Cape Ballet Africa presents an exciting new programme featuring 'Petite Giselle' and 'SALT-ed
Image: Oscar O Ryan
Following two successful sold-out runs at The Drama Factory, Cape Ballet Africa returns, this time to unveil an exciting new programme featuring six performances from 10 to 14 September. This captivating combination showcases the classical ballet Petite Giselle alongside the contemporary dance piece SALT-ed. Audiences are set to experience beloved excerpts from Maina Gielgud's traditional ballet Giselle, fused with Michelle Reid's vibrant choreography in Smoke, a part of the acclaimed triple bill SALT.
This season holds special significance, as it also marks the first South African performances of Kirsten Isenberg's new pas de deux, Nocturne, which made its dazzling debut at the esteemed Benois de la Danse 2025 competition. This promises to enrich an already impressive programme. Cape Ballet Africa is keen to maintain high artistic standards while celebrating cultural heritage through dance.
The exquisite Giselle, choreographed by the esteemed Gielgud, tells a poignant tale of love and betrayal, where the ethereal beauty of the ballet harkens back to the Romantic era. Gielgud herself brings a wealth of international acclaim with a career spanning top dance companies worldwide, including Sadlers Wells Royal Ballet and the Australian Ballet.
"We are honoured to have Ms Gielgud with us to stage her full production of Giselle in November at The Baxter. The timing has aligned perfectly to allow us to offer The Drama Factory audiences highlights from this magnificent ballet," expressed Debbie Turner, the Founder and Artistic Director of Cape Ballet Africa.
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Petitie Giselle
Image: Lustre Art Group
In contrast, Smoke by Michelle Reid introduces a modern energy to the show, complemented by its jazzy undertones. Critics have lauded the choreography as "witty," showcasing a clever play of dynamics that builds excitement as the piece unfolds. Maggie Foyer, writing for Dance Europe, praised it as a fitting climax to the evening's performances.
Founded in 2024 by renowned dance figure Debbie Turner, Cape Ballet Africa aims to create a platform where classical ballet intertwines with the diverse cultural narratives of South Africa. The organisation strives to foster individuality within teamwork, allowing dancers to express their unique heritage while mastering the classical techniques of ballet. This harmonious blend of innovation and tradition forms the bedrock of the company's identity, embodying elegance, refinement, and audacious grace.
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IOL News
19 hours ago
- IOL News
Cape Ballet Africa presents an exciting new programme featuring 'Petite Giselle' and 'SALT-ed
Kayla Schultze in SALT. Image: Oscar O Ryan Following two successful sold-out runs at The Drama Factory, Cape Ballet Africa returns, this time to unveil an exciting new programme featuring six performances from 10 to 14 September. This captivating combination showcases the classical ballet Petite Giselle alongside the contemporary dance piece SALT-ed. Audiences are set to experience beloved excerpts from Maina Gielgud's traditional ballet Giselle, fused with Michelle Reid's vibrant choreography in Smoke, a part of the acclaimed triple bill SALT. This season holds special significance, as it also marks the first South African performances of Kirsten Isenberg's new pas de deux, Nocturne, which made its dazzling debut at the esteemed Benois de la Danse 2025 competition. This promises to enrich an already impressive programme. Cape Ballet Africa is keen to maintain high artistic standards while celebrating cultural heritage through dance. The exquisite Giselle, choreographed by the esteemed Gielgud, tells a poignant tale of love and betrayal, where the ethereal beauty of the ballet harkens back to the Romantic era. Gielgud herself brings a wealth of international acclaim with a career spanning top dance companies worldwide, including Sadlers Wells Royal Ballet and the Australian Ballet. "We are honoured to have Ms Gielgud with us to stage her full production of Giselle in November at The Baxter. The timing has aligned perfectly to allow us to offer The Drama Factory audiences highlights from this magnificent ballet," expressed Debbie Turner, the Founder and Artistic Director of Cape Ballet Africa. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ Ad loading Petitie Giselle Image: Lustre Art Group In contrast, Smoke by Michelle Reid introduces a modern energy to the show, complemented by its jazzy undertones. Critics have lauded the choreography as "witty," showcasing a clever play of dynamics that builds excitement as the piece unfolds. Maggie Foyer, writing for Dance Europe, praised it as a fitting climax to the evening's performances. Founded in 2024 by renowned dance figure Debbie Turner, Cape Ballet Africa aims to create a platform where classical ballet intertwines with the diverse cultural narratives of South Africa. The organisation strives to foster individuality within teamwork, allowing dancers to express their unique heritage while mastering the classical techniques of ballet. This harmonious blend of innovation and tradition forms the bedrock of the company's identity, embodying elegance, refinement, and audacious grace.

TimesLIVE
03-08-2025
- TimesLIVE
Two Cape Town chefs share their culinary secrets using their fave brews
WHY BEER Two Cape Town chefs were tasked with using beer as the main ingredient in creating a culinary masterpiece. Both rose to the occasion and produced fish and chicken dishes not often associated in the cooking of both — one uses beer to marinate the fish, the other features beer as the perfect accompaniment. Chef Ekinde de Vos of Den Anker on Cape Town Waterfront, renowned for their vast selection of beers and Blouberg's popular eatery Salt & Sage's chef Sarah Oldridge happily 'played with their food' to create perfect harmony using beer to create delectable food. DEN ANKER Victoria & Alfred Waterfront, Cape Town CHEF EKINDE DE VOS KINGKLIP MARINATED IN MAREDSOUS TRIPEL I chose fish because it is a difficult ingredient to pair with beer. If you think of fish, you think of white wine, the classic French combo that works so well; this time I wanted to challenge myself to create a perfect pairing experimenting with different brews. The malty brew of the Maredsous Tripel is a strong amber beer with a creamy white head. The bouquet is a complex combination of fruit (banana), alcohol, notes of raisin and other dried fruit, with a hint of caramel, slightly reminiscent of sweet syrup — which worked well with fish offering that almost lightly sweet/savoury flavour South Africans love. I chose to marinate the fish in the beer for about two to three hours, it doesn't make the fish tough — actually beer is great for marinating meat, chicken and seafood because it adds flavour without taking away from the integrity of the ingredient. The fish pretty much melts in your mouth with a soft bitterness in the background and a lingering flavour which leaves one with a pleasant and warm feeling, perfect for a wintry dish. KINGKLIP MARINATED IN MAREDSOUS TRIPEL Serves 2 2 portions of kingklip Marinade: 330ml bottle of Maredsous Tripel, 30ml (2 tbsp) mustard, 15ml (1 tbsp) honey, pinch of salt and 1 stem of fresh rosemary Sauce: 1 x 330ml bottle Maredsous Tripel 10ml (2 tsp) wholegrain mustard or more to taste 15ml (1 tbsp) honey Pinch of salt and pepper 150g butter 200ml cream 5ml (1 tsp) each of soft butter and flour, mixed 1. Bring a bottle of the beer to the boil for the marinade to allow the alcohol to evaporate. Add remaining ingredients for marinade, then cool before pouring over the fish and set aside. 2. For the sauce bring the beer to the boil to evaporate the alcohol. Reduce heat to a simmer and whisk in mustard and honey until fully mixed in. Add the cream and gently whisk in the butter, adding a little at a time. Season to taste and add a butter and flour roux to thicken slightly and stir until it coats the back of a spoon. 4. Remove fish from marinade and dry with paper towel. Gently fry in butter till just cooked through and then serve with the sauce poured over and add seasonal vegetables and serve. SALT & SAGE Blouberg, Cape Town CHEF SARAH OLDRIDGE CHICKEN ROULADE WITH LA CHOUFFE My Chicken Roulade with La Chouffe has become a popular addition to our menu, it has taken off so well this winter. Chicken is certainly one of South Africa's much-loved proteins and I've given it the edge by deboning the bird and turning it into a roulade with a mushroom farce and a rich stuffing.I then butter roast till it is deliciously crisp and serve it with a mushroom cream, tender stem broccoli, broccoli purée, a portion of crisp chicken skin and creamy chicken jus (a gravy). The detailed plating and intricate components of this dish demand a pairing of a special brew which is complimented by the full flavours of the La Chouffe, a Belgian blond ale with fruity notes, a hint of citrus which cuts the richness perfectly with warming spicy undertones and a delicate sweetness.


The Citizen
28-07-2025
- The Citizen
Edenvale ballerina Chiara Szabó wins gold at SA ballet competition
Chiara Szabó (16) from Edenvale began her ballet journey at the age of four and hasn't looked back. A dedicated dancer, she has competed in the South African International Ballet Competition (SAIBC) in Cape Town for the past three years, earning a silver medal in 2023 and a gold medal in 2024, along with two scholarship awards. She will compete again from July 28 to 31. 'I had it in my head from a very young age that I wanted to be a ballerina. 'My mom told me I had to wait until I turned four to start lessons, and on the morning of my fourth birthday, I marched into their bedroom and demanded ballet classes,' Chiara said. ALSO READ: The pros and cons of ballet classes for little girls She trained for most of her childhood at Molfessis Studio of Dance under Penny Molfessis, who inspired her deep love for ballet. 'I am lucky to have grown up in such a nurturing ballet environment, as ballet can often be overly competitive, even toxic in some situations. 'For the first few years of my ballet training, I did not compete in any large competitions, and I feel that this helped me to realise early on that there is much more to ballet than simply winning medals and prizes.' 'I grew to love the stage at an early age, as I did not associate it with competition, but with performance. 'Dancing to bring the audience joy rather than to win a gold medal. That's a pearl of wisdom Penny taught me that I will carry forever.' Chiara's passion for the stage blossomed early. At ten, she performed in Giselle with Joburg Ballet. 'It was my first taste of life in a ballet company. I even tried to learn the entire ballet in case an extra dancer was needed. I was very ambitious. This was one of the most special moments of my childhood. It was from that point on that I knew I wanted to join a ballet company someday,' she said. After Penny emigrated to London post-pandemic, Chiara moved to Carstens-Ireland Ballet School (CIBS) in Bedfordview, where she now trains under Natasha Ireland, Sandra Carstens, Anya Carstens, and Angela Revie. 'From 2022, I started training seriously, focusing on strength and technique.' ALSO READ: Should your little girl do ballet? In 2023, she won the prestigious Val Whyte Bursary, which opened the door to the Joburg Ballet Academy, the company's pre-professional programme. She performed in Romeo and Juliet at just 14, en pointe alongside company members. 'It was intimidating but unforgettable. That opportunity solidified my dream to dance professionally.' She has since performed in Don Quixote, The Nutcracker, Sleeping Beauty, and Charlie and the Chocolate Factory by Mario Gaglione, where she was cast in the solo role of the 'Oompa Prima'. Currently, Chiara trains six days a week for at least four hours a day, and more during competition season, covering ballet technique, contemporary, and Spanish dance. 'Balancing school with ballet is tough, but my academics are also a priority,' said the Assumption Convent School learner, who praised her school for being incredibly supportive. Discipline and resilience are key. 'I'm very self-motivated, which can be a double-edged sword. I've had to learn it's okay not to be perfect. Some days are better than others, and it's important to listen to your body and rest when needed.' She added, 'I'm grateful for my ballet friends and supportive family. They help me through tough days. My biggest challenge is my mindset; I tend to overthink and get stuck in negative thoughts. I'm learning to stay optimistic yet realistic.' Chiara credits the Bedfordview community and CIBS for being instrumental in her journey. 'The encouragement from my teachers, classmates, and school has made it possible for me to chase both academic and ballet goals.' ALSO READ: Watch this new contemporary dance combo of Hip-Hop and Ballet Her aspirations include joining a professional company overseas, ideally the Royal Ballet. 'I recently achieved a High Distinction in my RAD Advanced 2 exam, qualifying me for the Fonteyn Competition next year. 'I also received a sponsorship to visit the Royal Ballet in London through the Dance Narrative Grande Nationale competition.' Outside of ballet, Chiara has a strong interest in mathematics and computer science and hopes to study at university while dancing professionally. To young dancers with dreams of going pro, she said, 'Always remember why you dance – to share joy with your audience. Don't get caught up in competition. Ballet is an art form, not a sport. Technique matters, but it's your love for the art that will carry you through.'