THE NORTHERN POWERHOUSE: Northern Ballet, Romeo and Juliet, Grand Opera House, Belfast, 28th September 2016

The MacMillan Romeo and Juliet is pretty much the definitive version and doesn’t lack for anything.  However, like the recent Scottish Ballet version of Swan Lake, I believe there is room in the world for at least two and the Northern Ballet’s one of them.  Over the years, I have witnessed many profound interpretations of classical literature from Northern Ballet and this is one to add to the cannon, although, in recent years, along with being named Europe’s top company, they have spread their wings and turned to top European talent, Le Ballet de Monte Carlo’s chief.  From my brief experiences of Jean-Christophe Maillot, World Ballet Day appearances and watching his highly entertaining version of The Nutcracker, he appears to be a choreographer of heart and soul with a deft touch for comedy and so it was with his Romeo and Juliet.  A sparse, mainly white set but lit theatrically and with cleverly moveable parts that added to the drama rather than detracted.  The ballet had a central thread with the character of Friar Laurence who was witness to key events of the piece.  Romeo is a dreamer, not interested in casual flirtation like his friends, Mercutio and Benvolio who are wide boys, great to be around if you are on their friend but insufferable if you are a Capulet.

I was privileged to see two performances, the first night cast with one of the greatest interpretive ballerinas of her time, Martha Leebolt and up and coming leading man, Guiliano Contadini.  It was difficult not to view this as possibly one of the last opportunities to see Leebolt on stage in Belfast, Mercutio was played on both occasions by Kevin Poeung who has been growing as a dramatic dancer for a few years and plays is an excitingly technically clean dancer plays Mercutio to perfection.  Mercutio is the ring-leader of this little gang, and is reckless in the pursuit of pleasure but is not reckless when it comes to fine ballet technique with high, split-leap jumps that are rapier sharp and personality to fill this theatrical role, it was an eye-catching performance.  The other key role is that of Tybalt.  Javier specialises in dark, moody characters with his Cuban-trained strong, technical dancing, he is a great interpreter.  For a lot of the ballet, Tybalt is rather restrained and the main influence for this is a sophisticated and haughty but glamorous, Lady Capulet.

Lady Capulet is danced by a very elegant, Lucia Solari with a cat-like movement and fluidity as she glides through the production barely disturbing the air but attracting attention through through the nobility of her presence.  She wants her daughter to follow her and marry a man of noble birth and tries to instil some of this elegance into her daughter and thrusts the hapless Paris forward who doesn’t make any ripples himself but his presence is little felt.  Juliet who we see for the first time, toying and playing with her Nurse is more like Lise from La Fille, wayward and full of joy and life. The interplay between Juliet and her Nurse is the heart relationship that she doesn’t get from her mother.  The sequence introducing Juliet and her Nurse is very playful and paints the picture of a very young girl who matures extremely quickly as she experiences all momentous life events in a matter of days.  In the dancing form of Martha Leebolt, we see the full blossoming of Juliet as she goes from childish games to first love to dramatic end.

Led by Mercutio, Romeo and Benvolio crash the Capulet ball to have a bit of fun and score some points off the hated enemy by invading their hallowed territory.  This is the moment the world’s most famous romance is born as the star-crossed lovers meet as Juliet, dressed as a vision in gold, catches his eye.  There is a lovely little sequence, where they take a break from the brightly lit ballroom and innocently explore their burgeoning love by touch and feel, an underused sensation in ballet but created a deep bond between our leads.  Unusually for the Northern Ballet, this was a much more grounded production, a lot of the exploration of this exciting and new love was done by touch and feel, like an external extension of the soul.  It was very beautiful and must have seen many hours in the studio for the dancers to perfect movements that are not naturally in the ballet repertoire.  The movements added to the tenderness of the the meeting and as the score builds, painting luscious pictures for the choreography to build upon until the audience are also carried along on this romantic rush.

Ingeniously, central to the staging, there is a white-painted ramp that lifts up to form Juliet’s balcony and the radiant Martha Leebolt, makes her appearance, to nearly the height of the proscenium arch, which gives a frisson of excitement, along with her usual mesmerising performance where you fully believe that she is in the first flush of youthful love, to form the balcony. In the matinee performance, Juliet was played by Miki Akuto who is also a fine dancer with great technique and her Romeo was Matthew Koon.  Matinees are where dancers with not so much experience get a chance to hone their performances and with their two most famous dancers, partly moving on, it is a great opportunity to view these dancers at an early stage of their career.  Romeo dances and leaps through the air to hang off the balcony, propelled magnificently by feats of love.  Juliet reappears and takes control after her reticence borne out of years of family strife to take control beckoning Romeo to lift her down and join the luscious music of this famous begin a pas-de-deux that had me transfixed from start to finish.  Again as the MacMillan balcony pas-de-deux is so iconic and in so many ways with the interpretation and storytelling is very reminiscent of the sort of work that the Northern Ballet would be most comfortable in with the lifts that they accomplish so well.  This is a more grounded and understated pas-de-deux as if their souls are being passed from one to the other through touch and gesture.  I was deeply moved and watched with rapt attention as the two dancers ended the first act with the audience thirsting for more.

The second half is where most of the action takes place and in innovation to the usual staging of ballet, inaction!  Maillot uses the dancers as if they are on pause and their stillness is so convincing, the only one moving is Friar Laurence who moves around and between the still figures, surveying the scene and prophesying what is to happen.  The fight to the death between Mercutio and Tybalt and Romeo and Tybalt is done in slow-motion which was really effective but also I am sure very difficult for the dancers to master.  They are used to being in control but to slow moves down and still make them look real and balletic, it must have taken incredible work in the studio.  However, I think the work lost some impact in the exclusion of any kind of weaponry and Romeo, passive throughout most of the work, is difficult to then see where the spark for murder came from, especially as Tybalt’s death is not as reactionary as picking up a blade and plunging it in, in the heat of the moment or even a heavy club!  This is done in a quirky and ingenious way as well.  I felt it lacked some key elements that are there for a good purpose and why Shakespeare’s works have transcended time, the ability to demonstrate the desperation of their love and the consequence for its discovery and why Friar Laurence sees so much hope in it.

Romeo flees to his new love, Juliet, whose cousin he has just killed and the two argue only to be reconciled in love as she leads him to the bed for their unconventional wedding night only to be awoken by her Nurse, surprised to see Romeo in bed.  Juliet’s nurse is always one of those loved characters who gives our heroine her lightness and spirit and not her mother, Lady Capulet who gives her daughter no visible love and just wants to see her making a good marriage.  This makes it easier for Juliet to defy her mother and seeks her heart which is more a mirror of the warmth of relationship that she has with her nurse.

The final scenes are pretty much done in contemporary ballet style, there are not pointe shoes or big costumes in sight.  Friar Laurence does his creeping through the scene as a marker of impending doom as the character feel implicated and powerless to stop.  Martha Leebolt was able to clearly demonstrate the anguish that Juliet goes through in such a short space of time, from youthful girl through to newly-wed, to grief to prospect of forced marriage to contemplating her own mortality and then really witnessing death first-hand.  The character of Juliet is the driving force for the partnership throughout and in many ways, with the puppyish Romeo, entranced by her is the architect of both their downfalls.  It is easier to take vengeance of a beloved friend whilst under the hot-blooded provocation of a sword fight but the death scenes are somewhat more cold-blooded and therefore don’t always fit with the arc of the story.  Sometimes, although clever and innovative, we know that Shakespeare is still relevant today with strife in the world but the ending of this, although danced excellently and told to such a high degree, there is a slight anti-climax that does not fit the soaring Prokofiev score.  However, this is still a fine work of ballet theatre, delivered to a thrilling standard of technique and drama and minor niggles aside that do not take away from the overall power and innovation of the work.

giualiano-contadini-as-romeo-and-martha-leebolt-as-juliet-photo-andy-ross-1200x861I cannot wait until the Northern Ballet return to these shores.  They have so many talented dancers who are rapier-sharp in their technique, strong in their jumps, soaring in their story-telling and interpretation of literature.  This runs deep through the company, it is not easy to tell who are the lower-ranked dancers and this bodes so well for their adventurous future.  I know that dancers appreciate the warmth of the audiences in Belfast and hope they continue to grow for this excellent company, not just fans of ballet but fans of the theatre as theatre is delivered to such a high standard.  I do hope our Northern friends return soon.  I just wish I had the courage to stand to my feet as some audience members did, to salute one of the world’s greatest interpretive ballerinas with a to-die-for technique, Martha Leebolt, who we may never see again in Northern Ireland.  On this run, I did not manage to see Tobias Batley dancing, although I have many times in the past and their partnership has been a big strength of this company and wish them very well and much success in the future.  Although I suspect that this future may lie on further shores than the UK or Europe, possibly.  Thank-you so much for your commitment to ballet and dance and touring ballet to parts of the UK that other companies do not tour to.

The Performance – A (Rubbish)Dancer’s Diary

Alzheimer's flyer

Rehearsals over, ballet shoes put into storage, pre-performance stress and post-performance high are now all far behind me.  Unfortunately my Royal Ballet contract has not landed on the mat, so I have to go back to the mundane world of office work and leave the camaraderie of a shared, stressful but ultimately satisfactory experience, behind.  Adult ballet has taken off in the last number of years with more and more researchers putting together the link between dance and wellbeing and also with the world becoming somewhat more individualistic, people are craving a community of shared interests and this is what I have found through Second Chance Ballet at the Crescent Arts Centre in Belfast.  Sometimes in Northern Ireland, we might have been accused of being a tad provincial or colloquial but I have met so many interesting and friendly people from across the globe and of all ages, although unfortunately we are still somewhat lacking in the male of the species but then, that is something that will hopefully change.

I still have some ballet dreams to be fulfilled, one has passed and that is to where pointe shoes (too old, in ballet years), to wear a tutu (still possible) and to do a soaring pas-de-deux with the feeling of being lighter than air (possible but not likely) but sure, a girl can dream and Friday night has still given me that hope.  And when you have people who are beautiful dancing creatures with what seems like a lot of confidence giving you so much encouragement and displaying some of the vulnerabilities that you know you have yourself, this is what makes the experience so special.  My friend said to me, “what would Marianela (@MNunezOfficial) do?” and this became our little joke to ease the tension, so I pretended I inhabited that level of perfection and was dancing towards my Solor or @RobertoBolle who was just out of sight, the other side of the stage lights!

Of course, there was a profound and poignant reason for doing this, not just giving a bunch of amateur dancers of varying abilities the thrill of being on the stage but to honour a lady who started Adult Ballet in Northern Ireland and therefore us, along this road.  Ruth Adams let us dance, the other side of those red curtains, staring out to a full auditorium of family and friends.  Many people who started dancing or were brought back to dancing with Ruth Adams commented how much she would have loved the performance and that is where I took my inspiration from.  Ballet has added a new dimension to my life and although there are constant reminders out there that life is very real, for a few moments, we were transported to a world of Nikiyas and Solors and we even cheered for Gamzatti!

Ruth Adams passed her love of adult ballet and her classes onto Chee-Shong Soon who has certainly developed this troupe of amateur dancers with just the most appropriate mix of drive, inspiration and passion.  I did not envisage a performance on such a scale as having to negotiate three costume changes for myself, however, we did draw the line at having a live orchestra, as one dancer was asked!  I was truly in awe of how Chee-Shong put this together, not even working full-time in ballet or dance, although we all dream of our parallel lives of what we would do to transform ballet in Northern Ireland and make it as visible as it should be, if we had lots of time and money.  After all, Northern Ireland has one of the world’s up and coming ballet stars in Melissa Hamilton and she would always be welcome down at the Crescent Arts Centre for a Guest appearance, if she ever wanted one!  Lots and lots of people of all ages are filling up dance studios and standing at barres and more studios and classes being added, around the country.  I’ve seen the cinemas begin to fill with audiences and the same audience still flocks to live theatre (unfortunately not as often as we would wish and would also like to see some of the smaller companies being given access to the big theatres and their technology for live screening, although, can see how funding might be an issue), we are a strong community and it would be nice to get that recognition.  Maybe some year!

Right now, it is nice to have a couple of months off but with the prospect of a few summer classes to keep my feet moving.  Also, there are big plans for next year as well as we get those swan arms out.  The ballet of ballets, where there is so much dancing and character as well as classical roles with ballet’s most famous corps de ballet scenes, the oft imitated pas-de-quatre and the Black Swan, although I don’t think I will be volunteering to execute 32 fouettes, maybe the next year!

Alzheimer’s Society: https://www.justgiving.com/fundraising/Second-Chance-Adult-Ballet.

And here’s our beautiful New York dancer who has given us a lot of grace and great fun and a beautiful tutu as well.  There were a lot of covetous ballet dancers.

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Swan Lake, Grand Opera House, Belfast, November 2015

Birmingham-Royal-Ballet-shows-Swan-Lake

My first thought, I must admit, was, oh, here we are again, another ballet, another Swan Lake but then, what is this I see, the critics love it and are giving it pretty much five stars across the board!  When something is as famous as Swan Lake and recognisable ballet in the world and strong imagery for everyone, for me, it was a mother’s jewellery box that opened to a moonlit wood with a pirouetting ballerina, to the music of Tchaikovsky, this obviously planted the seeds before I realised and Swan Lake continues to work its magic on not just ballet fans and packs out opera houses.  The version that I have seen most often is the much-criticised Royal Ballet version, sister company of Birmingham Royal Ballet that has just been retired and recently I saw a turgid version in London by a Russian company who reduced it to a piece full of technique but little artistry.  The version of Swan Lake that the Birmingham Royal Ballet have in their repertoire is by Sir Peter Wright, who has re-choreographed the Nutcracker that the Royal have in their repertoire which has been so successful because it is so evocative which is very much why I loved this production of Swan Lake.  The ballet pretty much sets the scene for what is a heartfelt but somewhat austere production, with the prelude of a coffin, draped in sombre black cloth and led by mourners in black, although with the darkness, it took me a while to adjust and see what was creating such a dark atmosphere and what the large and imposing shape that was weighing them with a burden, denoting this as the ending British audiences are most familiar with, some preludes have Odette picking flowers!

This is the austerity Prince Siegfried, not in terms of set design or costumes, they are lavish, corps males are in dark wigs and beards with robes to the floor, the back-drop is heavy with the air of oppression, all designed to aid our mind’s eye to to the weightiness placed on young Siegfried’s shoulders and explain why he is keen to break free and surrounds himself with the carefree Benno and pleasant ladies to lift the atmosphere.  Siegfried is a romantic, taking off with break-neck speed into the night, leaving the Palace behind.  He is stopped in his tracks by the greatest beauty he has ever seen and their souls are knit together instantly as only at the greatest love can free them of their respective burdens.  I haven’t always understood this from Swan Lake, the human drama gets lost in psycho-babble, Rothbart being the darker, alter-ego of Siegfried giving no reason or depth that explains his descent over the next few hours.  With the intentionally dark atmosphere and presenting a Court and mother, probably in mourning from the amount of black and the absence of a King, the tone is set that shows Siegfried as trapped into producing an heir to save the throne and dynasty.  A trio of Princesses from neighbouring lands are presented in a book, like their modelling portfolio and he rejects them all.  He’s quickly lifted from the doldrums by his ever-loyal friend, dancing courtiers and a duo of lovely ladies trying to cheer him up, finally they pick up their bows to chase after the flock of birds, they see from the Palace window, only to be left dead in their tracks by the most beautiful sight that he has ever beheld in the Swan Queen, Odette.

The first Act sees some nice solo work with some of the footwork a little limp but then the tempo of the ballet was set at quite a pace, this was maybe a choice, to fit the steps in or provide a contrast to the white acts.  The upper bodies of the dancers were perfect with expressive arms and confident, smiling providing a merry party.  The male star of the first act is often not Siegfried, who, oppressed by his position and gilded prison, can seem a little insipid but it was his friend, Benno, that shone.  Benno was played by William Bracewell, you could not take your eyes off him when he was dancing, graceful, long lines and great extension and jump.  He has the advantage of a bright costume and smiling face and is the party-master to Siegfried.  Siegfried can be less showy, more stately, dancer and performs intricate partner work.  Siegfried was played by Joseph Caley whose presence grew throughout the evening and his partnership with Momoko Hirata’s Odette, was pretty much perfection.  Before Hirata makes her slight but immense presence felt on the stage, William Bracewell is the star, commanding attention and interacting well with his best friends, especially Siegfried, leading through to the final, heart-breaking, scene.

Act II introduces us to Odette, and her most beautiful bevy of women who come to life as the sun goes down and they are released from their prison, the Lake of Tears.  Odette transmits her story through historic ballet mime and the whole audience know exactly what she is conveying with her expressive limbs that are going to display such feats to leave the audience gasping.  The villain, Rothbart, snarls and hisses pretty much at the audience and holds the beatific creatures under his spell, clad in an iron mask and is pretty much pure pantomime, although has an expression in his movement that is just about the right side of farce, as the tone of the piece is rather sombre, totally hamming it up would not be right.  It is this act and probably the Black Swan solo that make this the most popular and recognisable ballet in the world, amongst ballet fans and non-ballet fans alike, nearly everyone in the world is able to identify the Tchaikovsky score or the pas-de-quatre with the girls moving forward in absolute unison, in pristine white tutus and feathered head-dresses, lamenting their captivity and protective of their Queen, Odette.

The audience held its breath as Momoko Hirata took to the stage as Odette.  There is quite a lot of dancing before we see our Swan Queen and she stretched her limbs in a representation of those famously glorious wings that command the attention of this Prince who has caught her in the sights of his cross-bow.  He is immediately transfixed by her ethereal beauty, in contrast to the oppressiveness of his surroundings and women that offer themselves up as joint inheritor of a rich kingdom, she shows unwillingness to be caught.  Hirata is not long of limb but she knows exactly where to place them for the full effect and she dances with real precision but also with grace and artistry.  Her flock are captivating, although I thought the head-dresses were on the large side and looked a little incongruous.  They moved as one body with very elegant ‘big swans’, graceful arms and extension, danced by Yvette Knight and Yinjing Zhang.

This was a much clearer version of the story-telling than I have seen for a long time.  The story had an arc and we understand better why these characters go to their watery end, the opening scene foretold that this was not the happy ending Swan Lake that is often offered up by Russian and Russian-influenced companies or the rather turgid affair that I recently witnessed in London by a Russian company who used it solely as a vehicle for their star to whip out as many fouettes in as short a period as she could.  Nor is it the much-criticised Royal Ballet version that is a little ponderous.  The Birmingham Royal Ballet have created anything but a ponderous version, the tempo is high which maybe accounts for some less than clean footwork in Act I, as the White Swan solos are perfect with lovely extension and expressive arms and hands.  The interpretation of the relationship between Siegfried and Odette, I felt, was much more cogent, they were much more kindred spirits and Siegfried as danced by Joseph Caley, came into his spotlight with strong partnering of Hirata and I enjoyed being close enough to see the placement of hands to support his Swan Queen.  The sheer effort that goes into completing high-intensity solos and maintain a princely bearing after this sheer physical exertion but it added to the atmosphere to hear the breathing, you don’t get that in the cinema, as much as this has opened the stages if the world to us.  Act I sets the scene of a Court in mourning, draped in heavy black and with no King in sight, we assume that the weight of maintaining the dynasty fell to Siegfried and the oppressiveness of feeling trapped by his responsibilities and a political match, why he fell so hard for a glorious creature.  Odette, herself trapped by a tyrannical master.  Some versions either have Siegfried as a nothing, pampered Prince out for his jollies or a psycho-babble alter-ego of Rothbart, with the popularity of dynastic television, this made much more sense.

The Act ends with Siegfried promising eternal fidelity and the hope of tender release from Rothbart’s curse, the couple are united, briefly, before dawn and Rothbart returns and Odette and her swans return to the Lake of Tears.  Act II gets underway with a more spirited Siegfried who now sees a future of love and rejects Princesses from neighbouring lands and their entourages until, that is, uninvited guests arrive, a very grand, Baron von Rothbart with his spirited and sensual daughter.  The Princesses give us a few laughs, as they line up in their dazzling finery, lavishly decorated costumes, sparkling in the lights, the jealousy and rivalry is apparent in their acting.  Sometimes this section is belaboured as most people secretly are just waiting for the fireworks of the Black Swan but as previously noted, this production does not hang about and the solos were enjoyable and did not hang about for too long.  With such a delicate White Swan, it’s always interesting to see what the dancer will give us form her antithesis, Odile.  What we did get was a suitably bravura Black Swan but again was in keeping with the story and nature of the piece, the right amount of sensuality and then mimicking Odette to lure our hapless Prince to his betrayal.  Swan Lake is iconic also as it sees the leading ballerina playing the dual role of Odette/ Odile as she moves from white, romantic, Swan to Black, sensual Swan and this all leads to the pinnacle of the ballet as the leading ballerina executes the difficult fouette move, turning on one leg and propelling herself round and round, 32 times.  It is an explosive, showcase moment that critics argue is to the detriment of the piece as ballerinas use it to show off their prowess and not to tell the story.  In this case, I thought it sat rather nicely in this ballet and there wasn’t a, “here I am, look at me” with several bows, although the audience gave a rather noisy clap of appreciation to the detriment of Siegfried’s solo who was doing his show-piece turning while the audience were still loudly showing their appreciation.  The male solo is equally as difficult but just doesn’t get quite so much appreciation, fouettes were immaculate, not too showy but definitely inspired awe and the ballerina did not milk the applause as can sometimes happen, breaking the flow of the story.  The Act ends with Rothbart and Odile in the ascendancy, tricking Siegfried into thinking he was declaring his love and betrothal to Odette but instead being seduced into a match with Odile and thus trapping Odette in her icy tomb of the Lake of Tears forever.  Siegfried is somewhat duped into falling headlong in love with a glossier picture of his true love, however, he does display a dangerous vanity as he cavorts across the stage, the showy pair dance ecstatically in an act of bravura than deep love.  As an image of Odette appears at the window to warn Siegfried, he is too caught up in the grandeur to notice and starts the fall to his and Odette’s destruction.

I thought there were no surprises left in Swan Lake for me but there was an audible gasp from the audience as Act III curtain rose, dry ice billowed across the stage and suddenly, a corps of White Swans appeared from the murk.  It was so atmospheric and genuinely moved the audience.  Act III, the climax of the ballet, Siegfried seeks redemption from his vainglorious chasing after seductive Black Swans and desperately seeks his true love, Odette.  The atmosphere is laden with betrayal and doom.  Some of the greatest corps dancing is seen in this act as the dancers swoop in and out and form intricate patterns around their Queen in an attempt to protect her from first, further betrayal and secondly, the wicked Rothbart.  Siegfried eventually wins an audience with Odette and works hard to open his heart and see how humbled he is at his somewhat unwitting betrayal.  Rothbart makes his ghastly presence felt and I love the moment as the Swans form a guard of honour and Siegried runs with Odette held high, soaring above the earthly spectre.  We want them to defeat Rothbart and keep running off to their glory but alas, Rothbart will not be defeated, except through mortal sacrifice.  Odette feels the futility of her situation most keenly and has the least ties to mortal life, making the sacrificial leap and giving up her mortality to the ‘Lake of Tears’, Siegfried has a tighter grip on mortality and the responsibility of a kingdom and is also Rothbart tries to fight him off following his love, Odette and retain his powerful grip on the Swans.  Siegfried turns to fight, knocks off Rothbart’s formidable mask to reveal a defeated, destroyed man whose power will also soon vanish with the sacrificial deaths, finally united in death, as in love, of Odette and Siegfried.  The Swans finish Rothbart off as they flock powerfully.  The final, extremely effecting scene is of mortal love between friends and confidantes as Benno carries the be-cloaked face and body of Siegfried.  I have not seen an audience get to their feet so spontaneously and in such great numbers, there were few that were not so deeply moved by this work to stay seated.  The appreciation was very much worthy.  Even this Swan Lake cynic was won over again and fully aware of the power of this work and why it is so popular.  Although, that said, I would like to see touring companies being more bold but then, it is our responsibility as audiences to lead that charge for boldness and support the Arts in any way that we can in this age of austerity.

An Interview with the Ballet: Matthew Bourne’s Sleeping Beauty, Grand Opera House, Tuesday 12th to Saturday 16th March

Sleeping BeautyMatthew Bourne has been one of the most innovative choreographers in recent years and has sparked a new era of dramatic choreographic talent in the UK. Sleeping Beauty is the final chapter of a Petipa/ Tchaikovsky trilogy for Matthew Bourne, re-working Swan Lake and The Nutcracker previously. Coming from the world of contemporary dance and with a CV containing theatre, films and even pop music videos, you can imagine that this ballet was heavy on drama and spectacle and would not satisfy anyone expecting the classically danced fairy-tale with some of ballets greatest dances, the ‘Rose Adage’ or the ‘Lilac Fairy’, both commonly as the toughest dances in ballet.

The introduction to the story, is projected onto the curtain, telling us that the childless King and Queen, desperate for a child plead with the Black Fairy, Carabosse, who grants them their wish and soon we see a very life-like, puppet/ animated baby, running rings round the staff and at one point, scaling the lush gilt/ green curtains until they manage to catch the baby who squeals and hits and kicks until she is laid in her crib by the doting Mother. This was a genuinely funny moment and so well done, bravo to the puppeteers, whose skills are used much later in the production but it would spoil the surprise to tell you where!

The staging is mainly gloriously gothic, the Prologue begins in the year 1890, as Aurora the baby, right through until she reaches adult. The production transports us to 1911 and then as she falls asleep, she wakes up in 2011 with hoody-wearing gap-year students through to, as is projected boldly on the curtain with a peal of laughter from the audience, ‘Last Night’. The main device of this production that updates the ballet but keeps it within the long timeframe from 1890s through to modern day, is that the central role of the Lilac Fairy has been transformed into a male vampire with angel’s wings. Count Lilac as the role is renamed, fits with the gothic theme which is carried throughout the production, especially with the villainous characters who appear to be straight out of the pages of Bram Stoker, rather than twilight. Costumes and scenery reflect this period and are opulent and rich with great use of colours. This is amplified and seems somewhat suitable in a Frank Matcham theatre designed around the same time as this ballet was first choreographed by the master, Marius Petipa.

The first act sets the scene with Aurora as a mischievous baby, watched over by a full moon outside the window of her gilded crib. Creatures of the night move through the mist, propelled along by a travelator so that the dancers appear to float, adding to the sense of other-worldliness. These creatures are dressed in heavy-looking costumes with rich but muted colours of green and the King of this unearthly-looking bunch was dressed in a blue tunic with accents of purple to denote the ‘Lilac Fairy’ Aurora’s guardian angel. We do not usually conjure an impression of this role as a man with long, black hair pulled into a half pony-tail, black-banded eyes like a mask, complete with angelic wings. The baby shows no fear but only curiosity and gurgles and moves as they perform dances, in their own style to denote gifts of beauty/ grace/ passion and downright carefree precociousness that they bestow on Aurora. The role of the ‘Lilac Fairy’, is one of ballet’s most pivotal roles and it has been described as, “a dancer has to convey her majesty with absolute authority. Throughout the variation, the Lilac Fairy should project a sense of confidence with lyrical strength … lyrical dancing requires energy and attack — it’s not anaemic” and this is what we get from the dancer, played this evening by Christopher Marney.

As the fairies bestow their graces, the scene suddenly erupts and descends into the depths as the Black Fairy, who has been overlooked by the ungrateful parents, makes her presence felt in a burst of smoke and rumbling music as she ominously enters the scene flanked by man-beasts, writhing round the scene. The terrified parents and servants come to see what the commotion is. The Black Fairy, Carabosse, gives them a vision of how the baby Aurora, as a young woman, would be killed. Cleverly but somewhat terrifyingly, the grown-up Aurora with perfect body, has no facial features, a blank mask. Representing the curse, she will not live long enough to achieve her full beauty, her life will be snatched away at the point where she will flourish into womanhood, Count Lilac intervenes to mitigate the curse from death to sleep for 100 years and she will be awakened by her true lovers’ kiss. The form of her true love has a similarly featureless face but has the clothes of a young man who works with the land.

Carabosse is played by a male dancer, who is scarily tall and wears an eerily-red satin dress with black trimming and wig, her hench-men/ creatures are in black, feathery shorts, leaping around and onto pillars and bounding about the stage causing havo at Carabosse’s evil bidding. This is the first glimpse we have of the lead character, Aurora, albeit with blanked-out, featureless face. She is fearless dancer, with a body that is at sometimes rigid, as she is lifted above heads and at others, as lifeless as a rag-doll, she is manhandled as a pawn in the schemes of those who played a part in her creation. The choreography takes great courage but also a lot of finesse, going from tom-boyish frivolity to high romance, the work is characterised by so many different styles that it takes real skill to perform.

It is now 1911, Aurora is coming-of-age. Carabosse died in banishment and with it, most thought, the curse. Aurora is full of life and first love as she casts aside the trappings of her status with her boots and stockings and runs to the window. The head of a young man, dressed for his job of working outdoors. Aurora playfully hides him in her bedroom as he refuses to go back out the way he came in, by the window, and as her Nurse-maid and then Mother come in to try and tame Aurora, she hides him behind pillars and under the bed. Next we see an Edwardian pic-nic complete with all the family and guests dressed in whites for tennis and lounging about the lawn in the sunshine, care-free. The King and Queen look much like the Tsar and Tsarina as in Stephen Poliakov’s ‘Lost Prince’, the last time they were free before their assassination which is a nod to the original that was brought to the stage as the last Tsar was deposed in Revolutionary Russia. The style of this piece is very filmic with a lot of dancers on stage, waltzing round in a much more controlled manner than Aurora was wishing but she was pulled away by her parents-endorsed suitor whom again appeared to be to be a character from a film, Cecil from A Room with a View, this suitor was sedate and bookish, not at all the kind of person she would be tied to, her spirit is full of love and romance.

This sedate gathering is suddenly interrupted by an uninvited guest. Dressed in a cream suit with long black hair and a high-collared black shirt. In contrast to the insipid suitors Aurora is somewhat attracted but because of her sunny nature, she is ultimately repelled by him. The party is interrupted by that very British of intrusive guests, the rain, Aurora uses the distraction to disappear suddenly from the black-hearted son of Carabosse, Caradoc, and the guests break away. Aurora reappears alone and throws off the prim, sailor dress, exposing her undergarments but as befits the age, still very much covered with layers of slips and ruffles. She throws the dress on Leo’s, her childhood sweetheart’s, wheel-barrow as he is tending to the roses. She dances in a care-free way, she is also bare-foot. Leo comes back to get on with his work and is teased into a dance with Aurora.

I don’t have to tell anyone, how magical Tchaikovsky’s music is and the three ballets that Matthew Bourne has lovingly updated, all contain some of the world’s finest and most romantic music. Matthew Bourne uses a recording of a full orchestra and I do not feel short-changed by this as I would rather see ballet and gorgeous sets and costumes than not at all. As Leo and Aurora dance for the first time as a romantic couple, it is accompanied by a luscious cello producing painfully romantic music ever, the score is moving and heart-rending. The young couple flirt around each other and perform a series of heart-stopping lifts as the fearless Aurora launches herself into the strong grasp of Leo, toughened by years of manual labour.

Ashley Shaw plays the part of Aurora and as a dancer in Matthew Bourne’s Sleeping Beauty, she probably has a lot more dancing and much more of a transformation, realistically portraying the passing of years and the growth into her own person, even though there are many that want to control her. The wicked Caradoc plans for his banished Mother’s wicked scheme to come true and he replaces Leo’s red rose of love with a black rose to poison her flourishing life and to bring about the destruction of true love. The scene becomes chaotic as Aurora’s grasp on this world weakens. Caradoc has set Leo up to take the blame as guests reappear, he replaces the red rose in his wheel-barrow for the black one and then uses Aurora’s discarded dress as further evidence of his guilt. Count Lilac intervenes at this moment to act out that Aurora is sleeping and not dead and revealing Caradoc as the black-hearted villain, Caradoc is banished, like his mother. Count Lilac sweeps the lifeless form of Aurora away to the house as the family and family friends all fall asleep, the beautiful grounds, tended lovingly by Leo are choked with weeds, like their fledgling romance. Leo is heartbroken and throws himself in anguish before the gates, Count Lilac picks him up and reveals for the first time, that he is a vampire with a soul and turns Leo into one of his own so that he and his love can survive the 100 years of sleep to awaken his love with the truth of his own heart.

We are then transported 100 years forward, to a group gap-yearers, taking pictures of themselves in homage to the fairy-tale heroine, Aurora, whose tragic story had been preserved. Our eyes are then drawn to a green tent and out climbs Leo, who has obviously been at his post, outside the gates of Aurora’s gilded prison for those 100 years. Count Lilac transports Leo into a dream world where he is drawn along by a rose, representing Aurora. The bodies in this dream sequence are clad, the women in corset and bloomers and the men, bare-chested in long-johns. With Matthew Bourne’s ballets we expect dominant male roles and we are not disappointed but we also get beautiful female roles and dancers and the dancers transform themselves from chaste to vamps throughout the production. The dream sequence ends as Count Lilac leads Leo on a tortuous journey, or at least, although the simulated labouring steps fell somewhere short of comedic and not quite dramatic.

We see Caradoc’s hoodie-henchmen with skeleton-masked faces as the modern-day epitome of fear, following Leo. Count Lilac gives Leo the rose and the key to unlock the gates and leads him to Aurora where Leo awakens her with a kiss only to be beaten by these hooded skeletal hench-men so that the first person Aurora sees as she awakes is Caradoc. She is repulsed by him and will not willingly give him her love that he expects is his birth-right as his Mother was the wronged creator of this Princess. Caradoc/ Carabosse are both played by the scarily imposing, Adam Maskell, he is manly and frightening and if love wasn’t willingly given, he would take it. He is sexually powerful and the audience fears for Aurora at his hands, especially as he carries her off to his lair which turns into a representation of a S&M club, dancers, not in romantic red but lurid red, in-your-face sexual creatures, dancing round the hero, Leo, provocatively, using stockinged legs, complete with spiky heels. Into this den of iniquity comes the representation of virginity, Aurora, although the dress is skimpier and finished with feathery detail and heavily blackened eye make-up. She looks as if she has been possessed and she has by Caradoc who has kept her captive for a year and she eventually lies on a two-person chaise in a representation of a virgin sacrifice, giving herself over to Caradoc.

Caradoc reappears as pretty much, the Master of Evil, the Devil. Matthew Bourne makes ballet accessible but I would caution that this is not a child’s fairytale and the costume and setting of this scene is genuinely terrifying. Caradoc plans not just to take Aurora but to kill her. At the point where he is about to plunge the knife into her, Count Lilac and Leo intervene, killing Caradoc with his own knife, through the heart. Aurora finally returns to her true heart’s desire and they are united as one.

This is theatrical ballet at its best. Vampires are wonderfully popular at the moment and we’ve seen vampires for teenagers and vampires trying to be human in Barry Island, so why not in the world of ballet where stories are highly fantastical and other-worldly. Ballet does not always need to be cloistered within classicism, ballet lives and breathes in the modern world and is not confined as a dusty museum piece. It is great to see the most traditional of works, given a theatrical make-over with moments of high drama and amazing sets and costumes and a story that largely, works in the modern-age. I am a devotee of classical ballet and I like to see the purely classical works and companies such as the Royal Ballet, coming to City of Culture on the 30th and 31st March alongside the ballet theatre companies such as Matthew Bourne’s New Adventures or Northern Ballet, coming in May to the Grand Opera House with The Great Gatsby. What ‘ballet theatre’ lacks in pure technicality, makes up for in drama and acting out the dance. This Sleeping Beauty was told with the greatest of theatre and woke the story from its slumber, giving the ballet a very bright new future.