THEGAYUK

Tag: Ballet

All the latest breaking news on Ballet. Browse THEGAYUK’s complete collection of news, articles and commentary on Ballet.

  • THEATRE REVIEW | Northern Ballet’s Swan Lake

    ★★★★ | Northern Ballet’s Swan Lake

     Following the accidental drowning of his brother whilst they were out playing, Anthony’s obsession with the lake grows increasingly, as does his guilt; with his turbulent inner emotions being further compounded by his confusion around his attraction to his best friend, Simon.

    Simon is in love with Anthony and their relationship teeters on the cusp of developing into something more, until Anthony’s parents press him towards marriage to Odilia. Torn between his best friend and his parent’s wishes, Anthony’s guilt grows increasingly and he finds comfort and solace in the waters of the lake and in the arms of the mystical creature, Odette.

    David Nixon’s choreography brims with an abundance of metaphor within this reworking of a classic. The light, delicate movement of the swans sit opposite the dark, emotional turmoil of the central character; just as swans glide so gracefully on the surface whilst paddling so frantically under the water. Equally, the influence of Anthony’s inner struggle and guilt over his brother and his repressed sexuality ripples out to impact on the other characters, akin to the waves caused by a disturbance on a lake’s surface. The lines of symmetry drawn in the movement across the stage prove mesmerising at times and these gentile moments compliment the dark undertone of the story and the emotional confusion of the central characters – almost a metaphorical white swan and black swan. Elements of the traditional ballet, including the score, remain intact, but the story gives the opportunity for multiple interpretations and parallels to be drawn between the original and reimagined characters. The familiar music took on new meaning with the revised story and the production as a whole packed an emotional punch.

    Toby Batley’s portrayal of the tortured Anthony impressed, but it was Nicola Gervasi who stood out as the handsome and fresh-faced Simon, progressing his character with an increasingly self-assured acceptance of his sexuality and a confidence in his feelings towards Anthony. Gervasi is nicely developing as an artist and it was a pleasure to watch his performance. Martha Leebolt and Ayami Miyata were stunning as Odette and Odilia respectively, but the quality of the performance of the company as a whole was incredibly high and the grace displayed, particularly by the female ensemble was beautiful.

    Swan Lake is one of the more visually impressive productions that Northern Ballet has recently performed and is a good balance of old and new, although it can be slightly heavy going at times given the darker aspects of the narrative. With the characters reluctance to accept the changes in their relationships, it did put this writer in mind of Brokeback Mountain a little, with reference to the conflict between true feelings and social expectations.

    Swan Lake is playing at Leeds Grand Theatre until 12th March 2016, and then touring to Sheffield Lyceum Theatre, Norwich Theatre Royal and Milton Keynes Theatre between now and the 30th April 2016. Tickets and other details can be found at www.northernballet.com.

    Northern Ballet’s 1984 is currently available on BBC iPlayer and they will be touring 1984, Jayne Eyre, Wuthering Heights, Romeo & Juliet and Beauty and the Beast during 2016.

  • THEATRE REVIEW: St Petersberg Classic Ballet – Sheffield Theatres & National Tour

    THEATRE REVIEW: St Petersberg Classic Ballet – Sheffield Theatres & National Tour

    Formed in 1996, the St Petersberg Classic Ballet is currently in the midst of their first ever UK tour, bringing an abundance of classically presented ballet and a trio of traditional tales; The Nutcracker, Giselle and Swan Lake. ★★★

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  • TRAILER: Swan Lake II: Dark Waters

    The annual contemporary performance season, Sacred, starts at the Chelsea Theatre November 5th – 28th. One piece to keep an eye on is the very talented PanicLab’s Swan Lake II.

    A new solo performance from jordan Lennie, who helped to choreograph the piece along with Joseph Mercier, is a visual treat. Jordan may be naked on stage for a lot of this performance piece, which will always draw the crowds, however the overall beauty of the piece is in the artistic playfulness of the character.

    We spoke with Joseph this week who told us,
    ‘Swan Lake II: Dark Waters takes a queer approach to ballet. It plays with aspects of the art form that are often denied or downplayed. Aspects like eroticism, campness, seduction, vanity and excess. In Swan Lake II these are highlighted and magnified in playful ways, drawing out some of ballet’s inherent queerness’.
    Watch the full trailer here:
    COMPETITION: We have a pair of tickets to give away to see Swan Lake II: Dark Waters. Free Entry Here.

  • Moscow City Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    ★★★ | Moscow City 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 Moscow City 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 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.

    Having not been overly impressed with my first visit to Moscow City Ballet (for their performance of The Nutcracker) I was not sure what to expect, but found that Swan Lake proved to be a more entertaining and gentile evening that I anticipated. The company as a whole were very talented, and the number of stumbles and heavy footed landings was significantly less than when I had seen them before. The dancers individually were all very talented and quite natural in their performances, and 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, with 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 and playful 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 place the audience in mind of the time when this ballet was first performed; and the costumes were beautifully put together. There was a romantic pas de deux 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 evenings entertainment, albeit one which is let down to an extent by a lack of unison within the performance, which is a shame when compared to the tightly performed routines by companies such as Northern Ballet and Matthew Bourne’s New Adventures. 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.

    Further details can be found at www.sheffieldtheatres.co.uk and www.moscowcityballet.com/en

  • THEATRE REVIEW: Northern Ballet’s Peter Pan, Leeds Grand Theatre

    Join Peter, Wendy, Michael and John as they fly off against a backdrop of stars to Neverland in search of adventure. Teaming up with the Lost Boys, the friends are never far away from Captain Hook and his band of pirates, who have a score to settle with Peter Pan. But as the battles ensue and the Lost Boys are captured by the pirates, it is down to Peter Pan to save the day, with a little bit of help from Tinkerbell. ★★★★

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  • THEATRE REVIEW | Dracula, Northern Ballet, West Yorkshire Playhouse

    ★★★★ | Dracula, Northern Ballet, West Yorkshire Playhouse

    Jonathan Harker is a young lawyer in the employ of Dracula, who shows the Count his beautiful fiancé, Mina, and upon becoming obsessed by her, Dracula heads to the shores of England to seek her out. But following the murder of her best friend, Lucy, by the Count, Mina falls under his spell. But in an attempt to avenge the death of Lucy, Lucy’s suitors and Harker are assisted by vampire hunter, Van Helsing, to track down Dracula in a desperate attempt to save Mina from an undead eternity.

    In this deliciously dark version of Dracula, from the opening moments of a naked Dracula stepping out of a coffin swirling in mist; through to the exhilarating and dramatic ending, Bram Stoker’s tale of obsessive love is brought to life by Northern Ballet who treat audiences to a lavish and spectacular gothic production.
    The atmosphere created in the theatre was superb with the lavishly detailed, Tim Burton-esqe sets providing a beautiful and visually stimulating backdrop to the dancers, which included performers being lowered from the ceiling and raised up from the ground. The cleverly designed low level lighting added to the gothic gloom of the piece and the music further complimented the ambience with a mixture of sharp strings and angular sounds akin to the soundtrack to “Psycho”; set against a host of choral orchestrations, reminiscent of “The Omen”. As always the costumes were beautifully put together, with the female dancers flowing gowns adding to the almost dreamlike quality of the show.

    Kevin Poeung provided the performance of the evening as asylum dweller, Renfield, who seems to have a strange connection with the Count. Poeung’s physical performance was energetic and contorted and contributed to one of the highlights of the show, namely the initial scene in Dr Jack Seward’s asylum. The engagement party was also a highlight, with the company dancing beautifully together. But the crescendo of the second act was the outstanding moment of the production with an ending which proved to be a breath-taking conclusion to the piece. Ashely Dixon also impressed throughout with his performance as Jonathan Hawker.

    The ballet was a lot darker and slightly heavier going than Northern Ballet’s usual fare, but the slow burn of the first act and the drama of the second act make this a rewarding watch. For an exhilarating piece of theatre told with an accessible narrative, Dracula is a visually rich and beautifully gothic piece of ballet.

    Dracula is currently being performed at West Yorkshire Playhouse in Leeds until 13th September 2014. Tickets for Dracula can be booked at http://northernballet.com where you can also find out information about their upcoming productions for the Autumn/Winter season, many of which will be performed at different venues around the country.

  • THEATRE REVIEW | Rock The Ballet, Peacock Theatre, London

    The Bad Boys of Dance’s new show “Rock the Ballet” bills itself as “a high-octane intersection of classical and contemporary set to a soundtrack of popular music”, so you wouldn’t be expecting much poetry or lyricism, and you’d be right. These dancers twist and turn and gyrate in a display of virtuososity, which is both breath-taking and exhausting to watch.

    That said, it got off to a rather slow start. The first act, labelled Beautiful Day, with the boys in casual jeans and polo shirts, tried, somewhat unsuccessfully, to meld a boy meets girl, falls in love with girl, falls out and falls back in again storyline to a pop soundtrack of U2, Coldplay and Donny Hathaway.

    Choreographed by Adrienne Cantera, who also brilliantly danced the central female role, this first act didn’t really coalesce until the final U2 “Beautiful Day”, when finally Cantera and all the boys came together in a dazzling whirl of energy. It was here too that the choreography most matched the music it was set to. Till then there had been bursts of invention, punctuated by too many moments of what I can only describe as mark till ready filling in. I also rather unkindly w ondered if we got a bit too much of Canterra, superb though she is. After all it was the guys we had come to see, and this first act harked back to old fashioned glorification of the prima ballerina. Apart from a few thrilling sequences from James Boyd, the boys took something of a back seat.

    All this was put to rights in the second act, when all the boys were at last given their chance to shine, and there was no doubting it was the boys the audience had come to see. It opened with a darkly atmospheric rendering of Brotzjor’s “Olafur Ornald”, and I had rather hoped that this more lyrical opening was an indication of how things were to go. However it wasn’t long before we were back to the energetic, pumping pop of the first act, only this time it was sexier, the boys in tight black pants and white vests. In particular, Blake Zelesnikar, who had caught my eye in the first half, was finally given his moment, first in a sexy duet with Canterra and then on his own. Judging from the audience reception, and the screams of delight from some of the girls (and no doubt some of the boys), I wasn’t the only one to notice him. This boy has sexual charisma in spades. James Boyd too got some amazing solo work in this half, and was the first one to show off his rippling torso. When all the guys finally got their shirts off and danced topless, there was no doubting that this is what the audience had come to see. It was also at this point my critical faculties deserted me. So who cares if it’s not exactly artistic? When Zelesnikar is flexing his muscular torso, nothing else seems to matter. Putting their jackets back on, they came out for an encore of (fittingly) “Sexy and I know it”, one by one stripping off their jackets again and flirting with the audience. By this time everyone was screaming for more, and I couldn’t really blame them.

    It’s not a show that’s likely to appeal to dance purists, and in all honesty it’s a bit safe, especially when you consider what Michael Clark was doing to pop music twenty odd years ago. But if you want to see some sexy boys, strutting their stuff and showing off their virtuosity (and let’s face it, who doesn’t?) then this is the show for you.

    Rock the Ballet runs until June 28th at the Peacock Theatre.

    3 stars for the show (that’s the critic in me)
    5 stars for Zelesnikar (OK, so I can be shallow.)

  • INTERVIEW | Kenneth Tindall – Designing The Architect

    There is one thing you can’t help but notice about Kenneth Tindall when you first meet him. He has a great big, beaming smile on his face all the time. And Kenny is a young man who has everything to smile about.

    Touted as “one to watch”, Kenny’s work is receiving critical acclaim and his reputation is quickly building as a creative powerhouse. He is one of the Principal Dancers for Northern Ballet, an international performer who has graced the stage at the International Ballet Festival of Miami and the International Beijing Dance Festival amongst others. His first piece of choreography won an international award, he has just premiered his second piece of work at the Royal Opera House Linbury Studio Theatre and his third piece, The Architect is in its final stages of rehearsal and development, in readiness for its world premiere in June 2014.

    Despite his success, Kenny remains remarkably genuine and down to earth. He invited THEGAYUK to Northern Ballet to talk exclusively about his new piece, The Architect.

    Your new piece of work, The Architect, is premiering at The Stanley and Audrey Burton Theatre in Leeds on the 18th June. The concept photographs of the piece look stunning – how did the piece come about?
    The Architect has been the longest process of research and development I have done on a performance piece. I have a collection of concepts, themes and creative ideas which are all sitting waiting in the wings – then something can suddenly set you off into fully realising one of those ideas and the inspiration for that can come out of nowhere. The Architect didn’t exist at all, until one day I picked up a children’s illustrated bible and flicked through the pages, stopping on the tale of Adam and Eve. This, coupled with hearing the song Wicked Game by Chris Isaac, seemed to come together and I became really interested in the notion of Adam falling from grace, the concept of being wicked or subjected to wicked behaviour, him realising the truth of his own infallibilities and about learning the truth of where you are from. I researched a number of religions and their individual versions of the creation of man, looking at both the similarities and the differences. The concept of learning the truth was one which has stuck with me since watching The Matrix and that led me onto considering the interplay between religion, science, technology and nature. But the most intriguing thing for me was a line from the Bible, which stated: “From dust, you came and to dust you shall return”. Life is an infinite loop and The Architect is about finding that out and exactly where you enter and exit that cycle.

    Is the concept of sin one which is easily defined?
    The piece allows you to consider the nature of sin and whether we are all born to sin and whether it is, in fact, acceptable to sin? For example, the piece can be interpreted as sexually charged. You can’t have a piece with two characters, regardless of their sex or sexuality, without there being some form of sexual tension.

    Does the physicality of dance enhance that sexual tension in any event?
    Yes, of course – dance is very intrusive in terms of performing. You have a physical closeness with those you dance alongside regardless of your sex or sexuality or their sex or sexuality. The five men that I am working with on this piece are all very sensual and they are all very comfortable with working with each other. You can’t have any awkwardness when you are working in such close physical proximity with others, especially when there is so much contact between your bare skin and their bare skin. All of the dancers in this piece are built like athletes – they are strong, toned and defined. The sculptures that they make with their bodies and with each other’s bodies and the way in which they physically interact are fascinating. But it is for the audience to determine for themselves what they take from this piece. The piece goes much deeper than eroticism, but that is a performance aspect available to the audience if that is what they seek or choose to take from it.

    So is The Architect a religious piece?
    No, not at all. The Architect is an abstract piece, not a narrative one. In the very early stages, I did away with the idea of a figure in the piece, either a representation of God or a God-like character. I wanted the piece to be based more on a foundation of an individual’s reactions to specific points and feelings. I also didn’t want there to be just one Adam. There is such diversity in Man, despite it being said that Man is made in the image of God. The mix of religion, science and nature seemed to encompass different aspects of a person’s inner conflicts –their faith and belief versus scientific fact versus their biological makeup and limitations. I wanted to find a creative way to have Adam born on stage, which I have been able to do, and this leads to allowing the self-realisation of someone who is born with an adults consciousness to be explored as they both rise and fall from grace.

    So how is this represented visually within the piece?
    All of the research has gone into the show on some level. When looking into the different concepts of Adam and Eve, I took inspiration not only from differing religions but from other sources. For example, Kundalini Yoga is based on the concept of a life force, coiled up like a serpent in the base of the spine which is reflected in the costumes, with a DNA strand design reaching up to the back of the performers – it’s the interplay between science and belief, between modern and ancient. But it is not just the costumes which represent the concepts visually.

    My first piece, Project#1, was a steep learning curve and one which I am immensely proud of. The piece was really stripped back, focusing solely on dance and movement, which allowed me to hone my craft in relation to the choreography itself. It allowed me to explore aspects of myself as a choreographer and to allow me to challenge myself in ways which have provided me with a set of skills, different to those of a performer, which I have carried through to my subsequent projects; The Architect included. My second piece, Luminous Juncture added the aspect of lighting, and I was fortunate to work with an incredible lighting designer, Alistair West, who showed me how to really use the interplay between light and shadow and helped me to understand the impact of light from the perspective of a choreographer and director. It allowed me to develop techniques of misdirection, which permitted the dancers to be able to move the piece forward without them ever having to leave the stage. Having built my confidence in terms of concentrating solely on the choreography on Project#1, it enabled me to free up some of the creative time away from the dance aspect of the second piece and to learn about and explore how to really enhance a piece of theatre using lighting. It is almost like learning in stages and I am fortunate that Northern Ballet is so supportive of me as not only a dancer but also as a choreographer. You don’t learn by repeating what you have previously done, so you have to add something else in, which ensures that in every piece you work on, you learn something new.

    So in terms of pushing yourself as a choreographer, how are you doing that within the setting of The Architect?
    The set… I have never worked in this role with a set before and it is a huge step. I am working with Christopher Giles who is designing the set. He is also developing his craft, which is great, as, like me, he is interested in really pushing himself and rising to whatever challenge is put before him. I’ll approach him and say “can we do this” and he’ll say “not really, but leave it with me…” The set does make a really big difference. Not only does it impact on how the piece looks visually, it adds a number of different aspects that you really have to consider as the choreographer and director. Choreography is much more than simply putting the sequence of movements and steps together. When you are trying to create a visual piece, you have to look at how the piece is presented overall, how the costumes look in the bright light and in the shadows, how the shape of the body of the dancers is displayed and the visual impact of that. In The Architect, there is the added challenge for me of the set becoming part of the piece. It is about using the set so that in itself, it is entrenched as part of the piece as a whole, almost akin to another character, but balancing that with it never being intrusive. Working with the set and allowing the dancers to interact with and utilise it has been an enjoyable challenge for me.

    How has the piece evolved throughout its life?
    It really has been an organic process overall. I would say that I have had four or five ballets out of this piece already, but the creativity finds its own level.

    So presumably having the experience of being both a performer and a choreographer helps you in all aspects of your work, in essence, having the ability to see it from both sides?
    Absolutely. As a performer, having that creative input is important as you are able to use your own personal strengths to enhance the piece. Equally, as a choreographer who has conceived and nurtured a piece, you have to be flexible and not too protective about your work. A dancer’s most effective communication is through movement as opposed to verbalisation. When you choreograph a piece, you create the movements, you choreograph to your strengths, but you are not here to simply extrapolate that onto the dancers you are working with. You have to allow them to bring their strengths too. That, in essence, is what makes it work – it is you bringing the idea forward and allowing those working with you to be able to give their optimum performance. There can be a day when you just discover a gem just by having that flexibility – a little movement, a step or a routine – something that no amount of research, planning or preparation could have produced. That is one of the pleasures in doing an abstract piece such as this – you can veer off to an extent.

    Your debut project as a choreographer, Project#1, won the Production Prize at the 26th International Choreographic Competition in Hanover in 2012. You must have been incredibly pleased to receive such a prestigious award for your first piece of work?
    It was an absolute thrill and that is part of the reason, amongst many others, why I am so proud of Project#1. But you have to keep grounded and that grounding comes from family and friends. Any piece is open to criticism and to be honest, I, like most performers, do appreciate criticism as it helps you to develop as an artist, whatever role you take in a production. Provided it is not personal, then criticism is not a negative thing. You just have to remember not to let it get to you. You are putting yourself out there emotionally and creating what you think is the best performance or piece that you can create. Of course, it hurts when your hard work is criticised, but you have to remember that art is subjective. I take the view that you have to admire anyone who is putting themselves out there, who is experimenting and expressing themselves creatively – whether that is through music, dance, acting, art, writing or in any other way. The worst criticism I could receive is that I was not expressing myself creatively. You have to be strong to be in an environment where, from a very young age, you are constantly told what you are doing wrong. That is in an attempt to enhance you as a dancer, but the constant highlighting of your mistakes when you are in a world of insecurities about how you look, perform and develop – Well, it can be difficult.

    Do you think that the traditional view of ballet, being all tights and tutus, is slowly disappearing?
    This is a really exciting time to be involved in UK dance. The reality is that there are a core set of steps and skills. Strip everything back and you have those core skills. That is why dancers train so hard – to ensure that these classical and traditional steps are perfected. There will always be those classical steps and therefore; traditional ballet in that sense will never die out. But companies like Northern Ballet and Matthew Bourne’s New Adventures are really opening up the realms of storytelling and spectacle. The added contemporary twists on pieces based on classical techniques are helping ballet as an art form to progress. There will always be a place for what some people view as traditional ballet, but in reality, ballet is still there, but it is just dressed differently. Theatre is moving alongside advances in technology which only enhances what you are doing and helps to tell the story that you are telling. There is a real influx of exciting new choreographers and all major dance companies, even the more traditional ones, are pushing dance forward, taking influences from contemporary pop culture. I am really optimistic for the future of UK-based dance. There is a constant reinvigorating of this type of theatre which is really exciting to be involved in.

    And what is next for Kenny Tindall?
    I still love working with Northern Ballet and don’t see that changing for the foreseeable future, but I am enjoying developing my skills in other areas. I have just choreographed a music video for an upcoming artist and I have so many concepts for pieces which I would like to explore and develop. The film industry is a real appeal to me, as is the West End, but once The Architect has had its premiere, I will settle for a bottle of wine and a good film.

    The Architect will receive its world premiere as part of Northern Ballet’s mixed programme from 18th – 21st June 2014 at the Stanley and Audrey Burton Theatre. For information and tickets visit northernballet.com/?q=mixed-programme-2014. You can read more about Kenny’s work at www.kennethtindall.co.uk

    You can also follow him on social media; either on twitter at @Tindallkenny or Facebook atwww.facebook.com/KennethTindallChoreographer

  • THEATRE REVIEW: Northern Ballet’s Cleopatra, Sheffield Lyceum

    After murdering her brother, Cleopatra takes the throne of Egypt, causing chaos in the Country she rules. Her dominance is reinforced by the arrival of Caesar who falls for her charms. But when Caesar is murdered, she seduces second in command, Mark Anthony, to maintain her power, despite the fact that he is married. But Cleopatra falls for him and their love becomes increasingly intense, leading to tragedy.

    Cleopatra is a show which is full of contrasts and opposites. The cast were in almost perfect synchronicity as they glided across the stage in a display of effortless grace; contrasting with the violent, dramatic and sexual imagery portrayed. The violence and drama were, in turn, counterbalanced by the sensual, erotic and sexual overtones and the themes of dominance, power and betrayal were at the opposite ends of the spectrum to the themes of love and passion.

    The set was uncomplicated allowing for a practical dance space and utilised projected images on the whitewashed buildings to great effect, nowhere more evident than when the set is seen to secrete thick red blood during one particular scene. The striking use of colour provided for a visually intriguing use of contrasts between the white set and the richly coloured costumes. Using a simple colour scheme with the majority of the cast uniformly dressed during the scenes, the pillar box red uniforms of the Roman soldiers and the deep burgundy flowing gowns of the Senate looked stunning against the pale background and enhanced the dramatic impact of the piece.

    The original score was written by Claude-Michal Schónberg, who is perhaps best known as one of the composers of Les Miserables and Miss Saigon, was very much befitting the style and themes of the piece, being heavily influenced by the traditional sounds of the Middle East. The evocative music was a mixture of sensual, dramatic, regal and ceremonial and was strikingly played by the live orchestra. The score, set, imagery and lighting as a whole evoked an atmosphere of the heat, dust and humidity of the Middle East

    The cast were all faultless and performed with intensity and passion. The costumes, which proudly displayed the muscular torsos of the male cast added to the sexually charged and testosterone fuelled atmosphere of the piece which, in turn, contrasted with the femininity of the lead character and the handmaidens. Martha Leebolt excelled as Cleopatra, showing the character’s vindictiveness and vulnerabilities. Javier Torres provided a strong male lead as Mark Anthony and Kenneth Tindall displayed serpentine-like qualities as Wadjet, the God and protector of the Pharaohs.

    Overall, Cleopatra was a very enjoyable piece, allowing for an engrossing and visually stimulating exploration of violence and eroticism.

    Northern Ballet’s Cleopatra is currently playing at the Sheffield Lyceum Theatre until Saturday 29th March 2014. For tickets and information visit http://www.sheffieldtheatres.co.uk/event/cleopatra-14 or visit Northern Ballet’s website for details of this; and their upcoming productions at http://northernballet.com/?q=northern-ballet-home .

    Please note that the show contains some brief male nudity.

  • THEATRE REVIEW | Moscow City Ballet presents The Nutcracker – Sheffield Lyceum & National Tour

    ★★★ | Moscow City Ballet presents The Nutcracker – Sheffield Lyceum & National Tour

    The Nutcracker tells the story of Clara, a young girl who is magically whisked away to a land of snow, flowers and fantasy, where she transforms into a princess and falls in love with the nutcracker prince. This classic ballet, with the score written by perhaps Russia’s most famous composer, Tchaikovsky, is lovingly performed by The Moscow City Ballet as part of their 25th Anniversary tour.

    The score to the piece by Tchaikovsky remains as bold and as enchanting as ever, and sounded beautiful performed by the note perfect live orchestra. A number of the pieces are instantly recognisable and will be familiar to most people, given how embedded they are in popular culture. The music remains powerful and emotive and enjoying and appreciating it was one of the highlights of the evening.

    As for the ballet itself, the first act focussed more on the narrative of the story, with Clara attending a Christmas Eve party where the guests are enthralled by her godfather’s magical, mechanical toys. During the first scene of Act 1, the full stage was awash with activity, which, whilst it looked impressive, sometimes led the audience to miss various things, as there was a lot happening simultaneously. Scene two, which finds Clara in a snow filled wonderland, was absolutely delightful with the female ensemble cast performing a stunning routine. Act 2 was more focussed on the dancing itself and it was during this act that the score and orchestra came into their own. The recognisable pieces of music came relentlessly and were accompanied by some charming routines – the highlight again being the female ensemble cast.

    Principal dancer Kanat Nadyrbeck performed well as the mysterious Drosselmeyer, but unfortunately, the ballet as a whole had far too many stumbles, heavy footfalls and overbalances than you would expect from such a prestigious company and the choreography seemed almost clunky at times. The gracefulness of the scenes with the female ensemble juxtaposed sharply with some of the other scenes and there were times when the synchronicity of the cast was not as well timed as it could have been. That said, the cast were enthusiastic and worked hard throughout the show, some of them displaying some spectacular leaps and bounds. There were also times when the principal dancers spent far too much time encouraging applause following a set piece, which interrupted the flow of the ballet and the story and seemed to give a stop/start feel to the second act.

    Proving itself to be a more traditional style of ballet, the show was still charming and engaging and as a whole was enjoyable, but, unfortunately, not without its flaws.

    As part of their 25th Anniversary tour, Moscow City Ballet is performing a quartet of traditional ballets in a variety of venues around the Country. The Nutcracker, Don Quixote, Romeo and Juliet and Swan Lake are all being performed.

    The Nutcracker continues at the Lyceum Theatre Sheffield until Saturday 11th January 2014 and tickets and details can be found at http://www.sheffieldtheatres.co.uk/event/the-nutcracker-14/ . The tour then continues around the country and details can be found at http://www.ents24.com/uk/tour-dates/moscow-city-ballet

  • THEATR REVIEW | Northern Ballet’s Cinderella – Leeds Grand Theatre

    ★★★ | Northern Ballet’s Cinderella

    In a magical retelling of Cinderella, the well-known story is transported to Imperial Russia, whereby following a shooting accident, Cinderella’s father dies and she falls victim to the wicked ways of her evil stepmother. But with Prince Charming looking for love, will Cinderella make it to the ball?

    Northern Ballet’s sumptuous production of this beautiful and original ballet is a festive treat and provides a fresh take on an established story. The story itself is familiar but there are a number of aspects which not only elevate this production but which also refreshes the classic fairy tale. The fairy godmother is replaced by a cunning magician, the coach is pulled by huskies and; with the transportation of the story to Russia, the ballet provided a number of scenes set outside the kitchen and the ballroom – including a graceful sequence set on a frozen lake, with the cast “ice skating” across the stage and a carnival scene allowing the stage to be awash with dancers performing a variety of magic and circus skills.

    The show was choreographed in beautiful fashion, with superb performances from the cast, all of whom were technically excellent in their dancing. Flashes of Russian dance inspired moves allowed the choreography to be relevant to the setting but never in a way which intruded on the traditional ballet. In terms of the cast, the highlight was Pippa Moore who gave a powerful and commanding performance as the wicked stepmother, portraying the character superbly, demanding the attention of the audience and coming across as icy and vindictive. The remaining cast had mastered a number of other skills, including stilt walking, juggling and acrobatic balancing for the carnival scene. The first act of the show was more narrative based, setting the scene for the second act, which was more focussed on the dancing, including a superb opening number in the ballroom and an elegant dance between Cinderella and the Prince.

    The original music was skilfully performed by the live orchestra, with the score ably portraying both the story and the emotions of the piece as it resonated around the opulent Leeds’ Grand Theatre. This production felt like not only a ballet, but also like a classical concert. As always the costumes were put together incredibly well and the whole production was filled with class. One of the strengths of Northern Ballet is their ability to convey the narrative of the story throughout the ballet which makes the whole thing accessible to all. Aside from the dancing, there are enough additional aspects to the show to hold the attention of those who are not necessarily the biggest fans of ballet.

    As a piece of theatre, this show was enchantingly staged and provided a delightful evening with a number of magical moments and an abundance of charm.

    Northern Ballet’s Cinderella is currently playing at Leeds Grand Theatre until the 4th January 2014. Tickets and more information can be found at http://northernballet.com/?q=cinderella