Tag: ballet

In Conversation With Mark Elie

Published on by Tabitha JamesLeave a comment

We sat down with Mark Elie, CEO & Artistic Director at the Mark Elie Dance Foundation and Founder of the Portobello Dance & Performing Arts School, who pioneered Classically British & Co.

On Thursday 24th October as part of Black History Month, Classically British & Co, part of the non-profit charity The Mark Elie Dance Foundation, celebrates its 21st anniversary with a special gala performance event and educational afternoon at Lilian Baylis Studio, Sadler’s Wells Theatre.  

1) Classically British & Co is celebrating 21 years of showcasing diverse talent. What inspired you to start this initiative, and how has its impact evolved over the past two decades?

“There was a lack of black and mixed-race representation of classically trained female and male dancers in the UK, and I felt this needed to be addressed. I was constantly being asked questions by my young students as to whether there are any black British ballerinas out there performing. I wanted to create an event reflecting this in the annual live agenda of dance that may represent this and to highlight the contributions and importance of black and mixed race classically trained dancers, choreographers and creative directors.

It’s fitting to showcase Classically British & Co during Black History season to spotlight the pioneers, the movers and trail blazers that help us to get to where we are today. Young people can see better representations of role models that they can identify with.”

2) You’ve spoken about the progress made in the UK dance sector regarding diversity. What do you see as the key challenges still facing dancers and choreographers of color, and how can the industry address these issues?

“The progress made in the UK has been immense but there is still a lot of work required. We now have such companies as Ballet Black and Carlos Acosta’s company who have done extremely well in influencing and inspiring a lot of people of colour with aspirations of going into the classical dance world. The challenges we are facing is to be able to choreograph ballets that are suitable for black and mixed raced ballet dancers based on the way they express themselves with both music and the aesthetic look of our bodies for the wider audiences. The industry can help by employing experienced people to offer this type of dance in the mainstream. Also ensure adequate funding and media attention is part of the norm rather than exotic or limited to Black History season.“

3) For this year’s gala, you’ve brought together an impressive lineup, including Namron OBE and Joy Sigaud. What can audiences expect from their pieces, and how do they reflect the themes of Black History Month?

“This year’s gala has brought together an impressive lineup of choreographers, musicians and composers, including Namron OBE and Joy Sigaud. Audiences can expect to be inspired, see narratives that relate specially to our community i.e the Windrush and the generations of immigrants to the UK of African and Caribbean backgrounds. They can expect a beautiful piece by Namron that has been choreographed to express the loss of his dear mother. Music by Ella Fitzgerald which of course is second to none. From Joy Sigaud we can expect to see a composition of classical and Afrocentric mix and collaboration with a young choreographer who was able to work with every single note of the music Joy has composed. The dancers have expressed choreographically how one can do that, working with the way we move and express ourselves with our classical training. People ask what does Classically British mean and my response is “it’s the experience that we have had being trained here in the UK classically and the ability to express through music and dance with our physical aesthetic and narrative. The audience can expect to see something truly inspiring.”

4) The educational afternoon with local schools offers a rare opportunity for students to engage with professional dancers. What do you hope young people take away from this experience, particularly in terms of representation in the arts?

“The matinee will consist of a dress rehearsal which will allow the young students to be able to see a few of the choreographed pieces which will be shown in the evening. They will be able to interact with the dancers in the form of a Q&A session and have discussions on how the production was put together. They will be able to speak not only to the dancers but also the artistic director, the production team and choreographers. In addition, they will be invited to come on stage and demonstrate their own talents. I am also hoping to understand what they have learnt and who they feel has inspired them the most. I hope the experience will be both inspirational and educational.”

5) Looking ahead, what are your future aspirations for Classically British & Co and the broader work of the Mark Elie Dance Foundation in shaping the next generation of dancers and choreographers?

“I would like to continue doing an annual production during the Black History season that is both educational and inspirational, providing a platform and shining a spotlight on the British black and mixed-race dancers here in the UK. I also hope we can replicate this format around the UK to inspire a wider audience. The next generation will hopefully be inspired by this generation of dancers and choreographers. We need to continue to attract young black choreographers and dancers that relate to the classically British experience which is “dance to inspire”. We are now living in an era of inclusivity with a new and diverse culture of dance in the UK. History has taught us when we work together the result is incredible for both participants and audiences alike. Everyone needs to be seen.

My future aspirations in addition to the above is to continue to showcase our talents across more of our brilliant opera houses and theatres, including the likes of Lilian Baylis, Sadler’s Wells Theatre, The Barbican and The Royal Ballet & Opera’s Linbury Theatre amongst others.”

REVIEW: Giselle

Published on by Alexander PearnLeave a comment

Rating: 5 out of 5.

A haunting reimagining of Giselle, where betrayal meets the struggle for survival

Akram Khan’s Giselle at Sadler’s Wells is an electrifying reimagining of the classic 19th-century ballet, fusing contemporary dance with the emotional core of the original to tell a deeply resonant story of betrayal, social division, and displacement. Set against the bleak backdrop of a modern industrial society, Khan’s adaptation takes the pastoral, romantic world of the original Giselle and reshapes it into a dystopian narrative about migrant workers, the dispossessed, and the forgotten. The result is a gripping, intense production that strips away the fairytale elements and replaces them with harsh social commentary, without losing the haunting beauty and emotional power that define the story.

The production’s set, designed by Tim Yip, immediately immerses the audience in a desolate world. A towering wall looms over the stage, symbolizing division and exclusion. This wall separates the factory workers—those at the bottom of the social hierarchy—from the wealthy elite. The design is minimal yet powerful, providing a visual metaphor for the themes of isolation and alienation that run through the piece. The set’s starkness contrasts with the fluidity of the dancers, whose movements seem to echo their own sense of entrapment and longing for freedom. This visual design, along with atmospheric lighting, sets a foreboding tone that permeates the entire performance.

Khan’s choreography is the heart of the production, combining the rigid structures of classical ballet with the fluid, grounded movements of contemporary dance. Unlike the delicate, ethereal movements of the original ballet, this version of Giselle is muscular and visceral, its choreography rooted in the earth. The characters are weighed down by their circumstances, and the movements reflect this: sharp, angular, and intense. The dancers’ bodies tell the story of struggle, displacement, and resistance, imbuing the narrative with a raw, emotional intensity. Khan’s distinctive style is particularly evident in the interactions between Giselle and Albrecht, where the contrast between their movements mirrors the emotional turmoil between the two characters.

Erina Takahashi’s portrayal of Giselle is at the heart of this production. Takahashi brings a remarkable depth to the role, embodying both vulnerability and strength. Her Giselle is not just a victim of betrayal, but a woman torn apart by the forces beyond her control.

Her command of both classical and contemporary dance allows her to fully inhabit the character, delivering a performance that is as physically demanding as it is emotionally devastating. Her chemistry with James Streeter, who plays Albrecht, adds an additional layer of tragedy to the story, especially in the second act, where their reunion is filled with regret, longing, and sorrow.

The second act, set in the world of the Wilis, reimagines the vengeful spirits of jilted brides as a chorus of angry, dispossessed souls, representing migrant workers trapped in a liminal space. Emma Hawes’ commanding portrayal of Myrtha leads the corps de ballet with a powerful, militaristic precision. The Wilis, in this version, are not just seeking revenge on men but are a collective voice of the downtrodden, oppressed by a system that has left them behind. Their movements are synchronized, conveying an overwhelming sense of collective grief and anger.

Vincenzo Lamagna’s sound design and composition plays a critical role in this production. While it retains elements of Adolphe Adam’s original score, it incorporates electronic and industrial sounds that underscore the tension and unease throughout the performance. The music enhances the sense of desperation and dislocation, creating an auditory experience that is as unsettling as it is beautiful.

Akram Khan’s Giselle is a modern masterpiece, a powerful and poignant retelling of a classic that speaks to the anxieties of the present day. By transforming the traditional narrative into a story of class struggle and displacement, Khan has created a version of Giselle that is both timeless and deeply relevant. The production leaves a lasting impression, challenging audiences to reflect on the human cost of societal division and exclusion.

Cast List for 18/9. Performing at Sadler’s Wells until 28th September.

REVIEW: London City Ballet: Resurgence

Published on by Rachel WoodLeave a comment

Rating: 4.5 out of 5.

London City Ballet has made an exceptional comeback to Sadler’s Wells – there’s plenty of vibrant life-blood in the company yet, having proved its ability to dance the line between tradition and innovation like no other

London City Ballet, former resident company of Sadler’s Wells theatre, makes a triumphant return to their home venue after almost thirty years off the stage. The programme is preceded with a dive into the company’s history, press clippings charting its founding in 1978 by Director Harold King up until its closure in 1996. The introductory reel highlights London City Ballet’s successes and legacies, behind-the-scenes footage of early rehearsals, and the patronage of Princess Diana, a great admirer of dance. While surly pictures of the people’s princess slouched against a ballet bar make for entertaining viewing, the projected montage style does feel somewhat dated. A history in the programme would have sufficed; the dancing that follows is good enough to speak for itself.

Artistic Director Christopher Marney opens the inaugural programme for the company’s relaunch with Larina Waltz, originally created as the finale to a Royal Opera House-based tribute to Tchaichovsky in 1993. This is a chance for the dancers to show off their technical proficiency in the art form’s classic guise, and the glamour and grace of the piece’s four couples makes one’s heart soar. Next, a departure from traditional form in a chamber work premiered at Lisbon’s Nacional de Sao Carlos in 1972, made up of a cast of three male dancers and one female, guest artist and ballet icon Alina Cojocaru CBE. Projected scenes of rolling, verdant mountains and a vintage motor car evoke a European holiday, and a minimalistic, white cube-reminiscent stage design sets the scene for the poker-like social machinations and vyings for Cojocaru’s attention. The movements are sleek, modern and exciting –  a dancer lifts and suddenly drops her, catches her in air, to a cascade of falling piano notes; they gently spin her vertically, effortlessly; she hops and artfully stumbles; a lover playfully ducks her leg as it sweeps over him repeatedly, gazing up at her with wry adoration. Deliberate breaks from form allow for glimpses of human vulnerability, but only when they decide to let you see behind the curtain. Such moments are so artfully performed it’s a teasing reminder of how talented these performers are.

The third dance in the first act is the best by far. A male dancer in a side split dress undulates with the intensity of a tidal wave against a sunburnt orange backdrop. The colours of this dance are so heart-stoppingly beautiful, it makes you want to run out and learn colour theory immediately. Artistic director Marney and Wardrobe Manager/ Designer Emily Noble’s vision shines here: pearlescent ocean greens, turquoise and burgundy swathe our newly androgynous cast, who swim and slice through the air. Unexpected moments set the heart racing: couples meet forehead to forehead, lurch over each other in spiky movements at odd angles, and desperately cling to their partners as if an anchor or mast in a surreal sea storm. They perform the impossible, managing to be both urgent and completely relaxed. These dancers express the extent to which we contain multitudes, performing precisely choreographed feats of power and elegance, before sliding across the stage in socks. They punctuate each other’s movements, spell a lilting sentence in the air with their toes, and meet each other again and again with curiosity, harmony, and intimacy. To break the rules like this, you have to know them inside out, to breathe them. They run into a flash of light, jump into air before a sudden black out. 

The fourth piece showcases Andrew Murrell’s world-class lighting design, with a couple’s nude clothing transformed to bright peach. The duet is framed by a vast, yawning, soft-edged sun, and a dancer circles her arm as if to mimic its rising and setting cycles. The final dance is a true showstopper, boasting the most effective narrative vigour of the five. In a retelling of the Fall, Eve’s perspective is foregrounded, with a focus on her relationship with the servant. Eve is portrayed ‘not as a symbol of sin, but as a person full of intellectual curiosity’. A projected bird disappears as a lone dancer reaches out to touch it, with a looming, stomach-dropping thud of bass. Leaves spin and lift unnaturally; the serpent, in red bodysuit and green trench coat appears. Ominous, thrilling music from composer Jennie Muskett MBE gets under the skin as Eve sits on his back a moment, strokes his face. She looks apprehensively behind her, but he persuades her to follow him, slinks under her shoulder and lifts her towards temptation. The music shifts, she is furious with him; he clings to her and they become a horrific eight legged creature. An extraordinary choreographic choice sees Eve holding the bitten apple in her mouth for an extended period of the dance, while swirling mists and crawling figures are unleashed from under a screen. The dancers’ bodies become the serpent’s body, contorting as one.

London City Ballet has made an exceptional comeback to Sadler’s Wells – there’s plenty of vibrant life-blood in the company yet, having proved its ability to dance the line between tradition and innovation like no other.

FEATURE: English National Ballet’s breathtaking Swan Lake in the-round will delight cinema audiences this Autumn in selected cinemas from October 30

Published on by Tabitha JamesLeave a comment

A mesmerising production of Tchaikovsky’s Swan Lake, innovatively and beautifully staged in the round at the stunning Royal Albert Hall

★★★★★ A Youngish Perspective June 14th 2024

Trafalgar Releasing has been appointed by English National Ballet to distribute Derek Deane’s Swan Lake in-the-round to cinemas across the UK and internationally for the first time from Wednesday  30 October 2024. Tickets will go on sale from 11th September at ENBSwanLakeCinema.com.  

Marking English National Ballet’s 75th Season, the cinema release of Swan Lake in-the-round gives dance fans the chance to experience the splendour of ballet on a grand scale. Derek Deane’s  stunning in-the-round production has been enjoyed by over 500,000 people worldwide and offers  an unmissable 360° view of one of the most popular ballets of all time. With 60 dancing swans,  exquisite choreography and Tchaikovsky’s unforgettable score played live by English National Ballet  Philharmonic, the film will take you to the very heart of this celebrated classic. 

Featuring Lead Principal Sangeun Lee as Odette/Odile and Principal Gareth Haw as Prince Siegfried,  this production captures all the magic of the beloved ballet. From the breathtaking spectacle of  shimmering swans moving in unison, to the captivating romance between Prince Siegfried and the  Swan Queen Odette, this is cinema bursting with beauty, passion and betrayal. 

Released by Trafalgar Releasing, the global leader in event cinema distribution, the ballet was filmed  live at the Royal Albert Hall in June 2024 and includes never-seen-before overhead angles which will  give the cinema audience an aerial view of the genius choreography. Combining exceptional artistry,  gorgeous spectacle and compelling drama, Swan Lake in-the-round is a cinematic masterpiece that will enthral and delight.

Dates 30th October – 3rd November 2024 

Cinema Tickets on sale from Wednesday 11th September 2024

REVIEW: State Ballet of Georgia: Swan Lake

Published on by Ke Meng1 Comment

Rating: 3.5 out of 5.

Is London ready for the Georgian (style of Ballet), and anything else?

We are never short of Swan Lake. This year in London, we witnessed the Royal Ballet’s production with exceptional design by John Macfarlane, the English National Ballet’s “roundabout” Swan Lake at the Royal Albert Hall with an ensemble of over 60, and an acrobatic Swan Lake fusion at Sadler’s Wells. So, what could we expect from State Ballet of Georgia’s London debut?

Maybe a bit reluctantly yet curiously, we’d love to sneak a peek into the exotic taste of Soviet legacy of ballet tradition. This is most prominent in ACT I, where the ensemble dances in a gentle and airy style, utterly different from what we typically see here in the UK. If you are especially used to the more powerful and vital presentation here, you may find the Georgian style too soft and light. You may even tell from their different shapes of ballet hands: their fingertips are slightly more curved, their middle fingers slightly lowered, and the overall curve more fluid.

Such elegant and graceful dancing style is set off by the English National Orchestra. Conducted by Papuna Gvaberidze, this orchestra adds a sense of masculine solemnity to Tchaikovsky’s score, forming an interesting contrast that again underscores the show’s thorough delicacy. Although there were occasional extra turns and droppings from the pointe, as well as missed synchrony between dancers the orchestra musicians, the ensemble’s performance indeed demonstrates the gracefulness. It is a bit of a pity, though, that we do not have the luck to see the Georgian men’s pointe dance, which has already won a worldwide reputation. 

Thought it might be a shame not seeing a Georgian tradition, we didn’t miss Nino Samdashvili, the principal soloist for Odette/Odile on the opening night, who definitely outshined with her exquisite expression of Odette – another realm of the Soviet tradition, expressiveness. She feels so delicate when she flutters like a real swan with her gentle but mysteriously melancholic aura, highlighted by the moonlight hung on the back wall. Vyacheslav Okunev designs this simple and effective sets that faithfully serves the story background, as well as the show’s traditional and strikingly beautiful costumes.

Samdashvili adopts a completely divergent approach to portray Odile, athletic and vigorous, radiating a sense of overtly bright self-confidence. This is a Black Swan you feel she should dance under the embrace of sunlight, instead of manipulated by the dark, villainous sorcerer Von Rothbart (Marcelo Soares). While character portrayal can be quite personal, our breath was still taken away by her mastery of ballet techniques, and we couldn’t help but applauded for her performance slightly at the cost of the narrative flow. 

Oleh Lihai, the male principal, also gives a fair performance as Prince Siegfried. Strangely, I can barely sense the chemistry between Samdashivili and Lihai. As Odette, she seems too delicate and too untouched for a secular world, indulging in her own mysterious sorrow rather than loving the prince; as Odile, she also seems too strong and vibrant, making him trivial and insignificant. 

This production prepares a good ending for the swan couple. Personally, I prefer the more traditional tragic ending but again it’s just a matter of taste. It it more troublesome when this happy reunion also ends quite hasty and abrupt, without any lingering atmosphere and final impression. 

The Georgian State Ballet’s Swan Lake might be far from perfect, but it strikes valuable questions stirring inside of us: what do we really want to see? Georgian authenticity? Russian/Soviet influence and lineage? An exotic taste different from the UK? These questions have no simple answers, but surely they examine how ready we are for foreign ballet companies.

REVIEW: Ballet Black: HEROES

Published on by libartowritesLeave a comment

Rating: 5 out of 5.

A truly awesome display with expansive passion and artistry

A gorgeous double bill of new work ushered in the 30th anniversary of the Festival Theatre this week. Ballet Black graced the stage with two exceptional and vastly different pieces If At First and The Waiting Game in its new show, HEROES. This small but mighty company of nine showcased the best of dance for the modern age without skimping on technical prowess.

If At First, presented in co-commission with the Barbican, was a brilliant display of artistry, musicality and passion. The piece, choreographed by Sophie Laplane, served as a refreshing, chaotic and stunning foray into an extensive engagement with power, heroism, community and isolation. Inspired originally by Jean-Michel Basquiat’s painting, Erocia, the piece moved between gorgeous partner and solo work peppered with simply wonderful company numbers. Showcasing every company member’s abilities throughout the piece while also maintaining an entrancing thematic through line was no simple feat. The transitional, upbeat motifs provided contrast and narrative movement while serving to energetically reunite the company frequently and provide visual intrigue.

The intentionality of this piece was wondrous and thought provoking. Use of the prop crowns and its connection to power and intention in each section was visually lovely and engaging. Seeing the active effect of pursuit or possession of the crown on the piece was a brilliant use of physical theatre that connected the audience with the piece and grounded the narrative into something tangible. The musical score further intensified the experience of understanding the pursuit of power and its isolation in juxtaposition to power achieved through community. Culminating in the gorgeous and utterly human section performed to I’ll Be Your Woman, this piece as a whole is not one to miss. Its perfection will be hard to forget.

The Waiting Game by Mthuthuzeli November was a delightful and harrowing second act. In a complete thematic shift, this piece was not for the faint of heart in the most delightful way possible. The intention of engaging with the absurdity of existence was expertly achieved through this whirlwind fusion of dance styles and movement. The most self-aware piece of dance and physical theatre likely currently on stage, it captured the dizzying and exhausting throes of existence. With an intense score peppered with the voices of Ballet Black, the piece was an extrasensory experience that verged on psychological thriller.  

A true collaborative work from start to finish, Ballet Black imbued every movement with evident care and consideration in HEROES. It is a delight to see so many dancers brilliantly execute technical prowess with expansive passion and artistry. The power and beauty behind these pieces cannot be understated. Deserving of every accolade, I hope these pieces have long lives and are shared to many audiences inspiring generations new and old to engage with art as it was displayed here.

REVIEW: Scottish Ballet – A Streetcar Named Desire

Published on by Ke MengLeave a comment

Rating: 4 out of 5.

A compelling blend of sensuality and subtext. Shows how a narrative ballet can be just as powerful as language

Intense, sensual, poignant. Dangerously intriguing, A Streetcar Named Desire has continuously lured its audience for more than half a century. Years ago, Scottish Ballet transformed this Tennessee Williams classic into a ballet piece blending traditional ballet techniques with contemporary choreography and a modern jazz orchestra (scored by Peter Salem and performed by the Scottish Ballet Orchestra). Several years later, it revisits Sadler’s Wells under the direction of Nancy Meckler and choreography by Annabelle Lopez Ochoa.

The show is in general well-structured and devised. Nicola Turner’s design astounds with its brilliance, handling both the vast and majestic sets like the old house of Belle Reve that is devastated into ashes in the first act. It also captures the most delicate and trivial moments such as at the beginning and end, where Blanche (Marge Hendrick) dances upwards to a light bulb, indicating the play’s original name Moth – a creature desperately yearning for what will eventually destroy her.

The design works seamlessly with Tim Mitchell’s lighting and Ochoa’s choreography. At the DuBois house in Belle Reve, the house party dance features the ensemble with elegant waltz and bright light. When the narrative progresses towards the working-class New Orleans setting, the vibe shifts to 1920s swingy-jazzy music in nightclubs of poker games with ambiguous and flirtatious purple-blue lighting tone coming into effect. Interwoven is the haunting ghost of Alan (Javier Andreu) – Blanche’s late husband who committed suicide due to his homosexuality – appearing intermittently, with eerie blue lighting symbolising Blanche’s internal world.

Portrayed by Scottish Ballet principal Marge Hendrick, Blanche exhibits a characteristic of extreme delicate neurosis. At the meantime, she performs a powerful bodily presence that depicts another side of Blanche, implicit in the text: her secret desire for Stanley. Evan Loudon prowls the stage through his alpha-male portrayal of Stanley, often half-naked, forming a tacit and remote parallel to Blanche’s frequent bathing ritual, each hinting at their unconscious attempt to attract the other’s attention.

Together with Loudon, Claire Souet as Stella delivers an extraordinary duet featuring the couple’s consummation, which is elegant, symbolic, and extremely sensual. This contrasts sharply with the late sexual assault scene as cold and brutal. However, compared to Stella and Stanley’s duet, this scene feels less choreographed, simply mimicking in a realistic way that fails to convince and strike the audience. Thomas Edwards portrays a Mitch, Blanche’s fiancé, as an antithesis of Stanley – dingy, nice, yet lacking any magnetic charm. 

Nevertheless, beyond the cast and creative team, I quite doubt the production’s decision of the “prologue” in the first act. In the original play, Blanche’s traumatic and devastating past is only revealed through her conversations with Stella and Stanley, as well as Stanley’s own investigation. This gradual revelation process builds up suspense and drama, and it creates a crucial power dynamic in storytelling: whose version do you believe, Blanche’s monologues or Stanley’s investigations? What is illusion and what is real?

Those questions are gone with its plot dynamic when Meckler decides to dance out Blanche’s past at the very beginning of the show, nullifying all dramatic tension and suspense into a plain and dull chronicle. Even though the haunting ghost of Alan appears several times to remind us of Blanche’s incrementally collapsing psyche, this appears as much lightweight. 

A Streetcar Named Desire showcases the potentiality of how a narrative ballet can be just as compelling as the power of language, yet it could undoubtedly achieve greater depth if richer and more complex storytelling devices and techniques could be employed.

Photo by Andrej Uspenski

REVIEW: The Winter’s Tale

Published on by Ke MengLeave a comment

Rating: 4 out of 5.

Christopher Wheeldon and Joby Talbot reimagine Shakespeare’s romantic canon

Since Kenneth MacMillan’s Romeo and Juliet in 1965, no Shakespearean play has even been transcribed into ballet.  This is somewhat in conceivable: how can you translate the epitome of Shakespearean language into sole physicality while still retain the substantial qualities of his plays?  Choreographer Christopher Wheeldon took this challenge in 2014 together with composer Joby Talbot, successfully transforming The Winter’s Tale into another in-house Shakespearean repertoire of the Royal Ballet.  Now, a decade later, Wheeldon revisits this masterpiece with some upgraded technologies, but preserves the essence of this tragicomedy. 

Shakespeare’s later plays are desperately romantic, resonating profoundly with his contemporaries and those of the 18th century. Meanwhile, these plays can also be intricately psychological for moderns. This time, it is Natasha Katz’s lighting design that subtly indicates Leontes’s internal labyrinth.  In the palace of Sicily in ACT I, Leontes reunites with his childhood friend Polixenes. From a luminous and warmish colour gradually to a cold dim light, the seed of suspicion is sowed in the heart of Leontes.

César Corrales presents a masculine Leontes, but at the same time he is no lack of delicate vulnerability in later acts. Lauren Cuthbertson deftly blends Hermione’s innocence and sacred elegance. In ACT III, her forgiveness of Leontes more denotes a divine grace, more akin to that of a goddess forgiving a sinner, rather than mere a wife forgiving her husband. 

It’s always fun to see how the bear is represented in each performance of The Winter’s Tale. This time, with the collaborative efforts of Projection Designer Daniel Brodie and Silk Effects Designer Basil Twist, most transition scenes unfold seamlessly through a silky projection screen, imbued with a water-painting style that feels semi-realistic and semi-impressionistic. The use of projection not only enhances the smoothness of the storyline, but also leaves ample spaces to dance out the intricacies of characters as well as their profound emotions. 

ACT II sets in remote Bohemia 16th years later, featuring the love scene between Perdita (Francesca Hayward) and Florizel (Marcelino Sambé), the son of Polixenes (Calvin Richardson). Perdita, the daughter of Leontes and Hermione, is condemned to death by her father out of suspicion, but was saved by the witty and kind Paulina (Melissa Hamilton), who later puts her in a safe place to be found by a shepherd. At the heart of the stage in ACT II stands a giant tree, meticulously crafted by designer Bob Crowley. This reminds me of a similar presence in The Tempest during the London Olympic ceremony, both symbolising youth, vibrance and love.

Melissa Hamilton steals the show in ACT III. Back in Sicily, she leads the regretful and sorrowful Leontes to a series miracles and final reconciliation. Hamilton masters her skills and fuses them into her presence of Paulina, elegant, faithful with a subtle undercurrent of unwavering strength. ACT III denotes the “comedy” part of the play, tellingly reveals that comedy embraces more than laughter, errors and misunderstandings; it’s also a genre about romantic loves and the process of regaining loss. Wheeldon’s production of The Winter’s Tale adeptly captures these romantic elements in the bard’s later plays that are so much ahead of his own times.

REVIEW: Sleeping Beauty

Published on by Tabitha JamesLeave a comment

Rating: 5 out of 5.

Opulent, mesmerising and a stunning showcase of the Birmingham Royal Ballet’s incredible talent.

Birmingham Royal Ballet’s enchanting production of Sleeping Beauty that visited Sadler’s Wells is a mesmerizing journey into the heart of a timeless fairy tale. Created by the renowned Sir Peter Wright, this rendition captivates from start to finish.

The set design is nothing short of breathtaking. From decadent royal halls to the menacing thicket of jagged thorns that transform into a fortress before the castle, every scene is meticulously crafted to transport the audience into the story’s magical realm. The seamless transition between settings adds depth and richness to the narrative, immersing viewers in a world of fantasy and wonder.

The costumes are some of the most opulent I’ve seen in a ballet, capturing the essence of each character with exquisite detail. From the extravagant attire of the royal court to the ethereal grace and beauty of the fairies (both good and bad), every costume reflects the distinct personalities and time periods of the story. I particularly enjoyed the transition into different costumes as the 100 years of sleep passed and the Prince arrived from a new time period.

One cannot overlook the enchanting score by Tchaikovsky, brought to life by the impeccable Royal Ballet Sinfonia. Whether it’s the delicate strains of a waltz or the triumphant fanfare of a royal procession, the music transports audiences to this fairy tale realm and enchants throughout.

This review wouldn’t be complete without highlighting the extraordinary talent of the ensemble dancers and individual soloists who breathe life into every scene. Their precision and artistry elevate each moment, from the enchanting fairy solos to the majestic court dances. Moreover, the role of Princess Aurora, one of the most technically demanding in classical ballet, is executed with unparalleled grace and poise. The lead dancer’s portrayal of Aurora is nothing short of impeccable, particularly during Act 2’s enthusiastic and exacting duets with her suitors. The entire production is a testament to the skill and dedication of the cast, whose collective talents bring this beloved fairy tale to life with spellbinding beauty and grace.

In conclusion, Birmingham Royal Ballet’s production of Sleeping Beauty is a spellbinding spectacle that captivates both young and old alike. With its dazzling sets, sumptuous costumes, and enchanting music, it’s a theatrical experience that truly transports you to a world of magic and romance. Whether you’re a seasoned ballet aficionado or simply seeking a night of enchantment, this production is not to be missed so keep an eye out for when they tour it next!

REVIEW: Ballet Black’s Heroes

Published on by Ella ThornburnLeave a comment

Rating: 5 out of 5.

‘Ballet Black breathe exciting new life into a classical art form, smashing through multiple glass ceilings while retaining faultless beauty 

Before the show began, the Oxford Playhouse was perhaps the busiest I’ve ever seen it, alive with anticipation. The audience spanned from toddlers to elderly couples, and I was pleased to see that the company’s aim of ‘bringing high quality ballet to new and diverse audiences’ had absolutely been achieved. 

The evening was split into a hugely complementary double bill, the first of which,‘ If At First’ wove solos and breathtaking company choreography seamlessly together in an intimate and sensitive performance. A striking tableau of Isabela Coracy spotlit beneath a large crown prop and surrounded by the company opened the piece, introducing themes of heroism and the pursuit of fame. Throughout, this crown appears, seemingly out of thin air, in various performers’ possession, and we watch as they claim its power or crumble under its weight. 

Choreographer Sophie Laplane frequently alters the pace, treating us to exquisite duet or solo pieces from all nine ballerinas who emerge unexpectedly from the bustling group, asking us to consider the unseen heroes of the everyday, rather than associating power only with those who wear the crown. Accompanied by a varied and eclectic score, the performance was consistently engaging and highly emotive. Laplane’s vision of ‘a quieter heroism’ honouring ‘kindness, community and mutual support’ was certainly realised, however I also enjoyed how ballet’s abstract art form encouraged unique audience interpretation. 

Towards the end of this piece, I was particularly moved by the duet between Taraja Hudson and Helga Paris Morales, who danced to Michelle Gurevich’s sensual and defiant song ‘I’ll be your woman’. This stunning representation of women loving women added considerate nuance to the performance, while further emphasising how this company doesn’t place limitations on what a Ballet can be. Having said this, I came to the interval with the notion that such a fresh and inventive company was surely still holding something back. 

Yet, in the second piece, ‘The Waiting Game’, all my hopes were absolutely surpassed. While ‘If At First’ asked us to appreciate the raw ballet form, this piece was bursting with interesting combinations of ballet, jazz, contemporary dance, poetic voiceover and an entirely self-composed score, demonstrating the many talents of the company and choreographer Mthuthuzeli November. The previously bare stage was enhanced by a large frame covered by opaque gauze, providing opportunity to depict beautifully contorted and haunting silhouettes. Ebony Thomas featured as a business-like man, tortured by the seemingly predestined monotony of the everyday. However, he attempted to break this cycle, eventually shedding his corporate suit and joining the surrounding company’s vibrant and expressive dance. Dancing to their own music and words injected increased passion and urgency as ideas around free will, passage of time and the question of how far life is simply a performance were introduced. 

November maximised on the inherent metatheatrics of these themes at the performance’s end through depicting the ballerinas preparing to go on stage, bedecked in spectacular sequinned jackets. A voiceover discussed doubt and futility versus joy and faith, accompanied by a stunning duet from Ebony Thomas and Taraja Hudson, which crescendoed into determined action as the imagined curtain rose and the fourth wall was completely broken. We were left with the sentiment that we must present a true version of ourselves proudly, no matter the reception we receive, and that ‘there will be people who love you… people who need you’ artfully mirroring the company’s ethos. ‘The Waiting Game’’s complex themes are highly thought provoking- needless to say I haven’t stopped thinking about it since. 

I can safely say that Ballet Black has utterly changed my preconception that ballet’s are ‘a little boring’- I would see one again in a heartbeat. Although, I do wonder if other companies will manage to match the new heights to which this diverse and creative company has raised the bar.