth Nienaber as lively and fresh as a Spring Fairy should be; Claire Spector’s Summer Fairy needed neater footwork for her solo to fully impact; Kim Vieira’s Autumn Fairy simulated leaves swirling around; wearing an ice-blue tutu Jane Fidler’s crisp footwork and sharp movements represented Winter’s chill. Hansford’s long limbs craft beautiful clear lines.
Once she learns to control her “finish” her Fairy Godmother will have all the elegance and aplomb required from a Fairy Godmother.
Elizabeth Triegaardt’s well rehearsed fairy corps discharged choreography in a manner showcasing charming patterns and designs. This care repeated in the ballroom scene where Germano Trovato’s made his debut as Jester. He’s a recent welcome addition to the male corps and his ability to grade jumps from petit to grande - while cutting quickly and silently through space - brought excitement, life and vitality to the ball.
To repeat previous comments Bosenberg and Thorne make a gracious couple. As Cinderella and Prince they duplicated the harmony that’s come to be expected, and they appreciate their upward artistic curve depends on continuing working as a unit.
This way they retain their balanced lines, fluidity as well as spatial equilibrium which highlights their interpretations and the best in choreographic composition.
Complements to Charles Petersen for agreeable set and costume co-ordination. Unnamed crews for wardrobe and set maintenance also deserve applause. None look quite as fresh as they once did, but they are still serviceable. As well as attractive enough to carry audiences into make-believe lands.
l Tickets: R160, book: 083 915 8000, 021 421 7695. For information see Facebook: Cape Town City Ballet.