Posts with the label ballet
Showing posts with label ballet. Show all posts
Showing posts with label ballet. Show all posts
Wednesday 27 March 2019
Romeo and Juliet, Royal Opera House | Review
Romeo and Juliet
Royal Opera House
Reviewed on Tuesday 26th March 2019 by Olivia Mitchell
★★★★
Romeo and Juliet is arguably Shakespeare's most well known play and a regular feature in the Royal Opera House programming, having been performed by The Royal Ballet more than 400 times since its Covent Garden premiere in 1965. This season beautifully revives Kenneth MacMillan's dramatic monument in a smooth and moving way, with a number of Company debuts making it feel fresh even after all these years.
In the title roles, Matthew Ball and Lauren Cuthbertson are a match made in heaven as they bounce off of one another, in their sweetly romantic choreography which showcases young love (and obsession) especially well. The tension as they build to their first kiss is palpable. Romeo lifts his Juliet onto pointe as they kiss and creates a very calm and heartwarming moment before the fast paced drama of the next two acts. Ball and Cuthbertson are masters of their craft and give performances which completely justify their successes.
Act One drags a little but the pageantry from the offset is marvellous. The sword fights are choreographed memorably and sharply and stand out against Nicholas Georgiadis' set as they fill the vast stage. The contrast between the intimate pas de duex and large scale ensemble numbers does well to bring variety and allows moments of extreme action as opposed to storytelling alone. A particular stand out is certainly Marcelino Sambe who leads the mandolin dance perfectly and creates a buzz as the audience are drawn in by his fantastic technique and performance skills. Itziar Mendizabal also shines as she brings brief moments of humour and light to the three harlots who appear throughout.
The melodrama is prevalent, with Mercutio's death (Valentino Zucchetti) and Lady Capulet's break down providing emotionally impactful moments. Mime is used perfectly by the pair as well as by Cuthbertson who acts beautifully throughout.
Brief moments where dancers fell out of time are noticeable but do little to detract from the story and flow. Whilst MacMillan's choreography does everything it should, there are times when it feels too much is being done in too little time, and there isn't a second to really appreciate the intricacies of the basics. The musicality of movements feels undervalued in comparison with storytelling.
MacMillan's telling really puts Juliet at the heart of the story which brings a fragility and power that makes it so special. A wonderfully danced and highly luxurious production, Romeo and Juliet is sure to delight audiences.
Romeo and Juliet runs at the Royal Opera House until 11th June 2019 and will also be screened at cinemas on the 11th.
photo credit: Helen Maybanks
Friday 15 February 2019
The Cunning Little Vixen/The Two Pigeons, Royal Opera House | Review
The Cunning Little Vixen/The Two Pigeons
Royal Opera House
Reviewed on Thursday 14th February 2019 by Olivia Mitchell
★★★★
In a charming night of theatre, we see artist-in-residence Liam Scalett's forty minute ballet, The Cunning Little Vixen, for The Royal Ballet School; paired with Frederick Ashton's stylish piece, The Two Pigeons. The two works create a programme that evokes warmth and feels ever so magical.
Scarlett's musicality is evident in The Cunning Little Vixen as he allows Leoš Janáček's score (arranged by Peter Breiner) to guide the piece. Scarlett has also made clever use of projection (designed by Finn Ross and Ash J Woodward) in the form of a children's cartoon which embellishes the story and adds a humourous layer, but doesn't detract from the dancers. Instead it works in conjunction with them. As chickens and feathers fly on screen, they also fly on stage and create a frenetic energy amongst the cast.
The cast of younger and older dancers join together to give a wonderfully gleeful and heartwarming show. The story is nothing groundbreaking but is a vibrant and a perfect introduction to ballet.
Madison Bailey as Sharp-Ears The Vixen is delightful and mischievous and alongside Liam Boswell as Goldspur The Fox, the pair create some fabulously playful and enjoyable moments. The entire cast of animals are brought to life not just by their animated and spirited performances but by the bright costumes which bring childhood joy to life on stage as well as providing humour and movement on their own. From bumblebees to ladybirds and a frog, each animal is uniquely and clearly characterised and looks wonderful under Les Bone's lighting. Scarlett really has done a wonderful job on this piece.
In The Two Pigeons, the musicality and purity of Ashton's choreography, leads to the focus being solely on the dance and technique. Whilst Jacques Dupont's fantastic costumes bring life and vibrance to the stage, the core of this production is on the ballet itself. The intensely emotional choreographic style is especially moving in the final moments of the piece and the reunion pas de deux we have all been waiting for, is pulled off with delicacy and sincerity and is certainly worth the wait.
Yuhui Choe as The Young Girl is pretty much perfect in her debut as she performs with desire and a hint of petulance. Alexander Campbell is suitably 'artistic' in his frustrations between the ballerina and the gypsy. Itziar Mendizabal is seductive and calculating and she fights and flirts in equal measure through her strong and impressive dance.
Featuring moments which feel almost impressionistic as well as purely classical, The Two Pigeons is an entertaining and heartwarming piece. Act one tells most of the story so act two does drag a little as nothing happens to move the plot along but the energy and height with which the dancers perform, helps to keep the audience invested and enthralled.
This is a perfect programme for a whimsical but beautifully performed evening out and is a wonderful opportunity for current students to experience the professional world.
photo credit: Tristram Kenton
Friday 30 November 2018
The Nutcracker (UK Tour), New Victoria Theatre | Review
The Nutcracker (UK Tour)
New Victoria Theatre
Reviewed on Thursday 29th November 2018 by Olivia Mitchell
★★★★
As the festive season steps up a gear, it seems only fitting that The Nutcracker should be required viewing, and the Northern Ballet's current production provides festivity and magic in abundance. David Nixon's choreography and a sublimely talented cast make this an enchanting show, which exudes youth and generates a true feel-good factor.
The Northern Ballet Sinfonia lead the show musically with control and effectiveness. Showing off Tchaikovsky's stunning score, they are led fearlessly and faultlessly by Brett Morris.
Other than the dancing, this is a visually stunning show thanks to Charles Cusick Smith's inventive and luxurious set which not only frames the choreography but adds another level of intricacy and interest. Act III's Garden of Delights is especially mesmerising thanks to the beautiful tones of burgundy, gold, peach and green which are woven into both the set and costumes (David Nixon). The Russian Cossacks, French Ballet Dancers and Arabian Princesses are all incredibly unique in design but work cohesively to create a strong flow throughout.
Despite these intricacies, the more simplistic moments are also incredibly moving, such as the Pas De Deux between the Sugar Plum Fairy (Antoinette Brooks-Daw) and Cavalier (Kevin Poeung) which despite being surrounded by opulence, is purely focussed on the faultless ballet.
Ommaira Kanga Perez's beaming smile and innocent attitude is perfect for the young Clara who is overwhelmed by a world of magic and sparkle, just like the audience watching her. Literally brought to life by glitter, our Prince, Riku Ito is outstanding. Mention also goes to Harris Beattie and Natalia Kerner who caught the eye from the start, Mlindi Kulashi who is suitably mystical and attractive as Drosselmeyer and the Mouse King (Lorenzo Trossello) who gave a fully humourous performance, including flossing which brought the piece right up to date.
The Northern Ballet's production of The Nutcracker is a real treat of a show that has magic and enchantment that will keep both adults and children entertained and enthralled.
The Nutcracker runs at the New Victoria Theatre until December 1st before continuing it's tour.
photo credit: Emma Kauldhar
The Nutcracker runs at the New Victoria Theatre until December 1st before continuing it's tour.
photo credit: Emma Kauldhar
Wednesday 20 June 2018
Matthew Bourne's Cinderella (UK Tour), New Victoria Theatre | Review
Matthew Bourne's Cinderella (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 19th June 2018 by Olivia Mitchell
★★★★
Making a return to the stage after debuting 20 years ago, Matthew Bourne's Cinderella is a departure from the traditional setting we know and instead takes place in 1940's London against the backdrop of war, air raid sirens and the blitz. Sergei Prokofiev wrote the hauntingly desperate score during the Second World War so it's seems only fitting to set the ballet then.
Act One begins with the dancers appearing in grey, depressing London before transitioning to Cinderella's blacked out house. This initial darkness shows the desperation and loneliness that our lead character feels from the onset. In the house we are introduced to a number of creepy, bizarre characters who become more and more excited as they receive their invites to the ball.
Ashley Shaw's Cinderella is surprisingly comical and and exciting to watch. Her duet a dressmaking dummy was a personal stand out moment and highlighted Shaw's versatility as a dancer and an actress. As her romantic lead, Andrew Monaghan is tormented but powerful throughout. The two are wonderful together and create moments of theatrical brilliance.
The traditional 'Fairy-Godmother role is subverted in this production to be an Angel played by a man, Liam Mower. Mower does an outstanding job is his sharp white suit, of guiding Cinderella whilst also appearing to be an all seeing protector of London who at one point rushes off to seemingly intercept a bomb!
Lez Brotherston's set is a love letter to Wartime London. It is intricate but simplistic and highlights iconic London scenes such as Embankment and the Underground with flawless grace. The use of film and the train station are especially reminiscent of Brief Encounter and allow us to be transported to a painfully magical time. The Café de Paris is particularly moving as it becomes a smashed shell of war torn London.
This is a show with a modern twist that is full of enough heart and magic to make you want to watch it over and over. There is extravagance and simplicity in equal measure and this is a truly unmissable fairytale.
Matthew Bourne's Cinderella runs at the New Victoria Theatre until June 23rd
photo credit: Johan Persson
Wednesday 22 November 2017
The Little Mermaid (UK Tour), New Victoria Theatre | Review
The Little Mermaid
New Victoria Theatre
Reviewed on Tuesday 21st November 2017 by Melanie Mitchell
★★★★★
Being a ballet novice, having only seen 2 before, I was a little unsure what to expect from
this production. I have to say, that in my humble opinion, The Little Mermaid is a masterful
adaptation, especially as the idea to create a completely new ballet was only borne in
September 2016. David Nixon and his team have produced a stunning piece of work in only
13 months.
Most of us know the story of The Little Mermaid from the now famous Disney film and show,
however those of us, perhaps a bit older will remember the much darker and sinister tale by
Hans Christian Anderson. This is the tale on which the production is based.
After seeing the picture of a handsome young prince in a locket, Marilla a young mermaid
falls in love. On rescuing the prince from a shipwreck she longs to be with him and sacrifices
her beautiful voice in exchange for human life. Although she is able to walk, every step
causes her unimaginable pain, yet she is unable to cry. The principle dancer made this
feeling so palpable with her agonised movement and silent screams.
Disorientated the prince awakens and mistakes a passing girl for the owner of the beautiful
voice he had previously heard, the mermaid is now unable to tell him that it was her, shattering her dreams and aspirations. This production doesn’t have the happy ever after of
the Disney story and is true to the Hans Christian Anderson original with its moral core.
The staging and costumes are stunning, with the colours and fabrics perfectly reflecting the
magical dwellers of the sea and the hard solid land. Absolutely transporting the audience to
the ethereal reflective underwater world.
The dancers especially the principles and soloists are magnificent, moving with absolute
grace and ease. The strength of the male dancers is incredible with the females looking
absolutely weightless as if under the waves at times. I wondered how it would be possible to
give the impression of the graceful movements of the mermaids. This has certainly been
achieved and it is truly mesmerising.
The music, an original score composed by Sally Beamish is hauntingly beautiful throughout,
perfectly suiting and setting the tone and mood to every scene. It is played wonderfully by
the Northern Ballet Sinfonia, with John Pryce-Jones as its musical director.
This World Premiere production makes for a truly magical evening at the theatre. If you are
already a lover of the ballet, a newcomer as I am, or have never seen one, then I urge you to
see it if you can and be immersed into the mystical, magical underwater world.
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