From Folklore to Inner Journey

In the original Russian folk tale, a young person ventures into an unknown forest in search of the magical Firebird – a radiant creature whose possession grants distinction and transformative power. The seeker finds the bird but, rather than capturing it, releases it in recognition of its beauty and the inspiration it offers. In return, the Firebird gifts a single feather. With this feather, the young person is able to withstand overwhelming forces, find balance and love, and return home empowered – ready to lead.

While honouring the central arc of the original narrative, our reinterpretation transforms the story into an internal psychological and social journey.

The protagonist is no longer a young prince, but a young South African woman seeking her place in a world where identity – personal and collective – is unstable and shifting. She enters not only a literal forest, but the forest of uncertainty: adulthood, social pressure, cultural complexity, and the search for purpose.

SYNOPSIS

Awakening in the Forest

Within the space of unknowing, the Seeker encounters fragments of inspiration – bird-like presences that awaken delight, intuition, and creative longing. These avian forms are not yet the Firebird itself; they are sparks of possibility, glimpses of future becoming.

Alongside these inspirations, she encounters Kashai – a force of power who offers grounding and potency. He embodies the raw energy of will and assertion.

The Seeker is drawn simultaneously to the intuitive, creative light of the birds and the structured, commanding energy of Kashai. Her task becomes one of balance.

The Garden of Children

With Kashai’s grounding force, she begins to create. Her creative impulses take form as golden children – luminous embodiments of imagination and potential.

But creation awakens another impulse: the need to order, to perfect. As she attempts to control these golden beings, they are unsettled and resist. Under Kashai’s intensifying influence, her leadership becomes rigidity; her power becomes aggression. She notices the destruction when the egoic force of Kashai has already grown beyond her control.

Confrontation of the Forces

Seeing Kashai cannot be stopped with reason, the Seeker summons the Bird – the higher intuitive force – to confront the unleashed power of Kashai. Yet the Bird alone cannot contain the Beast. The Seeker is drawn into the conflict and slays the beast herself. The egg cracks and falls to the floor.

Balance and Creative Power

In the void when all has collapsed, the Seeker’s awareness emerges. She weaves a new equilibrium between the forces and finds a quiet, grounded confidence. As she finds internal synergy, the dragon comes to life. A combination of beast and bird, the dragon can only live when all the energies pull together.

The Music

Igor Stravinsky completed The Firebird in 1910 at the age of twenty-five. It was his first major commission for Sergei Diaghilev’s Ballets Russes, and it launched him onto the world stage. What the young composer created was revolutionary – an orchestral score that feels both ancient and startlingly modern.

The original ballet, choreographed by Michel Fokine, drew on Russian folklore – specifically the tale of the magical Firebird who aids a young prince in defeating an evil sorcerer. In Slavic mythology, the Firebird is a creature of both blessing and danger: her feathers glow with such intensity they can light up darkness, yet capturing her brings both fortune and peril.

Stravinsky’s score captures this duality at every turn. He weaves Russian folk melodies into a fabric of unprecedented harmonic colour. Delicate, shimmering passages give way to explosive, primal energy. Strings create gossamer textures that dissolve into brass fanfares. Woodwinds flutter and dart like the Firebird itself, while percussion drives the darker forces.

The score moves through distinct musical landscapes. It opens with mystery – low strings suggesting something stirring in the shadows. The Firebird’s music is chromatic and elusive, never settling, always in motion. The children’s dance brings lighter, more playful themes. As the malevolent forces emerge, the music becomes rhythmically aggressive, almost violent in its intensity.

What makes The Firebird endure is how completely the music embodies transformation. Themes that begin as gentle suggestions build into overwhelming statements. Melodies fragment and reassemble. The final apotheosis takes musical material from throughout the score and integrates it into something transcendent.

Listen for the tension between chaos and order, between restraint and release. Stravinsky understood that creative fire requires both.

Credits

A Janni Younge Productions production

Creative Team

Director: Janni Younge

Choreographer: Jay Pather

Dramaturgy: Janni Younge and Jay Pather

Puppet Design: Janni Younge with Jonah Delange and Andy Jones

Sound and Additional Music Design: Daniel Eppel of Eppelsauce

Lighting Design: Kieran McGregor

2026 Costumes: Mariska Meyer with influence from Birrie le Roux

Rehearsal Master: Sifiso Kweyama

Animation: Michael Clark of Maan Creative and Janni Younge

Performers

Crystal Finck – The Seeker

Elvis Sibeko – Kashai

Jacqueline Manyaapelo – Bird-Woman

Nqubeko “Cue” Ngema – Bird-Man

Samkelo Zihlangu – Head Puppeteer, Snake and Snake-Dog

Nkosinathi Mngomezulu – Head Puppeteer, Beast and Boy

Siyamthanda Sinani – Head Puppeteer, Dragon and Girl-Child

Meritxell Cilliers – Head Puppeteer, Bird and Ballet Girl

Oleksii Ishchenko

Tanzley Jooste

Sisipho Mponzo

Mbulelo Mzazi

Lubabalo Pupu

Chesney Stanfield

Production Team

Technical Production Manager: Pieter-Jan Kapp of PJK Project Management

Stage Manager: Mariska Meyer

Production Assistant: Khalil Rossouw

Puppet and Stage Technicians: Jaco Conradie

Puppet Construction: Janni Younge, Jonah Delange, Andy Jones, Peter Collard, Kyle Daniels, Phyllis Midlane, Sean MacPherson, Sivuyile Gaji

Technical Consultants: Gravitron Special Effects (Fire)

Acknowledgements

The 2026 Firebird revival is made possible thanks to the Cincinnati Symphony Orchestra and its original commissioning partners: The Mann Center for the Performing Arts, Wolf Trap Foundation for the Performing Arts, Ravinia Festival, Sun Valley Summer Symphony, Los Angeles Philharmonic Association, and Saratoga Performing Arts Center.

•  •  •

Biographies

Creative Team

Janni Younge – Director, Designer and Dramaturg

Janni Younge is a South African creator of multimedia theatrical works, with an emphasis on puppetry arts. Her work is motivated by a celebration of the beautiful complexity of being human. Janni has collaborated and directed productions widely internationally, winning awards for design and direction.

Amongst her recent notable work is her 2023 interpretation of Handel’s opera Acis, Galatea e Polifemo, produced and presented by the Pierre Boulez Saal in Berlin, her 2022 interpretation of Shakespeare’s Hamlet, The Bluest Eye based on Toni Morrison’s novel, and Origins, a prequel to The Firebird. The Firebird was originally created in 2016 and toured to venues including the Hollywood Bowl and Ravinia.

Janni’s work runs in repertory in Poland, Germany, and Hungary, and her productions have been performed in venues across six continents. A past director of Handspring Puppet Company, Janni holds an MFA in theatre, a DMA in puppetry (from ESNAM, France), and an honours degree in Fine Art. In addition to her creative work, Janni works to develop puppetry arts. She heads up the Professional Training and Research Commission for UNIMA International, forms part of the Executive Committee and the Africa Commission, and runs UNIMA SA.

Jay Pather – Choreographer and Co-Dramaturg

Jay Pather is a director, curator, choreographer, and academic whose work focuses on interdisciplinary performance, site-specific and public art, decoloniality, and social justice. Recent choreography includes Qaphela Caesar, a deconstruction of Julius Caesar at the Johannesburg Stock Exchange; rite, a reimagining of Stravinsky’s Le Sacre du Printemps; and surface tension, created during a Villa Albertine residency in New York. Recent theatre works include directing Nadia Davids’ Bridling, Hold Still, and What Remains, for which he won the Fleur du Cap Award for Directing.

He curates Live Art for the Smithsonian’s National Museum of African Art, is Artistic Director of the Afrovibes Festival in the Netherlands, co-curates the Spier Light Art Festival in Cape Town, and is Professor Emeritus at the University of Cape Town. As director of the Institute for Creative Arts (ICA), he curated the Infecting the City Public Art Festival and the ICA Live Art Festival. He has also co-curated Season Africa 2020/21 in France, the International Theatre Festival in Brazil, and Spielart in Munich.

Publications include Acts of Transgressions: Live Art in South Africa and Restless Infections: Public Art for a Transforming City. A monograph, Jay Pather and Spatial Politics, by Professor Ketu Katrak, was recently published. Pather has served as International Chair at Paris 8 University, Fellow at the University of London, and Chair of the International Award for Public Art. He was recently named Chevalier des Arts et des Lettres by the French Government, and is currently Visiting Professor at Princeton University.

Daniel Eppel – Sound and Additional Music Design

Daniel Phillip Eppel is an award-winning composer and music producer whose work bridges continents, genres, and disciplines. Born in Johannesburg, raised in Memphis, Tennessee, and refined at Berklee, Daniel is now based in Cape Town. He composes for feature films, television series, documentaries, and commercials, crafting scores that balance heart with meticulous precision. His distinctive sound often incorporates traditional instruments and textures, blending the organic and the contemporary into bespoke scores.

In 2014, he founded Edible Audio, building it into one of South Africa’s premier recording studios. His compositions have travelled internationally through Janni Younge’s The Firebird, performed by leading US orchestras across the country. In 2025, his work on School Ties contributed to an International Emmy Award nomination, shared with the production team. A recent highlight is producing the song “Wishing Well” for the television series Dark, which has over five million streams worldwide. Daniel continues to create music that serves story first – immersive, bold, and emotionally resonant.

Kieran McGregor – Lighting Design

Kieran McGregor is a multidisciplinary Designer, and Creative Producer working in the arts, entertainment, and media industries.

Known for a hands-on, collaborative approach, he moves easily between creative and production roles, balancing artistic vision with practical precision. 

Some of his career highlights include: Colleen the Musical, Noises Off, Peppa Pig Live in South Africa, The Magic Flute, Expelled, and Zip Zap’s Moya, recently returned from Off-Broadway, New York.

Guided by a belief in what live performance can do that no other medium can, each project is shaped around its own demands, from the fine detail of intimate theatre to the spectacle of international touring productions.

Across this range of work, Kieran has earned a reputation for versatility, clarity of vision, and the ability to create worlds that fully immerse their audiences.

Mariska Meyer – Costume Design

Mariska discovered her passion for costume design during her studies, while working on a children’s production. Inspired by the magic of storytelling through fabric, she has been designing costumes for over two decades, expanding her expertise across multiple mediums including musicals, dramas, television, and film. Her recent work includes Laaitie mettie Biscuits (made possible by Momentum Beleggings Aardklop and The Market Theatre), Woordedief for Arena Produksies, and the pantomimes Peter Pan and the Naledi Award-winning Beauty and the Beast.

Beyond costume design, Mariska channels her creativity into two design labels: Wonderfelt, which produces handmade mobiles and activity books for babies and toddlers, and Knotiedown, an upcycling brand that transforms ties into unique fashion accessories.

Sifiso Kweyama – Rehearsal Master

Born and raised in KwaZulu-Natal, Sifiso Kweyama has established himself as a respected director, choreographer, and teacher. His accolades include the 2013 Choreographer of the Year Award at the KwaZulu-Natal Dance Link Awards for his work Ngichaze – Define (Flatfoot Dance Company). In 2011, he was voted one of the top ten South African choreographers by the Mail & Guardian.

He is a former Artistic Director of Jazzart Dance Theatre, Dance Company Manager for Moving into Dance Mophatong, and Archive Director and Administrator for the Dance Umbrella Festival. Sifiso has choreographed for the Absa Awards, Naamsa Awards, and Nik-Naks commercials, and his international work has taken him to Palestine, Jordan, Harare, Germany, Ivory Coast, Morocco, and Angola, among others. He established his own organisation in KwaZulu-Natal, Yabantu Multipurpose and Performing Arts Theatre, and is currently Head of the Training Programme at Jazzart Dance Theatre.

•  •  •

Cast

Crystal Finck – The Seeker

Crystal Finck is a performer, choreographer, and creative whose work spans musicals, international tours, and contemporary dance theatre. She trained at UCT School of Dance, Jazzart, and the Figure of Eight Dance Theatre Training Program. Her stage credits include David Kramer’s Danger in the Dark, Living Coloured, and several Figure of Eight productions. On screen, she has appeared in The Kissing Booth 3, Resident Evil, and Paradise. She has toured the United States and Europe with Garage Dance Ensemble and Robyn Orlin, and served as assistant director and choreographer for La Ronde at the Baxter Theatre.

Elvis Sibeko – Kashai

Elvis Sibeko is a composer, producer, and artistic director based in Cape Town. He is the founder of Elvis Sibeko Studios and the Elvis Sibeko Foundation, leading multidisciplinary productions that fuse music, dance, theatre, and cinematic storytelling. Known for his Afrofuturistic approach, he has worked with Artscape Theatre Centre, Cape Town Philharmonic Orchestra, and Jazzart Dance Theatre. He is the creative force behind large-scale works including The Kingdom of Ubuntu Musical and Dance Intersect.

Jacqueline Manyaapelo – Bird-Woman

Jacqueline Manyaapelo trained at Jazzart Dance Theatre’s three-year programme, joining the company as a professional dancer in 2001. She worked on numerous Jazzart productions and served as Artistic Director from 2010 to 2013. In 2016, she performed in Janni Younge’s The Firebird on its United States tour. She currently lectures at UCT’s Centre for Theatre, Dance, and Performance Studies, holds an MA in Theatre and Performance, and works as an independent dancer and choreographer.

Nqubeko “Cue” Ngema – Bird-Man

Nqubeko “Cue” Ngema is a dancer and choreographer from KwaZulu-Natal. He holds a National Diploma in Drama and Performance Studies from Durban University of Technology and has performed across Spain, France, Russia, Tunisia, and Greece. He is the founder of Africue Entertainment, an organisation empowering KwaZulu-Natal youth through dance. His awards include the 2017 South African Dance Award (Best Contemporary Dance) and the 2016 KwaZulu-Natal Young Achievers Award. 

Samkelo Zihlangu – Head Puppeteer, Snake and Snake-Dog

Samkelo Zihlangu is a performer and director renowned for his expertise in puppetry, physical performance, and youth advocacy. He is the director of the Indawo Yobomi Centre for Life Arts (UNIMA SA) and a frequent collaborator with Janni Younge Productions, contributing notably to the 2022–2023 production of Hamlet. As a director, his works include Lamentations, Luks, and Vula. He is a vital voice in the Western Cape’s cultural landscape, merging traditional storytelling with modern social commentary.

Nkosinathi Mngomezulu – Head Puppeteer, Beast and Boy

Nkosinathi Mngomezulu is a dancer, choreographer, and director from KwaZulu-Natal. He trained at Phenduka Dance Theatre and Jazzart Dance Theatre before joining Sibonelo Dance Project. He has toured internationally with War Horse, The Firebird, Origins, and Michael K (Baxter Theatre). He has choreographed for the uHambo Festival and Kingdom of Ubuntu at Artscape, and in 2025 directed his own production, Impande YamaNguni.

Siyamthanda Sinani – Head Puppeteer, Dragon and Girl-Child

Siyamthanda Scott Sinani is a seasoned international performer with a career spanning over two decades, known for his compelling stage presence and physical versatility. A standout collaboration includes Janni Younge’s production of Hamlet, where he tackled the dual roles of Hamlet and Laertes. He has shared the stage with artists including Andrew Buckland, Roshina Ratnam, and Mongi Mthombeni.

Meritxell Cilliers – Head Puppeteer, Bird and Ballet Girl

Meritxell Cilliers is a multidisciplinary performer specialising in physical theatre, with a focus on visual theatre integrating puppetry, masks, and object animation. She has performed for three consecutive years in Brett Bailey’s A Summer’s Dream and gained her early large-scale puppetry experience with Roger Titley, apprenticing at his Creatures workshop in Wilderness. She holds a BA in Theatre and Performance from UCT and currently teaches Solo Jazz, Tap, and Lindy Hop at Cape Town Swing.

Oleksii Ishchenko

Oleksii Ishchenko is a professional dancer, teacher, and choreographer from Kyiv, Ukraine. He trained at the Virsky Ballet School from the age of ten and joined the Virsky Ballet Company as a lead dancer at seventeen, touring internationally. Since relocating to South Africa in 2013, he has performed with Cape Town City Ballet and in productions including The Firebird and West Side Story. He is a golden buzzer recipient and finalist on South Africa’s Got Talent (2017).

Tanzley Jooste

Tanzley Jooste trained at Dance for All and Jazzart Dance Theatre, forming part of the Jazzart company from 2015 to 2018 under Sifiso Kweyama. She performed in David Kramer’s Danger in the Dark at the Baxter Theatre and has worked nationally and internationally. She is a freelance dance artist, teacher, and choreographer, and co-founder of the Oorleef Dance Project.

Sisipho Mponzo

Sisipho Mponzo is a performer and teacher specialising in dance, music, acting, and choreography. She trained at the Chrysalis Jazzart Academy, the Indoni Dance and Arts Leadership Academy, and Babayaya’s three-year programme, during which she choreographed her first original work, Vision. Her performance credits include Engomeni and touring with Sibonelo Dance Project.

Mbulelo Mzazi

Mbulelo Mzazi is a dancer, choreographer, and teacher. He trained at Dance for All and the Indoni Dance and Leadership Academy, and co-founded Isthatha Dance Project in 2019. His credits include work with Baba Yaya, Sibonelo Dance Project, and Figure of Eight Dance Theatre. He is the resident teacher at Igugu-lethu Arts and Leadership Project and co-founder of the Imbewu Dance Collective.

Lubabalo Pupu

Lubabalo Pupu is a performer and choreographer based in Khayelitsha, Cape Town. He trained at the Indoni Dance, Art, and Leadership Academy under Sibonakaliso Ndaba and is co-founder of the Imbewu Dance Collective.

Chesney Stanfield

Chesney Stanfield is a dancer, choreographer, and teacher who immigrated to South Africa from the United States in 2007. She trained at Jazzart Dance Theatre and joined the company full-time, performing nationally and internationally until 2025. Notable works include The Requiem: Journey of the Soul and After Tears (alongside Phoenix Dance Theatre and Opera North in the UK). She founded Gain Collective with her partner Emile Petersen, and currently works full-time choreographing, performing, and teaching.