Tag: ballet

GUEST FEATURE: The State Ballet of Georgia to perform Swan Lake in a unique visit to London

Published on by ayoungishperspective1Leave a comment

Guest feature from Graham Watts

Despite being one of the world’s most accomplished and thrilling dance companies, The State Ballet of Georgia has never appeared in London during its distinguished 175-year history. That absence is soon to end as this revered company is to perform Swan Lake –the world’s most treasured ballet – at the London Coliseum from 28th August to 8th September 2024; and then at the Bord Gáis Energy Theatre in Dublin from 20thto 24th November. 

For a small nation, with a population under 4 million, Georgia has exported many ballet legends: three of the most important figures in world ballet during the twentieth century were George Balanchine (born Balanchivadze) (1904–1983), regarded as the “father” of American ballet and still – 40 years’ after his death – one of the most influential choreographers; Vakhtang Chabukiani (1910-1992), a great virtuoso dancer following in the footsteps of Nijinsky; and Tamara Toumanova (birth name, Tumanishvili) (1919–1996), one of the century’s most sought-after dancers who became a Hollywood film star. In more recent times, many outstanding Georgian dancers have performed in the UK, such as former Royal Ballet principal, David Makhateli (his sister, Maia – a principal at Dutch National Ballet – is one of today’s leading ballerinas) and Elena Glurjidze, a leading principal at English National Ballet. 

The greatest Georgian dancer of modern times is Nina Ananiashvili. Born in the Georgian capital of Tbilisi, Nina became the leading ballerina at the world-famous Bolshoi Ballet of Moscow in the early 1980s and following the Gorbachev reforms of Perestroika and Glasnost, she was a principal dancer at American Ballet Theatre and an international guest star in countries all over the world, including at The Royal Ballet in London. 

In 2004, Nina returned to Tbilisi as artistic director of The State Ballet of Georgia while continuing to dance. She celebrated 30 years on stage in March 2012 (at the age of 49), performing in a series of national galas in the Rustaveli State Academic Theatre and the magnificent glass and steel rotunda of the Tbilisi Concert Hall (the opera house was under renovation). 

Ananiashvili was a supreme exponent of the dual Odette/Odile roles. After having performed Swan Lake in Hamburg during a Bolshoi tour, Nina received a non-stop 30-minute ovation. The ballet’s importance to her is neatly summarised in a comment released at the announcement of her company’s upcoming performances in London: ‘it was the first ballet that I performed in the Bolshoi Theatre and was my first and final significant performance at American Ballet Theatre.’ 

Referring to that final performance in America, the New York Times critic, Alastair Macaulay wrote that Ananiashvili was ‘singularly endearing…singularly cherished,’ adding that, ‘…amid all the excitement she still brought rare and eloquent beauty.’ 

The star quality that Ananiashvili brought to her own superlative dancing is now vested in the 65-strong company that she has directed for the past 20 years, and which is now rated amongst the ten best classical ballet companies in the world.

Although now the most famous of all ballets, Swan Lake was not originally well received when it premiered at Moscow’s Bolshoi Theatre on 4th March 1877. Despite substantial revisions to the choreography and music, the ballet enjoyed just 33 performances in seven years before being dropped from the Bolshoi’s repertory. Herman Laroche – a contemporary critic and composer – wrote: ‘…I had never seen a poorer presentation on the stage of the Bolshoi. The costumes and décor did not hide in the least the emptiness of the dances.’ When Tchaikovsky heard the score composed by Léo Delibes for the ballet Sylvia, he declared that his own score for Swan Lake was “poor stuff by comparison!” 

The ballet tells the story of Princess Odette, who is turned into a swan by the sorcerer, Von Rothbart. She can only return permanently to human form if a man swears true love for her, which happens when she encounters Prince Siegfried by the lakeside (ironically out hunting for swans with his crossbow). Von Rothbart, however, fools Siegfried into believing that his daughter, Odile, is Odette (disguised as a black swan) and, enchanted by the sorcerer, Siegfried unwittingly breaks his bond to Odette by promising to marry Odile. 

When the ballet closed at the Bolshoi in January 1884, that should have been the last of it but having achieved great success with Tchaikovsky’s other two ballets, respectively The Sleeping Beauty (1890) and The Nutcracker (1892), both the director of the Imperial Theatres, Ivan Vsevolozhsky, and the chief choreographer, Marius Petipa, were set on reviving Swan Lake at the Mariinsky Theatre in St Petersburg. Tchaikovsky died before this plan could be implemented and so the in-house music director, Riccardo Drigo, revised Tchaikovsky’s score to suit new choreography by Petipa and his assistant, Lev Ivanov. It is this reworked Tchaikovsky score by Drigo that almost every version of Swan Lake has used ever since. 

The revised Swan Lake received its premiere at the Mariinsky Theatre on 27th January 1895 with Pierina Legnani in the dual ballerina role. She couldn’t resist adding her unique trademark of 32 whipped spins on one working leg (known as fouettés) to the coda (the final part) of the “black swan” duet (known in ballet as a pas de deux), where they have remained ever since. 

The reputation and affection for the ballet has grown throughout the twentieth century, bringing it into the repertory of every ballet company in the world. Marking the 75th anniversary of the first performance, the US writer, Anatole Chujoy, summarised Swan Lake as being ‘…the greatest romantic-classic ballet of all times…the highest point of the curve which represents the history of the source of all ballet as we know it today.’ 

It is impossible to separate the spectacle of Swan Lake, and Tchaikovsky’s music, from images of the ballerina as first the white swan (Odette) and then her black swan imposter (Odile). The dual role is performed by the same dancer and remains the epitome of the ballerina’s art, providing one of the most difficult challenges in the classical repertory. 

Another elite addition to these performances at the Coliseum – at a time when no other production of Swan Lake will be seen in London – is that Tchaikovsky’s soaring music will be played by the award-winning English National Opera Orchestra, which has an established international reputation for versatility and excellence.

This production of Swan Lake is the perfect ballet both for ardent balletomanes (a noun termed to describe those who love ballet) who will be eager to see this extraordinary company making its London debut after 175 years, and as an undemanding introduction to this beautiful artform, bringing the elegance of movement by world-class dancers together with gorgeous music and sumptuous set and costume designs. It promises to be an unmissable spectacle! 

© Graham Watts 

About the Author: 

Graham Watts is a freelance dance writer and critic writing regularly for Shinshokan Dance magazine (Japan), Tanz (Germany), The Spectator (UK), Bachtrack.com and Gramilano.com. He has written the biography of Daria Klimentová (The Agony and the Ecstasy) and chapters about the work of Akram Khan for the Oxford Dictionary of Contemporary Ballet and on the work of Shobana Jeyasingh for Routledge’s Fifty Contemporary Choreographers. He is Chairman of the Dance Section of The Critics’ Circle and of the UK National Dance Awards and regularly lectures on dance writing and criticism at The Royal Academy of Dance and The Place. He was nominated for the Dance Writing Award in the 2018 One Dance UK Awards and was appointed OBE in 2008.

Photo by Andy Ross

REVIEW: Scottish Ballet: Swan Lake

Published on by Katzy Robson5 Comments

Rating: 5 out of 5.

Elongated necks, a peck with the beak, a rustle with their feathers. The dancers used their whole body in new ways with balletic grace

Wow…what a night. The much awaited revisiting of Swan Lake by Scottish Ballet sets to stun future audiences who are lucky enough to get a ticket before it sells out. Having been put on hold since 2020, they have certainly not not missed a beat in making this production of the year!

David Dawson the choreographer, has brought in a modern fresh take on Swan Lake. The choreography spoke for itself with Swan like movements radiating through the dancers bodies. Sultry arched backs, elongation through their necks, a peck with the beak, a rustle with their feathers. The dancers used their whole body in new ways with balletic grace. Interspersed with unique movements that can only bring forth swanlike connotations. The dancers moved as if on ice, on water. Overall, a modern and creative piece of work by Dawson.

The cast created such a magnificent dazzling display of strength and control. The principal dancers were supported by a varied cast, who brought their own individuality to the movements yet managed to blend all together as ensemble within their own flavour of what they bring to the stage and character.

On the opening night Sophie Martin was cast in the role of Odile/Odette, alongside Bruno Micchiardi as Siegfried. Their chemistry on stage was electric. It was absolutely exuding and dripping with passion. Sophie was beyond stunning, and extremely skilful in her physical display of Odile/Odette. Their bodies close, snaking in tender synchronicity. Bruno holds his own in the portrayal of the depth of feelings in his journey with Odile and Odette. Love, confusion, fear, heart wrench. He held the audience in his palm of his hand, as we journeyed alongside his story with him.

Not forgetting Thomas Edwards as Benno, whose majestic jumps were flying of of the stage!

The set design by John Otto really transformed the stage, bringing us directly into the world of the swans. The light design of Bett Dalhuysen conveyed Moonlight and shadows, which absolutely complimented the dramatic moments within the piece. More so, the emotive element of the use of shape within the main set piece certainly drew out emotion from the audience as the final scene played out.

The costume pieces by Yumiko Takeshima brought a vast variety of palette and style. Playing with the use colours to showcase each characters place. When Odette first emerges on stage, she looks absolutely stunning as a swan. Contrasting completely to what has came before. There is a special secret held in this costume,….i will leave it for you to go and find out. Takeshima’s use of contrasting design between Odile & Odette, is further intensified with the ensemble stage presence of both ‘sides’ that Siegfried is caught up between.

Accompanied by the Scottish Ballet Orchestra, the music score of Tchaikovsky held it’s own among the dancers. Such intense moments of duet between Sophie & Bruno needed nothing more than the harp or violin and it somehow felt so full, so full of feeling, with minimal orchestration. The orchestra played superbly! Those who had not ever heard the song played live will definitely not forget this experience, bringing together such a well known score and a ballet with such an emotive depth of movement.

Don’t miss out! the upcoming dates for the remaining shows are below, i would urge you, not to miss such a climatic journey of love.

His Majesty’s Theatre, Aberdeen
18 – 20 April 2024

Eden Court, Inverness
26 – 27 April 2024

Festival Theatre, Edinburgh
2 – 4 May 2024

REVIEW: My First Ballet: Swan Lake

Published on by carlamcphersonLeave a comment

Rating: 4 out of 5.

A must see for adults and their young ones. This makes such a classical art form extremely child friendly

Waiting in the auditorium at the Peacock’s Theatre in London, the giggling and muffled excited whispers of children were cascading through the audience. It was so lovely to see such a young audience attending such a classical art form. 

Before Tchaikovsky’s famous and beautifully strong composition immersed us into the world of the magical Swan Lake, we were introduced to Shevelle Dynott, who would act as narrator throughout, giving the audience little pockets of wisdom about what was unfolding on stage in a timely and child friendly manner. 

He had the energy of a Children’s TV Presenter, but unfortunately, at times his delivery seemed somewhat under energised, as it felt like he didn’t know his purpose of being on stage. In my opinion, it would have been more effective if he left after every piece of narration instead of what happened on some occasions, where he would sit on the side of the stage. 

The dancers were a sight to behold. The dancer’s were a combination of some English National Ballet (ENB) Artists, ENB School Professional Trainees, and ENB School Second Year Students. This show is a testament to the years of hard work that goes into training to be a ballet dancer. Their strength, fluidity of movement and physical capacity for storytelling was mesmerising. A special mention must go to Chloe Kineally, who played the Swan. Her technique was flawless, and the passion with which she danced held the piece together and was a treat to the eye. 

The My First Ballet initiative at the ENB is an ambitious programme with the aim of making ballet accessible to young children from ages 3 plus. This starts with the programme, which has a copy of the story both in symbol form and in written form, allowing the children to read through and understand the plot before it unfolds in dance form before them. Their understanding is further aided with the addition of narration at specific points throughput. The run time in total is just under an hour and a half, making it very digestible for such young eyes. The costumes and set were tremendously beautiful, and added to the beauty already exuding from the dancers 

Overall, I think this production is a must see for adults with their young ones. It makes such a classical art form extremely child friendly, whilst not straying from the word class standard expected of an ENB production.

REVIEW: Carmen

Published on by ayoungishperspective1Leave a comment

Rating: 3 out of 5.

Impeccable technique and phenomenal energy from the ENB doesn’t quite manage to breathe new life into yet another retelling of Carmen

Johan Inger’s Carmen is performed with impeccable technique and phenomenal energy by English National Ballet. Inger tells this story of the murder of a woman from the perspective of the murderer, Don Jose. The first half is full of brilliance, colour, light and mesmeric dancing, particularly by Minju Kang as Carmen. The stunning costumes by the late David Delfin are a contemporary nod to flamenco, full zips front and back allowing for dresses to be worn in different ways and in a neat reversal, the giant polka dots on the mens’ shirts are typical of flamenco dresses. The second half, when the tragedy unfolds, is a stark monochrome meditation on Jose’s (a virtual solo for Rentaro Nagkaaki) inner world.

The music Bizet wrote for his 1875 opera Carmen is instantly recognisable. It is the basis for a new score by Marc Alavarez which doesn’t disappoint, merging contemporary and classical played with passion and precision by the orchestra under Manuel Coves, employing an unusually wide range of percussive and factory machine sounds. And yet, it has long been a problem, this brilliant music employed to tell the tale of the killing of a woman who won’t do what men want. As Inger has acknowledged, ‘you need a reason to do another Carmen’. It is difficult to elevate the tale, even through dance, a medium to which it lends itself well, above its ambivalence towards cultural anxieties about gender, race, class, sexuality. Inger’s narrative ballet seeks to do just that by telling the story from the perspective of Don Jose. Carmen Carlos Saura’s 1983 dance film Carmen, choreographed in flamenco style, took the same approach.

But Inger doesn’t solve the problem. Focusing on Don Jose’s emotional turmoil, to which the second half is entirely devoted, actually reinforces this ambivalence. We don’t see Carmen’s emotional engagement with her predicament as a factory worker subjected to the attention of every man who encounters her. She doesn’t even have a solo, and as Don José dances his pain relentlessly, the choreography of his agony becomes disengaging. In the end, it is the Torero, danced by Eric Woolhouse, in a Bruno Mars at the Super Bowl solo, who gets our attention and Carmen’s.  

These dancers are perfection, both individually and in ensemble. The first act has many moments of pure delight, the sinuous grace of the dancers crafted into Beyonce-style moves (and Beyonce has history with this tale, starring in the film Carmen: A Hip Hopera in 2001). Twerking is the overarching (literally) dance motif of the first act. The soldiers are played as corporate executives. But despite the intention, the relentless virtuosity of the choreography leaves no space for reflection. I wanted more moments where the dancers held the stage with stillness.

The devices that Inger employs to help us think about what’s really at stake here don’t necessarily work. The presence on stage of a child, a witness to the violence, a signal of the consequences of domestic violence and of hope for change, and black clad masked figures, reminiscent of the multiplying agent Smiths in The Matrix, who influence the characters like ghostly puppeteers, are ultimately distracting. The set, nine triangular prisms which are manoeuvred by the dancers, does, to great effect and with elegant economy, transport us to any of the spaces of the narrative, but this is sometimes a bit clunky in the execution, which is a further distraction.

Merimee’s novel, Bizet’s opera, Otto Preminger’s African American musical Carmen Jones, there’s even Paul Mescal as Don Jose in Benjamin Millepied’s 2023 film, Carmen. There is no stopping the story of Carmen, or is it the story of Don Jose? But I was left wanting dancers of this calibre to be given the space and pace of a more meditative reflection on why we can’t leave this tale of femicide alone. 

GUEST REVIEWER: Emma Kay

Illustration: Sinjin Li for Dance Gazette

FEATURE: Scene Change

Published on by Tabitha JamesLeave a comment
Phil Chan in rehearsal. Photo: Kathy Wittman

Ballet classics can contain beloved dance and music – but also outdated cultural stereotypes. Can we reimagine them? Phil Chan offers a sound solution to problematic music.

This article originally appeared in Dance Gazette, the Royal Academy of Dance magazine. https://www.royalacademyofdance.org/membership/dance-gazette/

Music is so much more than just the loudest aspect of a ballet performance. Music tells us how to feel, cutting through all of our walls and hitting us in our soft and vulnerable insides. Sometimes we have feelings that are just too big, that we can’t put into words, so we rely on music.

Music is also crucial to great storytelling. Without music, beloved classical ballets would amount to nothing more than dancers in nice costumes running around to the sound of their own heavy breathing and pointe shoes. Depending on the choreography, the music can be the best part of a dance performance. George Balanchine himself once said ‘if you don’t like ballet, you can always close your eyes and listen to the music.’

Even if you can’t see them, music is embedded with cultural signifiers. Hundreds of years ago, European composers made up what they thought music from other cultures might sound like, based on little pieces of information or descriptions but no authentic aural exposure. They used reeds and cymbals for ‘Arabian’ music, pentatonic scales for ‘Chinese.’ Asymmetrical rhythms. Unusual percussion. They broke traditional rules so as to be ‘exotic,’ seeking to create music that sounded like it came from somewhere else – fantasy places where anything might happen. And so began hundreds of years of music being part of reinforcing certain fantasy places and characters in ballet, opera and more.

The problem with these inaccurate, stereotypical or caricatured depictions today is that European fantasy impressions from hundreds of years ago can now feel authentic when they’re actually not.

Today’s audiences are diverse, and no one wants to see their culture flattened, distorted or exoticised.

We who love ‘Western’ classical arts find ourselves at a crossroads. We have a rich repertory of lovely music and dance made by European artists hundreds of years ago. Powerful work that speaks profoundly to the human condition and contains sublime music. But some are a little bit (or a lot) racially and/or culturally problematic today. What do we do?

Untangling these thorny issues has become a staple of my creative work as a writer, choreographer and opera director. Can we save works from angry demands to ‘cancel’ them, and instead reimagine them for today’s diverse audiences so that everyone can feel included?

A prompt that guides nearly all of my creative decision making is ‘What else could it be?’

Answering this question involves a few others:

  • What is the work? We distil a work down to what it’s about at heart, and ask what has to remain to keep it recognisably ‘itself.’
  • What is ‘the problem’ with it? This may involve listening to someone who has a different perspective or lived experience than we do. This is one of the hardest parts of the process (and perhaps, of being human), but without such openness, we can’t really imagine and play with other options.
  • What was the social context of the work when it was made, and what is different about the social context now? Nerds rejoice! To understand the social, and maybe political, conditions under which a work was created, a firm grasp of history is required.
  • What was its intended impact? Why was something funny 200 years ago? What context was this story critiquing when it premiered? If you want an old piece to move people alive today, you need to figure out why it ‘worked’ in the first place.
  • Why is it worth reviving? Does the work speak to this moment in a unique or sublime way? The vast majority of performing arts works aren’t ever revived, and that’s okay. Not everything has to be performed again, unless there is a compelling and urgent reason.

Now that we’re warmed up, let’s consider how we can reimagine music that is ‘Oriental’ in theme, a European fantasy of Asia as opposed to a cultural product from Asia. Oriental music doesn’t necessarily have to relate to a specific story or narrative; sometimes it’s simply meant to evoke an exotic perfume. ‘The Chinese dance’ in The Nutcracker is a great example. The best prescription is to create something else that accompanies the music – something so resonant that any unsavoury ‘Oriental’ associations are knocked out. In this way the music no longer functions as an inaccurate cultural signifier.

When we want to keep the music, and perhaps the choreography, while replacing offensive cultural caricatures, we could invite Asian artists to reinterpret scenes, making them authentically Asian. Another choice is to craft new scenarios that have nothing to do with Asian culture or are abstract. Disney’s Fantasia is a great example of reinterpreting ballet music. Ponchielli could never have imagined that his Dance of the Hours could be interpreted as terpsichorean crocodiles, hippopotamuses and ostriches, or Stravinsky that his riotous Rite of Spring could also be a prehistoric dinosaur bacchanal. These cartoons take nothing away from their balletic origins, but instead expand the potential for appreciating the music.

Fantasia also illustrates what happens when we fall back on stale stereotypes instead of charting new creative ways forward. Where Fantasia fails is when it regurgitates tired Chinese and Arabian tropes in its ‘Nutcracker’ suite: the harem girl goldfish and coolie-capped mushrooms with slits for eyes. Imagine if Disney had asked ‘what else could it be?’ when animating those sections!

What about Orientalist music that accompanies a specific narrative? How do we apply ‘what else could it be?’ to a work such as Turandot or Le Corsaire? How do we shift a work from being Eurocentric – by and for European people who lived over 100 years ago – to one that resonates with today’s audiences? In my experience, the first step is abstracting their essence. When we boil a story down to its most basic parts, we’re forced to confront what the piece is actually about. Upon this distilled version we can layer new elements to create a congruent story – add texture and detail fitting the new dynamic we’re trying to create. In the process we may discover nuances and implications we hadn’t grasped before.

My next big project uses this approach: it’s a restaging of the full La Bayadère for Indiana University, set to premiere in March. La Bayadère done in a traditional manner usually involves inaccurate and offensive depictions of Hinduism and Buddhism, Blackface and the license to project ideas onto a fantasy Indian setting that might not have any authentic Indian cultural integrity. Here, I’m working alongside the brilliant Doug Fullington, a musicologist and dance notation expert, to restore Petipa’s notated choreography, in a reimagined story that takes place in the 1920s during the Golden Age of Hollywood musicals. We have handed over the Minkus score to Larry Moore, a musical expert on the period, who has rearranged the ‘exotic’ music into a glittering jazz-age musical.

Karen Chia-Ling Ho in Madama Butterfly (Boston Lyric Opera). Photo: Ken Yotsukura

Reimagining orchestral music is easier than taking on music with words. Opera lyrics add a layer of specific meaning – changing stories and settings becomes much more complicated. I discovered this first hand while directing a new production of Puccini’s Madama Butterfly for Boston Lyric Opera this past September.

My mandate was to keep the beautiful music while addressing the many problems with how the opera has been traditionally staged, especially the portrayals of Asian women. Are stories about geishas being victimised really the best narratives to repeat over and over?

What followed was a year-long investigation called ‘The Butterfly Process’ that identified the issues with traditional stagings of the opera (available on Boston Lyric Opera’s website). As a result I was asked to direct the opera, reimagining the setting in the 1940s in California. The story revolved around a Japanese jazz singer who pretended to be Chinese because of anti-Japanese sentiment following the bombing of Pearl Harbor during WWII. (‘Geisha’ in Japanese means ‘artist,’ so reimagining Butterfly as a jazz singer is an appropriate answer to ‘what else could it be?’)

We wanted to keep Puccini’s sublime music, and as many of the original lyrics as we could, but in order to do so we sometimes found ourselves assigning or addressing familiar lines to different characters, or letting them have different meanings within the new context. The response has been positive, with traditionalists relieved that we haven’t modified Puccini’s music, and Asian audiences thrilled that Japanese characters haven’t been reduced to caricatures.

Ultimately, beloved classics – warts and all – can continue to speak to us as long as we have an openness to play, to listening, to reflecting, and then a willingness to imagine something that works better for us now.

Sensitivity to this process will both serve the art of the past while resonating with a wider audience today. Doesn’t that sound better?

Phil Chan is a choreographer, director, advocate, and the President of the Gold Standard Arts Foundation. His books include Final Bow for Yellowface and Banishing Orientalism.

Sinjin Li is the artist name of Welsh-Chinese illustrator and designer Sing Yun Lee.

Star on the Rise premieres in March and will be livestreamed:  https://operaballet.indiana.edu/events/star-on-the-rise.html

REVIEW: New York City Ballet

Published on by Alexander PearnLeave a comment

Rating: 5 out of 5.

A thrilling exploration of ballet’s evolution, marrying the rich heritage of George Balanchine with the fresh perspectives of contemporary choreographers

The New York City Ballet’s long-awaited return to Saddler’s Wells is a testament to its enduring legacy, combining classical roots with a contemporary twist. In their 75th-anniversary season, the company, under the direction of Jonathan Stafford, showcases a dynamic quadruple bill that effortlessly marries tradition and innovation.

Justin Peck’s “Rotunda,” set to Nico Muhly’s vibrant composition, unveils a neoclassical marvel where dancers in practice gear execute intricate moves with inbuilt speed and finesse. The undramatic feel captures the essence of daily work, creating a delightful slipstream that keeps the audience captivated.

Pam Tanowitz’s “Gustave Le Grey No 1” steals the spotlight with Reid Bartelme and Harriet Jung’s ingenious scarlet costumes that twist and blur the dancer’s shapes. As the dancers navigate Tanowitz’s ultra-specific steps, the performance takes an absurd turn, pushing a grand piano across the stage while still enveloped in Caroline Shaw’s blurred yet enchanting composition.

Kyle Abraham’s “Love Letter (on shuffle)” adds an electrifying dimension to the evening, fusing James Blake’s rhythms with a wide ranging ballet vocabulary. Taylor Stanley, a natural conduit for Abraham’s style, delivers arresting solos and a charged pas de deux with Jules Mabie, showcasing the evolution of ballet into the 21st century.

The programme’s heart lies in George Balanchine’s timeless “Duo Concertant,” a sublime duet for Megan Fairchild and Anthony Huxley, accompanied by live musicians Elaine Chelton and Kurt Nikkanen. This piece beautifully encapsulates the essence of NYCB’s legacy while embracing the future.

The New York City Ballet’s performance is a thrilling exploration of ballet’s evolution, marrying the rich heritage of Balanchine with the fresh perspectives of contemporary choreographers. The juxtaposition of classic and modern works showcases the company’s versatility and commitment to pushing the boundaries of this timeless art form.

Birmingham Royal Ballet photocall for The Sleeping Beauty at The Mayflower Theatre, Southampton

REVIEW: The Sleeping Beauty: Birmingham Royal Ballet

Published on by ayoungishperspective1Leave a comment

Rating: 5 out of 5.

A performance of pure class and brilliance. There is humour, depth, and magic in every scene.

Birmingham Royal Ballet’s rendition of the timeless classic, The Sleeping Beauty, enchants audiences with its captivating portrayal of Princess Aurora’s journey. Directed by Carlos Acosta, the production boasts a level of artistry and finesse that is truly commendable. With coaching support from former Principal, Dame Darcey Bussell, BRB dancers excel, embodying the essence of the story with remarkable skill and grace.

Momoko Hirata shines as Princess Aurora, delivering a flawless performance that effortlessly captures the character’s innocence, charm, and resilience. Her precision and skill shine throughout, making her portrayal a highlight of the production. Opposite her, Max Maslen brings depth and emotion to the role of Prince Florimund, infusing the character with light and joy that resonate with the audience.

The chemistry between Hirata and Maslen culminates in a breathtaking pas de deux that leaves spectators spellbound. The entire company, with their impeccable talent and expressive storytelling, elevates the performance to new heights, weaving together humour, depth, and magic in every scene.

The spectacular sets provide a stunning backdrop for the dancers, transporting the audience into the enchanting world of the ballet. From the grand ballroom to the mystical forest, each setting is brought to life with vibrant energy and attention to detail, enhancing the overall theatrical experience.

As the curtain falls, the audience, featuring people of all ages and backgrounds, is united in their appreciation for this masterful production and in awe of a production of pure class and brilliance. Whether attending with family or experiencing it alone, everyone leaves the theatre enriched by the beauty and excellence of BRB’s The Sleeping Beauty.

Don’t miss the opportunity to witness this unforgettable performance as it tours The Lowry until 9th March and continues to captivate audiences across the UK throughout the year.

FEATURE: English National Ballet’s Giselle comes to Liverpool Empire in October 2024

Published on by Tabitha JamesLeave a comment

English National Ballet has announced plans for its 75th Season – and Liverpool Empire have announced that they’ll be welcoming Mary Skeaping’s Giselle is coming to Liverpool from October 23rd-26th 2024.

English National Ballet’s 75th Season celebrates tradition whilst forging innovation – an ethos that has shaped the Company’s rich history and will inspire its future.

Artistic Director of English National Ballet, Aaron S. Watkin, says: “We will be celebrating the myriad ways that ballet can excite, entertain, and inspire.”

Offering Liverpool audiences the opportunity to see one of the great Romantic ballets, this version of Mary Skeaping’s Giselle has never been performed in the city before. With its beautiful classical language and thoughtful staging, this Giselle features some of ballet’s most dramatic scenes and otherworldly images. A haunting story of innocence and betrayal… and a timeless tale about the redemptive power of love; young peasant girl, Giselle, is in love with Albrecht, a Duke who hides his title and his engagement to another. When Giselle discovers he has deceived her, she is driven to madness and dies of a broken heart. Late at night, the Wilis gather by her grave, ready to welcome her into their fold as the vengeful spirits of betrayed brides, who force men to dance to their death. Will Giselle’s love protect Albrecht from his fate

One of the greatest classical ballets, Mary Skeaping’s celebrated production has been stealing hearts for fifty years and delivers all the magic, romance and ethereal beauty you could wish for in a trip to the ballet. Fans won’t want to miss the chance to see one of the world’s leading ballet companies and their exceptional orchestra perform this great classic of the ballet canon.

“Its hugely important to me that we welcome as many people as possible
to celebrate our 75th Season.” 
– Aaron S. Watkin, Artistic Director of English National Ballet –

Mary Skeaping’s Giselle
Liverpool Empire
Wednesday 23 October – Saturday 26 October 2024
Get your Giselle tickets here

REVIEW: Tanztheater Wuppertal Pina Bausch+ Terrain Boris Charmatz: Nelken

Published on by Megan LewisLeave a comment

Rating: 4 out of 5.

Bold, theatrical and striking. A mix of joyous play and jarring unease. 

Pina Bausch’s ‘Nelken’ premiered in 1982 and has since returned to the UK’s stages multiple times, most recently in 2005. Recognised as one of Bauch’s key works, it is aptly described as ‘a vision of beauty and cruelty, tragedy and tenderness’.

Bausch became choreographer of the Wuppertal Ballet in 1973, and soon after which she renamed the company ‘Tanztheater Wuppertal’. ‘Tanztheater’ means ‘dance theatre’, Bausch’s practice incorporated aspects of speech, music, design, movement, and depended on freedom of expression. Her choices were often inspired by lived experiences of both herself and her company, and she would begin her choreography using stimuli based on questions she would ask her performers, many of which concerned love, for example, ‘something about your first love’. Though Bausch suddenly passed away in 2009, her practice is kept alive through Tanztheater Wuppertal today. The company is now headed up by Artistic Director Boris Charmatz, and this new production of Nelken has been led by rehearsal directors Silvia Farias Heredia and Eddie Martinex, in collaboration with Magali Caillet Gajan.

A carpet of 8000 beautiful carnations adorns the Sadlers Wells stage as we take our seats. The air smells clean and floral (thanks to a certain company member armed with two aerosol air fresheners). The opening set alone (designed by Peter Pabst) has an incredible effect, it’s serene, almost ethereal. It’s a piece of art. Dancers dressed in evening attire carefully pick their way through the flowers, gently setting down their chairs and taking their seats as they listen to light classical music. They stay for a brief time before clearing the stage, but not before part of the company descends into the audience and invite some individuals to leave on their arm. Already, we are involved in the show. For some perhaps this is unwelcome, but I (despite not being chosen) found this to be inviting – in Bauch’s own words, her work is ‘a space where we can encounter each other’.

A lone man steps forward and begins to perform Gershwin’s ‘The Man I Love’, reciting the lyrics in sign language. As the tempo picks up speed so do his gestures, eliciting ripples of laughter from the audience. The soundtrack throughout the performance is largely made up of captivating music from the 1930s and 1940s, including songs by Louis Armstrong, Franz Lehar, and other classic names.

The production is peppered with abstract scenes, each exploring different relationships and behaviours. The company return to the stage to play a version of ‘grannies footsteps’. They make a convincing school playground, bickering about who was caught out and skulking back to the start line. As they run to the back wall they make exclamations: ‘I love carnations’, ‘I hate carnations’. It is an endearing reminder of childhood freedom. Later, parent/child relationships are explored, pairs scamper through across the stage, shouting reprimands into a microphone. One of Bauch’s questions she would ask of her performers was ‘When you were a child, how did you imagine love?’ Scenes such as these have such potential to spark various deep emotions in audiences. Perhaps the message was a little obvious in this case, but it was still effective.

Nelken also delves into discomfort. A man is continuously forced to imitate animal after animal, dehumanised and degraded he barks like a dog, screams like a parrot. It is jarring to watch. Men in suits patrol the stage with Alsatians on leashes, watching dancers bunny-hop about the space . One dancer is pulled up, and asked for his passport, before being told: ‘you may continue hopping’. The juxtaposition of the playfulness of the dancers and the oppressiveness of the guards creates a visceral sense of unease.

The costumes (Marion Cito) reflect the themes of the piece. Dancers clad in evening dresses are at times elegant, at others like children playing at dress-up. As the themes darken some of the male dancers change into suits, and they lose some of their essence of freedom.

Dance sequences become hypnotic as they are repeated – dancers move their chairs about, standing up and sitting down in unison and canon. Each individual in the company gives the performance their all. It is a demanding production, emotionally and physically, and a true spectacle to behold. They push themselves to extreme limits, pirouetting, screaming, chasing, jumping with incredible vigour. Nelken is bold, theatrical and striking.

Toward the end we see the iconic ‘Nelken line’, a signature motif of Bauch’s work as the dancers walk in single-file and repeat a sequence of movements to depict the four seasons of the year. We are invited to hug our fellow audience members. To close the show, company members address the audience, sharing their story on why they became a dancer. This is a heart-warming end to a very affecting show.

Nelken runs at Sadler’s Wells until 22nd February . If you are interested in dance this is not a show to miss. If you are usually a play/musical kind of person, I recommend you give this a watch. Mix it up, you could be pleasantly surprised. 

In conversation with Empower In Motion Producers: Ross Freddie Ray & Henry Dowden

Published on by Tabitha JamesLeave a comment

We sat down with Ross Freddie Ray and Henry Dowden who with the support of many people and organisations are pulling together an extraordinary event to celebrate the power of inclusivity and raise funds for ChildrenToday.

What motivated you to produce Empower in Motion with charity Children Today, and when did that arise?

Ross: I suppose there were a few different areas of inspiration, the first being a video that appeared on social media of Joseph Powell-Main.

Joe was a few years below Henry and I at The Royal Ballet School, and I suppose like most people at high school you tend not to integrate with the lower year students. So, after we graduated, I suppose we never really kept track of Joe and what was going on in his life. 10 years had passed when I saw the video of ‘Sleepwalker’ that Joe was performing in alongside The Royal Ballet and there was the 11-year-old Whitelodge student, now a man, dancing in a wheelchair.

I began digging into his story, trying to learn about his journey and was left utterly inspired by his rebellious approach to never giving up. That story stayed with me for some time. It must have been a few weeks later when I was at a family dinner and my father mentioned that the Charity, he had founded was celebrating its 30th anniversary.

Those who know me and know my family understand how much I adore my father and the work he’s committed the majority of his life to, and so I wondered what I could do to honour his legacy and celebrate the amazing work Children Today has been doing.It didn’t take long for me to call Joe and discuss the ideas with him, which soon led to the concept of this inclusive evening of dance. I wanted to show that the care and equipment that Children Today provide can allow people with disabilities to achieve things they may not have thought possible. Dance has always been my biggest source of inspiration and so through dance we want to show the boundless spirit of inclusivity. 

What inspired the diverse and inclusive line-up curated for the gala?

When looking at work for the evening it was only once, we started speaking with our now ambassador of the event Joe Powell-Main, who introduced us to so many wonderful organisations and companies that are supporting and working with people with disabilities. It was an opportunity to combine the world of dance even closer to help promote and expose just a few of the many organisations that have professional disabled dancers. Which aligned to the charities work as they provide vital, specialised equipment to support families across the UK. We also wanted to give space to freelancers, other charitable organisations and highlight the Royal Ballet School as it’s where Ross and I started our training. Along with two world premieres, one of which is being performed by Maria Kochetkova and Daniil Simkin and created by internationally renowned choreographer Sebatian Kloborg. We wanted to cater for as much of a wide audience as possible to show what is achievable and hopefully inspire young generations with or without disabilities to show what dance can do. 

Could you offer a sneak peek into one of the most anticipated performances of the evening?

Artist with English National Ballet, and Denecia Allen who is a dancer with icandance. They made ‘Reunion’ a few summers ago after the pandemic and it has been performed before at Alexandra Palace.One of works which is so special to us is a Pas de deux by Alice Bellini who is a First It is such a beautiful work and the relationship with the girls is so moving to see, with Denecia having the opportunity to dance and have the spotlight and seeing Alice learn to move and help Dencia with her wheelchair, really is a new experience for both artists and is what this is all about. It’s a stunning work and truly shows the joy for the art and why we love allowing this space for this work to breathe.

How do you envision the audience feeling after experiencing the gala’s performances?

Like any performance we want them to leave feeling fulfilled, we want them to leave feeling like it was an evening worthier their time and that they would return to a future ballet show.

With such a range of talent, what sets Empower in Motion apart from other ballet events?

It showcases a pioneering approach to movement and storytelling which captures the audience’s attention in new forms and allows growth for other artists, choreographers, designers, and audiences to see. Whilst also embracing the classics of ballet from some of the most well-known classical dancers in the world. Being able to respect the history of ballet while allowing space for a forward-thinking approach for inclusivity within the arts. Inviting established dance companies, inclusive award-winning dancers, artists from the top UK companies and international stars with world premieres and new collaborations is what sets this event apart. 

Can you provide insight into any behind-the-scenes magic that went into organising this extraordinary event?

The magic has been the willingness to help from so many people and organisations. Creating a space for people to work together and create new opportunities. We are so privileged to have one costume being made by Victoria Jenkins who was listed on the ‘The Vogue 25’. After working in the fashion industry for 14 years and now with her own company creating work for the chronically ill and disabled for adaptive fashion. The people, the organisations, the creative aspect all for Children Today and to bring this event to the public has been a blessing.

The support we’ve received has made the process worth it, Henry had 45 performances with his company English National Ballet, whilst Ross has been organising three international tours and 9 productions all whilst trying to bring Empower In Motion to life. It’s been intense but the generosity of all involved has carried it through. 

EmpowerInMotion
Join us and celebrate the power of inclusivity this February 7th at Sadler’s Wells Theatre. A breath-taking evening of ballet that marries the grace of classical ballet with the boundless spirit of inclusivity.

Tickets and information available on the Sadlers Wells website.
In support of @Childrentodaycharity