Tag: Four Star Dance Review

The latest Four Star Dance Review from THEGAYUK.

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 28^th September 2019 before continuing on its national tour; whilst their production of Dracula will be beamed live into selected cinemas on Halloween

25th September 2019
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 16^th December 2018. Visit www.northernballet.com for more details

6th December 2018
THEATRE REVIEW | Magic Mike Live, Hippodrome Casino, London

★★★★| Magic Mike Live, London

Expect to be titillated, turned on, terrified (a bit) and perhaps tortured when you go see the newest, and hottest, strip show in town.

Channing Tatum presents Magic Mike Live, on stage in London at The Hippodrome Casino. And while Channing Tatum won’t be on stage taking his clothes off for the audience’s pleasure (though he did attend last week’s opening night), you can guarantee that what you’ll get is exactly what you saw in Tatum’s Magic Mike films where Tatum, and several other hot actors, played male strippers (Magic Mike (2012) and Magic Mike XXL (2015)). Both films made lots of money – and so will this show (tickets range from £29 to £95).

Magic Mike Live is 90 minutes of pure adult entertainment (for the ladies) where more than a dozen good-looking, sexy, hot, and did I mention sexy? men perform for the screaming crowd in a dance and acrobatic spectacular in front of, behind, and literally above their audience. But things get better when the men strip off (to their black undies) and give lap dances to the lucky audience members for performances that are unforgettable and breathtaking.

What is forgettable is the emcee for the evening – Sophie Linder-Lee. Her task is to talk the audience through the action – but it is really necessary? The action, and the male flesh, speaks for themselves!

The theatre at the Hippodrome Casino has been transformed into an intimate, state of the art, magical new home just for Magic Mike Live. And the show is booking all the way to October 2019 – this is how popular the show is!

Just remember, it is strictly an over 18 only event, and sure the audience members are allowed to touch the men, but just be careful that your hands don’t wander to parts unknown!

And after 90 minutes, your heart and blood, will be racing for what is being billed as ‘the sexiest, steamiest show in town.” And while it’s mostly for the ladies, on the night I saw it there were about 6 guys in the audience – a couple were accompanying their missus but the others were gay. So don’t be intimidated – go see the show. And hopefully one of the boys will give you a lap dance!

Magic Mike Live plays at the Hippodrome Casino, London until Sunday 27 October 2019. Book now

5th December 2018
THEATRE REVIEW | The Little Mermaid – Milton Keynes Theatre

★★★★| THEATRE REVIEW | The Little Mermaid – Milton Keynes Theatre

*This review was taken from the Leeds Grand Theatre review*

Northern Ballet return with their third new ballet this year, The Little Mermaid. Based on the much loved fairy-tale, the ballet tells the story of Marilla, the little mermaid who dreams of life above the waves, and who falls in love with Prince Adir after she saves him from drowning. But her love is unrequited; as the Prince falls in love with another young woman who he mistakenly believes saved him. Exchanging her tail for legs, and with her voice lost, Marilla sets about trying to win his heart.

David Nixon’s choreography is well conceived, and executed, with a keen eye for detail and a style that lends itself well to the underwater setting. The nuances of the choreography are impressive, with a real fluidity of movement in the underwater setting, reflecting life beneath the ocean and the gentle swaying of the current. Nothing stays still underwater, whether it is the beautifully designed flowing costumes, the mermaids held aloft as they weave and bob across the stage, or the ever-active limbs of the ensemble cast, with the sequential movement of the dancers accurately depicting the ebb and flow of the tide. But perhaps the crowning glory to this is Nixon’s use of the ensemble cast at one entity – the sea – and using these multiple bodies as one to form the ocean into a character in itself.

The original score, which has been composed by Sally Beamish, flits between the primarily light and playful to the romantic and finally to the dramatic, feeling cinematic and engaging. The costumes work very well, with long flowing skirts that accentuate the gesticulation and mobility of the cast. Joseph Taylor was engaging and charismatic as Prince Adair, whilst Abigail Prudames enchanted as the titular character and the delicate movements of the cast as a whole was technically well executed.

The ballet itself appears deceptively simple. The demarcation between land and sea seems to be little more than a lighting change, and two large concave structures are used to good effect to set each location; thrusting the narrative to the forefront and portraying that with ease and clarity. The narrative is decidedly darker than the familiar saccharine Disney version, adhering more closely to the source material, but is all the better for it. What the audience is left with is a production which requires very little thought as a viewer, allowing you to simply be able to be swept away by the music and movement on stage.

Visit Northern Ballet’s Website for details.

18th April 2018
THEATRE REVIEW | The Little Mermaid – Edinburgh Festival Theatre

★★★★| The Little Mermaid – Edinburgh Festival Theatre

*This review was taken from the Leeds Grand Theatre review*

Northern Ballet return with their third new ballet this year, The Little Mermaid. Based on the much loved fairy-tale, the ballet tells the story of Marilla, the little mermaid who dreams of life above the waves, and who falls in love with Prince Adir after she saves him from drowning. But her love is unrequited; as the Prince falls in love with another young woman who he mistakenly believes saved him. Exchanging her tail for legs, and with her voice lost, Marilla sets about trying to win his heart.

David Nixon’s choreography is well conceived, and executed, with a keen eye for detail and a style that lends itself well to the underwater setting. The nuances of the choreography are impressive, with a real fluidity of movement in the underwater setting, reflecting life beneath the ocean and the gentle swaying of the current. Nothing stays still underwater, whether it is the beautifully designed flowing costumes, the mermaids held aloft as they weave and bob across the stage, or the ever-active limbs of the ensemble cast, with the sequential movement of the dancers accurately depicting the ebb and flow of the tide. But perhaps the crowning glory to this is Nixon’s use of the ensemble cast at one entity – the sea – and using these multiple bodies as one to form the ocean into a character in itself.

The original score, which has been composed by Sally Beamish, flits between the primarily light and playful to the romantic and finally to the dramatic, feeling cinematic and engaging. The costumes work very well, with long flowing skirts that accentuate the gesticulation and mobility of the cast. Joseph Taylor was engaging and charismatic as Prince Adair, whilst Abigail Prudames enchanted as the titular character and the delicate movements of the cast as a whole was technically well executed.

The ballet itself appears deceptively simple. The demarcation between land and sea seems to be little more than a lighting change, and two large concave structures are used to good effect to set each location; thrusting the narrative to the forefront and portraying that with ease and clarity. The narrative is decidedly darker than the familiar saccharine Disney version, adhering more closely to the source material, but is all the better for it. What the audience is left with is a production which requires very little thought as a viewer, allowing you to simply be able to be swept away by the music and movement on stage.

Visit Northern Ballet’s Website for details.

23rd March 2018
THEATRE REVIEW | The Little Mermaid – Leeds Grand Theatre

★★★★| The Little Mermaid – Leeds Grand Theatre

Northern Ballet return with their third new ballet this year, The Little Mermaid. Based on the much loved fairy-tale, the ballet tells the story of Marilla, the little mermaid who dreams of life above the waves, and who falls in love with Prince Adir after she saves him from drowning. But her love is unrequited; as the Prince falls in love with another young woman who he mistakenly believes saved him. Exchanging her tail for legs, and with her voice lost, Marilla sets about trying to win his heart.

David Nixon’s choreography is well conceived, and executed, with a keen eye for detail and a style that lends itself well to the underwater setting. The nuances of the choreography are impressive, with a real fluidity of movement in the underwater setting, reflecting life beneath the ocean and the gentle swaying of the current. Nothing stays still underwater, whether it is the beautifully designed flowing costumes, the mermaids held aloft as they weave and bob across the stage, or the ever-active limbs of the ensemble cast, with the sequential movement of the dancers accurately depicting the ebb and flow of the tide. But perhaps the crowning glory to this is Nixon’s use of the ensemble cast at one entity – the sea – and using these multiple bodies as one to form the ocean into a character in itself.

The original score, which has been composed by Sally Beamish, flits between the primarily light and playful to the romantic and finally to the dramatic, feeling cinematic and engaging. The costumes work very well, with long flowing skirts that accentuate the gesticulation and mobility of the cast. Joseph Taylor was engaging and charismatic as Prince Adair, whilst Abigail Prudames enchanted as the titular character and the delicate movements of the cast as a whole was technically well executed.

The ballet itself appears deceptively simple. The demarcation between land and sea seems to be little more than a lighting change, and two large concave structures are used to good effect to set each location; thrusting the narrative to the forefront and portraying that with ease and clarity. The narrative is decidedly darker than the familiar saccharine Disney version, adhering more closely to the source material, but is all the better for it. What the audience is left with is a production which requires very little thought as a viewer, allowing you to simply be able to be swept away by the music and movement on stage.

The Little Mermaid is at Leeds Grand Theatre until 17^th December 2017, before moving on to Edinburgh, Milton Keynes and Leicester in the New Year. In 2018, Northern Ballet will be touring with a Mixed Programme, Jayne Eyre, The Three Musketeers and The Nutcracker. Visit Northern Ballet’s Website for details.

7th December 2017
THEATRE REVIEW | Briefs: Close Encounters, Underbelly Festival

★★★★ | Briefs: Close Encounters, Underbelly Festival

Those naughty Briefs boys are back in town with their own unique brand of burlesque, drag and circus skills. In a brand new show themed around alien encounters (but without a single mention of anal probing), they display their quirky brand of queer cabaret in the iconic Spiegeltent on the South Bank.

If you’ve seen any of their previous shows then you’ll know to expect a lot of male flesh on show, a hint of subversive kink and a tongue in cheek sense of fun pervading the proceedings. If you’re a Briefs virgin then prepare to be titillated and amused.

There’s an inevitable hint of hen party to it all but the boys play with this idea, put a pin in the inflatable man and turn the idea of men gyrating for your pleasure on its head. They then laugh in its face whilst tickling it with a pair of massive false eyelashes. From the moment they appear as saucy cheerleaders with giant pink powder puffs and morph into a buttock flashing troupe of feather wielding alien life forms, you know that you’re in safe and well-manicured hands. There’s a weird re-enactment of Kate Bush’s ‘Hounds of Love’ video, juggling, trapeze work and some dance routines that make you feel like you’re on an acid trip. Whilst the circus skills are likely to be things you’ve seen before they’re styled in a way that you almost certainly haven’t. Although the show doesn’t always feel as consistent as it should be it’s still a great night out.

Is it tacky? Is it bizarre? Is it raucous? Of course. Are those bad things? Of course not!

Briefs: Close Encounters plays at the Underbelly Festival until the 30th September 2017

24th July 2017
THEATRE REVIEW | Northern Ballet’s Casanova – National Tour

★★★★ | Despite his reputation for romance and his wild sexual liaisons, Casanova remains a historical figure with much more to offer than just a debauched lifestyle; and it is those lesser known aspects of his life which are subject to a brand new feature length ballet. Casanova was a trainee priest, musician, writer, social climber, mathematician, prisoner, gambler, food lover and fluent in seven languages. There is much more to Casanova than there first appears and this ballet explores his life and reputation in a way which debunks the perception that he was little more than a philandering Lothario.

Photo Credit – Justin Slee

With striking visuals, choreographer Kenneth Tindall tells the detailed and intricate story of Casanova’s extraordinary life and manages to pack in many aspects of his life in a way which never feels rushed or forced. Using a range of techniques, Tindall brings out the best in the company with routines that range from grand, sweeping set pieces to intimate movements; all of which combine to convey the story not only efficiently, but also in an absorbing and intriguing way. On a stage flooded with golds, oranges and purples, the first act is faced paced and dramatic; which subsequently yields to a more intimate second act filled with gentile and tender routines; leading to a finale which beautifully rounds off the show.

There is an abundance of flesh on display, and the ballet does not shy away from Casanova’s sexual appetite, finding himself in the company of both men and women. In a refreshingly open way, there are scenes of sensuality between Casanova and a number of men; and the number of muscular arms, tight pecs and washboard abs on display gently, but tastefully ,nudge the production towards an edge of homoeroticism at times.

Photo Credit – Caroline Holden

Giuliano Contadini makes the most of his characters many layers and provides what is perhaps is most rounded performance to date as the titular character and the remainder of the cast are all proficient in their multiple roles.

The production values are high, with lavish costumes and gilt edged props which reflect the sumptuousness and extravagance of the period setting. Add into that a set which creates a versatile dance space and multiple locations by the use of three pillars and a variety of forced perspectives; a stunning lighting design and an original score which is cinematic, sweeping and stirring and you have all of the elements of a very fine production.

Casanova is currently playing at Sheffield Lyceum Theatre until the 1^st April 2017 before visiting Norwich Theatre Royal, Milton Keynes Theatre, Cardiff New Theatre, Salford The Lowry and Sadlers Wells. Visit www.northernballet.com for full details.

29th March 2017
Theatre Review | Northern Ballet’s Romeo And Juliet – National Tour

★★★★ | Northern Ballet’s Romeo And Juliet

Set in 14^th century Verona, the rivalries between two families, the Montagues and the Capulets, are intensified when Romeo and Juliet fall for each other. But coming from rival families means that their love faces insurmountable odds, and when the conflict escalates after a street fight ends in bloodshed, with Romeo killing Juliet’s brother, a chain of tragic events is set in motion, as the lovers try to escape the confines of their family loyalties.

Photo Credit – Andy Ross

Departing from their signature style, Northern Ballet presents a piece which is stripped back to the absolute minimum. Set against a purely white backdrop of linear shaped screens, splashed only with the occasional coloured lighting wash, the minimalist presentation and lack of any real set, props or backdrops only served to focus the audience’s attention to the frenetic, visceral and energetic choreography and performances. With no smoke and mirrors to hide behind, choreographer Jean-Christophe Maillot lays his work bare on the stage, and this move pays off, providing an incredibly fresh and thoroughly contemporary piece of dance. The choreography encompasses the romantic, the dramatic and the passionate; and the whole thing is dotted with the occasional pieces of humour, which helps to provide respite from the dramatic mood slightly. The costumes, with a hint of John Paul Gautier running through them, stand out from the white background to easily define the family loyalty of each character, and the use of a contrasting colour palette (predominantly cream and black) mirrors the themes which underpin the story; love and rivalry; comedy and tragedy; life and death.

Most notable amongst the slew of energetic performances was Javier Torres as Tybalt, who portrayed his character with a bullish arrogance. There was also a noteworthy and incredibly supple performance from Mlindi Kulashe as the priest tortured by his own guilt. The cast’s performances were tightly in unison and technically impressive, in particular, the Dance of the Knights, which was an exciting set piece performed with precision moves and breakneck speed.

Romeo and Juliet is wholly reliant on its performances and choreography, which does not disappoint. Overall, the show has more of a feeling of modern dance than traditional ballet, but this does not detract from the skill of the performers or from the sheer spectacle of the edgy, angular and visually striking set pieces which are juxtaposed against the traditional score by Prokofiev in a clash of modern and traditional.

Romeo & Juliet is currently playing at Sheffield Lyceum (www.sheffieldtheatres.co.uk) until Saturday 17^th September, before continuing its national tour. Northern Ballet will be continuing to tour throughout the UK this year with a variety of productions, including Romeo and Juliet, Wuthering Heights and Beauty and the Beast. Visit the company’s website at www.northernballet.com for full details.

15th September 2016
THEATRE REVIEW | Barbu

★★★★ | Barbu

What can be better on a rainy summer night in London than sitting in an atmospheric, mirror lined, wooden tent (once graced by Marlene Dietrich) and watching a troupe of hairy male acrobats strip down to their skimpy pants? Not much if you ask me. I quite like a hairy man in black pants. Cirque Alfonse have returned to London Wonderground after their hit show “Timber!” with another testosterone-fuelled show of daring circus skills. “Barbu” is absurd, silly and above all entertaining.

Accompanied by a live band, who set the tone with a throbbing and dirty soundtrack, they roller skate, backflip and form human pyramids. The awkward yet thrilling dancing is a site to behold and there’s more perineum and hairy thigh flashed onstage than in a night in a backroom in Playa Del Ingles. Naturally they’re not just pieces of gristly, fleshy meat with beards (but oh what flesh). They’re also consummate performers who are self-mocking and raucously funny at times. Whilst not the most thrilling of circus shows around, there are moments that set the audience’s pulses racing. It’s also an incredibly raunchy show, provided dirty and sweaty gets you off. There’s a moment of pure beauty when they set a whole new standard of pole dancing with an ensemble horizontal twirl. It’s a wry and witty piece that’s good (if not clean) fun.

The show starts a little too slowly and although there’s nothing limp about these men there’s the occasional flaccid moment in the first half hour or so. Prepare to be wowed when it warms up though. There’s real skill here and whilst the movements are less balletic than gruff bearish male strutting and lumbering this just adds to their charm. The physical performances are definitely spectacular too.

The Southbank’s Wonderground is a stylish funfair themed go to venue for early evening drinks and there’s a frenetic feel to this show that mixes well with alcohol and groups of friends. It’s not hard to see why this show was such a hit in Edinburgh last year.

Reviewed by Chris Bridges, follow on Twitter

26th June 2016
THEATRE REVIEW | Closer by Circa, Udderbelly London

★★★★ | Closer by Circa, Udderbelly London

CREDIT:
© Luke MacGregor

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17th April 2016