Powerhouse Ballet Looks Forward

Powerhouse Ballet in Class

© 2022 Jane Elizabeth Lambert

 

This year has been Powerhouse Ballet's best ever.  We gave our second and third public performances to packed houses at the Chroma Q Theatre in Leeds on 19 Nov 2022.  I reviewed the show in A Celebration of Dance: Wilis and More on 21 Nov 2022.  We held full-day workshops on The Nutcracker in March and Giselle in July.  We returned to the Northwest with company classes in Bolton and Salford in September and November.  We have offered training and rehearsing opportunities for four of our members with teaching skills, namely Katherine Wong, Lauren Savage, Christie Barnes and Alicia Jolley.

We are now on a roll and will build on that success immediately with a special online-only Post-Christmas company class with Beth Meadway between 14:00 and 15:30 on 28 Dec 2022.  Beth is one of Ballet Cymru's lead dancers.  I reviewed her performance as Helena and the Wall in Dream in Ballet Cymru at its Best on 13 Nov 2022 and in A Child's Christnas in Wales and  Terms and Conditions in Ballet Cymru in Bangor - Finishing a Great Week of Ballet on 19 Dec 2022.  Anyone can attend Beth's class from anywhere in the world.  There will be no charge.   All you need is a computer with an internet connection, a leotard or other danceweaer, ballet shoes and a little bit of space at home or elsewhere.  It is not every day that you get a chance to dance with an up and coming ballet star from the comfort of your home.  If you want to attend, register here.

Our first class in the studio of the New Year will be given by Northern Ballet Academy's Annemarie Donoghue at Dance Studio Leeds from 13:00 to 14:30  on 28 Jan 2023.  In February we hope to give our first class in Wales.   Alicia Jolley who danced in Aria has kindly agreed to give that class.   The date, time and venue have yet to be agreed but it will probably take place in Mold on the afternoon of Saturday, 25 Feb 2023.   In response to popular demand I have asked Fiona Noonan to deliver our March class and she has accepted in principle.   Her class is likely to take place on 25 March 2023 either at Dance Studio Leeds or Huddersfield University.  

Karen Lester-Sant of KNT Danceworks has kindly invited Powerhouse Ballet to dance in KNT's next show in Manchester.   We are looking forward to this opportunity immensely.   We shall start rehearsals as soon as we know the date.   We already have the piece that we presented in Leeds on 19 Nov 2022 but it is possible that we may have a new work by then. Jane Tucker who directed and choreographed the Dance of the Wilis has offered us a workshop on another scene from Giselle early in the New Year.  I shall leave the choice of scene to Jane but we have discussed some of the possibilities.  These include the Retour des Vendageurs in act 1 as there is a big role for the ensemble.   As soon as Jane gives me a date, I shall announce the workshop on Eventbrite.

One of the objectives of Powerhouse Ballet is to provide opportunities for members to develop their skills in all aspects of theatre.   We have already made use of our members' teaching skills but other members also have skills that could be useful to the company.  Fiona Cheng, for instance, is a  drama student at Leeds Conservatory.   I have seen her act in one of the Conservatory productions and was very impressed.  The betrayal scene at the end of act 1 of Giselle requires considerable dramatic skills from Giselle and the other characters  Drama is not formally taught in many dance schools and perhaps it should.   I have therefore invited Fiona to propose an acting workshop for us.  Other possible workshops include exhibition classes in Kathak and Welsh folk dancing with its spectacular grasshopper step.

As we are a company and not a school we will never charge our dancers for attending our classes and workshops.  However, we shall be introducing a Friends scheme for those who wish to support the company and participate in some of its activities but not dance in its shows.   A year's subscription will be around £25 a year and it will be possible for members to switch from "Friend" to "Dancer" and vice versa within the course of the year.   

As this will be one of my last posts for this year, I should like to wish all my readers a happy and prosperous New Year.

Dawson

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Dutch National Ballet Dawson 11 Dec2022 14:00 Music Theatre, Amsterdam 

Although David Dawson is one of the United Kingdom's leading choreographers, balletgoers usually have to travel to see his work because he is Associate Artist with the Dutch National Ballet and Resident Choreographer with the Semeroper Ballett in Dresden.  His surname is the name of a double bill of two of his works that the Dutch National Ballet is currently performing in Amsterdam.  It consists of Legacy Variations, a new piece that the programme describes as "a love letter to the company that has been his home for 27 years" and The Four Seasons which was first performed in 2021.

Legacy Variations is danced by James Stout, Edo Wijnen and Joseph Massarelli.  In an interview for the programme, Dawson explains why he cast them:

"I’ve worked with them since the day each of them joined the company, and since then we’ve discovered a way of working together that’s unique. In this new ballet, we reflect on our journey together, on what we’ve learnt and where we’ve arrived.”

He describes them as unique dancers: James as "very elegant and stoic, yet sensitive in his dancing" embodying a purity which is both strong and vulnerable at the same time; Edo as having "the quicksilver qualities of mercury" that "shines so brightly and moves in the most profoundly coordinated and musical way" and Joey as having "an abundant energy that appears endless" whose dancing is "incredibly organic, earthy in tone, with a deeply felt understanding of his own strength."  The music for this piece is by Alex Baranowski, the sets were designed by John Otto and the costumes by Yumiko Takeshima.  

I enjoyed Legacy Variations very much indeed.  It exhibits the two qualities of its creator that I most admire.  His adherence to the classical tradition in which he was trained and made his career as a dancer combined with a willingness to innovate.  Although I had seen several of his work before I recognized those qualities for the first time when I saw his Sawn Lake for Scottish Ballet in Liverpool (see Empire Blanc: Dawson's Swan Lake 4 June 2016).  This is a work that I long to see again and I would have seen its revival in 2020 had it not been for the lockdown.  Legacy Variations reminded me why I am a Dawson fan.  It is a very short work.  For me, it was over almost as soon as it started.  I could have watched it all afternoon.  Having said that it must have required prodigious strength, stamina and concentration from Stout, Wijnen and Massarelli though they made it look effortless and aetherial.

The Four Seasons is a longer work based on Max Richter’s arrangement of the well-known work by Vivaldi.  This is a work for 16 dancers:  Jingjing Mao, Jakob Feyferlik, Yuanyuan Zhang, Martin ten Kortenaar, Jessica Xuan, Sho Yamada, Mila Nicolussi Caviglia, Connie Vowles, Arianna Maldini, Luiza Bertho, Inés Marroquin, Conor Walmsley, Jan Spunda, Daniel Montero Real, Davi Ramos and Rémy Catalan.  I have followed the careers of many of those dancers from the day they joined the Junior Company and it gives me enormous pleasure to see them in major roles.  I am particularly proud of my compatriot Conor Walmley who comes from the same county as Kevin O'Hare, Xander and Demelza Parish and a less well-known but abundantly talented favourite, Beth Meadway.   I was thrilled to learn that one of Powerhouse Ballet's guest ballet mistresses once taught Walmsley (and also me despite the gigantic chasm of age and talent between us).

This is another ballet that displays Dawson's classicism and innovation in abundance.  The music, particularly Isabelle van Keulen's violin playing, was enchanting.  Equally captivating were Eno Henze's simple geometric shapes representing the seasons - a green triangle for Spring, a red rectangle for Summer and a golden circle at the end and so on - that subtly changed position and lighting throughout the show. These were complemented by Takeshima's costume designs.   Again, I could have watched it for hours. The artists were rewarded with thunderous applause and a standing ovation.

This has been an annus mirabilis with such highlights as Like Water for Chocolate and Mayerling from the Royal Ballet,  the Van Manen festival from HNB and Mthuthuzeli November's Wailers for Northern, but I wrote on this blog's Facebook page that I had an inkling that Dawson would be special.  I was not wrong.

Ballet Cymru in Bangor - Finishing a Great Week of Ballet

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Ballet Cymru A Child's Christmas and Terms and Conditions Pontio Centre, 2 Dec 2022 19:30

Last week I was lucky enough to see the Royal Ballet in Mayerling at the Royal Opera House on Tuesday, Ballet Black in Say it Loud and Black Sun at the Lowry on Thursday and Ballet Cymru in A Child's Christmas and Terms and Conditions at the Bryn Terkyl auditorium in Bangor on Friday. These were very different productions by very different companies in very different locations but each of those shows was outstanding in its own way.

Ballet Cymru created A Child's Christmas in Wales as part of a Dylan Thomas double bill in 2018.  I saw that show several times and actually learnt some of the choreography in a workshop that Powerhouse Ballet hosted for Ballet Cymru (see More than a Bit Differently: Ballet Cymru's Workshop and the Launch of the Powerhouse Ballet Circle 28 Nov 2022). When I reviewed it in Ballet Cymru's Dylan Thomas Programme: The Company's Best Work Ever on 13 Dec 2018 I described it as the company's best work ever.    I an still of that opinion even though the company has staged new productions of Giselle and Midsummer Night's Dream which I like very much in the meantime.

I noticed a few changes in the show since 2018.  A different group of children seem to have been asked about their experience and expectations of Christmas or, in the case of one child, Eid. There seem to have been a new set of projections. Also, there is an almost entirely new cast.  Robbie Moorcroft, Beth Meadway and Isobel Holland are the only dancers who performed in the 2018 show.  One thing that has not changed is the mellifluous voice of Cerys Matthews,  The laughter in her voice as she mimics the dialogue of kids fantasizing as to how they would deal with a hippopotamus in their street never fails to induce giggles.  I used to associate Dylan Thomas with Richard Burton,  Now I associate him with Matthews. 

Ballet Cymru paired A Child's Christmas with Terms and Conditions, new work by Marcus Jarrell Willis.  Marcus is an American who spent 8 years with Alvin Ailey American Dance Theater.  As one who makes a living from drafting and construing terms and conditions, I was bemused by the title. I could not envisage how contract terms could possibly be spun into a 40-minute ballet.  The answer is that these terms and conditions are about the negotiations that humans enter when experiencing love.  Several aspects of love were explored, Each topic was introduced by the projection of a typewriter typing words on a screen punctuated occasionally by a voiceover.   I will have to see the piece at least one more time in order to understand it properly but it seemed to work.

Before the main show, we were treated to a performance of Snow Day by pupils of Llanllyfni Primary School who had taken part in the Duets programme.  This is an initiative by the Arts Council of Wales, the Paul Hamlyn Foundation and regional community dance organizations to introduce dance to schoolchildren in inner city and rural communities throughout Wales.  It is important work. At the very least it should generate an informed audience for the performing arts,  For a few highly talented children it may be the first step of a career in the theatre.

I have seen Ballet Cymru four times this year, They have performed in very different venues: a medieval cathedral, a university arts centre, a municipal theatre and the studios of two major dance companies. Audiences in those venues will have had different experiences of dance but there was no difference in the warmth of the reception.  The company has had a good year and it can look forward to the future with confidence.

Ballet Black at 20

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Ballet Black Say it Loud and Black Sun York Theatre Royal 11 Oct 2022 Lowry Salford 1 Dec 2022 20:00

I once attended an interview in which Cassa Pancho was asked about the early days of Ballet Black.  She had created the company's first ballet but did not think that she would ever make another. Happily, that has not turned out to be the case.  She and the dancers have given us Say It Loud, a glorious celebration of the company and its achievements over the last 20 years.  It is the first part of a double bill that has been touring the country since March.

In her programme note, Cassa Pancho divides the work into chapters as though it were a book, The first chapter consisted of voces populorum.  One that sticks in my memory is "Shouldn't all ballet should be like this". But there were more negative ones about the company's name, the ethnicity of its members and why it doesn't;t do more about knife crime.  My favourite chapter was Mthuthuzeli November.'s "Welcome to London" which he danced with panache.  That city may be expensive, congested, overpowering and for some even threatening but it's the company's home.  There was a change of mood with Lord Kitchener's "If you're brown".  But it was followed by hope: "We love ballet because ballet loves us back".

The second ballet, Gregory Maqoma's "Black Sun", was very different.   Only to be expected, perhaps, because, as Ebony Thomas explained, one of the strengths of Ballet Black is that "no two ballets are the same." Black Sun was more than ballet.  Indeed, it was more than theatre.  It was akin to an act of worship.   The climax of the piece started with drumming, followed by incantations from November and then cries, soft at first, then louder, from Isabela Coracy.   It was a moving experience.

I became a fan of Ballet Black even before I saw them on stage.   I was captivated by Sarah Kundi and Jade-Hale Christofi in Dépouillement. When I actually saw the company for the first time at the Bernie Grant Centre in Tottenham in 2013 I was enchanted. I am still under their spell nearly 10 years later. Every year Ballet Black seems to get better and better.   In my estimation, this was their best season yet.   I only wish I could have seen Mthuthuzeli dance Welcome to London in Stratford or the Barbican because I think the response of a London audience would have been ecstatic.

Every year that I have watched Ballet Black, Cira Robinson has been in the company.  She is one of my all time favourite ballerinas.   I admire her work very much.   Sadly Ballet Black's season at the Lowry will have been Cira Robinson's last with the company.   However, she is not leaving ballet and, even better, she is not leaving this country.  She has taken up an appointment as Artistic Director of Yorkshire Ballet Seminars (see Yorkshire Ballet Seminars Facebook page 1 July 2022).  I congratulate her and wish her every success.

The last time I saw Ballet Black on stage was just before the pandemic,  They have recruited four very promising young dancers since then:  Alexander Fedayiro, Taraja Hudson. Helga Paris-Morales and Rosanna Lindsey.  I saw some of them at the Lowry and was very impressed.   I wish them well.

Ballet Black will begin a new tour starting at the Barbican from 8 to 12 March 2022.   It will be a double bill entitled "Ballet Black Pioneers".  It will consist of Will Tuckett’s Then Or Now and Mthuthuzeli November’s By Whatever Means.   I am very much looking forward to it.

For a review of Ballet Black's 2022 season at the Barbican, see Joanna Goodman's 20 years of Ballet Black - double bill at the Barbican and currently on tour 4 April 2022,

The Royal Ballet's Mayerling on Stage and Screen

Crown Prince Rudolf

 

The Royal Ballet Mayerling Royal Opera House, 29 Nov 2022 19:30

Schloß Mayerling is now a Carmelite convent. In 1889 it was a royal hunting lodge where Rudolf, the 30-year-old Crown Prince of the Austro-Hungarian empire, and Mary Vetsera, an impressionable 17-year-old, killed themselves. Details of their deaths were suppressed for many years but the truth eventually emerged.  In 1978 Sir Kenneth MacMillan created a ballet on the story to the music of Franz Liszt with designs by Nicholas Georgiadis. I saw the work in the cinema in October and on stage at the Royal Opera House on 29 Nov 2022. 

While not exactly a barrel of laughs it is one of MacMillan's most frequently performed ballets.  It is not hard to see why.  It has exciting choreography, enchanting music, elaborate sets and lavish costumes. For many years the Royal Ballet was the only company to stage Mayerling.  There are now several others in the United States, Germany and Scotland.  Scottish Ballet's was based on Sir Kenneth's choreography and staged with his widow's cooperation.  I missed it because I was recovering from a hip injury when it was on tour. 

The performance that I saw last Tuesday evening was one of my best nights at the ballet in a lifetime of theatre-going. That was despite last-minute cast changes resulting from an injury to Steven McRae.  Having seen Ryoichi Hirano on screen I had been looking forward to a very different interpretation from McRea.  I also wanted to see Kristin McNally as Sissi, Anne Rose O'Sullivan as  Rudolf's long-suffering wife and Bradfordian Thomas Whitehead as Colonel Bay Middleton.  Having said that I was not in the least disappointed by those who took their place.

The role that MacMillan created for Prince Rudolf is pretty close to the historical character.  An exceptionally privileged individual who could literally get away with murder (or at least manslaughter) but also a very trapped one.  A figure readily deserving contempt but also sympathy and compassion. Hirano stimulated all those emotions in me.  Contempt as he humiliated his bride in a brothel or threatened women with his pistol but compassion as he drank himself crazy minutes before he blew his brains out.  The role requires outstanding virtuosity.  It requires a rare talent to carry all that off but that is exactly what Hirano did.

There are four important female roles in Mayerling:  

• Mary, Baroness Vetsora who agreed to die with him
• Mitzi who most certainly would not
• Rudolf's wife, Princess Stephanie of Belgium, and 
• his mother, Empress Sissi.

Akane Takada brought Mary to life with her sweetness and delicacy. Perhaps more than brought her to life because the real Mary was little more than a child when she met Rudolf.  Leticia Dias was a streetwise Mitzi, picking herself up and carrying on even after a police raid.  Yuhui Choe danced Stephanie. Her indignation was palpable as she was dragged to a brothel.  Itziar Mendizabal danced the Empress exactly as I would have imagined her,

The Hapsburgs who had ruled Austria since the 13th century were approaching their end by the late 19th century. Like contemporary Britain, they faced challenges from nationalists represented in the ballet by the 4 Hungarian officers, Luca Acri, Benjamin Ella, Joseph Sissons and David Yudes.    There was more than a little sleaze as represented by the sex workers.   A flawed royal family had their extra-marital support in such characters as Sisi's lover Colonel Middleton danced by Nicol Edmonds.