J.D. When JBA was launched, its success was based on ballet-based productions with a contemporary edge. How then did a full-length ballet fit into this context?

A.H “When we created JBA, one of the reasons behind its formation was to fill a need here in Belgium. There was a lack of home-grown classical productions and in particular ballets which would appeal to a broad range of audiences of every age. 

I knew, looking at my own artistic background, that in order for dancers to mature as artists, narrative ballets have a significant role to play. What two important Ballet of Flanders’ directors had to say about this remained etched in my mind. According to Kathryn Bennetts, her dancers were always on top form technically after they had completed a run of classical works.

Dame Jeanne Brabants simply said “Dancers, all dancers, are actors!” In whatever style they perform, be it modern, classical or contemporary. But dancers need to understand this. They must learn the how and why of a character and how to bring this over to an audience. Performing roles in a narrative ballet provides this important experience.”

J.D. What made you decide on a fairytale like CINDERELLA?

A.H. “After emerging from the difficult Covid period in 2021/2022, we were performing among other works, David Dawson’s atmospheric METAMORPHOSIS in the Antwerp Handelsbeurs. I was intensely moved by the architectural beauty and it struck me, in particular the lovely Italianate arches, how perfect a background decor they would make for a story ballet. Altea Nuñez (co-director and co-choreographer of CINDERELLA) and I delved into what we thought would suit our dancers and CINDERELLA struck us as ideal with its Prokofiev score and a story, familiar to everyone. On top of that, it offers so many character roles such as the sisters, the prince and his entourage and others – it’s perfect for young artists! We worked on the storyline, giving it a contemporary edge and bringing in elements of our own such as the mother figure and her ghostly helpers or the ‘dream section’ with all the myriad Cinderellas who fascinate the prince.”

J.D. How then did your dancers adapt to this, accustomed as they are to the contemporary ballets?

A.H. “Foremost is the fact that directors of any dance company are drawn to versatile, creative, intelligent and smart dancers. So it’s our task to teach them to think about a role, to delve into it using their own creative sense. At JBA this is a priority and we give them the time and space to do it. They must personalize their technique so that it becomes an evolution of the character. This is not easy, particularly today, because the importance of slow development and craftsmanship, is largely forgotten in a world where instantaneous success is paramount.”

J.D. How do you see the future of this type of production in particular here in Belgium? Have you any plans in that direction?

A.H. “What has always defined JBA is the variety of genres and works we perform: modern, theatrical, narrative and classical. Since the very start, we have brought into our repertoire all these dance styles, from the hands of very different choreographers; this year in June, FLOW will be our 10th original production! So we are ready now to look into another full-scale ballet creation. In fact I can reveal that it is already in preparation with a premiere date in December 2027.

But first, both our dancers and the public can enjoy a scintillating, amusing and colorful balletic fairy tale CINDERELLA! The spring tour of this magical JBA production will commence on March 14 in Knokke-Heist before touring across the country!”

© Alain Honorez & Nicha Rodboon