The bare bones of it: Act 1: Rich boy (Albrecht) disguised as poor boy, falls for poor girl (Giselle). Poor girl’s poor admirer (Hilarion) kicks off and intervenes (repeatedly). Rich boy’s family arrive with his fiancée (Bathilde) in tow. Rich boy departs, fiancée on arm. Poor girl expires (broken heart? self-harm? foul play? You decide).

Act 2: Poor girl’s spirit is recruited by gang of disgruntled female spirits (all victims of male perfidy). Poor boy visits grave but is scared away by spirits. Rich boy visits grave. Poor girl’s spirit battles Queen of spirits (Myrtha) to try to save him.

Tim Yip’s set confronts the audience with a grim, pock-marked grey “concrete” wall (and, of course, it’s hard not to think of Gaza). On our side, the excluded side, are Giselle (danced with delicacy and vulnerability by Erina Takahashi) and her fellow migrant workers. Lurking in amongst them, the wealthy Albrecht (given subtle self-assurance in James Streeter’s performance) dotes on her, whilst facing down her jealous, long-term admirer, Hilarion (Ken Saruhashi seethes and struts his frustration and growing sense of futility).

The ensemble carves and weaves Khan’s shapes and patterns with faultless pace and precision, all lifted and guided by the orchestra, masterfully roused and driven by Gavin Sutherland’s tireless baton.

When the music pauses, Albrecht can be seen to one side, still dancing. Try as he might, he doesn’t quite belong.

A klaxon sounds, the wall tilts and lifts and the factory owners, sumptuously dressed in clothes made by these migrant workers, glide forward. A simple gift from Albrecht’s father (a bowler hat) renders Hilarion their willing overseer. He bows and scrapes, physically forcing his fellow workers to kowtow to the mighty who have deigned to go among them.

Browbeaten, Albrecht takes the arm of his glamorous fiancée and returns to his own side of the wall. The impact of this betrayal is too much for the adoring Giselle. The precise nature of her fate is masked from us – does she simply collapse in grief, or might this be suicide (or even something darker)?

After the interval, Mark Henderson’s chill and eery lighting roots us in a graveyard of restless souls. The choreography (much of it en pointe) is relentlessly beautiful. The ensemble presentation of the spirits of wronged women (the Wilis) is impressively otherworldly – I’m guessing it takes quite some level of skill and concentration to perform ballet with a metre-long stick clamped between your teeth. The effect is worth the effort – the women becoming a wall of vengeful menace. Even half-lit, Emma Hawes shines as Myrtha, Queen of the Wilis. The final pas de trois (Myrtha, Albrecht and Giselle) is profoundly moving.

The storytelling throughout is clear but never patronising (there is work for the audience to do and their attention never drifts.) I have rarely seen the Palace crowd so rapt.

Don’t miss it.

English National Ballet – Akram Khan’s Giselle is at The Palace Theatre, Manchester from 19 to 21 October 2023 before continuing on tour. The ballet is also available for purchase to stream on demand.

The post English National Ballet – Akram Khan’s Giselle: Review appeared first on Quays Life.

Artistic Director, Tamara Rojo takes a back seat in choreographer, Derek Deane’s restaging, and the company seems less well-drilled than we have come to expect of ENB under her leadership.

Ken Saruhashi makes an elegant and willowy Prince Siegfried, while Fernanda Oliveira’s Odette (along with one or two others) seems a little wary of the flooring, never quite taking flight.

The opening to act four (swans by the lake, all moonlight and mist) is genuinely beautiful. Junor Souza provides a Rothbart with impressive stage presence (half man, half bird – striking as both).

Otherwise, Erik Woolhouse’s quadruple cabriole devant, bursting with athleticism, is one of few memories that will endure. (Woolhouse shines again in act three’s Spanish dance).

If you are new to ballet, this production features some of the most iconic scenes in classical dance. It is also a treat to hear Tchaikovsky’s famous score played live by English National Ballet Philharmonic.

If you were hoping for something with a little twist on the traditional classic, for you English National Ballet will have better nights. Ms Rojo will make sure of it.

Swan Lake is at The Palace Theatre, Manchester from 5-8 October 2022.

The post English National Ballet’s Swan Lake: Review appeared first on Quays Life.

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.

The strength of the ballet has stood the test of time, providing plenty of material and inspiration for constant re-workings. Yet in the hands of choreographer, Akram Khan it feels not so much re-imagined as revolutionised in a way that takes not only this ballet, but the art form itself in an exciting new direction.

The heart of the story is the same one of doomed love between two young people inhabiting very different worlds. Here instead of peasant and nobleman we have migrant factory workers (the outcasts) and their wealthy landlords, and the gulf between them is almost otherworldly.

When we first meet the Landlords they emerge from behind the huge revolving stone wall which separates them as if stepping off a spaceship. These are exquisite and extravagant creatures wearing haute couture clothing that is as impractical as it is imposing – there is no chance that these characters are going to work and that includes to dance for us.

In contrast the migrant workers, dressed in flimsy, colourless rags fill the stage with an energy that is impossible to be indifferent to. Whether they are pushing their palm imprints into the wall or hunched as the whirring machinery of a clothing mill their dramatic presence personifies the tensions inherent in their oppression.

In this, his first full-length ballet, Khan’s talent for creating memorable visual images is even more striking – one example of many is the strength of the corp to ballet as the Wilis on pointe with four-feet long sticks between their teeth.

Designer Tim Yip complements this with a set that is at once both simple and imposing – the revolving wall becoming an oppressive metaphor for the whole tale.

Every aspect of the production goes into creating an absorbing experience. Mark Henderson’s stunning lighting design keeps the dancers for the most part in half-light – figures living among the shadows with only glimpses of radiance.

The movement is almost inseparable from Vincenzo Lamagna’s score, adapted from the original by Adolphe Adam. It is a challenging mix of haunting melodies overlaid with sounds of radio interference, crashing waves and industrial noise.

Here the romance between Giselle (Alina Cojocaru) and Albrecht (Isaac Hernandez) is not so much a joyful distraction but a glimpse into the emotional heart of separation. Their pas de deux while beautiful are always tinged with sadness, at times every muscle of Cojocaru’s delicate body appear taut with anguish.

The influence of Khan’s training in Indian kanthan and contemporary dance combined with English National Ballet’s classical excellence has given us a Giselle like we’ve never seen before.

The piece is a collaboration between English National Ballet, Sadler’s Wells and MIF. Why MIF has decided to programme it outside of its biannual festival is not clear. But if it is a trailblazer and taster for what is to come in July 2017 it has set the bar incredibly high.

Akram Khan’s Giselle is at The Palace Theatre, Manchester from 27 September to 1 October 2016.

The post Akram Khan’s Giselle appeared first on Quays Life.