THEGAYUK

Tag: Four Star Dance Review

The latest Four Star Dance Review from THEGAYUK.

  • THEATRE REVIEW | Into The Hoods: Remixed, National Tour

    ★★★★ | In The Hoods: Remixed

    Two children are lost on the Ruff Endz Estate and in exchange for a bus ticket home; they agree to help The Landlord, who sends them out on a quest to find the gifts he wants to give his daughter for her 18th birthday.

    Their search, to find an iPhone as white as milk, a hoodie as red as blood, weave as yellow as corn and trainers as pure as gold, leads them on an adventure with the residents of Beanstalk Towers. Spinderella, wants to DJ at the ball, Lil Red has just signed a recording deal with Wolf, of Big Teef Records, Jaxx lives in the basement and is trying to avoid eviction and Rap-en-Zel will do anything to escape her room.

    In this hip-hop, street-dance fairy-tale, the story is little more than an excuse for some spectacular choreography, made up of routines laced with humour and character. There are some superb set pieces, nowhere more evident than in the 70’s style afro-tastic party of the local gangster and the explosion of break-dancing pensioners in Grandma’s retirement home.

    Borrowing from the familiar fairy-tale stories which are re-written for the hip-hop generation, the show is incredibly well presented, made up of superb animated backdrop projections, clever lighting and simple division of the four intertwining stories by use of colour and character. The routines provide for clearly defined and detailed characters that come across solely by the use of dance and music; and Kate Prince’s confident direction is effective in conveying the narrative and bringing out the best in the ridiculously talented cast.

    Based loosely on the Stephen Sondheim musical, of a similar name, Into the Hoods: Remixed is a streetwise, mash up of music with a smart, sassy and humorous personality performed by a slick, polished and disciplined cast. With its use of snippets of a variety of songs from different genres and styles to tell the story, it has a hint of “Moulin Rouge” about it and an energy which falls somewhere between relentless and jaw dropping. Into The Hoods is both impressive and great fun, and you cannot help but be swept up by this very entertaining and vivacious production.

    Into the Hoods is currently on national tour until the 9th April 2016. Full details can be found on the show’s website at www.intothehoodsremixed.co.uk .

    Into the Hoods: Remixed was reviewed at Sheffield Theatres , who have recently launched their new season, which includes No Man’s Land starring Sir Ian McKellen and Patrick Stewart.

  • 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: 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. ★★★★

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  • THEATRE REVIEW: Northern Ballet: 1984

    Whilst it is perhaps not the most obvious choice for a new ballet, George Orwell’s nightmare vision of a dystopian future, 1984, is brought to life by Northern Ballet.

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  • REVIEW | Cirque du Soleil: Kooza at the Royal Albert Hall

    ★★★★ | Cirque du Soleil: Kooza at the Royal Albert Hall

    Founded in 1984, Cirque du Soleil has been around so long now that finding something fresh to come up with in each new show must be a major headache. That they succeed as well as they do is a tribute to their creative team, which is still guided by Guy Laliberte, one of the founders.

    Their show, Kooza, which premiered in Montreal in 2007 is receiving its UK premiere in the Royal Albert Hall, the scene of many of Cirque du Soleil’s successes, the hall’s Victorian rococo splendour and circular shape particularly suited to their shows. In this instance the stunning set had the look of a massive Faberge egg, which opened to reveal its magic and secrets.

    According to the lavish programme booklet Kooza tells the story of the innocent, a naïve but charming clown striving to find his own place in the world, and as usual it is the clowns who tell that story whilst linking the various acts together. They have their own charm, but there’s no doubt it’s the daredevil acts that the audience have come to see, and as usual they do not disappoint.

    For me the highlight of the evening was the death defying Wheel of Death, a spinning contraption with two empty drums on either side, in which, and on which, two male acrobats (Jimmy Ibarra and Ronald Solis) perform seemingly impossible feats, running and leaping as if the spinning of the drums was little more than a paltry distraction. Almost equally thrilling were the high trapeze antics of Yulia Korosteleva, who leaped and flew through the air with insouciant ease.

    In contrast, we had a trio of impossibly bendy female contortionists and a man (Yao Deng Bo) who proceeded to balance himself on one hand on a huge tower of chairs which he constructed before our eyes. As a display of strength, concentration and accuracy, it was utterly mesmerising.

    That said, I don’t think this show was quite on a par with Varekai, which I saw at the Royal Albert Hall some years ago, and the finale of which will stay in my mind for a very long time to come, so 4 rather than 5 stars for me.

    Kooza plays at the Royal Albert Hall till February 19.

  • 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.

  • REVIEW | Cirque Du Cabaret, London Wonderground

    ★★★★ | Cirque Du Cabaret, London Wonderground

    The Wonderground features a packed programme of circus, cabaret and family entertainment, all taking place in the beautiful 1920s Paradiso Spiegeltent. There’s also oddities, curiosities and eccentricities from the Sideshow Wonderland run by Guinness World Record-Holder, The Space Cowboy, and the 60-metre high Star Flyer gives you an unrivalled view over London’s rooftops (if you can bear to keep your eyes open, I couldn’t!).

    There’s a huge range of top class entertainment from the saucy Briefs Boy-lesque, the breath-taking Limbo, the hilarious Tina C plus loads more burlesque, cabaret as well as more family-themed fun. It’s definitely worth getting down there just to soak up the atmosphere on a summer’s evening and hang out in style somewhere that’s a bit more exciting than being huddled together on the pavement of a sweltering London boozer getting jostled by pedestrians.

    I was lucky enough to catch the Cirque du Cabaret, hosted by the dazzling wit that is Champagne Charlie. Set in the glorious Spiegeltent with all its glittering glamour, this was an atmospheric night that sizzled with sex appeal and risqué humour. Featuring the cream of London cabaret, comedy and burlesque in an ever-changing line-up, this has got to be one of the finest nights out in the city.

    The next Cirque du cabaret is on the 8th of August at The London Wonderground. Read more here: http://www.cirqueducabaret.com

    Read more and book shows for The Wonderground here: http://www.londonwonderground.co.uk/your-visit

  • THEATRE REVIEW | A Simple Space, Udderbelly: London

    How long can you hold your breath for? How many back flips can you do in one go? Can you stand on your head…or even somebody else’s?

    In the London premiere of the show that has captivated sell-out festival audiences around the world, seven young acrobats compete for your laughter, gasps and applause with non-stop, mind-boggling feats of breath-taking acrobatics. Spend a riveting hour with one of Australia’s hottest young circus ensembles, Gravity & Other Myths, as they push themselves to their physical limits and beyond in a captivating show of physicality, skill and daring.

    I have to confess that I can barely stand up without falling over so these young (and rather lithe and good looking) Australian acrobats were always going to impress me. The show is a stripped back, pure acrobatics show that manages to captivate and entertain with aplomb for an exhilarating hour. The show ranges from human pyramids, death defying aerial manoeuvres and feats of strength through to tongue in cheek comedy, absurdity and joyful physicality. Part circus, part gymnastics and part contemporary dance, this show had the audience on its’ feet with a loud and boisterous standing ovation at the end of the show.

    Did I mention the men too? It’s worth the price of the ticket alone just to see them. They’re muscular lithe and not afraid to take off their tops (and at one point trousers too).

    The show runs at the Udderbelly on the South Bank until the 6th of July.

    Buy tickets here: https://www.underbelly.co.uk/node/5325256

  • 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 | A Christmas Carol – Sheffield Lyceum and National Tour

    ★★★★ | A Christmas Carol – Sheffield Lyceum and National Tour

    Charles Dickens’ much loved Christmas tale is stunningly brought to life in this magical, colourful and beautifully performed ballet from the Northern Ballet Company.

    Ebenezer Scrooge is the meanest, grumpiest man in London, who is obsessed by money and greed, shows no love for his fellow man and has no Christmas spirit. One Christmas Eve, he is visited by the ghost of his late business partner, Jacob Marley, and subsequently by the ghosts of Christmas past, future and present. Scrooge is shown how his meanness lost him his true love in the past, how his miserly ways impact on those around him in the present and how he will not be missed in the future. But can the ghostly apparitions show Scrooge it’s never too late to mend his ways?

    This festive treat was a feast for the eyes and ears. A live orchestra played beautifully throughout the three act ballet and filled the theatre with the sounds of Christmas. The set lovingly recreated Victorian London and, despite its detail was well utilised and versatile throughout the show. The company added an unexpected twist to the proceedings with a few traditional carols sung by the company on stage, with their voices carrying an uplifting and almost angelic feel.

    The costumes were simply stunning with everything from Victorian dress coats and bonnets to beautiful dresses. The whole presentation oozed class and charm. But the costumes which particularly excelled were those of The Ghosts of Christmas. The Ghost of Christmas Future in particular was amazing, with the spirit gliding across the stage in a sinister mixture of floating fabrics and exposed skeletal bones.

    The staging of the production was of a very high quality, with not only the stage being well decorated and presented, but also being lit incredibly well, with a myriad of theatrical techniques which combined to present and atmospheric and versatile stage. Ghosts floated effortlessly in the darkness and a host of spectres filled the foggy stage. Visually, the piece was impressively put together.

    The choreography of the piece was very well done and told the (albeit well known) story incredibly well making it accessible to even a ballet novice. During the course of the show, the dancing went from set pieces awash with dancers to solo and duet pieces. When dancing together, the company were well timed and graceful and at times there was so much going off on stage that it was sometimes difficult to know where to look as you simply didn’t want to miss anything of interest. The dancers ably conveyed the emotions of the characters amongst their agile performances. The very large cast were all of a very high standard and singling any of them out would be a very difficult task, but Sebastian Loe who played Scrooge put in a flawless performance, pouring emotion into his role and effortlessly conveying the progression of the character.

    Having seen this production, there is little wonder why, when it comes to quality, Northern Ballet maintain the reputation that they have. The production was one which was very accessible and was a light and breezy ballet littered with subtle humour. If you have never seen a ballet before, this is an excellent starting point. The festive feel of the piece, especially at the end of the show was overwhelming and you could not help but get swept up in the festive spirit and the joyful feeling of the characters on stage. The show is a perfect way to start getting into the Christmas spirit or a great post gift shopping treat which leaves you feeling warm inside.

    A Christmas Carol is currently showing at the Sheffield Lyceum Theatre before continuing on its national Tour.
    Bookings and information can be found at http://www.sheffieldtheatres.co.uk/event/a-christmas-carol-13/?tab=1#unit-production-dates and at http://northernballet.com/index.php?q=a-christmas-carol

  • THEATRE REVIEW | BalletBoyz: The Talent 2013

    ★★★★

    The BalletBoyz have been going from strength to strength since they were formed by Michael Nunn and Billy Trevitt in 2001 following their breakaway from the Royal Ballet. The original remit was to make ballet more accessible and to bring challenging new works to theatres where dance was rarely seen.

    The company have certainly more than achieved their original goal and the diversity of the audience and the overwhelming cheers and applause at the end of the evening certainly prove that their latest show is a popular hit.

    The company of ten young male dancers are from diverse backgrounds and have varying levels of experience and differing skill sets. There’s a boyish French dancer who looks like he’s stepped straight from a Euro twink porn film, a beefy French dancer who would fit in easily in a Triga DVD and an assorted company of hot British boys showing off their biceps, tattoos and toned physiques. One thing they all have in common is their hard abs and rippling musculature which is particularly evident in the first piece, ‘Serpent’, choreographed by Liam Scarlett. The company are all topless dressed in skin tight Lycra which reveals every taut curve and shows off their amazing buttocks to full effect.

    The dances? I almost forgot about those. I was too busy with lechery. The two contrasting pieces are both beautifully choreographed with the challenge of using only male dancers being met fully. ‘Serpent’ uses the dancers to full effect in a fluid display of masculinity, whilst ‘Fallen’ (choreographed by Russell Maliphant) is a more brutal and altogether harder piece which utilises their gymnastic skills, mixed in with ballet and contemporary dance moves. The lighting and music combine to showcase the two pieces and add to the atmosphere.

    The show is definitely very accessible and easy on the eye. The audience in Leicester seemed to be having a fantastic time, judging by the riotous applause at the end of the evening. Whether you love dance, are new to dance or just like to sit and watch a troupe of ten young showing off their buff torsos, the show is well worth checking out.

    The show continues from the 21st of March at The Cambridge Arts Theatre

    Check out the rest of the dates (and the dancers) here:http://www.balletboyz.com