Aladdin, Birmingham Royal Ballet, BRB, London Coliseum, March 2013

While Alice’s Adventures in Wonderland plays at Covent Garden, the Birmingham Royal Ballet brings David Bintley’s new Aladdin to the London Coliseum. The former is sold out, and the latter deserves to be too, because both are equally great fun though entirely different.

Djinn and Magician, all images ©BRB/ Bill Cooper

Aladdin is a ripping yarn based on those Tales of the Arabian Nights, and its luminous story-telling, with a big pas-de-deux for Aladdin and the Princess in each of the three acts, allows more space for classical dancing than Alice. It all starts in the market place, reminiscent of Romeo and Juliet, and the multiple dances of Act I recalled the second act of Nutcracker. Aladdin’s dispatch of the magician in Act III reminded me of the Tsarevich and Kashchei in Firebird, and these allusions point to the fact that this array of classical dancing is a feast for the eyes.

A Chinese dragon

Excellent sets by Dick Bird, and the costumes by Sue Blane are lovely — Persian and Ottoman concepts with a splash of Far Eastern magic, perhaps suiting the fact that this ballet was first produced in Japan. With that audience in mind, Bintley relied more on his choreography than on big acting performances, and the whole thing is a wonderfully exuberant show of dance. Mark Jonathan’s lighting helps draw out the magic, and the costume and make-up for the magician made him look like an ancient Sumerian god, which if intentional is a very clever touch.

The whole company danced with great élan, and Jamie Bond and Jenna Roberts made a delightful couple as Aladdin and the Princess, dancing a thrillingly joyful pas-de-deux in Act II. Tzu-Chao Chou was a remarkably airborne Djinn of the Lamp, and his Act II leap above the heads of four men who then hold him up high in a sitting position was a wonder to be seen. Iain Mackay as the magician showed marvellous stage presence with his gliding movements, and Marion Tait as Aladdin’s mother was as ever a musical delight.

The music itself by Carl Davis creates a magical atmosphere already in the overture, and this is a case where choreography and music were created to complement one another. There is not a dull moment, and the orchestra played beautifully under the baton of Philip Davis.

With four more performances in London, two of them matinees, this is a must-see. Do not be put off by associating this to a well known pantomime of the same name. Yes, there is a magic carpet and they float back home after escaping from the magician’s lair, but this is classical ballet with a swing in its step. Performances at the London Coliseum continue until March 24 — for details click here.

Grand Tour/ Faster/ The Dream, Birmingham Royal Ballet, BRB, Sadler’s Wells, October 2012

The Grand Tour, a charming ballet by Joe Layton based on Noël Coward’s 1930s transatlantic trip on a liner, is to music by Coward himself, adapted and orchestrated by Hershy Kay.

The Grand Tour, all images BRB/ Roy Smiljanic

It’s a colourful ballet with lovely designs by John Conklin, well lit by Peter Teigen, and in this cast the most striking performer was Laura-Jane Gibson as one of the two stowaways — she was super fun. A fine start to this triple bill Autumn Celebration, but it was overshadowed by the next two ballets.

Faster/ Gittins and Singleton

Faster is David Bintley’s response to the 2012 Olympic Games, a bravura display of athleticism, whose title recalls the Olympic motto ‘Faster, Higher, Stronger’. The music in three movements by Matthew Hindson was thrillingly conducted by Philip Ellis, and the dancers excelled themselves in the energetic choreography, making it look far easier than it is, and some of it was tough indeed. The wonderful costumes by Becs Andrews involved changes that gave the ballet huge scope, and in the final movement the colours were glorious.

Performances by the whole cast were so good it is hard to pick out individuals, but the contest with injury in the second movement was superbly performed by Céline Gittins and Tyrone Singleton. His pose at the end was a fitting moment of success, and then just before the curtain lowers he crouches down as if on starting blocks ready to do it all again. Unmissable. Pity the Olympic celebrations didn’t use Bintley’s work, or even just a part of it, as this was far better than anything in the closing ceremony.

Finally came The Dream, with Tzu-Chao Chou as a spectacular Puck, a will-o’-the-wisp who could do real magic, conjuring spinning turns out of thin air. He was fabulous, and the rest of the cast were excellent. William Bracewell as Oberon showed a lovely line, and Natasha Oughtred made a pretty Titania. The lovers were entirely convincing, the fairies delightful, the rustics super fun, and Feargus Campbell as Bottom made a glorious ass, his pointe work done to perfection.

Bracewell and Oughtred as Oberon and Titania

This Ashton ballet works like a charm when done well, and its performance here could hardly have been better. Philip Ellis conducted with a light touch and excellent feel for Mendelssohn’s music, drawing beautiful sounds from the girls’ voices of the Birmingham Cathedral Choir. Performances of one-act narrative ballets don’t get any better than this — it was a delight.

Performances of this triple bill continue until October 27 at Sadler’s Wells, and on October 30–31 at the Wales Millennium Centre — for details click here.

Grosse Fuge/ Lyric Pieces/ Take Five, Birmingham Royal Ballet, BRB, Sadler’s Wells, October 2012

This triple bill, titled Opposites Attract, concludes with Hans van Manen’s fine 1971 ballet Grosse Fuge to orchestral music by Beethoven, but in the meantime we are treated to two more recent works with music of a lighter texture.

All images BRB/ Roy Smiljanic

The programme starts with David Bintley’s Take Five to jazz music created by the Dave Brubeck Quartet. This is fun. Lighting by Peter Mumford shows clear colourful lines, and costumes by Jean-Marc Puissant exhibit a 1950s charm, particularly the dresses with their matching colours and white collars for the girls in the pas-de-trois. Bintley’s choreography in this second section is beautifully gentle, but things quickly change into a fast solo brilliantly danced by Joseph Caley. Then in the Two Step when Tyrone Singleton joins Elisha Willis he suddenly gives her a definition she lacked, and his solo work was terrific. The Four Square section for men that immediately follows was strongly danced by all, with Joseph Caley and William Bracewell particularly notable, and the cast then came together for an excellent finale.

Dancers and concertinas in Lyric Pieces

Following the first interval was Jessica Lang’s new work Lyric Pieces first shown in Birmingham in May 2012. Lang, once a dancer with Twyla Tharp’s company, created this to piano music by Grieg and complemented her choreography by pieces of black pleated scenery, concertinas that the dancers move into position and occasionally manipulate. Like the previous ballet this one divides into named sections, from solos — and there was a very fine one here danced by Yvette Knight — to sections for two and more performers. The penultimate one called Phantom was hugely lyrical, particularly in the way it was danced with beautiful fluid movements by Jenna Roberts and Iain MacKay. Grieg’s piano music was beautifully played by Jonathan Higgins, and this ballet exuded a refreshing feel, forming an ideal counterbalance to the final item.

Iain Mackay in Grosse Fuge

Grosse Fuge by Hans van Manen also uses four guys and four girls, and the black of the sets for the previous work becomes the black of the trouser-skirts for the men. These are removed in the second part, showing black trunks secured by a belt that the girls can grasp hold of, and van Manen created these costumes as well as the choreography. The music is late Beethoven, written originally for his B flat quartet (op.130), and the grosse Fuge that originally ended the quartet was used here for the first part, while its later replacement by a lighter allegro was used for the second part. As the ballet progresses the girls, who stood apart from the boys at the start, began to join in and the dancers work in couples giving meaning to the title of this triple bill: Opposites Attract.

From jazz to solo piano to orchestral music well conducted by Koen Kessels, the musical textures form a delightful triple.

Performances continue on October 24 (mat. and eve.) at Sadler’s Wells — details here — and on October 25, 26 and 27 the Company will dance a different triple — details here.

Coppélia, Birmingham Royal Ballet, BRB, London Coliseum, March 2012

London Coliseum audiences who went to Offenbach’s Tales of Hoffmann recently saw one version of Coppélia in the first act of that opera. It involves a young man who falls for a mechanical doll built by Dr. Coppélius, based on an 1816 tale by E.T.A. Hoffmann himself.

Franz and Swanilda, image Roy Smiljanic

This ballet was created in Paris in 1870 less than two months before the Franco-Prussian war started, and during the siege of Paris later that year the ballerina who created the main role, Swanilda died of smallpox on her seventeenth birthday. But the ballet with its glorious music by Delibes survived, and in 1884 Petipa re-choreographed it in St. Petersburg. Most later versions are based on his, and this is Peter Wright’s third. With glorious sets and costumes by Peter Farmer, lit by Peter Teigen, it is a sight not to be missed.

The mime element is strong and very well performed by the company. The ear of corn scene — if it rattles, his love is true — is well portrayed by Swanilda and her friends, and in this version her fiancé Franz is strongly portrayed as a ladies man (in the original ballet it was a travesti role). Chi Cao performed superbly as Franz, and his solos in Act III were terrific — those wonderful beats, particularly on the cabrioles, were a sight not to be missed. Nao Sakuma also exhibited fine technique as Swanilda, and suitable playfulness in the Act II scene in Coppelius’s workshop. Among her six friends, Maureya Lebowitz was in a class of her own — surely a dancer destined for principal roles.

The ensemble dancing was very good, and in Act I this ballet was the first to include the Hungarian Czárdás, which should be more stylishly portrayed, particularly in the slow courtly first section. Angela Paul, who also danced Dawn in Act III did well here, but in general the frisson of pride was missing. The interactions of the characters in Act I, the apparent coming to life of the doll in Act II, and the dance of the hours in Act III were all charming, and as the evening ended with a glorious pas-de-deux by Chi Cao and Nao Sakuma, the applause rang forth.

The conducting of Delibes’ music by Koen Kessels was wonderful, from the start of the prelude to the end of the ballet, and the Birmingham Royal Ballet’s visits to London are always a great pleasure.

Further performances of Coppélia at the London Coliseum continue until March 18 — for details click here.

Daphnis and Chloë/ The Two Pigeons, Birmingham Royal Ballet, BRB, London Coliseum, March 2012

Essential for first rate ballet are music and choreography, and this double bill provides them in spades, along with some very fine dancing.

Daphnis and Chloë, all images Bill Cooper

Both ballets involve young lovers splitting apart, yet reunited at the end, and both are choreographed by one of the great masters of the twentieth century, Frederick Ashton. His creations were entirely new, the original choreography for Daphnis and Chloë being lost, and Messager’s score for Two Pigeons being re-orchestrated by John Lanchbery, who rounded it off at the end with a return to the scene at the start, the lovers together again in the studio. Musically and choreographically these are a must-see. Ravel’s music for Daphnis and Chloë is one of the world’s great ballet scores, and though the music for Two Pigeons may be less well known it is simply glorious. Conducting by Koen Kessels was hugely powerful, yet entirely sensitive to the dancers.

The dancing itself was excellent, the corps work very fine, and Elisha Willis gave a lovely performance as both the virginal Chloë and the hot-blooded gypsy girl in Two Pigeons, who causes the young painter to leave his lover and run after her. She filled both roles with conviction, and Robert Parker and Nao Sakuma as the lovers in Pigeons were a delight. Strong dancing all round, with superb sets, costumes and lighting.

The designs for Daphnis and Chloë are John Craxton’s originals for Ashton’s ballet, the gathered skirts for the women and belted trousers and shirtsleeves for the men bringing the classical remoteness of this story into the Mediterranean world so well evoked by Ravel’s score. And the stylised sets, though highly evocative of the period in which they were created, give a timeless background to the story.

The Two Pigeons: Robert Parker and Nao Sakuma

In Two Pigeons, Jacques Dupont’s lovely set, with its window to the city and sky, was beautifully lit by Mark Jonathan, the colours of the sky evincing a magical appeal for the anchored freedom of rooftops, and life in the upper floor of a city building. And those pigeons, seeming to fly free outside the window yet with one flying in to join the other at the end, evoke the beauty of this charming story.

These two ballets form a superb double bill, but it will be over in the blink of an eye, so fly down to see it without delay. There is a matinée and evening performance at the London Coliseum on March 14 — for details click here.

Cinderella, Birmingham Royal Ballet (BRB), London Coliseum, March 2011

Stage versions of Cinderella are many and varied. In Rossini’s opera there’s a pompous stepfather, in Massenet’s a stepmother, and in Ashton’s classic ballet a father. But all agree that Cinderella’s mother has died, and in David Bintley’s new production we see a glimpse of her funeral during the overture. It’s a brief but poignant scene, well supported by Prokofiev’s music, as is much else in Bintley’s new creation — seen here in London for the first time.

The magic starts, all photos by Bill Cooper

The two stepsisters are played here as obnoxiously juvenile girls, their teasing easily turning to pushing and shoving, but they can also be funny and I loved the incidents at the ball with the major domo’s staff of office. Above all, however, is the nasty stepmother, brilliantly portrayed by Marion Tait. Her ball dress was stunning, and when the prince brings the slipper to the house she follows her awful daughters in trying it on . . . before Cinderella herself comes forward.

Frog coachman, lizard footmen and mouse pages

The business with the slippers is very cleverly done, starting in the kitchen scene of Act I. Cinderella brings out a red box containing a portrait of her mother, and two pretty bejewelled slippers. The stepsisters suddenly enter and grab them, until more urgent matters claim their attention and Cinders can hide them again. Then when everyone’s gone, and she’s alone again, the fire suddenly springs to life and a barefooted old crone appears from nowhere, seated next to it. Cinderella gives her the precious slippers, catalyzing the magic. Bintley uses the slippers very skilfully and when Cinders returns from the ball she fishes out the red box again, hiding her remaining slipper. Once again the wretched sisters burst in again and grab it, but this time they are interrupted by the arrival of the prince himself, and Cinderella, unable to hide the box in its usual place, sits by the fire holding it. This seems an awkward moment for her while the sisters and stepmother try on the slipper, but then shyly and slowly she comes forward with the matching slipper. There is no rush, and this important moment is given full focus, creating a sense of wonder, well supported by Prokofiev’s glorious music.

Elisha Willis and Iain Mackay, Act III

The music is well used, and Bintley’s production manages to insert magic into moments that are sometimes missed, greatly helped by Koen Kessels’ wonderfully sympathetic conducting. Designs by John Macfarlane express the dichotomy between the cold looking kitchen and the mysterious world beyond for the seasons and the stars, glimpsed in the distant background of the ball scene. I loved the way the coach came together at the end of Act I, taking Cinderella off to the ball, and I loved the clock, as it came together in Act II, with its inner workings showing the rapid passing of time. Lighting by David Finn was excellent and I particularly liked the gradual visibility of the ball scene at the start of Act II.

The corps de ballet and soloists danced beautifully and Elisha Willis was a lovely Cinderella, showing refinement and strength in reserve, well deserving her very handsome prince in the form of Iain Mackay. Victoria Marr was a gentle fairy godmother, and the sisters were very amusingly portrayed by Gaylene Cummerfield and Carol-Anne Millar — I particularly liked Ms. Cummerfield’s clumsiness at the ball, sickling her foot most horribly at one point. And throughout it all, Marion Tait as the stepmother, holds the stage with a nod and glance.

This production by David Bintley has moments of magic, and when you go you should buy a programme to read Neil Philip’s interesting essay on the myth of Cinderella, including a version connected with the folk tale aspect of Shakespeare’s King Lear.

Performances at the London Coliseum continue until April 2 — for more information, and to book on-line, click here.

Preview — Cinderella, Birmingham Royal Ballet, London Coliseum, March 2011

Following its world premiere in Birmingham last November, and Christmas Day BBC Television debut, Birmingham Royal Ballet’s new production of Cinderella comes to London for the first time.

all photos by Bill Cooper

Choreography is by the wonderful David Bintley, with designs by John Macfarlane whose brilliant work on the Magic Flute was recently seen at the Royal Opera House. To top this, the lighting design is by David Finn, whose updated lighting for the Royal Ballet’s Giselle gives such a wonderful air of threatening magic to Act 2.

See my report after the first night on Tuesday, March 29.

Performances at the London Coliseum continue until April 2 — for more information, and to book on-line, click here.

Sleeping Beauty, Birmingham Royal Ballet, BRB, London Coliseum, April 2010

Sleeping Beauty is a glorious union of music and dance with Tchaikovski’s score matched by Petipa’s choreography, and Peter Wright’s production for the Birmingham Royal Ballet does it full justice. The designs by Philip Prowse are excellent — the gold of the sets, and the black in some of the male costumes give a rich feel without the overwhelming pastel shades found in some other productions. The Prologue comes off very well, with the Lilac Fairy’s variation being taken by the sixth of six fairies, named here as Beauty, Honour, Modesty, Song, Temperament, and Joy. Their short tutus are all of similar colours, while the Lilac Fairy herself, gracefully portrayed by Andrea Tredinnick, is in a long tutu befitting a more calming and nurturing role. All the soloists did well, and Marion Tait as Carabosse was superbly musical as usual. Worth noting also that David Morse as Catalabutte, the master of ceremonies, showed fine stage presence and suitable angst, mortified by his omission of Carabosse from the guest list to the Christening.

Marion Tait as Carabosse, photo Bill Cooper

This production has some wonderful moments, and I particularly liked the way Carabosse reappears in Act I as a shrouded old woman, apparently willing to be arrested after giving Aurora the spindle, yet suddenly throwing off her disguise and creating havoc. Her disappearance in mid-air is very effective thanks to excellent lighting by Mark Jonathan. In fact the lighting was part of the glory of this production, giving a contrast between good and evil, particularly when both are on stage at the same time in the form of the Lilac Fairy and Carabosse. Also in Act I there was some slightly unfriendly competition between two of the four princes, played by Tyrone Singleton and Robert Parker, and it’s little vignettes like this that help to make the production come alive.

Nao Sakuma as Aurora, photo Bill Cooper

Nao Sakuma danced well as Aurora, and was very hansomely partnered in the later acts by Iain Mackay. He did a fine job as her prince, stepping in for Chi Cao, who was unable to get back into the country due to the recent absence of air flights. It was the first time they had danced these roles together, and they did it perfectly. This is a company that obviously works well together, producing excellent soloists and a fine corps de ballet. In Act III, Mathias Dingman and Alexander Campbell were brilliantly matched in the pas-de-quatre, as were Carol-Anne Millar and Angela Paul, who showed magnificent sparkle. Joseph Caley and Momoko Hirata were excellent in the Bluebird pas-de-deux, and I loved Sonia Aguilar as the White Cat — she was utterly charming.

If you want to see Sleeping Beauty, this production is terrific, and musically it was better than the recent run by the Royal Ballet. Paul Murphy conducted and drew exciting sounds from the orchestra, making the journey to the enchanted wood in Act II sound . . . well, enchanting. The choreography too, at that point, is delightful, and now includes the Awakening pas-de-deux.

Performances continue until Saturday, 24^th April.

Review — Cyrano, Birmingham Royal Ballet, at Sadler’s Wells, November 2009.

 

 

This is the second of two ballet programmes by the BRB at Sadler’s Wells, the other one being a triple bill called Quantum Leaps.

Cyrano was originally created by David Bintley for the Royal Ballet in 1991, but this new version for the Birmingham Royal Ballet has a completely new score by Carl Davis. The music is atmospheric, well suiting Bintley’s ballet, which is based on the 1897 play Cyrano de Bergerac by Edmond Rostand. It’s about a noble seventeenth century fellow named Cyrano with a horribly long nose, who is in love with his cousin Roxane. She in turn is interested in the callow young cadet Christian, and the plot is complicated by the fact that her guardian, the Comte de Guiche intends to marry her himself. Roxane asks Cyrano to deliver a love letter to Christian, and since the young fellow can’t read or write he asks Cyrano to write to Roxane on his behalf. The scene is then set for Roxane to fall helplessly in love with the letter writer whom she believes to be Christian. De Guiche manipulates events so that Christian is killed in battle, and Roxane then enters a convent in despair. She sees her cousin, Cyrano regularly, not knowing he is seriously wounded, nor that he loves her and has written all those beautiful letters. When she finds out, it’s too late and he dies in her arms.

Robert Parker was superb as Cyrano, with strong stage presence, precision in dancing, ability to express emotions, and playing well with the humorous parts. Elisha Willis was an utterly charming Roxane and her pas-de-deux with Cyrano in Act I was beautifully performed. This is a lovely piece of choreography, where she teasingly holds on to the letter she’s written. The supporting dancers all did well, with Iain Mackay as Christian, Chi Cao as Cyrano’s aide Le Bret, Christopher Larsen as Ragueneau the baker, Dominic Antonucci as the horrid De Guiche, and Marion Tait as the Duenna, who looks after Roxane. It’s always a pleasure to see her on stage, with her fine musicality. This is a ballet with plenty of ensemble dance for the men, and they performed it extremely well.

The designs by Hayden Griffin are wonderful, and I loved Roxane’s costumes. The fights, directed by Malcolm Ranson, were entertaining, but suffered from the usual weakness of people dropping dead without any apparent blow being struck. It was all very effectively lit by Mark Jonathan, and very well conducted by Wolfgang Heinz. Altogether this is a ballet to appeal to those who like a good story, and after a slow beginning it picked up later and the use of mime was very cleverly done. In fact it’s rather remarkable to turn into dance a story about a man who is good with words, but I think Bintley has succeeded.

Quantum Leaps, Birmingham Royal Ballet, BRB at Sadler’s Wells, November 2009 — Powder, E=mc2, and The Centre and its Opposite

In this triple bill each work was a team effort, and the dancers performed superbly. The sequence of ballets was well-judged and made a great evening of dance.

The first item, Powder was a revival of a 1998 ballet by Stanton Welch, an Australian-born choreographer who is now artistic director of Houston Ballet. It’s a sensuous use of dance to accompany Mozart’s Clarinet Concerto in A major, completed shortly before his death. The seven couples were led by Natasha Oughtred and Robert Parker. She was beautifully musical, vulnerable and sexy, well supported by her partner, and by Victoria Marr and Ambra Vallo as the other principal girls. The costumes by Kandis Cook — tight shorts for the men, and long chiffon skirts with various satin bodices for the women — were admirably sensual, and the subtle lighting by Mark Jonathan was very effective. The long sweeping motions in the choreography made this work the gentlest of the three and the right one to start with.

The second ballet, named after Einstein’s equation E = mc², was the main focus of the evening for me. It’s a new work by artistic director David Bintley, in four movements each with strongly rhythmic music specially commissioned from Australian composer Matthew Hindson. The first movement represents energy — the E in the equation — and was vibrantly physical. The energy represented here is the chaotic energy of the Big Bang, and I particularly liked the sextet of men, which showed immense power amid the rhythmic chaos. The second movement represents mass — the m in the equation — and is a complete contrast to the energy movement, reflecting the fact that we perceive mass and energy to be quite different, despite Einstein’s equation showing they are manifestations of the same thing. The sudden transformation of mass to energy informed the third movement, representing the dropping of two atomic bombs in World War II. This was demonstrated by powerful sound effects and a single white-faced dancer, Samara Downs in a kimono and with a large fan. Then came the fourth movement with a square array of lights on a screen at the back of the stage gradually becoming visible. This was the c² of the equation — c being the speed of light. The choreography here was particularly inventive, extremely well performed, and fascinating to watch. There was no physical set, and changes of mood were signified by Peter Mumford’s clever lighting, with sudden shafts of light streaking across stage. Costumes by Kate Ford were different for each part, and I particularly liked those for the second movement with their sombre colours and black shorts for the men. Altogether this four-part ballet was a feast of ideas, and I look forward to seeing it again.

The final item on the programme — The Centre and its Opposite — was a new work by Garry Stewart, artistic director of Australian Dance Theatre. It was extremely physical with unusual movements not normally seen from a ballet company, and was performed to electronic music by another Australian, Huey Benjamin. There were unusual rhythmic elements in the music, as befits a composer who has performed widely as a drummer. The set comprised vertical light strips round the edges and horizontal ones above, designed by Michael Mannion, and the tight grey costumes with black hgihlights were cleverly designed by Georg Meyer-Wiel. The audience reaction to this last item of the evening was strongly positive, though I found the new ballet by David Bintley to be the most interesting item in the programme.