Fasten your seat belts because you’re in for a ride, with no let-up in this roller coaster of a two-hour show.

It opens on a scene reminiscent of ‘Grease’ – a stage full of muscly young men working on cars and girls in swinging circle skirts working the nearby bar. The familiarity of Bizet’s Carmen score, with additional orchestration by Terry Davies, immediately draws us into the life of small-town Harmony. Its vibrancy is matched by the energy of Bourne’s choreography. Everywhere you look there are pairs of dancers, each telling their own story of playful youth, seduction and lust. When in the first five minutes dancers strip off and head for a cold shower Bourne sends the audience a tongue-in-cheek knowing that this show too darn hot for its own good.

As you’ve probably guessed, this isn’t the Carmen opera in a dance form. Rather Bourne has taken the essence of the tale along with the music to create something new, but equally thrilling. Bourne’s new story takes the desire and violence of the original and layers it with the noir fatalism of James M. Cain’s novel ‘The Postman Always Rings Twice’, giving the piece a sticky inevitability.

Here the handsome drifter is Luca, an imposing and mysterious Will Bozier. He crackles with sexual energy attracting both men and women and destroying any chance Harmony had of living up to its name.

His first conquest is the beautiful and feisty Lana (Cordelia Braithwaite), a name that nods to Lana Turner who played Cora in the 1946 film version of Cain’s thriller.

Alan Vincent, who played Luca in the 2000 premiere returns now as garage owner and Lana’s abusive husband, Dino. He is a giant of a man and yet Bozier lifts him as if he weighs no more than a child.

The acting as well as the dancing from this cast is phenomenal as they draw us into their dark and complex world. Leonardo McCorkindale captures this to heartbreaking effect as young Angelo who is also captivated and seduced by this enigmatic stranger.

Betrayal and jealousy fire the story forward to its tragic end. It’s a scorcher of a show made for these hot summer nights.

Matthew Bourne’s The Car Man is at Lowry. Salford from 23-27 June 2026. Age recommendation 12+

Read our interiew with Matthew Bourne.

The post Matthew Bourne’s The Car Man: Review appeared first on Quays Life.

The double bill opens with Then Or Now, which was previously performed as part of Darcey Bussell’s British Ballet Charity Gala earlier this year. Unusually for a modern work, Will Tuckett’s choreography is steeped in classical ballet vocabulary, with just a touch of contemporary movement. It’s set to a soundtrack of solo violin intertwined with readings of Adrienne Rich poems; these inject a quiet level of emotion into the piece, whether tenderly romantic, sadly reflective or downright critical – the reflection on society becoming personalised, moving from using ‘we’ and ‘us’ to ‘I,’ is especially poignant when viewed in the context of COVID, the loneliness crisis and social media behaviours.

The tone of the work is complemented by minimal yet atmospheric staging – the dancers perform within a semi-circle of chairs, taking turns to watch each other, and beautiful lighting creates contrasting areas of golden-hued warmth and shadow.

The choreography is sometimes a literal interpretation of the text, and sometimes more abstract, but throughout it is crisply performed by the company’s eight dancers at an often relentless pace. Seeing ballet in a more intimate venue like the Quays allows the audience to hear the squeak of every pointe shoe, see every drop of sweat, and really appreciate the superhuman stamina of these professional dancers up close.

The second half of the bill, The Waiting Game, is choreographed by Senior Artist Mthuthuzeli November, and takes the audience on a real journey in its comparatively short run time. Focussed on a man experiencing an existential crisis – a role danced by November himself – the ballet begins with a vivid portrayal of an anxiety attack, the dancers’ frantic, repetitive movements backgrounded by a chaotic mix of sound clips and an ominously ticking metronome.

The man is dogged by a chorus of his negative thoughts, both in the form of recorded vocals and the remaining cast, who are dressed in flamboyant black and white costumes reminiscent of Harlequinade clown characters. This menacing ensemble works together to physically hold the man back from opening a door – which also continually moves around the stage – and thus escaping the cycle of his thoughts.

However, eventually one dancer breaks free from the troupe and begins to playfully interact with the man, teaching him to feel and enjoy movement. This marks a shift in the man’s psychological state – mirrored in freer, more expansive choreography – which culminates in a joyous, confetti-strewn jazz number to Etta James’ Something’s Got a Hold on Me. Colour and light flood the man’s inner world in this uplifting and musical-worthy finale – the end to the evening that we all need, and one which really encapsulates the joy of a company at being back onstage.

Ballet Black is at The Lowry, Salford on 12 and 13 October 2021.

The post Ballet Black, Then Or Now & In the Waiting Game: Dance Review appeared first on Quays Life.

The curtain rises on a striking funeral scene, its dark, gothic visuals complementing the dramatic swell of Tchaikovsky’s musical introduction perfectly. These few seconds clearly set up the story – the king has died, which means that his son, Prince Siegfried needs to marry and secure the throne.

This is the command issued by the queen in Act I – an extension of the prologue, with its sombre colours and richly brocaded costumes suggesting a Russian imperial court – and each successive dance is intended only to distract the prince from his predicament.

The opening waltz is comprised of just four couples, meaning that there is a lot more space for dynamic choreography than in versions that use the whole corps de ballet. Two courtesans are brought on to distract Prince Siegfried and perform a charming pas de trois with his friend Benno (danced with immense likeability and flair by Tzu-Chao Chou). Siegfried (César Morales) reluctantly joins in, allowing his character to develop and for Morales to showcase his elegance, poise and natural, unaffected mime.

Momoko Hirata is a stunning Odette, managing to appear both weightless, with exquisite fluidity in the movement of her arms and hands, and as if in tortuous pain. The Act II tableau of glowing white swans against a shadowy, moonlit lakeside is the perfect backdrop to a breathtaking pas de deux between the lovers.

Act III marks a return to courtly splendour, as dancers in resplendent national costumes form entourages for princesses who have been invited as prospective matches for Siegfried. They perform a traditional czárdás, mazurka and Neapolitan dance – clearly enjoying the expressive flair of these character roles – that herald brief, pretty solos from the princesses themselves. The music for the final national dance – traditionally the Spanish Dance in most productions – is reserved for Rothbart and Odile’s entourage.

The Black Swan pas de deux is every bit as captivating as the White, with its spectacularly high lifts, sharp attitude turns and famous fouettés getting a huge cheer from the Lowry audience. Hirata’s frequent sly looks to Rothbart during the adagio make it very clear that this is practised deception on the prince.

The opening of the final act sees the swans rise from a sea of dry ice, a spectacular effect that garners a spontaneous burst of applause. The ensuing dance of the swans makes frequent use of sequential movements, their wings folding and unfolding endlessly to remind us of their unity in suffering under the enchantment. In the dramatic climax, Rothbart’s headdress is torn off in a struggle with Siegfried and he is left lying on the ground, the vengeful flock of swans staring him down like the Wilis in Giselle. In a poignant reminder of the ballet’s opening, Benno is left onstage cradling the prince’s lifeless body, while behind him the spirits of the lovers appear in the sky together.

This production – with its exquisite design, stunning performances and staging that really communicates the story – is a perfect example of why Swan Lake remains one of the most powerful, enduring and beautiful narrative dance works in the world.

Birmingham Royal Ballet’s Swan Lake is at The Lowry from 2020.

The post Birmingham Royal Ballet’s Swan Lake: Dance Review appeared first on Quays Life.

Céline Gittens made history in 2012 in Birmingham when she became the first black ballerina in the UK to take the starring dual role of Odette and Odile in Swan Lake.

“That was exciting but I’m glad it has become more common now,” says Céline. “I think we are quite far ahead in terms of diversity in ballet in the UK compared with other countries, and especially in Birmingham. It’s the most diverse city I’ve lived in or visited on tour.

“I’ve been treated the same as other people, I’ve been given opportunities and I’ve got here because of talent, which is the most important thing. It’s great to be a role model for future dancers from different ethnicities who didn’t know that dance is available to them.”

Birmingham Royal Ballet is reflecting Birmingham’s diversity with the recent appointment of Cuban dancer, Carlos Acosta as its director.

“There’s a real buzz about the building since he arrived,” reports Céline. “I’m very positive about the future with Carlos, he has so much drive and ambition for the company. He just wants the best out of us. His passion is so inspiring and it will lift us so much higher.”

Since Céline’s debut as the white and black swans, the 31-year-old has taken the role a handful of times, in Birmingham, Japan, and at London’s Royal Albert Hall.

She has been praised for her beautifully fluent technique and strong dramatic presence. The Times said her Swan Lake performance was “frail and beautiful” and “completely alluring”.

It’s a highly challenging role, famously involving 32 fouettés in Act Three – that’s 32 turns on one leg.

“That is tough, but you get used to it,” says Céline who started ballet at the age of three in her mother’s dance school. “It is my favourite role. Apart from the technical side, the most challenging part is the emotional side and making it believable. You have to make the audience understand the anguish and pain of Odette and then completely transform into an evil seductress as Odile.”

Céline practises her steps at least once a day to build muscle memory and makes sure Pilates sessions, ice baths, physiotherapy and massages keep her supple and relieve tight muscles.

When she has to stop dancing eventually, Céline might turn to choreography, but thinks teaching is where her future lies.

“I have a passion for that,” she says. “I’ve taught at the Elmhurst School in Birmingham and I go back to Canada to teach masterclasses and summer schools. I think it’s really important to pass on your knowledge and passion.”

Céline was born in Trinidad. Her family moved to Canada when she 9 and she has since spent time in Melbourne as a guest dancer with the Australian Ballet.

The link between all these countries is that they’re all in the Commonwealth, so Céline says she was “very proud” to take part in the fantastic dance performance in Birmingham in 2018, during the handover at the closing ceremony of the last Commonwealth Games. And she’s excited about the Games coming to her home in two years’ time.

“I really hope that BRB can be part of the opening ceremony,” she says. “I can’t wait to show the world what a brilliantly talented and thriving city Birmingham is!”

Birmingham Royal Ballet‘s Swan Lake plays The Lowry from Wednesday 4 – Saturday 7 March 2020.

“The good thing about the British people is that they embrace difference” – read our interview with Carlos Acosta.

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The original ballet, which premiered in Paris in 1841, tells the story of innocent peasant girl Giselle who falls in love with the disguised nobleman, Albrecht. When she discovers the truth about her lover and that he will never be hers, Giselle is consumed with grief and dies of a broken heart. When a remorseful Albrecht visits Giselle’s grave, he evokes the wrath of the Wilis (the spirits of girls who have been betrayed in love) and they exact a heavy penance.

Masilo, whose reinterpretations of other classics including Romeo and Juliet, Carmen and Swan Lake built her an international reputation, felt driven to create a new Giselle.

“It’s the challenge of looking at the ballet from a different perspective and dealing with issues that are relevant now. In these stories we are dealing with power struggles, war, greed, domestic violence, rape. These are things I see every day. I’m revisiting the classical ballets to tackle these issues and to start a dialogue with people. To ask ‘what are we doing about this?’

“I begin with study of the original work. It’s important to know the rules before breaking them. In the traditional ballet there is a clear narrative but the characters are rather two-dimensional. The emphasis is on the steps rather than on the unique psychologies of the protagonists – Albrecht and Hilarion seem just there to support the female lead, Giselle’s mad scene relies on messy hair…. I wanted to go much deeper and, most importantly, to create Wilis that are really vicious.

“I have always been intrigued by the Wilis. That’s where I started. I wanted to see how far I could push the boundaries in terms of having Wilis that are strong, powerful and dangerous.

“In the ballet they all female, dressed in white and very graceful. I wanted to find their violence because Act Two is about revenge. I dressed my Wilis in wine-red, as though they are drenched in blood. This reflects revenge, killing and death.”
In the original Giselle the Wilis are the spirits of wronged women. In Masilo’s version they are both female and male.

“I love working with androgyny, it creates an interesting dynamic,” she says. “It’s also about breaking down the gender stereotypes – the notion that men are supposed to do this and women are supposed to do that. In dance, that is the norm.

“The Wilis are spirits so could be either male or female. I wanted to alter the concept that only women are victims. Men also get heart-broken.

“It seems to me that in ballet the men are basically there to lift and support the women. I think it’s time we find gender equality in dance.”

Masilo’s Giselle has been seen to reflect the #metoo movement in which women worldwide have spoken out about sexual discrimination and the abuse of male power.

Masilo says this is a coincidence as her Giselle premiered prior to the movement. “I did aim to make a work which empowers women who are expected to be understanding, soft, tolerant and forgiving.

“It’s also very good for us to acknowledge that we are strong and powerful – and to use that power to say ‘I’m not going to take that, enough is enough’. Women need to stand up for themselves more. We are living in a world where men tend to rule and we shy away from our own power. As a woman, and having been brought up by very strong women, I want to share this.”

In addition to shifting the story’s time and characters, Masilo also changes location.
“I’ve set it in rural South Africa so we are dealing with different cultures and traditions. It’s about how people interact, how relationships are formed and the dynamics of those relationships in rural South Africa which is completely different from the world of classical ballet,” she says.

“I did not consciously set out to ‘Africanize’ Giselle. It is just there. I am South African – this is where my roots are. My origins and environment infuse my work. I have also studied classical ballet. It’s about allowing the two to merge without losing the essence of the work.”

For the music, Dada commissioned fellow South African Philip Miller to compose a new score, revisiting some of the original themes by Adolphe Adam, together with newly created music.

“I love what he did,” she says. “You hear themes from the original throughout. Philip incorporates this with African percussion, rhythm and voice.

“Generally people who have not been exposed to ballet, its codes and mimetic gestures, tend to avoid it. This is also true in South Africa. My aim is to make it accessible. It is called Giselle but tells a story to which everyone can relate without alienating those who are familiar with the ballet.”

Dada Masilo trained at The Dance Factory in Johannesburg from the age of 11 and at the age of 19 was selected from nearly 800 other dancers to gain one of just 30 places at the Performing Arts Research and Training Studio in Brussels. This is where she began to choreograph.

“I didn’t want to be a choreographer – I thought it would be too much work!” she laughs. “I always say ‘first I’m a dancer’. I choreograph works that I want to dance. It’s what I do and love. Sharing through dance, we learn new things every day.

“It is challenging being both choreographer and dancer because I can’t always see everything. Once I have established my intention, I bring in someone I trust to be that outside eye and to give me notes on what I’m doing. I don’t think I could just choreograph – I need to be in it to feel it.”

Masilo premiered Giselle in Oslo more than two years ago and it has toured extensively. It will celebrate its 100th performance when it opens at London’s Sadler’s Wells on October 4. This UK premiere will be followed by performances in Nottingham, Bradford, Birmingham, Salford, Milton Keynes, Brighton and Canterbury.

The tour is presented by Dance Consortium, a group of 20 venues who work together to promote international contemporary dance across the United Kingdom.

“Working with Dance Consortium has been great,” says Dada. “So far, we have only performed at Sadler’s Wells in London, with Swan Lake in June 2015, so for the company, the tour is wonderful exposure across the UK. I’m really looking forward to the opportunity.”

And she hopes the audience will also enjoy the opportunity to see her work.
“I never take audiences for granted. We just do our best work and hope the audience responds. I hope they can feel whatever they feel, whether it is joy, pain, love or anger. I want people to ask questions and to feel emotion – any emotion. And then sit down and talk about Giselle. I do not see art as just entertainment. It is there to teach, inspire and provoke.”

Dance Consortium presents Dada Masilo – Giselle is touring the UK from 4 October – 2 November 2019.

Read our review of Dada Masilo – Giselle at The Lowry.

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For a start, Wheeldon’s version has removed the Fairy Godmother figure and instead, Cinderella is watched over by a team of four Fates (Junor Souza, James Forbat, James Streeter and Francisco Bosch). Melting in and out of the shadows as one, faces masked, their presence has a touch of menace but it is their guidance that helps the heroine to find her prince. Their presence throughout her life – catching Cinderella when her stepmother trips her up, physically supporting her across the stage in impressive group lifts – somehow seems more meaningful and believable than a fairy who pops up out of nowhere.

Erina Takahashi is a glowing, smiling Cinderella with precise and effortless technique, while her Prince Guillaume (Joseph Caley) is high-spirited and energetic. Their ball scene duet is a gorgeously romantic pas de deux bursting with flowing partner work, sweeping lifts and emotional exuberance. There are further twists to the story: the two lovers meet prior to this, when Guillaume enters Cinderella’s house disguised as a beggar, and it’s not the striking of midnight that forces the heroine to leave the palace, but discovery by her stepmother.

The design on this production is as enchanting as the performances – from the giant two-dimensional tree made lush and alive with clever lighting and projection, to the imposing columns of the palace, and the revolving kitchen table that allows us to see Cinderella’s family from every angle. The ball is without question the visual highlight of the whole production, as dancers in rich blue costumes waltz below a multitude of glittering chandeliers.

The transformation scene takes place in an enchanted forest, with fairies inspired by the seasons (though given different names here) turning the stage into a kaleidoscope of brightly coloured tutus. Several strange woodland creatures appear – some have giant heads, some are humanoid horse chestnuts and others are white feathered birds in dresses. The carriage is a simple but ingenious puppetry creation using wheels of woven branches, horse heads and Cinderella’s cloak for the roof – projection over a gauze screen in front creates the illusion of movement.

Comedy is a key feature of this production, a reminder of the story’s other identity as a pantomime. Tamara Rojo steals many a scene as vicious stepmother Hortensia, whether manically hammering the slipper onto her daughter’s foot with a ladle, drunkenly lurching round the dancefloor at the ball or staggering into the kitchen with a hangover the next morning.

Her two daughters, Edwina and Clementine (Alison McWhinney and Katja Khaniukova) frequently get laughs for their squabbling, exaggerated steps and cheesy grins, though Clementine’s redemptive love story with the prince’s best friend is very sweet.

Christopher Wheeldon’s fresh take on the familiar fairy-tale is bursting with romance, comedy and colour, and should be guaranteed to endure in the English National Ballet repertoire.

Cinderella is at the Palace Theatre, Manchester from 17-19 October 2019.

As part of English National Ballet’s 70th anniversary the company is celebrating and thanking its touring communities by giving away 70 tickets during each run of performances in every city it tours to. During the performances in Manchester the ballet company has gifted tickets to staff from local charities and organisations including Talbot House, Mustard Tree, Frost Foundation, Lifeshare and Teenage Cancer Trust/Christie Hospital. English National Ballet will also give a ‘Golden Ticket’ for a special English National Ballet experience or piece of merchandise to one audience member per performance in Manchester.

Interview with People’s Choice Emerging dancer, Rhys Antoni Yeomans.

The post Cinderella, English National Ballet: Review appeared first on Quays Life.

How and why did you first start to dance? At what point did you realise that you wanted to be a professional dancer?

Rhys: “From an early age I was always interested in movement and music, but it was really when I went to see the show ‘Billy Elliot the Musical’ at the age of 10 in the West End that I fell in love with dance. From watching the show I was completely mesmerised how a young boy from up North (similar age to me at the time) was so determined to follow his dream of becoming a ballet dancer even though he had adverse comments and it not being the “normal” thing to do as a young lad.

“The show inspired me so much that I immediately asked my mum if I could audition for the part. I did and was offered a place in the training school of Billy Elliott which was very intense hard work – seven days a week – learning tap, ballet, singing and gymnastics, but I stuck with it and eventually became Billy Elliot for two years in the West End”.

Where did you train in Manchester? What were your other hobbies/interests growing up there?

Rhys: “I trained in a dance school called Centre Pointe in Denton for six years, before I moved to London to start at the English National Ballet School”.

Tell me a bit more about how you got the role of Billy Elliot in the West End.

Rhys: “There was an open audition in Leeds and I thought I would just go for it as I’ve always wanted to sing, dance and act even though I had no proper training before the audition. I was incredibly lucky and they must of saw something in me because I was offered the role”.

Is there any dancer in particular who inspires you, or who you especially admire?

Rhys: “I feel so lucky that I’m in such an incredible company with lots of inspiring and talented artists, so I really do look up to my fellow colleagues at English National Ballet, especially Joe Caley, Jeffrey Cirio, Aitor Arrieta and Barry Drummond”.

What drives your passion to dance?

Rhys: “It was during my Billy Elliot days that I truly developed a passion for dance. Dance became everything to me; when I performed something inside ignited and made me feel so alive. Over the years as I’ve matured as a dancer and become a professional, this feeling has grown stronger”.

Have you had to sacrifice anything to pursue your dream of becoming a professional dancer?

Rhys: “Like many dancers, I have had to sacrifice so much time in order to pursue this career choice. Many little things like missing birthday parties as a kid and other family events I’ve missed because of this career. You make sacrifices to your personal life in being a ballet dancer, because of the time-consuming nature of it. It can be upsetting but at the end of the day it’s what I love to do so it’s worth it”.

What are some of your favourite places to visit in Manchester when you are home

Rhys: “Obviously, my home! Spending time with my family is honestly my favourite thing in the world. I also like to go back to my dance school (Centre Pointe) to see my old teachers and friends”.

What have been the highlights of your career at English National Ballet so far?

Rhys: “Last year I had the opportunity of working with my favourite choreographer, the legendary William Forsythe. Being a part of his new work Playlist (Track 1, 2) was a truly special moment to start off my professional career and I will cherish the entire experience for the rest of my life. Playlist was recently nominated for an Olivier Award for ‘Best New Dance Production’ and won a South Bank Sky Arts Award which has made me even more proud to have been a part of it. Last season I was lucky enough to dance the ‘Neapolitan Dance’ in Derek Deane’s Swan Lake, a role that I’ve always wanted to do growing up and to do it at such a young age was so rewarding. I was also voted the ‘People’s Choice’ winner at ENB’s Emerging Dancer competition earlier this year – which definitely has to be a highlight of my career so far”.

How did it feel to be named the People’s Choice winner at this year’s Emerging Dancer competition?

Rhys: “It was so unexpected and a lovely cherry on top of the cake to finish my second season with the company. It meant so much that people saw me onstage and enjoyed it so much that they voted for me to be their People’s Choice winner. Audiences across the UK and world can vote for the winner of that award throughout the season, so it’s a very special accolade to win”.

What are you most looking forward to, coming back to Manchester to perform Cinderella?

Rhys: “I’m very excited to be performing a soloist role for the first time in my hometown. I’m so grateful that all my friends and family can see me on stage doing what I love”.

Do you feel like you’re representing Manchester when you perform across the UK and internationally?

Rhys: “I do, as I’m the only one from English National Ballet that is from Manchester and I feel that it is important for local dancers in Manchester to see someone who’s out there doing it and achieving what they want to”.

What do you miss most about Manchester?

Rhys: “Sausage rolls and ‘all right, love’ greetings”.

Cinderella is at the Palace Theatre, Manchester from 17-19 October 2019.

Alongside performances, English National Ballet will host a range of workshops and events throughout the tour, aimed to provide a gateway into the world of ballet and the productions the Company is touring this season. Activities include dance workshops for all ages, live drawing and behind-the-scenes talks. Visit their website for more details.

Read our review of ENB’s Cinderella at Manchester’s Palace Theatre.

The post Interview with People’s Choice Emerging dancer, Rhys Antoni Yeomans appeared first on Quays Life.

This fast-paced production dazzles all the senses – from beautifully choreographed ballet by David Nixon, to stunning set design, to the most beautiful costumes, supported by a fantastic score – all resulting in a glorious production leaving the audience transfixed throughout.

F. Scott Fitzgerald’s classic American novel was brought to life, beginning when Nick Carraway moves to the East Coast, renting a small house in a nouveau riche town in Long Island. Here he reconnects with his cousin Daisy Buchanan, her husband Tom, and meets their friend Jordan Baker. 

The Chanel-inspired costumes are stunning, with vibrant colours and gorgeous materials, and accentuating the beautiful lines of the dancers. The clever creative set, by Jerome Kaplan, conjures an America as painted by Edward Hopper, where we are transported from one beautiful house to the next.

Choreography of the ensemble make the backdrop come to life, whether in the busy streets of New York, with dancers expressing the hustle and bustle of the town, or those celebrating freedom and liberation from the horror of war, getting increasingly intoxicated at elaborate parties, dancing to jazz.

The real star of the show is Antoinette Brooks-Daw, as Daisy, executing the most exquisite ballet and being able to convey every emotion Daisy feels through every part of her body.

Kevin Poeung’s Nick masterfully conveys a man, not used to this society, awkward and awestruck by his surroundings, and yet a loyal friend to his cousin throughout.

Minju Kang’s Myrtle is wonderfully sassy, and happy to enjoy the jewels and presents bestowed on her by her lover, Tom.

The brilliant musical score by Sir Richard Rodney Bennett provides the jazz and syncopation to allow Kang to shine in this production. The music facilitates the change from the joyous atmosphere of Myrtle’s party, to the dark moment when Tom punches her in the face, to a tender moment when the lovers make-up again.

Nick meets his next-door neighbour, the mysterious millionaire Jay Gatsby, who has a penchant for lavish parties and beautiful women.

Ashley Dixon manages to make us first wonder who this rich man is, seemingly aloof to his guests, but as the production continues, and when he is re-connected with this lost-love Daisy, we see a man who is lonely and obsessive, and despite all the money he possesses, wants only one thing – the girl he fell in love with before he had to ship out to war.

The sequences where Gatsby is a young man, meeting Daisy for the first time are beautiful, and help us to understand why Gatsby has become the man he is, desperate to recapture his past.

Sean Bates is superb as Tom, embodying a passionate, obsessive and jealous man. In his movements, he is able to convey how his emotions flip from one extreme to another, with wonderful sequences where he desperately tries to keep Daisy away from Gatsby.

As the sparkling façade of Gatsby’s world begins to slip, the loneliness, obsession and tragedy that lies beneath is revealed in this wonderful production by the Northern Ballet.

Northern Ballet’s The Great Gatsby is at The Lowry from 8-11 May 2019.

Read our interview with choreographer David Bintley on 24 years leading Birmingham Royal Ballet.

The post Northern Ballet’s The Great Gatsby Dance Review appeared first on Quays Life.

Since the early 1990s, however, Disney seems to have had the monopoly on it. There’s no denying Disney’s animated film is a wonderful version, but the classic fairytale, with its themes of sin and redemption through love, lends itself to a variety of tellings. David Bintley’s sumptuous ballet, first seen in 2003, is equally magical.

And while there aren’t any songs, there is a captivating score from Canadian composer, Glenn Buhr. The Royal Ballet Sinfonia, under conductor Paul Murphy, create a soundtrack so immersive to the dance we sense we are in a different world where at times we hear the roar of a beast.

From the start Bintley draws us into his narrative, with the set opening like a huge storybook and Belle in her element among a library of books.

Philip Prowse’s extravagant set design seamlessly opens and closes, slides and folds to draw us deeper into this gothic fairytale.  Mark Jonathan’s dim atmospheric lighting is used to full effect when we enter the enchanted forest leading to the Beast’s Castle, which shimmers with gold décor and flickering candles.

There are some clever theatrical tricks such as animated birds, magic chairs, which sweep across the room when needed, and wine that pours itself. These add to magic but never detract from the dance, which ranges from the breathtaking corps works where Belle (Yvette Knight) appears flying high, carried on the wings of a flock of ravens, to the detailed character performances of Belle’s father (Rory Mackay) and sisters Fière (Laura Perkiss) and Vanité (Samara Downs).

The Beast’s ball provides light relief with some terrific comedy cameos from Laura Day as Grandmère and James Barton as Monsieur Cochon. But it is the dark, brooding presence of the Beast (Brandon Lawrence) that has us hooked on every entrance. It is a challenging role, not least because of having to convey emotion while dancing in a heavy costume and a mask.

Next to the delicate Knight, Lawrence’s Beast is both terrifying and tender. This underlying edge of tension is finally lifted in a joyful final pas de deux, when Belle’s love transforms him back into a handsome Prince.

Beauty and the Beast marks the final tour for choreographer David Bintley after 24 years as Artistic Director of Birmingham Royal Ballets. The production feels like a celebration, not just of his work, but of the art itself. That a classical ballet of such high calibre in dance, design and score has been produced in the 21^st century gives a signal that this is an art form very much alive. And, while largely aimed at grown-ups, it was clear by the reaction of youngsters in the audience, this is a ballet that captivates old and young alike.

Beauty and the Beast is at The Lowry, Salford Quays on 20 – 23 March 2019 and on national tour until May 2019. For details or to book tickets, visit brb.org.uk.

Read our interview with David Bintley as he reflects on 24 years as Director of BRB.

Find out what it takes to be a Principal Dancer with Birmingham Royal Ballet in our interview with Delia Mathews who appears as Belle in selected performances of Birmingham Royal Ballet’s Beauty and the Beast.

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After 24-years leading Birmingham Royal Ballet, it feels fitting for David Bintley to close his final tour with a revival of Beauty and the Beast. As a choreographer, he’s famous for narrative works and in this majestic full-length ballet, the importance he places on story couldn’t be clearer.

The curtain raises to reveal a magical set, opening like a giant book at the heart of the stage. The ballet, first seen in 2003, is among his proudest works. But David’s story with BRB and his heart for the Company stretches far beyond what we see on stage.

Their history together goes back 42 years when he joined BRB, then Sadler’s Wells Royal Ballet, as a dancer. Almost 20 years later, aged 38, he succeeded Sir Peter Wright at the head of the organisation and was keen to continue the supportive ethos inspired by his predecessor.

“I never wanted to be a director, but everything suddenly came together,” he remembers. “I wanted to be in a place where my work would be of use; where it would become part of the Company’s history – that it would mean something. The best way to do that was to be the director of a company.”

Since then, David has choreographed more than 22 ballets and commissioned a further 21. However, it’s clear his roots with BRB run deeper than personal artistic achievements.

“The works mean more to me than just the work itself,” David explains. “They are part of a period of my life. When I revive a work it’s not just the work but what one has memories of. Like one of the pas de deux in Carmina Burana. I know the date I choreographed that because it was the day my son was born.”

Carmina Burana was David’s first piece as newly appointed director in 1995. He took the show to South Africa shortly after, making BRB the first major ballet company to visit following the country’s first free elections. Ten years later he revived the show for his debut with National Ballet of Japan. The collaboration led to him becoming its director, a role he held for four-years, in addition to his role at BRB.

While these are the recorded moments, David’s strongest memories are often outside the lights of the stage.

“The things that really stand out to me are not the ballets or the performances, but what the company can do and what it can mean outside of the show,” he says.

There’s joy in his voice as he recalls the work of BRB’s education team in South African townships. Enthusiasm spilled into the rest of the Company and by the end of the tour everyone wanted to get involved. “On the final day we had 500 kids from all over Pretoria and Johannesburg doing a workshop with the Company. All 500 of them performed the leading girl’s solo from Carmina Burana. There wasn’t a dry eye.”

Another personal highlight was their 2011 Japanese tour. Falling two months after the Tōhoku earthquake and during the ongoing disaster in Fukushima, the Japanese National Ballet saw BRBs presence as a demonstration of solidarity with its people, strengthening an artistic partnership that continues today.

“It was a very emotional tour,” says David. “The Japanese greeted us little short of ecstatically. For us to be strong enough, brave enough and trusting enough when much of the world ran away was a fantastic thing.”

Closer to home, David encouraged life-changing projects such as Bally Hoo, working with 200 youngsters from deprived backgrounds to produce a full-length performance of Romeo and Juliet. The two-year project was filmed for a Channel 4 documentary, Ballet Hoo! – Ballet Changed My Life. It was a remarkable example of community outreach. More remarkable – BRB’s commitment didn’t end when the cameras stopped rolling.

“Bally Hoo was a massive project which caused a lot of disruption and a lot of patience and commitment from all the dancers,” David admits. “We are still in touch with some of those young people. We have a group that regularly gets together.

“I’ve always been pleased that our presence in Birmingham goes beyond simply being a performing arts company. We are part of the social structure – to me that is the true value of any kind of art.”

David understands the impact dance can have on a child’s life. Growing up in a village outside Huddersfield, at age 4 he fell in love with performing on the Sunday School stage. At 16, he trained at the Royal Ballet’s Upper School under Dame Ninette de Valois and Sir Frederick Ashton, before joining Sadler’s Wells Royal Ballet at 19.

His role as Director of BRB has allowed him to spot and nurture new talent. He rarely hires dancers at a high level, preferring to bring them through first year corps de ballet so they have a depth of understanding and respect for what it’s like to be a dancer at all levels of the Company.

In addition to the 60 dancers under his guidance, David expresses genuine care and value for the 100 staff working for him across all areas of the Company. His stability in the role has maintained a family atmosphere while instilling confidence to push artistic boundaries.

“The public wants to see new things as well as old,” he says. “The great thing about classical ballet is it has absorbed every other dance influence of the day since 1600. I like to bring new trends from theatre into dance. It’s a question of what is a novelty and what is an innovation? Novelties are easy and true innovation is harder, but that’s what we chase.”

Throughout his career, David has shown great innovation in commissioning new music for ballet, including for Beauty and the Beast’s score from Canadian composer, Glenn Buhr.

“To me, working with a composer on a new piece is infinitely more satisfying than finding something on a record or online,” he explains. “I make dance because of music and, for me, the relationship between music and dance is fundamental.”

One of his greatest legacies is the hugely ambitious, Ballet Now – a ground-breaking initiative supporting choreographers, composers and designers to develop new work of world-class potential.

“It was an idea we never thought we’d attain,” he admits. “It was me and our previous development director and we just shot for the stars. For a couple of years nothing happened. We were very lucky to get a big sponsor in the Oak Foundation and suddenly it came together.”

David leaves BRB in July 2019, his place in the Company’s history firmly set as one of Britain’s most successful classical choreographers. His last piece takes the audience almost back to the beginning, with one of his first major successes, Hobson’s Choice from 1989.

“There’s a point where you have to go back to the beginning again and completely reassess everything that you’ve done and everything that has to be done,” David reflects. “I feel it’s just time for somebody else to look at it.”

Looking forward to more creative freedom as a freelance choreographer again, he already has commissions lined-up in China, Japan, Florida and Bordeaux. Not surprising for a choreographer who has transformed BRB into one of UK’s major cultural exports with tours and co-productions stretching every corner of the globe. And testament to David’s strong international legacy, the greatest dancer of our generation, Carlos Acosta has been attracted as his successor.

“Carlos is a world superstar as a dancer and will open a lot of doors internationally,” says David. “I hope he is as successful in his career as a director as he was as a dancer – that will be great for the Company”.

Beauty and the Beast is at  The Lowry, Salford Quays on 20 – 23 March 2019 and on national tour until May 2019. For details or to book tickets, visit brb.org.uk.

Find out what it takes to be a Principal Dancer with Birmingham Royal Ballet in our interview with Delia Mathews who appears as Belle in selected performances of Birmingham Royal Ballet’s Beauty and the Beast.

The post David Bintley reflects on a magical 24 years with Birmingham Royal Ballet appeared first on Quays Life.