The Nutcracker returns to the Royal Albert Hall

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Birmingham Royal Ballet The Nutcracker 29 Dec 2019 14:00 Royal Albert Hall

Each of the five largest ballet companies of the United Kingdom has a version of The Nutcracker in its repertoire.  I have seen all of them at one time or another and the ones that I like best which are Scottish, Northern's and the Birmingham Royal Ballet's more than once.  If I had to choose one it would be Peter Wright's production for the BRB. Last year I saw it in the Hippodrome in Birmingham. Yesterday I saw it upscaled fro the Royal Albert Hall.

This was not the first time I had seen ballet in that auditorium.   On previous occasions, I had seen Romeo and Juliet and Swan Lake in the round performed by the English National Ballet.  Birmingham Royal Ballet used the space quite differently.  They created a stage at one end of the floor above which they positioned the orchestra. On either side of the stage, they placed enormous screens upon which all sorts of images such as pine branches and baubles to represent a growing Christmas tree and falling snow for the snow scene. Seating was installed in the part of the floor not used as a stage and the gallery was closed off altogether.  My view from the centre of the Rausing circle was comparable to the view from the front of the amphitheatre at Covent Garden.

The libretto was very similar to the one for the version that I had seen at the Hippodrome last year and used about the same number of dancers. The one big difference was a voiceover by Simon Callow which was probably harmless enough but not particularly necessary. He was supposed to represent Drosselmeyer who was already represented in dance more than adequately by Rory Mackay.  What rankled a little bit with me was that Callow spoke in a thick continental accent that made Drosselmeyer appear to be some kind of foreigner which was unlikely as he was Clara and Fritz Stahlbaum's godfather. Unlike Sir Peter Wright's production for the Royal Ballet, there was no subplot of the nutcracker being Drosselmeyer's nephew imprisoned in wood. Nor were there an,y angels in the Birmingham version.

The other three lead characters yesterday were the Sugar Plum danced by Celine Gittens, her prince Brandon Lawrence and Clara who was Arancha Baselga. On 26 June 2018, I had been captivated by Gittens's portrayal of Juliet although she had been one of my favourites for some time (see MacMillan's Masterpiece 29 June 2018). I chose yesterday's matinee specifically to catch Gittens and I am glad to say that she did not disappoint me. I was too far away to see her face which had been so eloquent when she danced Juliet but her elegance was unmistakable.  As in June, she was partnered by Lawrence who demonstrated his strength and virtuosity. Baselga delighted her audience with her energy as she threw herself into the divertissements in Act II. I admired and liked her particularly in the Russians ance as she was tossed from dancer to dancer like a bag of cement.

Another of my favourites is Ruth Briill who danced Clara's grannie with Kit Holder. I had thought of auditioning for that role if and when Powerhouse Ballet ever performs that ballet but having seen Brill in Birmingham's production and Hannah Bateman in Northern's (see Northern Ballet's "The Nutcracker" - All My Favourite Artists in the Same Show 14 Dec 2018) that may be a little bit too ambitious.  I had also contemplated auditioning for Mrs Stahlbaum until I saw Yvette Knight's impressive solo. Maybe I could be a rodent but not the rat king like Tom Rogers yesterday.

Plaudits are due to Harlequin, Columbine and the Jack in the Box danced by Gus Payne, Reina Fuchigami and Max Maslen, the Snow Queen (Alys Shee) and each and every one of the dancers in the divertissements in Act II. I particularly liked Laura Purkiss as the Spanish princess and Beatrice Parma as the rose fairy.

I must also congratulate the orchestra and its conductor Koen Kessels whom I had the pleasure of meeting ar the party following the Dutch National Ballet's gala on 8 September 2018. I attended the ballet with the nearest I have to a grandson and his mum who is the nearest I have to a daughter. She was particularly affected by the music saying that it had touched her in a way that previous performances of the score had not/. Clearly, I was not the only one to regard the music as special

Altogether it was one of the best performances of The Nutcracker that I have ever attended and a great way to end the year.  It is in the running for my ballet of the year as indeed is the Birmingham Royal Ballet for company of the year.  Upon the merger of my chambers with Arden Chambers earlier this year we acquired an annexe at Snow Hill in Birmingham which I intend to use to the full.  As I shall be spending far more time in their city I hope to see even more of the Birmingham Royal Ballet and get to know it even better.

Cinderella in the Stopera

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Dutch National Ballet Cinderella 22 Dec 2018 , 20:00, Stopera, Amsterdam

In July 2015 the Dutch National Ballet performed Christopher Wheeldon's Cinderella at the Coliseum. It played to full houses and audiences seemed to like it but though not all critics did.  In my review, Wheeldon's Cinderella 13 July 2015, I wrote:

"I enjoyed the show. I liked Wheeldon's treatment of the story, the dancing, Julian Crouch's designs and Natasha Katz's lighting. I prefer it to The Winter's Tale to which I was indifferent when I first saw it on stage but warmed to it when I saw it in the cinema and on television. It may be that Wheeldon is an acquired taste and that his critics will come round. I look forward to seeing the show again and I think it will look even better on the stage of the Stopera."

Well, I saw it in the Stopera on Saturday 22 Dec 2018 and was bowled over by it.  At the end of the second act, I wrote on my Facebook page: "Christmas has been made for me by  DutchNatBallet's Cinderella even if I never get a single present, a Christmas card, a slice of Turkey, a smidgeon of plum pudding, a mince pie or a whiff of mulled wine."

Why the difference?  The answer came when I joined a tour of the Stopera for new Friends on my birthday in 2016 (see Double Dutch Delights 17 Feb 2016).  One of the senior technical staff welcomed us to the stage and showed us some of the computer equipment at his command.  I mentioned that I had attended a performance of Cinderella in London the previous summer and asked him how the company found the Coliseum.  He replied that the company enjoyed their visit to London very much through the Coliseum lacked the state-of-the-art equipment and facilities that they enjoy at the Stopera. That equipment enabled the tree over the grave of Cinderella's mother to grow and change colour with the seasons. It showed birds in flight and falling rain at the funeral of Cinderella's mother.

I noted the similarities between Cinderella and The Winter's Tale in my previous review.  In both, the lead characters were introduced as children and both features a massive tree.  In a strange sort of way, Cinderella was actually more Shakespearean than the ballet that was based on a Shakespeare play.  Excitement was ratcheted up as in a Shakespearean play.  When Cinderella's appeared in a golden gown the lights on stage were cut and the house lights switched to full brightness.  That moment was matched at the end of the next act when Cinderella ran off stage right into the stalls and through the audience to the exit.

There was also plenty of humour that provided dramatic relief.  Cinderella's stepmother, Hortensia, became tight at the ball as the evening wore on much to the embarrassment of her husband.  Benjamin, the prince's friend, fell head over heels in love with the plainer of Hortensia's daughters.  The most unpromising candidates queued to try Cinderella's abandoned slipper including a Balinese princess with long nails and a spiked headdress, a forest spirit with an outsized head and a knight in full armour brandishing a battle axe.  Levity is not easy to induce in ballet.  Ashton managed it his Cinderella in his pairing with Robert Helpmann as Cinderella's ugly sisters and Wheeldon succeeded in his version of the ballet.

In London, I had seen Remi Wörtmeyer as Benjamin, the prince's friend.  On Saturday he was promoted to prince, a role that suited him well.  Benjamin was danced by Sho Yamada who has impressed me twice this year.  Cinderella was Anna Ol. She commanded the audience's respect from the start and not our pity.  She showed her spirit from the moment her father (Anatole Babenko)  introduced her to Hortensia.   Hortensia had offered her a bunch of flowers that she tossed to the floor.  I sensed fear on the part of the stepmother and her sisters rather than simple malice. Hortensia, a difficult role, was danced impressively by Vera Tsyganova. Luiza Bertho danced Cinderella's stepsister Edwina and Riho Sakamoto, her other stepsister Clementine. Finally, it was great to see Jane Lord on stage again as a dance teacher.

As I had benefited from attending Rachael Beaujean's talk on Giselle last month, I attended the introductory talk on Cinderella.  That took the form of a Powerpoint presentation in a lecture room `below the auditorium between 19:15 and 19:45.  Although it was given in Dutch which is a language I have never studied I think I got the gist of it as Dutch is closely related to Engish and German. I learned that this ballet is a co-production with the San Francisco Ballet, about Ashton's influence over Wheeldon, the significance of the tree and all sorts of other useful facts.

The ballet will run to 1 Jan 2019 and is playing to full houses.  Readers who miss it this month in Amsterdam will have a chance to see English National Ballet perform a version in the round in the Albert Hall between 6 and 16 June 2019.

Northern Ballet's "The Nutcracker" - All My Favourite Artists in the Same Show

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Northern Ballet  The Nutcracker  12 Dec 2019 19:00 Leeds Grand Theatre

Northern Ballet does a very good version of The Nutcracker.  I have seen a lot of productions of that ballet in my time and, in my humble opinion, it is one of the best. Having said that, I can think of no good reason why David Nixon has to change the names of the Stahlbaum family to Edwards and Northern Ballet really must do something about the backdrop which is supposed to be a wall and bookcase but flaps like a flag if anyone gets too close to it. But I can forgive all that because everything else is good.

Wednesday's performance was particularly good because nearly all my favourite artists from the company were in the show.  They did not all have major roles.  Javier Torres who was my dancer of the year for 2017 was Mr Stahlbaum (or Edwards if you must) and the exquisite Hannah Bateman was Clara's grandmother.  Rachael Gillespie, of whom I can never see enough, was Clara. Abigail Prudames, another beautiful dancer, was Sugar Plum.  Gavin McCaig was in the ballet as the butler and also the Arabian divertissement.  My favourite of the evening was Mlundi Kulashe who played a blinder as Drosselmeyer.  He danced it with energy and verve in a way that I have never seen  it danced before,  Everybody in the show (and that includes the musicians) performed brilliantly.

In some versions of The Nutcracker, Clara (or Marie) is a child who does not have much to do beyond bopping the mouse king with a shoe or some other blunt instrument.  In Nixon's version, she handbags him Thatcher style.  She also performs some duets in the snow scene and again in the second act with the Nutcracker (Ashley Dixon) and joins in some of the divertissements. Rachael is a joy to watch and Nixon displayed her like a precious jewel.

The climax of the ballet is, of course,  the Sugar Plum's pas de deux with her cavalier. On Wednesday he was Joseph Taylor.  The high point for audiences is the celesta solo just as Legnani's 32 fouettés are in Swan Lake or the rose adagio in The Sleeping Beauty.  Everything else may be perfect but if something goes wrong with one of those pieces the rest is forgotten. Abigail Prudames thus bore the weight of the performance in that solo and she carried it off beautifully.  Taylor is a powerful dancer and he was thrilling to watch.

Nixon does a particularly good fight scene between mice and toy soldiers.  Riku Ito was a particularly gallant regnant rodent expiring stoically after Rachael's handbagging.  Nixon has a cavalry in his production which is one up on Sir Peter Wright and Peter Darrell's productions.

In the second act, Itu performed the Spanish dance as a solo. That was different.   It is usually danced by an ensemble though Northern Ballet School also presented it as a solo in Christmas at the Dancehouse.   I liked the Arabian dancers (Matthew Topliss, Natalia Kerner and Gavin McCaig), the Chinese (Kevin Poeung and Harris Beattie) and the Russians (Conner Jordan-Collins, Matthew Morrell and Andrew Tomlinson); The Russian dance was a big role for those three young dancers two oi whim are still apprentices,.

There are also a lot of roles for children in The Nutcracker as guests at the Stahlbaums' party, mice and soldiers.  Two of my teachers had daughters in the show though I am not sure whether either was dancing on Wednesday night.  All the kids performed well that night and were a credit to their ballet mistress who in previous years has been Cara O'Shea.

The show will run at the Grand until Sunday and I strongly recommend it.

Ballet Cymru's Dylan Thomas Programme: The Company's Best Work Ever

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Ballet Cymru  Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs 29 Nov 2018 Stanley and Audrey Burton Theatre, Leeds, 1 Dec 2018 Pontio Arts and Innovation Centre, Bangor

I have been following Ballet Cymru for over five years and they have never failed to impress  In 2015 their Cinderella was my ballet of the year and their TIR was the runner-up (see Highlights of 2015. 29 Dec 2015).  In that year they were also my year and I tipped Krystal Lowe as a dancer to watch. They have continued to impress me every year but I think their Dylan Thomas double bill - Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs - is their best work yet.

It was so good that I saw it twice. The first time was in Leeds on 29 Nov and the second at the Pontio Arts and Innovation Centre at Bangor on 1 Dec 2018.  Leeds was excellent but Bangor was even better as Cerys Matthews and Arun Ghosh were on stage and the audience was even more receptive and responsive.  The show was in effect a double bill.  It began with Poems and Tiger Eggs which consisted of readings of a selection of Thomas's poems by Matthews to Ghosh's music.  The second piece was A Child's Christmas in Wales.  Both works were created by Darius James and Amy Doughty.

Poems and Tiger Eggs opened and closed with In My Craft or Sullen Art.  That is a poem I did not know before Ballet Cymru introduced me to it at the workshop on 28 Nov 2018 (see More than a Bit Differently: Ballet Cymru's Workshop and the Launch of the Powerhouse Ballet Circle 29 Nov 2018). It is now a poem that I adore.  Beth Meadway danced to it as a solo in the opening and the whole cast danced to it at the end.  In the workshop, we were taught to listen for the words "Not for the Proud Man" and then react. Meadway turned her head sharply in the solo and the whole cast moved as one when the poem was read again.

Scottish Ballet had staged Ten Poems by Christopher Bruce on the centenary of Dylan Thomas's birth which I saw in Edinburgh and reviewed in Bruce Again on 6 Oct 2014.  One of the works that Bruce had set to dance was Do Not Go Gentle Into That Food Night.  Darius James and Amy Doughty also chose that poem for Poems and Tiger Eggs.  Both Bruce and James and Doughty created duets but James and Doughty's was somehow softer and more lyrical.  Incidentally, if anyone wants to listen to a fine reading of the poem, I strongly recommend the performance by Benjamin Zephaniah which is published on YouTube by the Poetry Society.

Thomas's poems incline to the melancholy but there was some levity too in Laugharne with Krystal Lowe as the stranger who got off the bus and forgot to take it back again.  I particularly liked the bit about people coming from all sorts of places like Tonypandy and even England.  The cast made the sign of the cross at that point though I wonder whether Calvinist Nonconformist chapel folk would do that.  Maybe the Welsh Italians (of whom there are many) though there are more of them on the banks of the River Chubut than the Taf Estuary.

A Child's Christmas was very different and undiluted fun.  It began with a film clip made (I think) by my good friends Lawrence and Samantha Smith-Higgins of Red Beetle Films.   In it, children explained what Christmas (or, in the case of one little girl, Eid) meant to them. Mainly presents and lots to eat.  It proceeded with "One Christmas was so much like the others" and proceeded to snow, cats and Mrs Protheroe's fire.  That fire was better than all the cats in Wales lined up on a wall.  There was the "What would you do if you saw a hippo?" and the carol singing where the children heard a ghostly voice joining in their carol. My favourite bit of the dancing was "Still the Night" before a stained glass image. There were other favourites too such as "The Uncles". I'm not Welsh but I can relate to that for we Saes have uncles too as well as aunties who get a little tipsy and start singing about death.

The workshop on 28 Nov 2018 helped my understanding of James and Doughty's choreography considerably.  Sue Pritchard, who also attended the workshop, thought the same.  Peter Harrop (who lives in Wales) joined us the performance. Peter was not in Leeds on 28 Nov 2018 but he attended Ballet Cymru's company class and reported that it was very gruelling. Apparently, no concessions were made for the adult ballet dancers.

The Pontio Arts and Innovation Centre is an impressive building just below the Arts building of Bangor University.  It has a theatre, cinema and a FabLab (see  Liverpool Inventors Club Re-launch - Fabulous FabLab 28 Jan 2012 NIPC Inventors Club).  There has been a lot of investment by the university to build a knowledge-based economy on both sides of the Menai Straits (see Jane Lambert Anglesey and the Fourth Industrial Revolution 12 Oct 2018 IP Northwest).  There has always been a close link between the University and the community in this corner of Wales. It was actually founded by a subscription of local quarrymen, This Centre will do much for the artistic and cultural life of the region.

Christmas at the Dancehouse

Reproduced with kind permission of the Dancehouse Theatre

Manchester City Ballet Christmas at the Dancehouse 7 Dec 2918, 19:30, The Dancehouse, Manchester

Whenever I can I take the train to Oxford Road on a Tuesday or drive to Leeds on a Wednesday for a 90-minute ballet class.  I can't really keep up with students decades younger even though I do my level best but I am made to feel welcome at both classes and I always have fun.  When, by some enormous fluke, something does go right the smile on the face of the teacher is palpable.

The teachers of both classes and many of their colleagues whom I also revere were trained at the Northern Ballet School in Manchester.  They are all great human beings as well as fine teachers and accomplished dancers and the institution that produced them deserves support.  So, every December (when I can get a ticket) I  attend the annual performance of the School's classical ballet company, Manchester City Ballet, and every Spring I attend the showcase of Jazzgalore, its jazz and musical theatre company.

In all the previous years that I have been following the company, Manchester City Ballet has staged a full-length classical work at The Dancehouse theatre. I have seen and reviewed some excellent productions of The Nutcracker, Giselle and  Coppelia (see Alchemy 13 Dec 2014, Manchester City Ballet's Giselle 12 Dec 2015 and Manchester City Ballet's Coppelia 10 Dec 2016).  This year they did something different with their Christmas at The Dancehouse. They gave us Act II of The Nutcracker for the second part of the evening showing that they can do Spanish, Arabian, Chinese and Sugar Plum as well as anybody when they choose to do so, but they presented their own choreography using their singers as well as kids from McLaren Dance Company in Winter Wonderland for the first.

I must admit that I read the webpage advertising the show with some apprehension but the combination worked,  It gave a fuller picture of the school whose students elect a classical or jazz and musical theatre focus.  It showed, for instance, that some of its students can sing as well as dance. Francesca Thompson, for example, sang a contemporary version of Silent Night and danced the Rose Fairy.

There were some hilarious pieces such as Four Tramps where four strong men (Daniel Gooddy, James Hanna, Lucas Holden and Thomas Yeomans) entered with hands linked cygnets style actually dancing a few steps of that dance.  I know of one choreographer and a ballet mistress who would have kittens had they been in the theatre last night, but why not?  They were representing drunks and they gave a whole new meaning to pas de bourrée (for those who have forgotten their French "bourrer" means "to stuff" and to be bourré means to have had a skinful).  Another bit which worked better than one would think was a czardas to traditional Christmas carols. Finally, the Winter Wonderland was linked to The Kingdom of the Sweets when Father Christmas gave Clara (Ruby Nuttall) a nutcracker.

All credit to the choreographer, Lisa Rowlands, the ballet mistress Amanda Gilliland and the technical manager and lighting designer, Gary Whittaker.  I really liked the sets, lighting and projections, particularly of falling snow. Whoever thought of the idea deserves congratulations for her or his daring because it has paid off.

The second part included the best bits of Act II of The Nutcracker.   All danced well but I particularly liked Irene Ganau as chocolate (or the Spanish dance), Ioanna-Maria Antoniou and Elisa D'Acciavo as tea (the Chinese dance) and three of the four drunkards from the first part (Gooddy, Hanna and Yeomans) transformed into Russians.  The fourth of their number, Holden, danced the Sugar Plum's cavalier and although I admired his jumps and turns I had an anxious moment when he lifted Airi Aoki, especially in the final fish dive.  I thought perhaps they needed more time together.

Altogether I found it a very good show and anybody who can get to Manchester for this afternoon's matinee or this evening's show is in for a treat.  I thanks all the students who took part for entertaining us and wish them well for the remainder of their studies and their future careers.

More than a Bit Differently: Ballet Cymru's Workshop and the Launch of the Powerhouse Ballet Circle

"We are a ballet company who like to do things a bit differently", proclaim Ballet Cymru on their home page.  "We enjoy finding new ways to make what we do exciting, innovative and relevant." They can say that again. Last night's workshop at Yorkshire Dance was one of the most challenging but also one of the most enjoyable balletic experiences since my first plié at St Andrews Dance Society over half a century ago.

It started off like any other ballet class with a walk around the studio except that we had to make and maintain eye contact with each other. The walk quickened to a trot and then a tennis ball was introduced which we had to catch and throw to one another.  Dan Morrison  and Robbie Moorcroft who led the exercises conducted the pliés, tendus and glissés in the centre and not at the barre. We did a few unusual exercises. For example, teaming up in pairs we pulled and pushed against each other to create support.

The first hint that we had to use our brains as well as our bodies came in the port de bras.   We were led gently enough through bras bas, first, second, thord and fourth,  "Now it is for you to decide what comes next," said our mentor. In other words we had to choreograph the rest of the phrase.  The obvious continuum for me was arms in fifth, rise and soutenu but others who included Fiona, the teacher who led me back to ballet nearly 50 years after that first plié, were much more ambitious. Dan and Robbie asked us to add steps and I tried an ababesque which is never a good idea with my sense of balance and excess weight.

About hslf way through the workshop the members of the company played an extract of the score of the company's new ballet, Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs.   Cerys Matthrews was reading ome of Dylan Thomas's poems - not one I know - about the thoughts that come to mind when waking with a start in the middle of the night.  The company demonstrated the way they had interpreted that poem.  Each dancer expresssed it differently.  It was now our turn and we each worked at it independently and in groups.  Members of the company circulated and helped us polish the piece. Beth Meadway worked with me. I couldn't quite manage the elevation or coordination for a cabriole so she suggested a temps levé instead.   In the last few minutes each group danced what it had learned to the other group and the Ballet Cymru dancers.   It was an unmissable experience.

But the evening did not stop there for Darius James and Ballet Cymru were the first guests of Powerhouse Ballet Circle.  We met in Martha's Room where we had laid on some drinks and nibbles. The Martha after whom the room is named is of course Martha Graham.  After our members had introduced themselves to members of Ballet Cymru and we each had a glass in our hands I interviewed Darius just as they do in the Civil Service Club in London.  "Croeso i Sir Efrog a Powerhouse Ballet" I said in my best Welsh. Happily, Peter, Alicia, Zoe and Holly were not there to correct me. I asked Darius about his career, what brought him into dance, his training in Newport and at the Royal Ballet School, his time at Northern Ballet (or Northern Dance Theatre a it was then called) and the ahievements of Ballet Cymru since he set it up in 1986.  Not much happened in the performing arts in Newport in the early days but now there is a lot thanks to the Riverfront Theatre on the banks of the Usk. I invited questions fropm the floor. Amelia asked about costume and set design and Sue about how Darius rated Powerhouse Ballet.   There were also questions from Miguel Fernandez and Krystal Lowe of the company,

Even thouigh I had a lot of last minute cancellations owing to illnesses and probems on the railways as well as other glitches both the workshop and the launch of the Powerhouse Ballet Circle went well.  The London Ballet Circle has a very close link with Ballet Cymru and we hope to do so too.  Our next guest is likely to be Yoko Ichino who has accepted our invitation in principle and I will advise members of the date and venue sooon. I also hope to arrange visits to schools and companies in the region and then, maybe, a trip to Newport.  At its 70th anniversary celebrations I learned that Dame Ninette de Valois regarded the London Ballet Circle as part of a tripod of achievements of equal importance to her company and school. I hope that Powerhouose Ballet Circle will be similarly supportive of dance in the North.

English National Ballet's Swan Lake: Kanehara conquers the Empire

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English National Ballet Swan Lake Liverpool Empire 23 Nov 2018, 19:30

There are a lot of shows that call themselves Swan Lake but unless they turn on the impersonation of Odette, the deception of Siegfried and the breaking of the spell they are not Swan Lake.  You can strip out all the divertissements, have swans of both or either gender, dispense with feathers and tutus, dump them in a tank of water and even substitute a Kalashnikov for a crossbow but so long as you have an Odette-Odile danced by the same artist it will still be Swan Lake.  Take her away and it is something else even if you keep cygnets and feathery white tutus.   It may still be a good show (and many of them such as Graeme Murphy's are) but give it another name.  Monkeying with such a perfect piece of theatre really makes my blood boil far more even than stick toting wilis in disused garment factories

On Friday I saw a very good Swan Lake at the Liverpool Empire and what made it good was the performance of Rina Kanehara in the lead role.  Where did she come from?  I must have seen her before as she is a soloist but she has never grabbed my attention as she did on Friday night.  She was a lovely Odette. As delicate as Dresden porcelain.  As light as a lily.  And I felt that she was living Odette and not just dancing it.  How could she possibly change into the imperious, scheming, seductive magician's daughter of the black act after just 20 minutes interval?

But change she did.  When she reappeared in her black blue flecked tutu she was magnificent.  Clearly, she was the same woman but quite a different character and she seemed to live that role too. She was very strong, robust and as indestructible and flexible as wire appearing to deliver Legnani's 32 fouettés effortlessly.   The English National Ballet has a star in Kanehara and I will seek out her performances from now on.

A good Odette needs a good Siegfried and the company produced one in Ken Saruhashi.  Like Kanehara he is a soloist though it appears from his biography that he has danced leading roles before.  He is tall, slender and very strong.  He lifted Odette as if she were weightless and some of his jumps in the betrothal pas de deux drew my breath away.  The crowd loved him.  I heard loud Russian type growls from behind me in the auditorium, the sort you hear regularly in live streaming from Moscow or even occasionally in Covent Garden but hardly ever outside London.

A lot of dancers impressed me on Friday night and it would be invidious to single out any for special praise. It was good to see Jane Haworth as Siegried's mum and Michael Coleman as his tutor and master of ceremonies again.  I liked Erik Woodhouse, Anjuli Hudson and Adela Ramirez in the pas de trois.  Ramirez was also one of the cygnets with Alice Bellini, Katja Khaniukova and Emilia Cadorin all of whom were good.  Hudson delighted me with her Neapolitan dance in Act III where she was partnered by Barry Drummond.  This is a delightful piece which I am sure Sir Frederick Ashton created for the Royal Ballet for it has all his hallmarks on it.  In fact, I remember Wayne Sleep in that role with (I believe) Jennifer Penney.  The Royal Ballet no longer seem to do it and it is good to know that our other great national company does.  Finally, I congratulate Isabelle Brouwers and Tiffany Hedman as lead swans.  I noticed Skyler Martin whom I remember from the Dutch National Ballet and it is good to welcome him to these shores.

English National Ballet's website quotes The Sunday Express in describing the production as "One of the best productions of Swan Lake you are likely to see."  I don't agree with that newspaper on much but I think that its dance critic was right on this point.  I have seen a lot of Swan Lakes in nearly 60 years of regular ballet going including Liam Scarlett's and the St Petersburg Ballet Theatre's with Denis Rodkin this year but this is definitely the best Swan Lake of those three and one of the best of all time. I like Peter Farmer's designs and the ENB Philharmonic under Huddersfield trained Gavin Sutherland. I always give him a cheer for that though I would anyway as he is good.

Altogether it was an excellent show in a fine auditorium with an appreciative crowd.  This is not the first time I have seen an outstanding Swan Lake at the Empire.  David Dawson's very different but equally good production for Scottish Ballet was performed there (see Empire Blanc: Dawson's Swan Lake 4 June 2916).  The Empire's audience seems passionate about dance and quite a few rose to their feet at the curtain call.  I think that the crowd lifted the dancers on Friday.  It was everything a night at the ballet should be.

Mooie!

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Dutch National Ballet Giselle Theater Heerlen 9 Nov 2018, 19:30

I overheard the word "mooie" a lot in snatches of conversation in the bar of Theater Heerlen during the interval and after the show last night so I looked it up. I found that it means "beautiful".  Tonight's performance of Giselle by the Dutch National Ballet was indeed beautiful but it was also so much more.  It was outstanding.  It was one of the best performances of that ballet that I have ever seen and I have attended a lot of performances of Giselle in my 50 years of regular ballet going. I have seen some of the world's best dancers and many of the world's greatest companies.  The rest of the audience was aware of something special for we rose to our feet at the curtain call as one and clapped until our palms were raw.

"So what was so special about this performance?" I hear you ask.  I don't know where to begin.  There was so much that impressed me.

Obviously, there were two excellent principals in the lead roles:  Qian Liu as Giselle and Young Gyu Choi as Albrecht.  She was a perfect Giselle for she balanced virtuosity with charm.  She communicated winsomeness and innocence in the early scenes of act I, passion and despair in the mad scene and an ethereal quality in the second act.  Young Gyu Choi is now my favourite Albrecht of all time and I have seen Nureyev and Acosta in that role.  He had previously impressed me with his strength and athleticism. Yesterday he showed he could act as well.

The other great female role in this ballet is the Queen of the Wilis.   Maria Chugai was a formidable Myrtha, one of the most chilling but also one of the most elegant I have ever seen. I was on tenterhooks as she drew back from Albrecht and Giselle their arms splayed in the form of a cross even though I knew how the story ends.

Dario Elia came to my attention for the first time yesterday with his portrayal of Hilarion.  In a Q and A after a talk by Rachael Beaujean just before the show, I suggested that Hilarion had a very raw deal compared to Albrecht.  He may have been jealous, even a bit stupid, but he was not the one to deceive two women.  Did he really deserve to die?   Beaujean agreed with me "but then the world's unfair", she observed.  I think Elia communicated the character of the gamekeeper and disappointed suitor well.  I shall follow his career with interest.

There were many other good performances last night. It is probably unfair to single any of them out for special praise.  But I cannot ignore the peasant pas de quatre and in particular the powerful performances of Sho Yamada and Daniel Silva.  Yamada first impressed me when he partnered Michaela DePrince the first time I saw the Junior Company at the Staddshouwburg in 2013 (see The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013 25 Nov 2013) and he impressed me again as Don Basilio earlier this year (see A Day of Superlatives - Dutch National Ballet's Don Quixote 1 March 2018).  I have been a fan of Silva ever since he opened No Time Before Time in Ballet Bubbles at the Meervaart on my birthday in 2016.  He impressed me again later in that year with his bronze idol in La Bayadère.  I must also congratulate their partners Salome Leverashvili and Emanouela Merdjanova for they were impressive too. In Merdjanova's case, she impressed me again as Moyna in act II.

Finally, I must commend the corps and Beaujean and Ricardo Bustamente's deployment of them in both acts.  I particularly liked the circling of the Wilis which was mesmeric.  Combined with Toer van Schayk's backdrop of a gorge in the Rhine and James Ingalls's lighting they were the spookiest but also the most realistic depictions of the tormented vengeful spirits I have ever seen.

I saw that performance, not in Amsterdam or some other major city, but in Heerlen, a town in the southeast Netherlands approximately the same size as Doncaster. Like Doncaster, Heerlen had once been a mining town and there was much about the landscape, the style of the buildings and many other things that reminded me of South Yorkshire.  One thing in particular that Heerlen has in common with Doncaster is a fine repertory theatre which no doubt played a part in the town's regeneration after the collieries closed much in the way that the CAST did in Doncaster. The Heerlen theatre is somewhat bigger than the CAST but it looks and feels very similar.

I see a lot of the Dutch National Ballet. This is my fourth visit to the Netherlands this year and I am coming back on the 22 Dec to see Cinderella.  Usually, I see them in Amsterdam though I have also seen them at the Coliseum in London.  This is the first time that I have seen the Dutch National Ballet on tour in its own country. That is something that other great companies like the Royal Ballet hardly ever do.  I chose to see it in Heerlen for two reasons.  First, it was very good value - €39 for one of the best seats in the stalls - a fraction of what I paid on tickets, rail fares and refreshments to see La Bayadere last week in Covent Garden last week even after taking my return airfare, airport parking and an overnight stay in Heerlen into account.  Secondly, and much more importantly, it treats its provincial audiences with exactly the same respect as it does its metropolitan ones.  How many other of the world's great ballet companies  around the world can say the same?

Nothing Wrong with this La Bayadère

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Royal Ballet La Bayadère Royal Opera House 3 Nov 2018 13:30

It is often said that only the Russians can do La Bayadère.  In one online forum to which I subscribe, I have read the suggestion that the Royal Ballet should not even bother to stage that ballet "because the Russians do it so much better." While it is true that only the Russians did  La Bayadère until very recently I find it a very curious argument.   Nobody says anything like that in respect of Swan Lake, The Sleeping Beauty, The Nutcracker or any of the other 19th century Russian classics.  As it is set in Golkonda in India by a French-born choreographer to an Austrian composer's score, the ballet is not actually all that Russian.

Yesterday's matinee performance of La Bayadère by the Royal Ballet is the fourth that I have seen. The others were by the St Petersburg Ballet Theatre in August 2015, the Dutch National Ballet in November 2016 and the Mariinsky last year.  Each of those productions including yesterday's had its good points.   The Royal Ballet's lay in the set and projection designs except for the appearance of a Buddha in what was supposed to be a Hindu temple.  I watched the show with one friend who is a Hindu and another who comes from Japan which is a predominately Buddhist country and I don't think either was impressed by that solecism.  Notwithstanding that niggle, it was a very slick and polished production with a well-rehearsed corps and particularly good performances by the shades (Yuhui Choe, Fumi Kaneko and Beatriz Stix-Brunell) and the bronze idol (Valentino Zuchetti).

I could not fault the lead dancers, Sarah Lamb, Ryoichi Hirano or Claire Calvert who were Nikiya, Solor and Gamzatti respectively.  At the curtain call, Lamb was presented with a very respectable bouquet from which she selected one rose for Hirano and another for the conductor, Boris Gruzin but Calvert received even bigger bouquets (presumably from a well-wisher in the audience) which is something I have never seen before in over half a century of ballet going.  The lead dancers were well supported by Yorkshireman Thomas Whitehead as the brahmin (earning an especially loud cheer at the reverence from our little section of the stalls on account of his Borealian provenance), Bennet Gartside as the rajah and Liverpudlian Kristen McNally as the aya.

Although I liked yesterday's show I preferred the Dutch National Ballet's two years ago.   I think that is because of the superb performance by Sasha Mukhamedov who will always be my Nikiya.  The Royal Ballet's production like the Dutch National Ballet's was created by Natalia Makarova. There is another version of the ballet by Stanton Welch for the Houston Ballet with designs by Peter Farmer and an arrangement of the score by John Lanchberry that I would love to see.   Birmingham Royal Ballet appealed for funding to bring it to the UK to which I actually contributed (see A Birmingham Bayadère 26 Nov 2016) but that idea was abandoned when the local authority cut its funding to the company (see How Nikiya must have felt when she saw a snake  21 Jan 2017).

Yesterday was my first opportunity to see the result of the building works that have been carried out around the Royal Opera House over the last few years. We snuck downstairs to the Linbury bar and lobby which now looks very smart and we had a cup of tea at the new cafeteria at the entrance to the lobby which also doubled as a cloakroom.   All very new and shiny but a little confusing.  One obvious inconvenience was the ladies' loo has been moved and there was inadequate signage to its new location.   Another is that there is nothing like enough space in the cafeteria. As free wifi is provided, I suspect that some of those spaces were occupied by folks with laptops with no particular interest in opera and ballet, but that may not be a bad thing.

On the whole, we three musketeers from the North had a good day in London and it was good to meet in the interval a worthy D'Artganan, namely Marion Pettet who was until recently the chair of the Chelmsford Ballet upon which Powerhouse Ballet is modelled.   Marion has given us a lot of tips and encouragement over the last few months and it was good to see her again.

The ballet will be screened to cinemas in the UK on 13 Nov 2018 and I recommend it strongly. It may not be the very best (but then there is only one Mukhamedov) but it is still a very good production.  Lots of drama, some beautiful solos, the mesmerizing descent into the kingdom of the shades, some great projection technology.   There is nothing wrong with our Bayadère and if the Russians, Dutch or Texans do better ones, never let the best be the enemy of the good.

Ballet Cymru Workshop

A workshop that is a little bit different

28 Nov 2018  Yorkshire Dance  18:00 - 19:30 

© 2018 Sun Trenverth Photography: all rights reserved
Reproduced with kind permission of Ballet Cymru 

Ballet Cymru describe themselves as "a ballet company who like to do things a bit differently." They enjoy finding new ways to make what they do exciting, innovative and relevant.

They achieved those objectives with TIR where they collaborated with Cerys Matthews to translate traditional Welsh songs into dance. I described it as a "thrilling experience" in my review of the company's performance of that ballet in Newport.

Matthews and Ballet Cymru have collaborated again to produce Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs which the company will dance at the Stanley and Audrey Burton Theatre in Leeds on 29 Nov 2018. This show promises to be one of the highlights of the Leeds dance season for 2018/2019 so if you have not yet bought your ticket do so now while you still can.

The day before that performance we shall host a workshop for Ballet Cymru at Yorkshire Dance where they will teach us some of the choreography from that show. This is a rare opportunity to dance with artists of Wales's classical dance company who have come from all parts of the world to the work of Darius James and Amy Doughty two of my favourite choreographers.

This workshop is open to anybody aged 18 or above who is regularly attending ballet classes at Northern Ballet Academy or Dance Studio Leeds in Leeds, KNT Danceworks in Manchester, Hype Dance in Sheffield, Ballet North in Halifax or any other adult ballet class of similar standard. Ballet Cymru do not expect you to be another Pavlova but you are unlikely to get much out of the evening if you have not yet mastered the basics.

Admission is free but you must register here in advance. Yorkshire Dance is literally just across the road from Northern Ballet and Phoenix Dance Theatre. It faces the Leeds School of Music. The bus station is the same distance in the opposite direction and the mainline railway station with regular services to all parts of the country is just a little further away.

Immediately after the workshop Powerhouse Ballet will hold a reception for Darius James and the company in Martha's room at Yorkshire Dance where we shall launch the Northern Dance Circle. The Circle will promote dance and dance education in the North in very much the same way as the London Ballet Circle does in London. You can attend that even if you do not attend the workshop. Again, there will be no charge to attend the event but you must register in advance.

Go to the Eventbrite Page

French Revelation: "The Three Musketeers"

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Northern Ballet The Three Musketeers The Lyceum, Sheffield, 27 Oct 2018, 19:45

Coincidentally the last three ballets that I have seen have been set in pre-revolutionary France.  There was Ashton's Fille that I first saw over 50 years ago which was performed at The Lowry by Birmingham Royal Ballet.   There was Manon by Sir Kenneth MacMillan danced by English National Ballet at the Manchester Opera House.  Finally, there was Northern Ballet's rendering of David Nixon's Three Musketeers at the Sheffield Lyceum. 

As I know La Fille mal gardée very well and as it had been created by one of the greatest choreographers who has ever lived I was sure that I would like that work best.  I thought Manon would be number two as it had been created by one of the other all time greats.  I did not know Manon as well as I know Fille but I had seen two impressive HDTV transmissions from Covent Garden. I feared The Three Musketeers would be a bit of an anticlimax as I have not liked every ballet that Nixon has made.  As it happened I enjoyed The Three Musketeers most of all though, I hasten to add, I liked Fille and Manon very much too.

I think the reason that I liked the Musketeers so much is that the company danced particularly well.  They performed with energy and flair.  They were well rehearsed - as slick and polished as ever I have seen them.  They looked as though they were enjoying themselves - particularly the sword fights which were as gripping as anything in Romeo and Juliet - and the touches of slapstick humour like burying the washerwomen with laundry.

I was delighted to see Gavin McCaig (whom I had featured when he first joined the company) as Athos and Javier Torres (my dancer of the year for 2017) as Porthos.  Riku Ito was a sleek d'Artagnan and Sean Bates a convincing Aramis. I am used to seeing Mlindi Kulashe in villainous roles like Mr Brocklehurst in Jane Eyre, the Fury in The Boy in Striped Pyjamas, Casanova's persecutor, the Beast in Beauty and the Beast and Tybalt.  It was a surprise to see him as an "easily manipulated" king.

As for the female roles, the heroine is Constance danced on Saturday by Ayami Miyata.  Intriguingly, I see from her profile that she would have been a lawyer had she not been a dancer. I know of many barristers who imagine themselves on stage.  It is rare and a little flattering to find a beautiful dancer who must have contemplated life the other way round.  Constance's nemesis is Milady de Winter danced by Minju Kang. The fight between those women and the discovery of Milady's branding, of course, the denouement of the story.   It was good to see Pippa Moore again as Constance's mum and Rachael Gillespie as Marie de Hautbois.

The libretto by David Drew bears about as much resemblance to Alexandre Dumas's novel as Petipa's Don Quixote does to Cervantes's.   There is a magnificent score by Sir Malcolm Arnold as arranged by John Longstaff.  The sets by Charles Cusick Smith and costumes are gorgeous.

The show moves on to Canterbury which is easy to reach from London by HS1.   It opens at the Marlowe Theatre on the 31 Oct and continues to 3 Nov 2018.   This is one of the best ballets in the British Isles not to come out of London.   I urge my metropolitan chums to see it.

Scottish Ballet dancers and their pointe shoes

Why would a Scottish Ballet dancer carry a Stanley knife and a hammer? Find out courtesy of Scotland's Sunday Post newspaper: https://www.sundaypost.com/fp/these-shoes-were-made-for-dancing-thats-just-what-we-do/

Van Dantzig's "Swan Lake"

Anna Ol and Artur Shesterikov

Author Michel Schnater
© 2018 Dutch National Ballet, all rights reserved
Reproduced courtesy of the company

Anna Ol and Artur Shesterikov White Swan Pas de Deux, Swan Lake Dutch National Ballet Gala, 8 Sept 2018, 19:30  Stopera

This year the gala for the opening night of the 2018-2019 ballet season was dedicated to Rudi van Dantzig. One of the works for which he is most admired is his production of Swan Lake which will be performed in March.  I have seen extracts before but not yet the whole ballet but the little bits that I have seen persuade me that this is special.  With van Dantzig's choreography, costumes by Toer van Schayk, how could it be otherwise?

On the opening night gala we saw two pas de deux from the ballet.  The first from the white act stars Artur Shesterikov and Anna Ol as Siegtied and  Odette.  The second was the seduction scene from the black act with Daniel Camargo and Maia Makhateli as Siegfried and Odile. I shall discuss that second extract tomorrow.

Ernst Meisner's "Embers" - One of the Highlights of the Dutch National Ballet's Opening Night Gala

Cristiano Principato and Jessica Xuan in Embers

Author Michel Schnater
© 2018 Dutch National Ballet, all rights reserved
 Reproduced with kind permission of the company

Cristiano Principato and Jessica Xuan  Embers (Opening night gala of the Dutch National Ballet) 8 Sep 2018, 19:30 Stopera

For me the highlight of the Dutch National Ballet's opening night gala on 8 Sept 2018 was the performance of Ernst Meisner's Embers by Cristiano Principato and Jessica Xuan.  I love Max Richter's music.  I love Ernst Meisner's choreography.  Most of all I love the interpretation by Cristiano and Jessica. 

This is what I wrote in my review:

"Another personal highlight was Cristiano Principato and Jessica Xuan in Ernst Meisner's Embers. I fell in love with that piece the first time I saw it at the Stadsshouwburg in 2015 (see The Dutch National Ballet Junior Company's best Performance yet 8 Feb 2015). In 2016 Principato brought his friends in the Dutch National Ballet and other leading companies to a tiny theatre in a small town half way between Milan and Turin to perform a Gala for Africa (see From Italy with Love 1 July 2016). I flew to Italy to support them. While I was there I had the honour of meeting Cristiano Principato's parents. It was a beautiful evening which ended with a performance of Embers by Principato and Priscylla Gallo. I wrote:

'Last year Meisner was my joint choreographer of the year for creating Embers. It moves me in a special way. I have now seen it four times and I love it a little more each time I see it. Thomas and Nancy Burer introduced me to the work and they dance it beautifully. I experienced it in a different way when Cristiano and Priscylla danced the piece on Tuesday night. Never has it seemed more beautiful.'

In July of this year, Principato and Xuan danced Embers at the Varna International Ballet Competition. For her performance in that piece, Xuan was awarded first prize. I am very fond of both of those dancers. When they took their bow on Saturday I felt compelled to rise to my feet. Wild horses would not have restrained me."

 I can't really add to that.

Ballet West's Winter Tour ................... and a bit of McGonegall

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Not long now before Ballet West's tour of Scotland.  Once again they are dancing The Nutcracker.  They danced that ballet at Pitlochry the first time I ever saw them.  My review of their performance is my very first post.  I am very grateful to Ballet West for allowing me to attend class with their undergraduates earlier this year (see Visiting Taynuilt 4 May 2018).

As usual they will begin their tour in Oban on 26 Jan 2019.  They will proceed to Stirling on 2 Feb, Dundee on 5 Feb, Livingston on 7 Feb, Glasgow on 9 Feb, Greenock on 15 Feb and Edinburgh on 22 Feb.   Dundee is a new venue.   They will perform at the Gardyne Theatre which is a new auditorium on the campus of  Dundee and Angus College along the way to Broughty Ferry.  I know it well.

I think that is where I shall see the show because it is not far from my alma mater  (see Thoughts on St Andrew's Day  1 Dec 2016).   The performance in Dundee takes place on a Tuesday.  With any luck I can resume my old place at the barre in the beginners' class at the St Andrews Dance Club some 50 years after I learned my first plié.   According to the Club's Facebook page, that class meets in the town hall at 14:00 on Wednesdays.

In Thoughts on St Andrew's Day, I quoted Andrew Laing's atmospheric first verse of his Almae Matres.   That poem never fails to cheer me up when I miss Scotland.    Dundee also has a bard in William Topaz McGonogall.  You may be amused by one of his poems:

"Oh, Bonnie Dundee! I will sing in thy praise
A few but true simple lays,
Regarding some of your beauties of the present day
And virtually speaking, there’s none can them gainsay;
There’s no other town I know of with you can compare
For spinning mills and lasses fair,
And for stately buildings there’s none can excel
The beautiful Albert Institute or the Queen’s Hotel."

Both of those buildings remain though the Albert Institute is now known as "The McManus".

I digress.  Wherever you see the show it will delight you.  Especially the Mother Ginger divertissement. 

"Portrait" - Michaela DePrince

Michaela DePrince "Portrait" Dutch National Ballet's Gala 8 Sept 2018

Photo Michel Schnater

© 2018 Dutch National Ballet: all rights reserved
Reproduced with kind permission of the company

Michaela DePrince  Portrait (Opening night gala of the Dutch National Ballet) Stopera 8 Sep 2018 19:30

In my review of the Dutch National Ballet's opening night gala, I wrote that the evening was special for all sorts of reasons:

"Some of those were obvious such as the brilliance of the performances and the sense of occasion. Others were personal reasons like the expression of pride on the face of my former ward (the nearest I have to a daughter) as she spotted Michaela DePrince in the grand defilé. My ward also came from Sierra Leone. Having suffered from civil war and ebola Sierra Leone has not had much to cheer about lately. DePrince's success is an exception. It is unadulterated good news and an enormous source of pride even to Sierra Leoneans who have never seen a ballet. Recently DePrince sustained an injury that has kept her from her public far too long. Seeing her dance again on Saturday in Peter Leung's Portrait was a joy. That alone justified the trip to Amsterdam as far as I am concerned."

I can't really add to that.  Here is another glorious photo of Michaela DePrince in that role.

Photo Michel Schnater

© 2018 Dutch National Ballet: all rights reserved
Reproduced with kind permission of the company

The Beggar's Opera

Opéra des Nations

© 2018 Jane Elizabeth Lambert: All rights reserved

Théâtre des Bouffes du Nord The Beggar's Opera Opéra des Nations, Geneva 7 Oct 2018, 15:00

Before I saw the show I thought I would have to justify the appearance of an opera review in a dance blog.  However, the new version of The Beggar's Opera by Ian Burton and Robert Carson began with an explosion of dance and there was plenty more throughout the show.  Rebecca Howell's choreography was spectacular.  At least one bit where a boy seemed to levitate in low plank position was as impressive to watch as it must have been exhausting to perform.

Of course, The Beggar's Opera is not really opera.  There are no recitatives and Pepusch incorporated the popular songs of his day such as Over the Hills and Far Away and Lillibulero with John Gay's lyrics into the score.  The formalities of Italian opera were just as much targets of Gay's satire as the celebrities that he pilloried.

The Beggar's Opera was a hit when it was first performed in 1728. So, too, have been most of its revivals.  The reason for its popularity is that a story about mobsters, venal politicians, bent coppers and arrogant young men treating women abominably resonates in every age.  Analogies would have been drawn with events of our day even if it had been performed in period costumes without any rewriting of the text.  Carson's staging in modern dress with mobile phones and laptops and Burton's witty libretto rendered it as fresh and topical today as Gay's must have been on its opening night.

The show opened with a cacophony of police sirens and frantic movements against a backdrop of packing cases.   Those cases, incidentally, ingeniously designed by James Brandily,  served as Peacham's warehouse, a thieves' den, a brothel, Robin's parlour, a bar and Lockit's prison.   Doors opened in the structure to reveal Polly's bedroom and the gallows.  Crates opened to reveal musical instruments and the band assembled stage right where they remained for the entire show.

I shall not retell the whole story because it is well known or easily looked up but I will give you little snippets of the dialogue. 

Welcoming the audience to his warehouse, Peachum announced he was in the import-export trade. He imported stolen goods and re-sold them as "luxury pre-loved items at knock-down prices."

Having declared his love to Polly Peacham, Macheath confesses:

"I love SEX but I could never be content with just one woman any more than a man who loves money could ever be content with one plastic five pound note."

The mainly French speaking, Swiss audience with their mighty franc certainly got that one. They hooted in derision at our weedy currency.   Another joke they got was Robin's announcement of  a reprieve for Macheath:

STOP!!! There's just been a television News Flash! The Government Majority has collapsed! The Prime Minister has resigned! She's gone - together with her little tiger skin shoes!  The Unionists have gone back to Northern Ireland and the Tories are out for good."

The applause was deafening.  Whoops and cheers around the house.  Remember this was a French speaking audience in a country outside the EU.  Not a bunch of remoaners in Brexit Britain.   There were a few lines such as "strong and stable government" and "we're all in it together" where I seemed to be the only one laughing but the audience appreciated most of the quips.

Every member of the cast was magnificent.  It is probably unfair to single any of them out  for special praise but I particularly liked Beverley Klein as Mrs. Peacham and Kate Batter as her daughter.  Batter explains how the roués of the world get away with so much.  They know that the objects of their love a thoroughgoing scoundrels but they can't tear themselves away from them.

I should say something about the theatre,   It is one of the prettiest little auditoriums I have ever visited.  It is located at a tram and road junction known as "Nations" no doubt deriving its name from the pre-war Palais des Nations.  It is surrounded by the headquarters of UN institutions such as the ITU, the WIPO and the UNHCR.  It is one of the pleasantest spots in Geneva. 

The show ran without an interval but the bars were open for refreshments before and after the show.   We have beer tents in England.   They had a champagne tent outside.  Programmes cost CHF16 (which is more than one would pay even at Covent Garden) but they contained the entire libretto in English and French.  There were also interesting articles about the work some of which were in English.  Like a lot of things in Switzerland, you pay a lot of money but you usually get your moneysworth.

The Beggar's Opera is touring Europe.  If it comes near you then go see it.   Also, it you ever find yourself in Geneva while there is a show at the Opéra des Nations you really must try to see it.

A Ballet Circle for the North

Photo Gita Mistry
© 2018 Gita Mistry: all rights reserved

The London Ballet Circle was founded in the year that the company that was to become the Royal Ballet returned to Covent Garden for its legendary performance of The Sleeping Beauty.  Dame Ninette de Valois was the Circle's first President.  At the 70th anniversary reception I learned that Dame Ninette regarded the Circle as her third great achievement alongside her company and her school.

I first joined the London Ballet Circle when I was an undergraduate. When I went to graduate school in Los Angeles I allowed my membership to lapse. It took nearly 50 years for me to rejoin,  But since I rejoined I have made full use of my membership attending talks by Cassa Pancho, Christopher Hampson, Li Cunxin, Ernst Meisner and Javier Torres.   The Circle also arranges visits to companies and ballet schools although I have only managed to make it to Ballet Cymru in their new premises in Newport (see Ballet Cymru at Home 5 Oct 2015). 

Most importantly the London Ballet Circle raises money for prizes and scholarships for outstanding young students.   One of its prize winners was Xander Parish who is now a principal with the Mariinsky.   According to its  website

"The London Ballet Circle provides financial support to student dancers. Typically, we pay for children to attend dance summer schools such as the Yorkshire Ballet Summer School, Dutch National Ballet Summer School or Newport Summer Dance & Wales International Ballet Summer School. We ask school principals to select naturally gifted students who, without the London Ballet Circle's financial support, would be unable to attend such specialist coaching sessions."

The Dutch National Ballet Academy, Ballet Cymru's Summer School and Yorkshire Ballet Summer School are three of my favourite causes.

As it is not easy for everybody to get to London I have long thought that we needed a Ballet Circle in the North. The visit by Ballet Cymru to Leeds at the end of November is a very good opportunity to set one one. Powerhouse Ballet is hosting a workshop for Ballet Cymru at Yorkshire Dance between 18:00 and 19:30 on 28 November to which everyone taking regular ballet classes will be welcome. After the workshop there will be a chance for everyone to meet members of Ballet Cymru over a glass of wine

If this meeting proves to be successful we shall hold others with choreographers, dancers, teachers and others from our region and beyond.