Elroy Fillis-Bell: A pas de deux with progress

There’s an energy vibrating throughout the halls of Joburg Ballet as the company prepares to unveil its latest production, The Sleeping Beauty. Backstage of the Mandela at Joburg Theatre, sets were going up, and the Marley flooring of one of the studios echoed as dancers rehearsed the final act of the great ballet classic.

Above the studio — with floor-to-ceiling windows offering a stunning view of the city — is the office of Joburg Ballet CEO Elroy Fillis-Bell. Appointed in September 2023 after the end of Esther Nasser’s seven-year tenure, Fillis-Bell stands at the helm with a fresh vision and unwavering determination to steer Joburg Ballet towards a future marked by artistic innovation and community engagement.

Sleeping Beauty, with its timeless tale of love and enchantment, serves as a poignant canvas where Joburg Ballet’s honouring of classical repertoire meets its charting of new artistic territories. For Fillis-Bell, this production is a revival and a renaissance. “While the classical structure remains, who we see performing those roles needs to also be very important to us,” he said

The season marks the SA debut of Guillaume Diop, Paris Opera Ballet’s first black danse étoile, as Prince Désiré, alongside the incomparable Monike Cristina as Princess Aurora.

Fillis-Bell’s excitement for the opening is palpable as he highlights the unique aspects of the production. “Sleeping Beauty is always big, and while it is known as Tchaikovsky’s most technically demanding ballet, it’s not as you’ve seen it before.”

Departing from SA’s previous UK-centric interpretations, guest producer Sophie Sarotte from Milan’s La Scala brings a fresh European perspective. “This truly is Sophie Sarotte’s version,” Fillis-Bell noted. Sitting in on rehearsal, Sarotte’s staging breathes life into the beloved tale with new choreography and structural changes, showcasing challenging moves executed with awe-inspiring command.

The cast features principal dancer with the National Opera and Ballet Theatre of Kazakhstan, Nelson Peña Nuñez, who returns to Joburg Ballet after 12 years. It also marks the beginning of Ballet Ireland’s Ryoko Yagyu’s three-season tenure with the company. The Johannesburg Philharmonic Orchestra (JPO) will perform Tchaikovsky’s melodic score live under the baton of conductor Chad Hendricks.

The Sleeping Beauty opens on the heels of the company’s unique 2024 season opener, Scarcity, which explored SA’s 30-year democracy through classical and contemporary dance styles. “There are very few companies in this country that can do that level of style difference over one night,” said Fillis-Bell.

The production featured choreography by acclaimed artists Dada Masilo, Hannah Ma, Jorge Pérez Martínez, and emerging talent Craig Pedro, resulting in a performance accommodated classical ballet and contemporary dance enthusiasts alike. Scarcity's success, culminating in tours planned for the UK and Europe in 2026, underscores Fillis-Bell’s vision for Joburg Ballet as a global ambassador for Johannesburg.

The season’s triumph set the stage for redefining what an SA ballet company should be doing in 2024. “What has happened in the past cannot continue and we need to start identifying potential dance forms and [ask] how are we renegotiating ballet in the now,” said Fillis-Bell. His commitment to challenging conventions and embracing diverse audiences is paving the way for democratising ballet. “This ballet should feel like it belongs to everyone,” he said, emphasising the company’s role in mirroring the city’s cultural landscape.

The ballet industry’s slow march to progress is often met with scepticism, but Fillis-Bell’s inclusive approach shows promise. His forward-facing demeanour has stirred restless anticipation, particularly regarding the vacancy left by artistic director Iain MacDonald since May 2023. “I’m not looking for a solution for today. I’m looking for a solution for tomorrow,” Fillis-Bell said. His penchant for business sustainability is a quality consistently part of his previous role as senior manager of operations and administration at the Javett Art Centre of the University of Pretoria.

Fillis-Bell approaches the monumental task of transformation with careful consideration and evidence-driven strategy. “We can’t run blindly into the night with a vision without structure,” he said. As CEO, he prioritises community growth and professional development, viewing ballet as both an art and a business.

Joburg Ballet is poised to honour its legacy of excellence while redefining the boundaries of contemporary ballet. It’s a balance that is in itself a dance but mastered through meticulous choices in production, casting, and interpretation, ensuring that longtime patrons and new audiences find joy in the ballet, especially as Joburg Ballet’s 25th anniversary approaches in 2026. Innovative practices towards this includes venturing into new creations and collaborations with diverse partners. The company actively participates in projects with local partners like JPO and Joburg Moves festival, while forging relationships with international counterparts across Europe and Asia. “We can’t isolate ourselves,” Fillis-Bell said. “It behoves us to collaborate for the benefit of SA people.”

Joburg Ballet aims to contribute to broader discussions in the dance community on development. “We’re aware of our privilege and aim to pay it forward,” Fillis-Bell said, highlighting knowledge sharing and policy reform for a sustainable future. His vision for Joburg Ballet is clear: “I want people to feel welcomed within every show.”

The Sleeping Beauty is on at the Joburg Theatre until July 7.