I was fortunate enough to attend the opening of Amaranth on Saturday evening and was blown away by the magic on stage. Here are a few pictures, if you’d like to see, and an answer to the golden question: “What is Amaranth?”
Some of the greatest childhood memories I have are at the theatre – attending pantomimes, ballets and musicals – because before I could walk, my grandmother started a tradition. A tradition that entailed a night of dressing up, dining out and diving in: to theatre and the arts.
Almost every year, my grandmother, gaggle of cousins (and some close family friends) would attend a production. And it was always an incredible experience.
Attending Amaranth was no different.
My mom and I braved the wintery cold of Cape Town (bundled in many, many layers), and soon found ourselves surrounded by the warm smiles of friends at the Artscape Theatre (a huge thank you to BPG for the tickets!).
There’s an air of unmistakable excitement and anticipation that builds and builds and builds right before a show starts – have you noticed? (I revel in it!)
We were standing around chatting the one moment, riding the wave of humanity towards our seats the next, and then I was seated firmly on the edge – counting down the seconds until the lights dimmed, the chatter faded and the Cape Philharmonic Orchestra began.
Serenade dancers, photo via Genevieve Magua.
It’s everything I imagined it’d be, and more.
So much more.
Amaranth is a triple bill of performances – all diverse; all beautiful – and perfect if you happen to be a die-hard fan or if you’d like to just to dip your toe into the world of ballet.
The Cape Town City Ballet describes the programme as a combination of “neo-classical and contemporary masterpieces” with George Balanchine’s movement-focused Serenade, Frank Staff‘s beautifully narrative Transfigured Night and Christopher L Huggins’ athletic and militant, Enemy Behind the Gates.
In true Storm fashion, the high heels were off before we made it back to the car and I spent the entire drive home playing and replaying the performances in my head thinking wow, wow, wow.
And days later, after the evening has rooted itself as a great memory, I still find myself thinking back to this quote by Christopher Huggins (one of the choreographers). He told the 60 dancers in his piece this, during reherals, but it’s really stuck with me:
“Give it your all, now, because you’ll never recapture these days. And I promise you, you’ll miss them when they’re gone.
Do your best. Be your best. Be your absolute best.”