Showing posts sorted by relevance for query Dominic North. Sort by date Show all posts
Showing posts sorted by relevance for query Dominic North. Sort by date Show all posts
Wednesday, 20 April 2022
Matthew Bourne's Nutcracker (Tour), New Victoria Theatre | Review
Matthew Bourne's Nutcracker
New Victoria Theatre
Reviewed on Tuesday 19th April 2022 by Angie Creagh-Brown
★★★★★
The Nutcracker Suite is an old and much beloved family Christmas favourite. Matthew Bourne's version, however is a somewhat different take on the classic.
What can I say about it? Well it was just wonderful!!! The New Victoria Theatre is a large, modern and inviting building, which at this performance welcomed an audience of all ages; there were some young children (well-behaved) and the ambience was happy and inviting, a taste of the sweet treat evening to come.
Bourne takes the original story of a well to do family celebrating Christmas Eve with friends and family and turns it completely round; his version starts in an orphanage, the cast are dressed in grey, the scenery is grey - no light, no joy. The teenage children are preparing to 'enjoy' their meagre Christmas Eve and are joined by the owner, Dr Dross, danced by Danny Reubens, his wife the Matron, Daisy May Kemp, son Fritz, Dominic North and their very spoilt daughter Sugar, Ashley Shaw.
The children manage to find a Nutcracker, which had been locked away in a cupboard, and they escape to a wondrous scene of falling snow, ice-skating and snowballs. To add to their excitement the Nutcracker miraculously changes from a toy to a handsome, well-muscled and talented young man, (Harrison Dowzell) to the delight of the children and the leading lady.
The ensemble dancing was lovely, there were comic moments, surprises and hints of jealousies to come. The dancers were performing with large smiles on their faces, which in turn put joy onto the faces of the audience.
Act Two opens with a kaleidoscope of colour which is The Road to Sweetieland. Clara, beautifully danced by Cordelia Braithwaite, is desperately trying to gain entrance to Sweetieland aided by the The Cupids, wonderfully portrayed by Enrique Ngbokota and Shoko Ito. She is still dressed in her undergarments and they find a pretty dress for her, but it does not compare in any way to that worn by her nemesis, Sugar.
There is a lot of humour in this act. Superbly bright costumes and a plethora of well-known sweets dancing wonderfully. It's a visual treat like no other.
The cast is very diverse, which would mirror the children in an orphanage. The story has been re-written in a modern way. This means it would possibly not be suitable for very young children on whom the innuendoes would be lost, but in terms of aesthetics it's sure to appeal to all ages.
The staging, set design, lighting and costumes all added wonderfully to the most enjoyable evening which finished with a standing ovation and joy abounded both on the stage and in the auditorium.
The Nutcracker plays at the New Victoria Theatre until 23rd April
photo credit: Johan Persson
Wednesday, 17 April 2019
Matthew Bourne's Swan Lake (UK Tour), New Wimbledon Theatre | Review
Matthew Bourne's Swan Lake (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 16th April 2019 by Olivia Mitchell
★★★★
Matthew Bourne's Swan Lake premiered in 1995 and has since received critical and audience acclaim. Bourne's Swan Lake which replaces the female swans with an ensemble of skilled, menacing men, is one of the most groundbreaking ballet retellings and remains fresh and innovative today.
In typically Bourne fashion, the storyline is dark but with many injections of humour and fine attention to detail (the adorable Corgi which crosses the stage is just one example). The set is extravagant and luxurious enough to make you forget you're watching a touring production. Equally, Lez Brotherston has done an outstanding job with the delicately designed costumes which conjure up the atmosphere of each scene and setting wonderfully. Particularly impressive are the glamorous ballroom scenes where everything sparkles and shines; and the sinister hospital scene where masks bring a nightmarish world to life against stark white.
The entirety of this ballet is fantastically nuanced, with every emotion interpreted perfectly. The balance between dance, comedy and drama is exquisite and there are often so many brilliant things happening at once that you don't know where to look. This production is truly a feast for the eyes.
Tchaikovsky's score also provides a feast for the ears. The Swan Lake Orchestra's lush, virtuosic recording shines and soars exactly as one would wish. The recognisable music, accompanied by masculine dance has the audience transfixed from open to close.
Max Westwell as The Swan is outstandingly multi-faceted. At times he is menacing as he rears up, but equally calm and regal as he defensively bows down. The contrast is amazing to watch as is the way the Price (Dominic North) complements him. The pair are both strong and delicate as they create a thrilling union on stage.
Nicole Kabera is suitably regal as the queen, with Freya Field a complete contrast, constantly stepping on toes and causing laughs as the Girlfriend. Both ladies are highlights of the production.
Swan Lake is a sumptuous production full of glorious moments which you'd be hard pressed not to revel in. A powerful, intricately choreographed and danced show, this is a must see for ballet regulars and newbies alike.
Swan Lake runs at the New Wimbledon Theatre until April 20th, before continuing its tour.
photo credit: Johan Persson
Wednesday, 18 February 2026
Matthew Bourne’s The Red Shoes Review- A Dazzling, Cinematic Ballet Masterpiece
Matthew Bourne’s The Red Shoes Review
A Perfect Balance of Cinematic Spectacle and Theatrical Magic
There are some productions that entertain, and then there are those that completely transport you. Matthew Bourne’s The Red Shoes is firmly the latter. This exquisite ballet is a breathtaking fusion of storytelling, design, and choreography that feels both gloriously cinematic and intimately theatrical. It is a production that understands the power of visual narrative and trusts its audience to meet it halfway.
Inspired by the Powell and Pressburger film and Hans Christian Andersen’s dark fairy tale, The Red Shoes tells the story of Victoria Page, a young dancer torn between love and ambition. Under the watchful eye of the obsessive impresario Boris Lermontov, Victoria rises to stardom, but her heart is divided between her devotion to dance and her love for composer Julian Craster. As ambition, jealousy, and desire collide, the red shoes become a symbol of artistic obsession and sacrifice.
Act one carefully lays the groundwork. Bourne allows the narrative space to breathe, establishing character dynamics and emotional stakes with precision. It feels almost filmic in structure, with seamless transitions and sharply drawn relationships. The storytelling is rich but never heavy handed. Through nuanced physicality and expression, the cast communicates layers of longing, rivalry, and ambition without uttering a single word.
The ensemble scenes are meticulously staged. Corps de ballet formations are clean and intentional, often reflecting hierarchical tensions within the company. There are soaring legato lines matched with sharp musicality that keep the momentum alive and make for a truly exciting piece of theatre. Even in quieter passages, the dancers maintain a strong dramatic focus.
Act two, at just 35 minutes, is where the choreography truly takes flight. The emotional intensity deepens and the movement vocabulary expands into soaring pas de deux and sweeping ensemble work. Bourne’s choreography blends classical ballet technique with contemporary theatricality. The lifts feel weightless yet charged with narrative tension. Extensions are held just long enough to heighten drama. Turns are not simply virtuosic but emotionally motivated.
The central ballet sequence within the story is mesmerising. Here, the red shoes themselves seem to drive the choreography forward. The dancers move with urgency and abandon, their lines elongated and expressive. It is thrilling to watch technique used in service of storytelling rather than display alone.
The cast delivers extraordinary performances. The portrayal of Victoria Page is filled with vulnerability and steel in equal measure by Cordelia Braithwaite, who carries emotional weight in every moment. Andy Monaghan as Boris Lermontov commands the stage with icy restraint, conveying obsession through subtle shifts in posture and gaze. Julian Craster is portrayed with romantic sincerity by Dominic North, his partnering gentle yet assured.
What makes this production particularly remarkable is how strongly the performers act as well as dance. Ballet can sometimes feel emotionally distant to newcomers, yet here every performer inhabits their role fully, with facial expressions, breath, and timing become as vital as footwork. This strong acting and characterisation really helps the audience follow the story and get swept up in the drama of it. The humour woven throughout the production is a welcome surprise; with moments of wit and theatrical flair that lighten the tone without undermining the drama.
The soaring score, orchestrated by Terry Davies, elevates the production to another level. It swells and recedes in perfect harmony with the choreography, amplifying emotional crescendos and intimate exchanges. The music feels expansive and cinematic, yet perfectly suited to the stage.
The set and costume design are nothing short of brilliant. Thanks to Lez Brotherston's design, the stage transforms completely between scenes, shifting from rehearsal rooms to lavish theatre interiors with fluid precision. Partnered with Paule Constable's brilliant lighting design, the production is a multi-layered feast.
Costumes subtly chart character evolution. Small changes in silhouette, colour, and texture communicate shifts in status and emotional state. Victoria’s costumes in particular reflect her journey from hopeful ingénue to tormented star; and of course, the iconic red shoes themselves glow with symbolic power.
One of the greatest strengths of ballet is its refusal to spoon feed the audience, and this production embraces that fully. The story is clear yet layered. Viewers are invited to interpret glances, gestures, and motifs. It asks you to engage actively rather than passively consume. That sense of intellectual and emotional participation makes the experience deeply rewarding and I'd encourage people to take the step into the ballet world if they haven't previously.
Matthew Bourne’s The Red Shoes is theatrical magic at its finest. It balances cinematic grandeur with the immediacy of live performance. It delivers technical excellence, emotional depth, humour, and visual spectacle in equal measure.
This is ballet that feels alive, urgent, and utterly spellbinding- a triumph which reminds us why dance remains one of the most powerful storytelling forms on stage.
★★★★
Reviewed on Tuesday 17th February 2026 by Olivia
Photo Credit: Johan Persson
{AD PR Invite- tickets gifted in exchange for honest review}
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