Joburg Ballet: Company of Light review – The beauty of pointe shoes, crazy killing, and itching | Ballet

IIf you watched Rambert Dance Company during the 2000s or 2000s, you would have seen the brilliant dancer Dane Hurst. And if you’re wondering what he’s doing now, in 2022 he returns to his native South Africa to lead first Jazzart Dance Theater and now Joburg Ballet. Founded in 2001, Joburg Ballet has an eclectic cast that ranges across styles, themes and continents. For example, this show begins with a goofy smile and tiny pointe shoes and ends with a duet with the severed head of John the Baptist.

The cheesy smiles are of the Concerto for Charlie by South African choreographer Veronica Pepper. Created in 1979, it was named after Revlon’s Charlie perfume (Revlon was the sponsor). Neoclassical sounds old, but I think there’s an element of erudition going on in the brilliant dancers, who give good performances. It grows on you. Hirst’s “Resonance” feels a bit dated, too, with its smooth, inviting ballet, cute dresses, and saxophone soundtrack, but then it turns into something more troubling, tilting between racial animus and dance-yet-together harmonies; An interesting coupling of beauty and ugliness given South Africa’s history.

The mixed bill also features a decent contemporary piece set to Spanish guitar by choreographer Jorge Pérez Martinez (dancer Monique Cristina is prominent) and a very evocative vignette by dancer Tumelo Lacana, a ritual prayer to his ancestors that honors and transcends tradition as he dances South African steps in pointe shoes.

The best piece is “Salome” by Dada Masiello, who sadly passed away in 2024 at the age of 39. “Salome” was one of Masiello’s last works, choreographed for this company, and the urgent energy of the dancers feels like what we’ve been waiting for — as if you could see a maddening itch flying across the body of John the Baptist, played by Revel Yoon. This is a story about seduction and power, especially being seduced by your own power. Latoya Mokoena’s sensual control of Salomé is completely believable, and the dramatic beats are so subtle – when you bring out that silver platter, it’s like a Chekhov’s gun going off. The ending, when Salome suddenly wakes up and sees reality, is truly tragic. The real tragedy is that there won’t be more work from Masiello, but it will be great to see where Hirst leads this company in the future.