Shen Yun Performing Arts

Shen Yun Performing Arts is the world’s head old style Chinese dance and music organization. Its crucial to resuscitate the genuine customary Chinese culture that was nearly decimated by the socialist system. As a non-benefit organization situated in New York, Shen Yun appreciates the masterful opportunity, empowering it to carry these antiquated customs to the stage.

Shen Yun Performing Arts

Shen Yun and its strategic drawn top ability from around the globe; huge numbers of its craftsmen were victors of worldwide rivalries in dance, movement, and music.Every year, Shen Yun performs in about 20 nations and 100 urban areas. As in past seasons, Shen Yun 2020 will include an all-new program. Spectators will be shipped into the place that is known for the awesome, with at no other time seen stories and legends cleaned off from the chronicles of history.

Astonishing outfits and dynamic energized sceneries flawlessly entwine with the fresh out of the box new dances and symphonic structures to enliven the social substance of antiquated China. The organization tries to make unique exhibitions that engage, yet additionally more profoundly instruct, improve, and rouse. It is an encounter that will blow your mind!

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Review: Ghost The Musical

Touted as the ‘most sentimental melodic ever’, Ghost: The Musical is adjusted from Bruce Joel Rubin’s hit 1990 film about a youthful New York couple, Sam and Molly, whose enchanted life is broken when a mugger kills Sam. What pursues is by turns moving, comic, tense and hot, as the waiting Sam attempts to caution his lamenting sweetheart about a perilous lawbreaker, with the assistance of a whimsical clairvoyant. It’s anything but difficult to perceive any reason why Ghost is such a fan-top pick, with its amiable characters, powerful sentimental plot and high-stakes peril. This Easter Term, CUMTS’ generation causes a commendable to go of repeating these highlights.

Ghost the musical

As the sentimental leads, Alex Hancock as Sam and Maryam Dorudi as Molly convey some trustworthy stage science, despite the fact that – it must be said – without the physical force of Demi Moore and Patrick Swayze in the first film (the broadly phallic ceramics scene returns here unsexed). Rather they open the show as a sincere, if at first somewhat dull couple who like to help and sing to one another. For me, it’s the point at which they’re isolated by Sam’s demise that their exhibitions truly wake up.

“Sound and lighting are arranged in all respects successfully”

Progressively, and particularly in the subsequent demonstration, Hancock interprets his simple stage nearness into incredible articulations of fierceness and trouble, conveying a great part of the show’s peril and pace, while the wide-looked at Molly turns into a convincingly shattered examination in despondency. Dorudi’s pitch-flawless belt is to a great extent to thank for this, with a capturing interpretation of ‘Nothing Stops Another Day’ lifting the subsequent demonstration. Her vocal achievement is coordinated by that of Hancock, just as Jonathan Iceton’s presentation as a stunningly slick, urgent scoundrel. The three round off the principal demonstration with a punchy ‘Suspend My Disbelief’/’I Had A Life’.

Further striking exhibitions originate from Rory Russel as the Hospital Ghost (played with champion comic and vocal style); Joseph Folley as the Subway Ghost (his pummel verse number ‘Center’ feels somewhat abnormal, however he handles it splendidly), and Louisa Chatterton as a sure Louise. Where we may expect Sue Warren to run the phase as the notorious Oda Mae, she gives the character a calmer nearness, yet draws a great deal of snickers. In general, the lead characters do feel somewhat delicate (in spite of the fact that this might be incompletely mic volume), which could leave the stage un-instructed. In any case, the first rate supporting jobs, just as some shockingly captivating science (particularly between Oda Mae and Sam), supplement this well.

Where CUMTS’ Ghost misses the mark is more to do with absence of clean. You can feel this in extensive breaks between scenes, move numbers which don’t have the shine we’re utilized to from CUMTS and, particularly towards the end, a fairly rushed conveyance of the minutes we’d hope to have a major, drawn-out climactic effect. These scenes, for example, Oda Mae hoodwinking the bank, the frequenting of Carl’s office and the standoff in Sam and Molly’s loft, feel somewhat surged, and consequently their sensational potential not completely tapped. It must be noted, however, that James Ireland and Ruth Harvey’s sound and lighting are arranged in all respects viably, improving environment, smoothing scene changes and enlightening the separation between the natural and the creepy all through.

Phantom: The Musical is contained solid exhibitions, keen creation methods and a great part of the gloopy nineties New York-ness that fans love. It doesn’t exactly deal with the energy of other ongoing CUMTS displays, and on occasion it has an inclination that it’s keeping down on power. However, as a melodic it’s more than engaging, and as a fan-most loved sentiment, effectively moving and endearing.

Hadestown Earns 13th Annual ACCA Award for Outstanding Broadway Chorus

The melodic as of late won eight Tony Awards, including Best Musical.


On-screen characters’ Equity Association has granted the Tony-winning melodic Hadestown the thirteenth yearly ACCA Award for Outstanding Broadway Chorus. The show’s nine-part tune are perceived for their commitments to the outfit demonstrate that earned eight 2019 Tony Awards, including Best Musical.

The honor is the main business award of its sort to respect the gifts and commitments made by the first tune individuals from a Broadway melodic. Individuals from the ACCA, every one of whom have dealt with a theme contract and have seen the majority of the ACCA-selected musicals during the season, make their choice for the triumphant tune.

The Hadestown tune highlights Malcolm Armwood, Afra Hines, Timothy Hughes, John Krause, Kimberly Marable, T. Oliver Reid, Jessie Shelton, Ahmad Simmons, and Khaila Wilcoxon. On the off chance that despite everything you have not purchased the Hadestown Musical Tickets you better hustle just a bit and purchase Discount Hadestown Tickets available at Tickets4Musical.

The respect was displayed June 18 during Equity’s National Council meeting in New York. Every unique melody part got a plaque.

“In Hadestown, the group of spectators looks to the Chorus to direct them,” said Jennifer Cody, second Vice President and ACCA Chair in an announcement. “They are the consistent feeling of the piece. They can, at one minute, fill in as a unit, and after that in the following minute become five totally various people. We tail them from the highs of Persephone’s involved with the profundities of…well, Hell. They are a staggering gathering of Actors who happen to likewise sing and move.”

Peppa Pig still full of surprises for preschoolers and families

Peppa Pig Live! Peppa’s Surprise! is on a whistle stop voyage through 33 urban communities in North America. The intended interest group for Peppa Pig Live! is preschoolers and their families and past voyages through these live melodic experiences have sold upwards of 500,000 tickets.

Peppa Pig Musical Tickets

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Jonathan Shank, the visit maker for Peppa Pig Live!, says the way to the accomplishment of these shows is “commitment and intuitiveness.”

“We need to give families a fun encounter in light of the fact that for the vast majority of the kids this will be first experience with live theater,” he says. “The notoriety of Peppa Pig in Canada is marvelous. The TV arrangement is a gigantic hit with youthful youngsters and the live show offers them a chance to interface with the characters they cherish.”

Shank says one reason Peppa Pig is so prominent with adolescents is that “the characters are a relatable family and in this way open to youngsters.”

In this new experience for Peppa, her family and companions, Mummy Pig and Daddy Pig tell Peppa and her more youthful sibling George they have an astonishment for them. Attempt as they may, Peppa and George can’t think about what it is. Shank clarifies that, in the show, Mama Pig, Daddy Pig, Mr. Potato and Red Monkey are outfit characters, which means entertainers are inside the mascot-like ensembles. Different characters in the story are played by life-estimate manikins.

“On-screen characters in dark outfits remain behind the manikins to make them walk, talk, move, sing and bounce all over. It’s significant that the show is loaded up with vitality, development, music and tunes.”

California-based entertainer Daniel Jared Hersh joined this most up to date leg of the Peppa Pig Live! visit to supplant the first entertainer who was playing Daddy Pig. Hersh is no more odd to playing these overwhelming ensemble characters. He visited as Captain Barnacle in The Octonauts visit.

“For Octonauts, think Star Trek for children, set submerged. My Captain Barnacle was a polar bear so I’ve gone from a bear to a pig.

“For Barnacle, my face and hands were unmistakable, yet for Daddy Pig I am totally encased in the ensemble. I work his hands and mouth from inside the outfit utilizing switches. It took some becoming accustomed to. I need to keep him moving however much as could reasonably be expected so he seems vivified to the kids.

“I likewise play Danny Dog, which, similar to George, Susan Sheep and Pedro Pony, are manikins. We vitalize these characters and move their mouths to cause them to talk and sing.”

Hersh is an alum of the American Musical and Dramatic Academy in Hollywood with a degree in melodic theater. Peppa the Pig Live! helps Hersh keep his channels dynamic chiming in to the 11 tunes in the show. In spite of the fact that the show stops for one night just in many urban communities, Hersh says it’s not as debilitating as it may sound.

“We have these staggering visit transports, one for the cast and one for the group. We have our very own beds and a living territory which means after we pack up the show in one city, we jump on the transport, rest and when we wake up we’re in another city preparing for our next show.”

‘Radio City Christmas Spectacular’ Review: Where Rockettes and Drones Dazzle

The Radio City Christmas Spectacular feels permanent: Why change the triumphant mix of Santa Claus, the Rockettes, and the Living Nativity and Yuletide megamixes that packs the Art Deco royal residence for half a month every year? Beginners will be amazed by the absurd daze, all things considered, — “Camels! CAMELS!” a man shouted amid the Nativity march at the Thursday execution, sounding personally familiar with the challises of Champagne on special in the entryway.

In the meantime, those for whom the “Christmas Spectacular Starring the Radio City Rockettes” has turned into a convention will luxuriate in the consoling warmth of nature. Everything that issues is still here, from the massive ensemble that at times ascends on a stage from its underground refuge to the Rockettes’ various accuracy moving numbers — the most seasoned, “The Parade of the Wooden Soldiers,” has been basically unaltered since 1933.

Radio City Christmas Spectacular

However even works of art must adjust on the off chance that they need to endure the savage challenge for excitement dollars, thus the “Awesome,” presently coordinated and arranged by Julie Branam, has developed throughout the years. A portion of the advancements didn’t satisfy — the bumbling 2011 number in which the Rockettes fought computer game beasties has benevolently been resigned — however the new release’s spruced-up and extended projections are for the most part amazingly exquisite.

Administered by Sam Buntrock, the imaginative executive of new advanced substance, the visuals presently assume control over the whole assembly room, covering all the great proscenium curves with vivified trains, strips or frigid scenes. This makes a vivid inclination, connecting entertainers and group of onlookers in one shared universe — no little accomplishment in such an enormous setting.

As a matter of fact the juxtaposition of best in class innovation with exactness moving makes a strange combo. One moment you get 3D projections, the following it’s “The Parade of the Wooden Soldiers,” a paragon of antiquated dramatic artistry that is all the while curious and relentlessly amazing.

What’s more, still, the revue-like show works, moving starting with one set piece then onto the next dangerously fast.

The one drawback of the new look is that the pictures looking over the sides and the roof can be intricate to the point that you may end up examining them rather than the stage, when we as a whole realize that the all-moving, all-kicking main superstars merit our undiluted consideration.

Mr. Buntrock additionally coordinated the new finale, “Christmas Lights,” which shuts the show after the Nativity parade — leave, sought after by a camel, Shakespeare may have joked had he been tasting from a flagon at Radio City.

Presented by two or three trapeze artists, Cirque du Christmas-style, the new number brings back the Rockettes while smaller than usual automatons fly in arrangement over their heads. Shockingly the automatons only look like moving lights, or perhaps more projections, so the impact does not exactly arrive. The artists, then again, do. Take that, innovation.

‘Bok’ is ‘n Surrealistiese Fantasie

Vaslav Nijinsky het in 1912 opspraak verwek met sy ballet L’après-midi d’un faune vir die Ballets Russes in Parys, met Claude Debussy se eponieme werk as musiek. Die erotiese subteks het gehore van destyds geskok.

‘Bok’ is ‘n herbesinning van die oorspronklike ballet in ‘n Afrika konteks. In drie dele – “Man”, “Dier” en “Ritueel” – is dit ‘ n surrealistiese fantasie wat oop is tot vele interpretasies. Lewensfasette, verskillende kulture en die alledaagse kruis mekaar in ‘n viriele beweginsfees van die magiese en die beestelike, maar ook die broos menslike.

Die dansers is Kopano Maroga, Aviwe November, Henk Opperman en Nkosinathi Sangweni. Die choreografie is deur Kristina Johnstone, Cilna Katzke en Steven van Wyk.

– Willem Bester

‘Askoop Se Genot Verras’

Verrassings is volop by ‘n kunstefees, sommige meer aangenaam as ander. ‘Askoop’, ‘n produksie van die Fiësta-pryswenners Underground Dance Theatre val egter in eersgenoemde kategorie.

Al is dit as dansdrama aangedui oorheers sang in dié knap satiriese blik opp maatskaplike euwels.
In die dans word – van alle dinge – groot en klein winkeltrollies ingespan om te help belig, besin en bevraagteken.
Uitstekende verwerkings deur Bianca de Klerk word puik vertolk Grace Babalwa Nosilela, Bronwyn Reddy en De Klerk self.

‘n Treffende tweepas tussen Henk Opperman en Zama Sonjica sal ‘n mens nog lank bybly, nes Nosilela se astrante “Whatever Lola wants” en De Klerk se mooi “Kinders van die Wind”.

– Marina Griebenouw

This Underground Dance Cabaret’s Got Wheels

“Let’s start with the honourable arsehole,” Thalia Laric tells a group of performers sitting in a circle as I enter the theatre. Thankfully, as it turns out, she’s not referring to the journalist that just walked into their rehearsals.

Humming Koos du Plessis’ Kinders van die Wind, the group immediately gets up and launches into a hilarious scene in which the various organs of the human body argue over which one of them is most important.

Performed as part of Underground Dance Theatre’s brand new “dance cabaret,” to learn which organ (excuse the pun) clenches the victory you’ll have to go see Askoop when it opens at The Klein Karoo National Arts Festival (KKNK) in Oudtshoorn (until 11 April), or sometime later.

Askoop is a cross-genre piece that reveals the iconic shopping trolley as more than just a wheeled metal structure,” Laric, who co-directs and -choreographs with Cilna Katzke, tells me during a break in rehearsals. “Through the use of satirical humour and pathos it questions ideals of fulfillment and the limits of our greed. What does it mean to be rich, and to be poor, in today’s consumer culture?”

The inspiration for the production comes from a work she and Katzke made while studying together at UCT’s School of Dance. “It was called Trouble With My Friend Again, and looked at the sacrifices we make in order to have one thing, only to have to give up something else in the process. “How does the desire for material things affect our relationships? Is material fulfillment ever enough to satisfy emotional emptiness?”

Entertaining and provocative, Steve van Wyk and Joy Millar’s script for Askoop draws together dance, song and physical theatre in order to look at “how we see ourselves in relation to what we have and what we are able to attain.”

Made up of Bronwyn Reddy, Bianca de Klerk, Henk Opperman, Grace Babalwa Nosilela and Zama Sonjica, the eclectic cast represents a diverse mix of physical abilities and social backgrounds. “Through their individual stories various they cast light on consumerism and greed in contemporary South Africa. Zama, for instance, is a wheelchair performer, who brings a distinguished sense of maturity as well as an incredible presence nuanced by real life experience to the stage.”

A large amount of the choreography sees the incorporation of actual shopping trolleys as well as the depiction of its relationship with individuals from various walks of life. “We draw on various genres such as physical theatre, Broadway and contemporary dance. The trolley finds its particular identity, however, through the performers and how their individual characters embody their journey through the piece. “[A trolley] fills. It empties. It waits to become. A carthorse for the middle-class, a sturdy companion for the barefoot beggar.” Simultaneously, Askoop also sees the trolley used in unfamiliar ways – including being used as a pram, a chariot, a recliner and even a container for people and ideas – in an attempt to challenge the viewer’s existing perception of it. “The most danceable section of the work is a duet between Zama and Henk. It makes for a very powerful moment due to their respective talents as professional contemporary dancers.”

Referring to the production’s title, Laric explains “askoop” is a made-up word, which, directly translated, means “ash purchase.” A bit of wordplay on the Afrikaans term ashoop (rubbish dump), it means to purchase something that is made of ash (i.e. something that will eventually disintegrate). “Why do we have such a desire to acquire material things that ultimately are not able not fulfill us? As Cilna once summed it up during rehearsals: ‘Ek kan nie ‘n venter waentjie hemel toe vat nie‘(I can’t take a trailer to heaven with me).”

Under the musical direction of De Klerk several well-known songs were arranged, specifically including Whatever Lola WantsWives and Lovers and Paul Simon’s Diamonds on the Soles of Her Shoes.

Apart from Kinders van die Wind, among the other South African favourites popping up are Laurika Rauch’s Kyk Hoe Glinster die Maan as well as Jeremy Taylor’s Ag Pleez Daddy. “You will also notice that English and Xhosa verses have been added to Kinders van die Wind.”

Askoop is made possible in through funding from the Waterfront Theatre Company as well as a successful Thundafund campaign run by Underground Dance Theatre. “We are so grateful to the people who came forward to contribute to the development of this new work. In total we raised just over R24 000. It’s been wonderful to get to know our supporters through crowd funding.”

Steyn du Toit

NAF 2015: Underground Dance Theatre’s LoveZero

After months of strenuous rehearsals Cape Town’s Underground Dance Theatre is finally packed-up and ready to embark on their annual trip to the Eastern Cape. Split between three vehicles – containing 10 dancers, their costumes and props – are two dance pieces the company is presenting at this year’s National Arts Festival (NAF) in Grahamstown.

Titled LoveZero the programme is made up of Steven van Wyk and Thalia Laric’s Mode, which first premiered as the Baxter Dance Festival’s commissioned piece last year; and Cipher, a brand new piece featuring dancers Julia de Rosenwerth, Odille de Villiers and Nicola van Straaten.

Cipher is a numbers game,” explains Cilna Katzke, who choreographed the piece along with Kristina Johnstone. “Numbers seem rational, logical and impersonal, yet we seem to be deeply attuned to how numbers ‘feel’. There are favourite numbers, lucky numbers, mystical numbers…the list goes on.

Cipher explores the human inclination to ascribe emotion to that which seems obscenely rational. The dance navigates the tension between order and disorder, harmony and anarchy, the logical and the absurd.”

Referring to the inspiration behind the production, Katzke explains that, during her time as a student at UCT, she had to do a project generally referred to as the “In-the-style-of project”. As part of it she had to choose a choreographer whose work she found interesting, before presenting her own piece in a similar style.

“The piece I chose was Shutters Shut, originally choreographed by Nederlands Dans Theater’s (NDT) artistic director Paul Lightfoot and artistic advisor Sol León. In it they used a repetitive Gertrude Stein poem (“If I Had Told Him a Completed Portrait of Picasso”) as the soundtrack, with each word having a specific movement or gesture to go with it.

“While I chose a different Stein poem (“Matisse”), I still had to work with the external formula/structure (choreography) that the piece required. A certain amount of artistic decisions where therefore taken away from me. It is an aesthetic that I liked so much that, several years after graduating, I wanted to revisit its mechanics when it came to Cipher.

What she enjoys most about this process, Katzke explains, is that she does not have to stop all the time and “worry whether or not a choreographic decision I am busy making is right or wrong.” Instead, she continues, all she has to do is “lose myself in the process of creating.”

Wanting to create a piece using a similar pre-defined structure, combined with listening to a podcast on numbers by chance at the same time, led to the idea of approaching Cipher’s creation as a kind of game of numbers.

“Initially Kristina and I spoke a lot about our favourite numbers; why they meant, important dates and birthdays in our lives, family dynamics, how many people in each family, how many children, and so on.

“From that we assigned words to each number from one to nine and, bringing in a games element, we then used a Sudoku puzzle to fill in the words/numbers that we’ve selected. This ‘game’ led to the birth of the dance moves associated with each word.”

Arranged by Heno Janse van Rensburg, the production’s choreography plays out to songs such as Max Richter’s “A Sudden Manhattan Of The Mind” and “When The Northern Lights/Jasper And Louise”, The Andrews Sisters’ “Rum and Coca Cola” as well as Meredith Monk’s “Masks.”

“When you have an abstract movement and you add a piece of music to it, suddenly that movement becomes imbued with emotion. The music we chose capture the mood and intentions of the piece, and were an integral part in helping us create our movements.

“Because each song is also from a different style and/or era, it constantly shifts the emotion on stage. The audience therefore will find themselves responding accordingly with each new track.”

Simple, understated cues will be used when lighting the dancers on stage from above, combined with brights from the side to make them appear more sculptural.

“They’ll be wearing long dresses that come to about mid-calf. Being this covered adds a different sphere, a kind of old-world feel to the piece. They look like women from a Jane Austen novel. It’s an interesting contrast, having movements that are quite athletic and relentless seen executed through the shape and weight of the material.”

Since debuting at the Baxter last year, Katzke goes on to say, Mode has undergone several tweaks in preparation for the festival. Directly following NAF, both productions will also travel to the Free State Arts Festival in Bloemfontein (July 13 – 18).

“The biggest change to Mode was that they’ve incorporated more dancers. There are now six – Julia de Rosenwerth, Odille de Villiers, Kopano Maroga, Henk Opperman, Natasha Rhoda en Sherwin Rhode – alongside opera singer Robin Botha.

“The costumes have changed slightly as well. They’re still wearing kilt-like skirts, however, the cast’s not wearing those turtleneck jerseys anymore. Instead they now wear vests, but also in different colours.

“Because Mode is a dance about dancing, Steve and Thalia have this time around approached the ending in a bit of a tongue and cheek way. Bringing in more types of dances to end things off on a slightly different way than before, they’re also commenting on the way we as a society end our dances.”

– Steyn du Toit

Briljante Dans Hou Jou Vasgenael

SÓ ‘n dansvertoning het plaaslike dansliefhebbers nog nie in Bloemfontein gesien nie.

Die standaard is hoog, die aanbieding is professioneel, maar bowenal is dit ‘n vars vermenging van danssoorte met briljante choreografie wat jou van die eerste passies vasgenael hou.

Dit bestaan uit twee dele. In die eerste deel, Cipher, was die trio Julia de Rosenwerth, Odille de Villiers en Nicola van Straaten ritmies en tegnies die toonbeeld van afgerondheid. Wanneer hulle dieselfde bewegings uitvoer, is dit of hulle aanmekaar vasgebind is, soms sonder musiek.

Cipher beeld die spanning tussen orde en wanorde, vorm en emosie, logika en absurditeit uit.

‘n Tikkende geluid dien as musiek in die openingsstuk om die orde te vergestalt. ‘n Heerlike heupswaai Rum and Coca Cola van die Andrews-susters weerspieël gevoel waarop die dansers na soepeler bewegings oorskakel.

Masks, ‘n ritmiese fluisterstem, bring hulle terug na regiditeit en in die vierde deel, When the northern lights, wat soos nywerheidsgeraas klink, voer die trio weer die aanvanklike drafpassies uit afgewissel met bewegings plat op die vloer en interessante patrone met hul arms en bene.

Die choreograwe Kristina Johnstone en Cilna Katzke se verbeeldings moes oortyd gewerk het. Dit is moeilik om te glo ‘n vertoning wat so gestroop en selfs elementêr voorkom, het so ‘n magnetise aantrekkingskrag.

Thalia Laric en Steven van Wyk verdien dieselfde mate van lof vir Mode , ‘n dansvertoning oor dans.

Drie danspare beset die verhoog saam met die operasangeres Robin Botha wat in ‘n effekleurige rooi balrok met ‘n breë wye romp onmiskenbaar opmerklik is teenoor die dansers met geruite rompe.

Dit is egter Botha se stem wat die sterkste impak maak. Sy sing deels onbegeleid en ryg die hoë note (vermoedelik ‘n top-C, dalk selfs hoër) met gemak en suiwerheid uit. Wat ‘n kragtoer.

Om haar beweeg die dansers, nou in ‘n walsmaat, dan hip-hop, daar is oomblikke van balletpassies, ‘n aërobiese roetine, en die wonderlikste, denkbeeldige volksdanse. Netjiese patrone en uitvoering van dié interessante danse laat jou oë nie ‘n oomblik afwyk nie.

Die dansers is die oud-Bloemfonteiner Henk Opperman, De Rosenwerth, De Villiers, Kopano Maroga, Natasha Rhoda en Sherwin Rhode. Elkeen verdien ‘n klop op die skouer vir vernuftige, energieke en afgeronde dans.

Dié vertoning sal hierdie balletomaan met nuwe oë na eietydse dans laat kyk, mits dit met dieselfde verbeelding en professionaliteit uitgevoer word.

As jy van dans hou, gaan kyk. Hulle is nog vandag te sien. Bravo aan ‘n uitmuntende span.

– Elretha Britz