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  • THEATRE REVIEW | St Petersberg Classic Ballet’s The Nutcracker – National Tour

    THEATRE REVIEW | St Petersberg Classic Ballet’s The Nutcracker – National Tour

    Nutcracker Doll, Act 1

    The Nutcracker needs little introduction, and tells the story of Clara who is whisked away to a magical land by the Nutcracker Prince to celebrate the defeat of the Rat King. This traditional ballet retains virtually all of its charm and Tchaikovsky’s instantly recognisable score remains a musical treat.

    Saint Petersburg Classic Ballet return with their annual tour of classic pieces, presented very much in the archetypal style of traditional ballet, with tutu’s and tights aplenty, a static set of rather plain backdrops, a virtually non-existent use of props and a dance space which allowed the performance to flood the stage with a bevy of dancers.

    Aside from the fixed grins, slightly loose synchronicity and a few heavy footfalls, the quality of performance in this tour seems to be much better than previous ones, with the cast putting in their all and some nimble and impressive dancing nestled amongst the rather safe choreography. It is not the most luxurious production you will see, but it remains functional and allows for the focus to be on the performances and music.

    With an easily followed narrative and the second act consisting primarily of short set pieces, the ballet progresses at a pleasing pace, making it a great starting place for ballet novices and families with younger children.

    Overall, the show is a pleasant and undemanding evening at the theatre, which remains firmly rooted in the traditional style. There is nothing innovative, ground-breaking or new in this production, but if you are seeking a very traditionally performed, accessible ballet in the classic style, then the St Petersburg Classic Ballet could well be just what you are looking for.

    The Nutcracker is at the Sheffield Lyceum until 11th January 2020 before continuing on its national tour

  • Theatre Review | Northern Ballet’s Cinderella – National Tour

    Theatre Review | Northern Ballet’s Cinderella – National Tour

    Northern Ballet dancer Hironao Takahashi in David Nixon OBE’s Cinderella. Photo Emma Kauldhar

    ★★★★ |Northern Ballet’s Cinderella

    Northern Ballet continues to delight with a charming retelling of a classic fairy story. Cinderella leads a life of servitude to her wicked stepmother but escapes her life by sneaking out, where she encounters a magician who is more than meets the eye. When Cinderella is left home alone on the night of the Prince’s ball, the Magician appears to transform her into a princess; as she and the Prince meet and fall in love, the clock strikes twelve and Cinderella flees, leaving only a glass slipper behind.  

    Sometimes, such familiar stories can feel laboured and over-familiar but Northern Ballet injects new life into the traditional fairy tale by putting in enough fresh ideas to add something new, without ever detracting from the familiar narrative.  Transporting the story to Russia whilst adding in an expanded narrative and a scattering of magic tricks and circus skills, the company presents something just a little different, but with its roots firmly planted in well-known story.

    Mlindi Kulashe delighted the audience with a comedic performance as the magician, and Abigail Prudames charmed as the titular heroine; both of whom stood out from a company who gave universally solid performances.

    Where Cinderella really succeeds is in its simplicity. The choreography is so clear in delivering the narrative, it allows you to simply sit back and enjoy the performances. There are sufficient magical moments to maintain its fairy tale status whilst allowing the dance to take centre stage, and the lavish new costumes, some new sets and the live orchestra only adds to the atmosphere of this production.

    Whether you are looking for a family orientated evening at the theatre, or for something to start to get you in the festive mood, Cinderella is an engaging ballet which works its magic on you by radiating a feel-good warmth and familiarity.

    Northern Ballet’s Cinderella is playing at Sheffield Theatres until 28th September 2019 before continuing on its national tour; whilst their production of Dracula will be beamed live into selected cinemas on Halloween

  • Theatre Review | Northern Ballet’s Victoria – Leeds Grand Theatre and National Tour

    ✭✭✭ | Northern Ballet’s Victoria

    Photo Emma Kauldhar

    Following on from the award-winning historical piece, Casanova, Northern Ballet return to the history books for a brand new ballet. Victoria tells the story of the monarch and matriarch through the eyes of her daughter, Beatrice, as she edits her mother’s diaries shortly after Victoria’s death. The ballet looks at the relationship between Victoria and a number of the key figures in her life, including her husband, Albert, her daughter, Beatrice and her companion, John Brown.

    Cathy Marston’s choreography sparkles, switching between flowing movements and sprawling floor work to angular, precise and mechanical movements; and brims with symmetry and metaphor. In particular, the pas de deux between Victoria and John Brown in the first act was beautifully put together, aided by a stunning performance by Pippa Moore as Victoria and Mlindi Kulashe as John Brown, which conveyed a real moment of intimacy, vulnerability and emotion.  As always, the whole company’s performances were outstanding, the set was simple but effective and the costumes were impressive.

    Despite the strength of the performances, the movement and the technical aspects of the ballet, where the piece stumbles slightly is in the narrative, which at times lacks clarity; as it tries to cram in so much of Victoria’s life that it sometimes overreaches, glossing over key points which could have been really interesting. The thrust of the first act features heavily on the backstory of Beatrice and her relationship with her mother, whilst the slightly overlong second act focuses primarily on Victoria’s family life and her relationship with Albert. The complexity of the narrative, the flitting between past and present and the brevity of some aspects of the story mean that it is well worth purchasing a programme to enable you to keep an eye on the synopsis.

    Victoria is a visually sumptuous ballet, which can be enjoyed on two levels, either as a beautifully crafted piece of dance, or, with a careful focus and concentration, an interesting glimpse into the life of a historically influential figure.

    Victoria is at Leeds Grand Theatre until 16.03.19 before undertaking a national tour. It is also being filmed for a forthcoming cinema release.

  • THEATRE REVIEW | Moscow City Ballet’s The Sleeping Beauty, Sheffield

    ★★★☆☆ | Moscow City Ballet’s The Sleeping Beauty

    Set to the music of Tchaikovsky, and recounting the fairy tale of The Sleeping Beauty; Moscow City Ballet return with one of their better presented, yet staunchly traditional ballets; as Princess Aurora is cursed by the evil fairy, Carabosse, and sleeps for 100 years until she is awoken by the kiss of a prince.

    Of the various ballets in Moscow City Ballet’s repertoire, this is perhaps one of the better presented pieces. With its feet planted very much in the traditional tights and tutu’s style ballet, this production lacks the dramatic flair of Matthew Bourne’s New Adventures; and doesn’t have the detailed narrative of Northern Ballet; but does offer a timeless take on a classic ballet which is used to showcase the dancer’s skills and talents, rather than deliver an exhilarating narrative or flashy visuals.

    With some impressive costumes and utilising a static set of backdrops to create a workable dance space, there were times when the ballet sparkled and really came alive, especially during the ensemble pieces and, in particular, in the opening scenes of Act 2, which were quite charming. But despite the technical ability of the dancers, the choreography felt rather lacklustre at times, especially towards the end of the third act where it all became rather repetitive. Compounding that, there appeared to be little connection between the characters on stage, with the dancers performing with fixed grins whilst staring out into the middle distance, and not really looking as if they were enjoying themselves at all.

    Sleeping Beauty is a mixed production. When it is at its height, it has genuine charm; but does have a few lulls in the pacing of the production, especially as it tails off towards its conclusion. But that said, it has some technically excellent performances from the company and is about as traditional as they come.

    If you are looking for an accessible, straight forward evening of ballet which showcases the skill and suppleness of these talented individuals, then this may well be the production for you.

    Moscow City Ballet are at Sheffield Theatres until 12th January 2019 before continuing on their national tour showcasing four ballets, Swan lake, The Nutcracker, The Sleeping Beauty and Romeo & Juliet. Details can be found on their website.

  • THEATRE REVIEW | Northern Ballet’s The Nutcracker – Leeds Grand Theatre

    ★★★★☆ | Northern Ballet’s The Nutcracker – Leeds Grand Theatre

    Everyone has their own event which confirms to them that the festive season has arrived, and for some, Christmas isn’t Christmas until they have had their traditional trip to see Tchaikovsky’s The Nutcracker. The ballet tells the story of Clara, a young girl who is given a gift of a nutcracker which comes to life, and the handsome Nutcracker Prince transports her on a magical journey to battle The Mouse King, to sweep through a snow-filled forest and on to a celebration in an enchanted garden.

    There are a number of things to recommend this production, there is humour in its presentation, with some well-timed moments of comedy, whilst the scene in the snow-filled wood was enchanting. David Nixon has choreographed a thoroughly enjoyable ballet which simultaneously feels both traditional and fresh, and which has benefitted enormously from its new look and costumes.

    Northern Ballet is well known for their theatrical presentation and their storytelling; both of which combine to make this revamped production ideal for all. Young families will be charmed by the magic and spectacle; ballet novices will find the story accessible and enjoy the well-paced number of short set pieces which provides plenty of variation; and for those with a love for ballet, there are the technically impressive performances. Throw into the mix a live orchestra performing a score which you will instantly recognise and you have all the elements of a beautifully presented ballet.

    The Nutcracker is an utterly charming, enchanting and high-class production which is full of sparkle; and if the end of the first act doesn’t leave you feeling festive, then very little will.

    Northern Ballet’s The Nutcracker is at Leeds Grand Theatre until the 16th December 2018. Visit www.northernballet.com for more details

  • Theatre Review | Northern Ballet’s The Three Musketeers

    Theatre Review | Northern Ballet’s The Three Musketeers

    ★★★☆☆ | Northern Ballet’s The Three Musketeers

    In the latest production from Northern Ballet, The Three Musketeers leap from page to stage with a ballet based on the famous novel, which is packed full of drama, action and swordplay, whereby the theft of the Queen’s necklace leads young d’Artagnan on a quest to save Her Majesty’s reputation, fall in love and join the famous trio.

    The fact that the piece is choreographed by David Nixon comes as no surprise, given that his very distinct and personal style is eminently evident throughout the ballet and his attention to detail in everything from the pas de deux to the ensemble pieces is clear. There is a jaunty and pleasant score performed by the Northern Ballet Sinfonia; but what adds to this production is the set, which is large, varied and effective, providing a grandiose backdrop to the proceedings and simply, but effectively, differentiating between the locations.

    Kevin Poeung is well cast in his role as the young musketeer, and he continues to hone his craft beautifully. Mlindi Kukashe steals every scene he is in with a devilishly underplayed Cardinal Richelieu and Sean Bates delightfully ramps up the camp as King Louis; whilst the remainder of the cast provide such a fast-paced ballet during the ensemble pieces that it is often difficult to know where to look for fear of missing something.

    The narrative is relatively clear, if perhaps a little light, but manages to hit the key elements of the novel; there are plenty of swordfights and heroics to keep the ballet moving along nicely and there is some technically excellent dancing on display. What is, however, noticeably absent is the titular Three Musketeers, whose contribution to the narrative and attendance on stage is surprisingly limited; but overall the production makes for a rather undemanding, pleasant and entertaining ballet.

    The Three Musketeers is currently at Sheffield Lyceum until the 27.10.18 before heading to Canterbury Marlowe Theatre. Northern Ballet’s programme continues into the New Year, details of which can be found on their website.

  • THEATRE REVIEW | Matthew Bourne’s Cinderella

    ★★★★★ | Matthew Bourne’s Cinderella

    Matthew Bourne's Cinderella review

    From the muted grey-scale colour palette of the opening act, through the smoke-filled streets of the Blitz and onto the underground dance halls of war-torn London, Matthew Bourne’s bold,  vivid and visually stunning reimagining of Cinderella is an utter delight. Doting to her father, mercilessly teased by her (extended) stepfamily and berated by her stepmother, Cinderella finds love amongst the destruction, as she falls for Harry, a dashing pilot.

    Bourne creates a world which is rich in characterisations, from the transformation of the mouse-like Cinderella into the belle of the ball to the Cruella de Ville style stepmother and the humorous, and deliciously creepy, foot-fetishist stepbrother. Every dancer tells an individual story, and each character has their own tale to tell. Yet despite having so much to look at, Bourne’s choreography seamlessly blends dance styles including lindy hop, jazz and ballet to create a clearly defined and easy to follow narrative; and there is a tangible sense of atmosphere permeating the theatre both within and throughout every scene. But underneath the fairy tale spectacle of it all, is a slightly darker story of love, yearning and belonging, bringing with it the power to pack an emotional punch.

    In a cast of technically precise dancers, Ashley Shaw is captivating as the titular heroine, whilst Andrew Monaghan simply excelled as he cut a swathe across the floor as the dashing pilot, proving that the romanticised notion of the leading man is still very much around. Lez Brotherston’s set design is superb, reflecting the hum-drum monotony of Cinderella’s home life in Act 1 before (quite literally) exploding into a riot of colour and movement in the second act and continuing to surprise well into Act 3. The show has a cinematic quality and feel to it, and is as inventive and multi-layered as it is visually exciting.

    Matthew Bourne’s Cinderella is a phenomenal breath-taking production which is absolutely sublime on every level.

    The show runs at Sheffield Lyceum Theatre until 19th May 2018 before continuing on its national tour. New Adventures has recently announced a new national tour for Swan Lake for 2018/19

  • THEATRE REVIEW | Northern Ballet’s Jane Eyre

    ★★★☆☆ | Northern Ballet’s Jane Eyre

    THEATRE REVIEW | Northern Ballet's Jane Eyre
    THEATRE REVIEW | Northern Ballet’s Jane Eyre

    In a timely revival, Northern Ballet celebrates one of the great literary heroines of all time, Jane Eyre, a fiercely strong and independent woman who moves from the unloving care of her Aunt to the strictness of the Lowood Institution; and subsequently on to Thornfield, the home of her employer and subsequently her true love.

    Cathy Marston’s choreography nestles neatly between traditional and contemporary ballet, and is set to a score which moves between being playfully uplifting and darkly dramatic. The Northern Ballet Sinfonia was on point with their performance, having swelled their numbers from the previous tour of this production.  The set is deliberately sparse, primarily comprising of screens and curtains which are used to focus the attention on particular areas of the stage and its simplicity compliments to complexity of the narrative and provides for a workable dance space; whilst the costumes give a flavour of the bleakness of the Yorkshire Moors which are occasionally peppered with bold colour

    Dreda Blow charms as the titular character, whilst Javier Torres gives a brooding and charismatic performance as Rochester; and Victoria Mason breathes life and insanity into the role of Rochester’s wife. In a company which danced with technical precision across the board, Mlindi Kulashe and Kevin Poeung both stood out from the ensemble and their consistency of performance and development from ballet to ballet continue to impress.

    Given the rich story and the numerous events depicted in the book, there is a lot for Marston to fit into the ballet’s two hour run time, and whilst the key plot points are hit; the narrative is not always as clear as it could be. Those familiar with Bronte’s work will find much to enjoy within this production, whilst others may find the programme notes useful in keeping track.

    That aside, Jane Eyre is a ballet which contains a flowing visual style, rich characterisations and a faithful adaptation of a timeless story which manages to maintain a feeling of freshness and originality in a frequently told tale.

    Northern Ballet’s Jane Eyre is at Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until 14th April 201, moving to Cardiff New Theatre, London Sadlers Wells and The Lowry, Manchester. Visit www.northernballet.com for details.

  • THEATRE REVIEW | The Nutcracker, St Petersberg Ballet, Sheffield Lyceum

    ★★★☆☆ The Nutcracker | Sheffield Lyceum

    Formed in 1996, the St Petersberg Classic Ballet brings the classic ballet, The Nutcracker, to life with this traditional presentation. The ballet, set to the instantly recognisable score of Tchaikovsky, tells the tale of Clara as she is whisked off to a magical land by a nutcracker prince to celebrate the defeat of the Rat King.

    If you want to extend your Christmas by seeing this traditional festive treat, then this production is very much rooted in the archetypal school of ballet, with tutu’s and tights aplenty; a static set of rather plain backdrops with a virtually non-existent use of props and a dance space which allowed for an impressively performed display of the type of technically competent dancing you would expect from a Russian ballet company.

    As a whole, the company’s performance was enjoyable and well executed. There were some aspects which were handled very well, including the snowflake scene at the conclusion of the first act, with a very full stage of dancers in a flurry of mesmerising rhythmic and tightly controlled waves of movement, an energetic Dimitriy Popov standing out as The Mouse King and a tremendously hypnotic performance by Kana Fujise as the Eastern Dancer, swathed in an almost dreamlike vision of swirling, vivid orange robes.

    There were some creative choices which didn’t sit easily, primarily the addition of four male dancers to the pas de deux between the Prince and Clara, which seemed to detract from the characters relationship; and the very limited set didn’t assist in setting the scene, especially during the second act. The show did lack some of the narrative flair that I have seen in other productions of this ballet, and at times the emotions of the characters did not come across subtly, primarily due to the fixed smiles of the dancers who appeared so focussed on their dancing that the conveyance of the characters personalities seemed to be forgotten.

    Quibbles aside, the show provided a pleasant evening at the theatre. Undemanding, enjoyable, relaxing and easy to watch. There was nothing innovative in this production which brought anything new, dynamic or particularly different to the ballet itself;  but if you are seeking a very traditionally performed, accessible ballet in the classic style, then the St Petersburg Classic Ballet could well be just what you are looking for.

    The company is performing The Nutcracker at Sheffield Lyceum until the 13th January 2017 (see www.sheffieldtheatres.co.uk for details) before visiting a number of venues around the country with their trio of ballet’s, The Nutcracker, Giselle and Swan Lake, until the end of February 2018. Visit www.pmbpresentations.com for details.

  • THEATRE REVIEW | St Petersburg Classic Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    THEATRE REVIEW | St Petersburg Classic Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    ★★★| It is a tidal wave of tights, tutus and tiaras in this presentation of one of Tchaikovsky’s most famous ballets, performed in typical traditional style by the St Petersburg Classic Ballet. Telling the story of a Prince who finds his youth slipping away and being pressured into marriage, he meets and falls in love with Odette, Queen of the Swans, who is under a curse from which only true love can free her. But their love is thwarted by the evil Von Rothbart when he tricks the Prince into being betrothed to another. When the Prince realises he has been a victim of such cruel treachery, he battles to save Odette from her curse.

    PR Supplied

    In their second UK tour, Swan Lake proves to be a more entertaining and gentile evening than anticipated, with simple but effective sets, traditional costumes and an instantly recognisable score. The company, on the whole, performed well and the dancers individually were all very talented and quite natural in their performances. There is no denying the technical ability and suppleness of the cast, but when dancing as an ensemble, there were still some flaws in the performance including the odd stumble, the fixed smiles and, on occasions, the unison of the dancers not being as tight and synchronised as one would hope for and anticipate, especially from such a prestigious company

    That aside, the vivacious, playful and instantly recognisable score by Tchaikovsky sounded as vibrant as ever, and proved absorbing, especially during the first act. There were times when the ballet sparkled brightly, nowhere more evident than the sight of a sheer volume of swans and signets in the latter portion of the second act, which amounted to a fairly mesmerising vision. The tapestry based static set was functional and some of the costumes were beautifully put together. There was a romantic pas de deux in the latter half of the second act and the soloists portraying the potential suitors displaying their wares at the opening of Act 3 were quite captivating.

    For those seeking a traditionally presented ballet, then this version of Swan Lake is a safe bet and a pleasant evening’s entertainment, albeit one which is let down very slightly by a lack of unison within the performance on the odd occasions, which is a shame when compared to the tightly performed routines by other companies.

    However, there remain many aspects of the show to enjoy and it is an easy, accessible ballet which is more focussed on dance and performance than detailed narrative.

    The production was reviewed at Sheffield Theatres (www.sheffieldtheatres.co.uk) who will be premiering a new musical, Everyone’s Talking About Jamie, based on the BBC3 documentary Jamie: Drag Queen at 16 in February 2017

    St Petersburg Classic Ballet is touring the UK, calling at Poole Lighthouse, Truro Hall, Bath Theatre Royal and Aylesbury Waterside between now and the 4th February 2017.

     

  • THEATRE REVIEW | Northern Ballet’s Jane Eyre

    ★★★ |  Northern Ballet’s Jane Eyre

    In an adaptation of Charlotte Bronte’s iconic novel, Jane Eyre is an orphan who is treated cruelly by her Aunt and sent to an institute for young girls. From there, she moves to work at Thornfield Manor as a governess and swiftly falls in love with her employer, Mr Rochester. But the Manor House harbours dark secrets, and as their love grows, Jane’s independence and fiery temperament surfaces as those secrets are revealed.

    Trying to cram the complex and multi-layered classic novel into a 100 minute ballet was always going to be a difficult challenge, and one which choreographer Cathy Marson takes on with confidence.  The staging of the ballet itself is inventive, with the use of curtains which are moved and positioned across the stage to effectively and cleverly convey both the confines of Thornfield Manor House and the sweeping moors.

    At times the choreography was beautifully done, leaning far more towards the contemporary rather than the traditional, with a lot of delicate lifts, floor work and precise movement, contrasting moments of tender intimacy with complex ensemble pieces. Both Dreda Blow and Javier Torres’ performances were more than noteworthy and displayed their professional competence; whilst overall, the supporting company’s movements were of their usual high quality.

    Whilst the technical excellence of the company meant foot sure and stumble-free performances, the production did falter slightly over the issues of narrative and characterisation. The novel itself portrays so many aspects of Jane’s life, and the ballet hits most of the significant events, but with so much to cover within so little time, the narrative felt rushed, superficial and unclear; whereas the characterisations were not as clearly defined as one would hope, leading to further confusion.

    Overall, adapting Jaye Eyre is a huge task and one which is beautifully staged and performed, but the juxtaposition of the contemporary dance and the period setting, coupled with the rushed narrative amounts to a production which is enjoyable, but doesn’t quite come together to be more than the sum of its parts.

    Jane Eyre had its world premiere at CAST Theatre, Doncaster; who hosts a varied range of performances. Visit their website at www.castindoncaster.com for full details. Northern Ballet is currently touring Jane Eyre, with productions of 1984, Romeo & Juliet, Wuthering Heights and Beauty and the Beast to follow later on this year. Visit www.northernballet.com for details.