A MIDSUMMER NIGHT'S DREAM FANTASY COMES ALIVE AS BALLET

By Margaretta wa Gacheru (Posted 3 April 2019)

It’s hard to believe the same playwright who wrote ‘Hamlet’ and ‘Richard III’ also scripted a farcical fantasy like ‘A Midsummer Night’s Dream’ back in 1595.

It’s even harder to imagine that it wasn’t until 1962 that the comedic play was turned into a magical ballet by George Ballanchine, complete with a delicious musical score by Felix Mendelsohn. And finally, it wasn’t made into a Hollywood movie until 1999.

It was only this past weekend that ‘A Midsummer Night’s Dream’ premiered in Nairobi at the Kenya National Theatre, courtesy of Dance Centre Kenya. Featuring more than 60 dancers (aged 8 years on up to 28), DCK’s Artistic Director Cooper Rust once again produced and directed a first-class production.

Granted she had a little help from her many friends (including a few who came in especially from the US to assist with technical features like lighting and sound) and new-found sponsors like Barclays Bank and Yaya Centre.

She also credits DCK parents for creating graceful costumes and Nathalie Fusillo’s Palacina Interiors for constructing the sets.

But it’s Naomi Wambui who actually painted the two beautiful backdrops.  One is the Royal Greek garden where the story begins with the Duke of Athens (Francis Waweru) determined his son Demetrius (Antony Nduva) will marry the unwilling Hermia (Nifa Omondi), who only has eyes for Lysander (Henry Mwaniki).

The other lusterous set Wambui painted is the enchanted woodland where the dream comes alive as Hermia and Lysander run away, followed by Demetrius who’s sought after by Helena (Liana Eising) who can’t bear his rejection.

If the romantic entanglements sound complex, they get more so once Oberon (Lawrence Ogina), King of the Fairies, puts his court jester on the case. Puck (Silas Ouma) is set loose to spray magic love potion on the sleeping sweethearts, including the King’s devoted Queen Titiana (Kayla Hotz) who falls for the baffoonish Rustic, Nick Bottom (George Okoth) after he’s been turned into a donkey by the mischievous Puck.

The trick about the potion is that it works after Puck splashes it on sleepers who, upon waking up, fall in love with the first one they meet. This causes immense mayhem. Fortunately, the King finally has Puck reverse the magic spell, leaving the two pairs of young lovers resolved and the Duke prepared to relent.

The ‘Dream’ is a fantastical comedy and big credits go to the young dancers as well as to Cooper whose choreography included not just dance but also dramatic acting, physical comedy and mime. The language of dance had to persuade us that Hermia and Lysander are seriously in love, that Demetrius initially doesn’t want to be bothered by the impassioned Helena, and that Puck is as mischievous a merry prankster as Shakespeare meant him to be. This they did with conviction and grace.

And while there was an occasional wobbly dancer on toe and one who was half-a-beat behind Mendelsohn’s lovely music, those details didn’t detract from the overall professionalism of the ballet.

Indeed, Cooper trains her dancers to meet the high standards set by the Royal Academy of Dance. In the four short years that this professional ballerina has been teaching at DCK, she’s seen her advanced students go on to study dance in France, UK, US and soon in South Africa.

What’s more, in addition to teaching in all three DCK outposts, in Hardy, Lavington and Rosslyn Riviera, she runs classes everywhere from ISK and Brookhouse to St Austin’s and several schools in Kibera and Kuwinda slums.

Kuwinda is where both Silas Ouma (Puck) and Lawrence Ogina (Oberon) met Joel Kioko, Cooper’s first scholarship student to be admitted to the prestigious English National Ballet School. Joel escorted both young men to DCK where they’ve rapidly excelled and seen ballet transform their lives.

Lawrence, who was orphaned at age 10, is soon to attend University of South Carolina where, if he raises the funds required, will study civil engineering as well as dance.

Cooper’s NGO, Artists for Africa, has already assisted scores of young Kenyan dancers. But AFA will need to raise substantial funds to get Lawrence there.

Meanwhile, Silas, who also comes from an underprivileged background, has an anonymous donor who’s helped him start work on a teaching certificate through the Royal Academy of Dance.

What’s also marvelous about DCK is that they don’t just teach ballet. They also teach Hip Hop, Tap, Musical Theatre, Jazz, Modern and Contemporary Dance. It’s no wonder the Centre is growing by leaps and bounds.

Shakespeare’s ‘Dream’ fantasy comes alive as Ballet

By Margaretta wa Gacheru

It’s hard to believe the same playwright who wrote ‘Hamlet’ and ‘Richard III’ also scripted a farcical fantasy like ‘A Midsummer Night’s Dream’ back in 1595.

It’s even harder to imagine that it wasn’t until 1962 that the comedic play was turned into a magical ballet by George Ballanchine, complete with a delicious musical score by Felix Mendelsohn. And finally, it wasn’t made into a Hollywood movie until 1999.

It was only this past weekend that ‘A Midsummer Night’s Dream’ premiered in Nairobi at the Kenya National Theatre, courtesy of Dance Centre Kenya. Featuring more than 60 dancers (aged 8 years on up to 28), DCK’s Artistic Director Cooper Rust once again produced and directed a first-class production.

Granted she had a little help from her many friends (including a few who came in especially from the US to assist with technical features like lighting and sound) and new-found sponsors like Barclays Bank and Yaya Centre.

She also credits DCK parents for creating graceful costumes and Nathalie Fusillo’s Palacina Interiors for constructing the sets.

But it’s Naomi Wambui who actually painted the two beautiful backdrops.  One is the Royal Greek garden where the story begins with the Duke of Athens (Francis Waweru) determined his son Demetrius (Antony Nduva) will marry the unwilling Hermia (Nifa Omondi), who only has eyes for Lysander (Henry Mwaniki).

The other lusterous set Wambui painted is the enchanted woodland where the dream comes alive as Hermia and Lysander run away, followed by Demetrius who’s sought after by Helena (Liana Eising) who can’t bear his rejection.

If the romantic entanglements sound complex, they get more so once Oberon (Lawrence Ogina), King of the Fairies, puts his court jester on the case. Puck (Silas Ouma) is set loose to spray magic love potion on the sleeping sweethearts, including the King’s devoted Queen Titiana (Kayla Hotz) who falls for the baffoonish Rustic, Nick Bottom (George Okoth) after he’s been turned into a donkey by the mischievous Puck.

The trick about the potion is that it works after Puck splashes it on sleepers who, upon waking up, fall in love with the first one they meet. This causes immense mayhem. Fortunately, the King finally has Puck reverse the magic spell, leaving the two pairs of young lovers resolved and the Duke prepared to relent.

The ‘Dream’ is a fantastical comedy and big credits go to the young dancers as well as to Cooper whose choreography included not just dance but also dramatic acting, physical comedy and mime. The language of dance had to persuade us that Hermia and Lysander are seriously in love, that Demetrius initially doesn’t want to be bothered by the impassioned Helena, and that Puck is as mischievous a merry prankster as Shakespeare meant him to be. This they did with conviction and grace.

And while there was an occasional wobbly dancer on toe and one who was half-a-beat behind Mendelsohn’s lovely music, those details didn’t detract from the overall professionalism of the ballet.

Indeed, Cooper trains her dancers to meet the high standards set by the Royal Academy of Dance. In the four short years that this professional ballerina has been teaching at DCK, she’s seen her advanced students go on to study dance in France, UK, US and soon in South Africa.

What’s more, in addition to teaching in all three DCK outposts, in Hardy, Lavington and Rosslyn Riviera, she runs classes everywhere from ISK and Brookhouse to St Austin’s and several schools in Kibera and Kuwinda slums.

Kuwinda is where both Silas Ouma (Puck) and Lawrence Ogina (Oberon) met Joel Kioko, Cooper’s first scholarship student to be admitted to the prestigious English National Ballet School. Joel escorted both young men to DCK where they’ve rapidly excelled and seen ballet transform their lives.

Lawrence, who was orphaned at age 10, is soon to attend University of South Carolina where, if he raises the funds required, will study civil engineering as well as dance.

Cooper’s NGO, Artists for Africa, has already assisted scores of young Kenyan dancers. But AFA will need to raise substantial funds to get Lawrence there.

Meanwhile, Silas, who also comes from an underprivileged background, has an anonymous donor who’s helped him start work on a teaching certificate through the Royal Academy of Dance.

What’s also marvelous about DCK is that they don’t just teach ballet. They also teach Hip Hop, Tap, Musical Theatre, Jazz, Modern and Contemporary Dance. It’s no wonder the Centre is growing by leaps and bounds.

Shakespeare’s ‘Dream’ fantasy comes alive as Ballet

By Margaretta wa Gacheru

It’s hard to believe the same playwright who wrote ‘Hamlet’ and ‘Richard III’ also scripted a farcical fantasy like ‘A Midsummer Night’s Dream’ back in 1595.

It’s even harder to imagine that it wasn’t until 1962 that the comedic play was turned into a magical ballet by George Ballanchine, complete with a delicious musical score by Felix Mendelsohn. And finally, it wasn’t made into a Hollywood movie until 1999.

It was only this past weekend that ‘A Midsummer Night’s Dream’ premiered in Nairobi at the Kenya National Theatre, courtesy of Dance Centre Kenya. Featuring more than 60 dancers (aged 8 years on up to 28), DCK’s Artistic Director Cooper Rust once again produced and directed a first-class production.

Granted she had a little help from her many friends (including a few who came in especially from the US to assist with technical features like lighting and sound) and new-found sponsors like Barclays Bank and Yaya Centre.

She also credits DCK parents for creating graceful costumes and Nathalie Fusillo’s Palacina Interiors for constructing the sets.

But it’s Naomi Wambui who actually painted the two beautiful backdrops.  One is the Royal Greek garden where the story begins with the Duke of Athens (Francis Waweru) determined his son Demetrius (Antony Nduva) will marry the unwilling Hermia (Nifa Omondi), who only has eyes for Lysander (Henry Mwaniki).

The other lusterous set Wambui painted is the enchanted woodland where the dream comes alive as Hermia and Lysander run away, followed by Demetrius who’s sought after by Helena (Liana Eising) who can’t bear his rejection.

If the romantic entanglements sound complex, they get more so once Oberon (Lawrence Ogina), King of the Fairies, puts his court jester on the case. Puck (Silas Ouma) is set loose to spray magic love potion on the sleeping sweethearts, including the King’s devoted Queen Titiana (Kayla Hotz) who falls for the baffoonish Rustic, Nick Bottom (George Okoth) after he’s been turned into a donkey by the mischievous Puck.

The trick about the potion is that it works after Puck splashes it on sleepers who, upon waking up, fall in love with the first one they meet. This causes immense mayhem. Fortunately, the King finally has Puck reverse the magic spell, leaving the two pairs of young lovers resolved and the Duke prepared to relent.

The ‘Dream’ is a fantastical comedy and big credits go to the young dancers as well as to Cooper whose choreography included not just dance but also dramatic acting, physical comedy and mime. The language of dance had to persuade us that Hermia and Lysander are seriously in love, that Demetrius initially doesn’t want to be bothered by the impassioned Helena, and that Puck is as mischievous a merry prankster as Shakespeare meant him to be. This they did with conviction and grace.

And while there was an occasional wobbly dancer on toe and one who was half-a-beat behind Mendelsohn’s lovely music, those details didn’t detract from the overall professionalism of the ballet.

Indeed, Cooper trains her dancers to meet the high standards set by the Royal Academy of Dance. In the four short years that this professional ballerina has been teaching at DCK, she’s seen her advanced students go on to study dance in France, UK, US and soon in South Africa.

What’s more, in addition to teaching in all three DCK outposts, in Hardy, Lavington and Rosslyn Riviera, she runs classes everywhere from ISK and Brookhouse to St Austin’s and several schools in Kibera and Kuwinda slums.

Kuwinda is where both Silas Ouma (Puck) and Lawrence Ogina (Oberon) met Joel Kioko, Cooper’s first scholarship student to be admitted to the prestigious English National Ballet School. Joel escorted both young men to DCK where they’ve rapidly excelled and seen ballet transform their lives.

Lawrence, who was orphaned at age 10, is soon to attend University of South Carolina where, if he raises the funds required, will study civil engineering as well as dance.

Cooper’s NGO, Artists for Africa, has already assisted scores of young Kenyan dancers. But AFA will need to raise substantial funds to get Lawrence there.

Meanwhile, Silas, who also comes from an underprivileged background, has an anonymous donor who’s helped him start work on a teaching certificate through the Royal Academy of Dance.

What’s also marvelous about DCK is that they don’t just teach ballet. They also teach Hip Hop, Tap, Musical Theatre, Jazz, Modern and Contemporary Dance. It’s no wonder the Centre is growing by leaps and bounds.

Shakespeare’s ‘Dream’ fantasy comes alive as Ballet

By Margaretta wa Gacheru

It’s hard to believe the same playwright who wrote ‘Hamlet’ and ‘Richard III’ also scripted a farcical fantasy like ‘A Midsummer Night’s Dream’ back in 1595.

It’s even harder to imagine that it wasn’t until 1962 that the comedic play was turned into a magical ballet by George Ballanchine, complete with a delicious musical score by Felix Mendelsohn. And finally, it wasn’t made into a Hollywood movie until 1999.

It was only this past weekend that ‘A Midsummer Night’s Dream’ premiered in Nairobi at the Kenya National Theatre, courtesy of Dance Centre Kenya. Featuring more than 60 dancers (aged 8 years on up to 28), DCK’s Artistic Director Cooper Rust once again produced and directed a first-class production.

Granted she had a little help from her many friends (including a few who came in especially from the US to assist with technical features like lighting and sound) and new-found sponsors like Barclays Bank and Yaya Centre.

She also credits DCK parents for creating graceful costumes and Nathalie Fusillo’s Palacina Interiors for constructing the sets.

But it’s Naomi Wambui who actually painted the two beautiful backdrops.  One is the Royal Greek garden where the story begins with the Duke of Athens (Francis Waweru) determined his son Demetrius (Antony Nduva) will marry the unwilling Hermia (Nifa Omondi), who only has eyes for Lysander (Henry Mwaniki).

The other lusterous set Wambui painted is the enchanted woodland where the dream comes alive as Hermia and Lysander run away, followed by Demetrius who’s sought after by Helena (Liana Eising) who can’t bear his rejection.

If the romantic entanglements sound complex, they get more so once Oberon (Lawrence Ogina), King of the Fairies, puts his court jester on the case. Puck (Silas Ouma) is set loose to spray magic love potion on the sleeping sweethearts, including the King’s devoted Queen Titiana (Kayla Hotz) who falls for the baffoonish Rustic, Nick Bottom (George Okoth) after he’s been turned into a donkey by the mischievous Puck.

The trick about the potion is that it works after Puck splashes it on sleepers who, upon waking up, fall in love with the first one they meet. This causes immense mayhem. Fortunately, the King finally has Puck reverse the magic spell, leaving the two pairs of young lovers resolved and the Duke prepared to relent.

The ‘Dream’ is a fantastical comedy and big credits go to the young dancers as well as to Cooper whose choreography included not just dance but also dramatic acting, physical comedy and mime. The language of dance had to persuade us that Hermia and Lysander are seriously in love, that Demetrius initially doesn’t want to be bothered by the impassioned Helena, and that Puck is as mischievous a merry prankster as Shakespeare meant him to be. This they did with conviction and grace.

And while there was an occasional wobbly dancer on toe and one who was half-a-beat behind Mendelsohn’s lovely music, those details didn’t detract from the overall professionalism of the ballet.

Indeed, Cooper trains her dancers to meet the high standards set by the Royal Academy of Dance. In the four short years that this professional ballerina has been teaching at DCK, she’s seen her advanced students go on to study dance in France, UK, US and soon in South Africa.

What’s more, in addition to teaching in all three DCK outposts, in Hardy, Lavington and Rosslyn Riviera, she runs classes everywhere from ISK and Brookhouse to St Austin’s and several schools in Kibera and Kuwinda slums.

Kuwinda is where both Silas Ouma (Puck) and Lawrence Ogina (Oberon) met Joel Kioko, Cooper’s first scholarship student to be admitted to the prestigious English National Ballet School. Joel escorted both young men to DCK where they’ve rapidly excelled and seen ballet transform their lives.

Lawrence, who was orphaned at age 10, is soon to attend University of South Carolina where, if he raises the funds required, will study civil engineering as well as dance.

Cooper’s NGO, Artists for Africa, has already assisted scores of young Kenyan dancers. But AFA will need to raise substantial funds to get Lawrence there.

Meanwhile, Silas, who also comes from an underprivileged background, has an anonymous donor who’s helped him start work on a teaching certificate through the Royal Academy of Dance.

What’s also marvelous about DCK is that they don’t just teach ballet. They also teach Hip Hop, Tap, Musical Theatre, Jazz, Modern and Contemporary Dance. It’s no wonder the Centre is growing by leaps and bounds.