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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 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: 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 | The Great Gatsby – Northern Ballet

    ★★★★★ | The Great Gatsby – Northern Ballet

    In 1922, Nick Caraway moves to Long Island, hoping to take advantage of the economic upturn. He buys a house near to his cousin, Daisy, who is trapped in an unhappy marriage to Tom Buchannan as a result of Tom’s infidelity and quick temper. Entering into the decadent and indulgent world of 1920’s extravagance, Nick attends the lavish parties thrown by his reclusive neighbour, Gatsby. Gatsby longs for his lost love, Daisy, and as the two rekindle their love; a chain of events is set in motion which impacts upon all of them as their world of excess and glamour comes crashing down.

    Northern Ballet continues to surprise and delight in equal measure with this production. The show has an almost cinematic feel to it, combining detailed narrative, rich characterisations, sweeping scenes and a mixture of choreography, ranging from traditional ballet to the Charleston. The party scenes were an absolutely delightful, producing a genuine smile and conveying the fun and decadence of the era with the uplifting and joyous music and enthusiasm of the cast. This made the juxtaposition with the love story, the themes of loss and regret, loneliness and divided loyalties even more moving.

    Giuliano Contadini brought a wide eyed innocence to the role of Nick Carraway; and Kenneth Tindall has never been better than in his role as the scheming and thoroughly unpleasant Tom Buchanan. Tobias Batley brought an effective, subtle performance of loneliness and regret as Gatsby and Martha Leebolt was superb as Daisy Buchannan. The entire cast deserve credit for the way in which; expressed only through dance; they were able to garner such rich depth of character for those involved in the narrative.
    The music was very much in keeping with the time period, as were the cloche hats, flapper dresses and smart tuxedo’s, which filled out the cast’s wardrobe. The live orchestra once again played beautifully and the inclusion of two songs within the score added a twist which worked incredibly well, one of which immensely enhanced the beautifully poignant closing scenes.

    Northern Ballet was named Best Company at the inaugural Taglioni European Ballet Awards in October this year, and with the consistency and quality of their productions, it is not hard to see why. The running time for The Great Gatsby simply flew by and the show was not only utterly absorbing but was very difficult to fault. Very highly recommended.

    The Great Gatsby is currently on national tour, visiting Canterbury’s Marlow Theatre, The Alhambra Theatre; Bradford, Saddlers Wells in London and Norwich Theatre Royal.

    For more information visit www.northernballet.com

  • 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.

  • 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

  • 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

  • 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 | The Great Gatsby, Northern Ballet

    The Great Gatsby seems to be flavour of the month with recent stage adaptations, live book readings; the upcoming film and now the highly acclaimed Northern Ballet have presented a stunning dance interpretation of the famous novel.

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