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

  • 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 | 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 | The Little Mermaid – Milton Keynes Theatre

    ★★★★| 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.

     

  • 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 Little Mermaid – Edinburgh Festival Theatre

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

    THEATRE REVIEW | 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.

     

  • THEATRE REVIEW | The Little Mermaid – Leeds Grand Theatre

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

    THEATRE REVIEW | 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 17th 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.

     

  • THEATRE REVIEW | Northern Ballet’s The Boy In The Striped Pyjamas – CAST Theatre and National Tour

    ★★★| Northern Ballet’s The Boy In The Striped Pyjamas

    Based on the best-selling book, The Boy in the Striped Pyjamas tells the story of two boys; Bruno, the son of a concentration camp Commandant and Shmuel, a young Jewish prisoner; as they befriend each other from opposing sides of the barbed wire fence.

    Boy In The Stripped Pyjamas review

    Whilst a ballet based on the Holocaust may not seem an obvious choice, Northern Ballet’s production is well conceived. Utilising a muted colour palette alongside an original score which is laden in strings and piano to create a real sense of foreboding; the ballet is surprisingly well paced and despite its setting, manages to find some gentle and rather tender moments amongst the difficult subject matter, nowhere more evident than in the burgeoning friendship between the two boys.

    Never straying very far from the original source material of the children’s book, Daniel de Andrade’s choreography is straightforward and uncomplicated; conveying the narrative without fuss and providing a clearly defined demarcation between different characters and scenes, which ultimately leads to the production of a ballet which is readily accessible to the whole family.

    Matthew Koon impresses with his portrayal of Bruno, conveying the character’s innocence and bringing to his performance a child-like vivaciousness, which contrasts nicely with Filippo Di Vilo’s suitably understated portrayal of the hopelessness of Shmuel. However, it is Mlindi Kulashe’s performance as The Fury, which stands out; bringing a menacing presence and an incredible suppleness which comes across in his technically impressive performance.

    Given the setting of the story, the ballet has the potential to be divisive in terms of its appropriateness; but Northern Ballet have produced a rather simplistically presented piece which handles matters with sensitivity and respect, and brings with it a genuine emotional punch which is derived from its narrative and characterisations.

    The show had its world premiere at CAST in Doncaster (www.castindoncaster.com)  before commencing its national tour calling at Wolverhampton, Leicester, Richmond, Aylesbury, Stoke, Bromley. Leeds and Hull. Visit www.northernballet.com for further details.

  • 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 1st 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.

     

     

  • 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.