Terpsichore: 5 Tangos

Showing posts with label 5 Tangos. Show all posts

Tuesday, 29 December 2020

Dutch National Ballet's Christmas Gala

Artur Shesterikov in Hans van Manen's 5 Tangos

Dutch National Ballet Christmas Gala 19 Dec 2020 19:15 GMT

Even though it was performed without an audience and I watched it on a tiny laptop, I think I shall remember the Dutch National Ballet's Christmas Gala for as long as I live. It will stand out in my memory like Scottish Ballet's performance of David Dawson's Swan Lake at the Liverpool Empire on 3 June 2016 (see Empire Blanc: Dawson's Swan Lake 4 June 2016) or the first time I saw the Junior Company at the Stadsshouwburg in 2013.

Although there was no grand defilé, Radius Prize or reception after the show, it was very similar to the opening night gala in September which is always one of the highlights of my year. The show took place in the National Opera and Ballet's auditorium. The company's Director of Music and Principal Conductor, Matthew Rowe conducted the National Ballet Orchestra. The artists performed the following: short ballets or extracts from longer ballets:

Balanchine's Who Cares?
Echoes of Tomorrow by Wubkje Kuindersma to the music of Valentin Silvestrov
Wayne McGregor's Chroma
Grand Pas Classique by Valentin Silvestrov
David Dawson's Metamorphosis I to the music of Philip Glass
5 Tangos by Hans van Manen to the music of Astor Piazzolla
Rudi van Dantzig's Romeo and Juliet
Ted Brandsen's Classical Symphony
Christopher Wheeldon's Duet
Hans van Manen's Solo
John Cranko's Onegin, and
The Nutcracker and The Mouse King.

I enjoyed all the works in the programme. It was very well balanced and must have satisfied every possible balletic preference: Broadway razzamatazz in Who Cares?, modern masterpieces such as van Manen's 5 Tangos and McGregor's Chroma, twentieth-century classics like Romeo and Juliet and Onegin, works that had never been heard before and The Nutcracker.

The evening was introduced by Milouska Meulens who is a presenter on Dutch television. She interviewed Ted Brandsen, Maia Makhateli Floor Eimers and members of the children's choir who provide the vocals for the snowflakes scene. That was a lovely touch because the children are usually hidden in most productions. Though the conversation was in Dutch it was clear that the children appreciated the attention.

Rafael Valdez, Edo Wijnen, Sho Yamada

The last time that I saw the National Ballet live on stage was at the Zuiderstrandtheater, a seaside theatre just outside The Hague on 17 Nov 2019. They performed a triple bill entitled Best of Balanchine which included Who Cares? (see Balanchine by the Beach 20 Nov 2019). Who Cares? is a favourite of American companies. but very few companies outside the United States can carry it off as well as the Americans. The Dutch National Ballet is one that can. This was the third time that I have seen the company dance the work and last Saturday's performance was the best, They danced Somebody Loves You with Salome Leverashvili, Khayla Fitzpatrick, Naira Agvanean, Erica Horwood and Floor Eimers, Bidin' My Time with Edo Wijnen, Giovanni Princic, Sho Yamada, Rafael Valdez and Dustin True, The Man I Love with Jessica Xuan and Martin ten Kortenaar, Stairway to Paradise with Nina Tonoli, My One and Only with Riho Sakamoto, Liza by Ten Kortenaar and I've Git Rhythm by the cast of that piece.

Salome Leverashvili and Timothy van Poucke.in Echoes
of Tomorrow

The first of two works that were premiered at the gala was Echoes of Tomorrow by Wubkje Kuindersma. Kuindersma is one of three choreographers who have recently been appointed as young creative associates of the company. Set to the music of Valentin Silvestrov's In Memory of Tchaikovsky for violin and piano the work represented a dialogue of two souls reliving an event in the past that they once shared. It was performed eloquently by Salome Leverashvili and Timothy van Poucke. Readers will remember the banter between Leverashvili and van Pouck in their blog which I mentioned in Missing Amsterdam! on 18 Feb 2018. Van Poucke is a remarkable young man. He has been in the company only since 2916 and he has already risen to grand sujet. In 2018 he won the Radius Prize which is normally awarded to principals.

Maia Makhateli and Vito Mazzeo in Chroma
Photo Hans Gerritsen © 2020 Dutch National Ballert

The next work was the pas de deux from Wayne McGregor's Chroma. I had seen the Dutch National Ballet perform the whole ballet in 2015 when they included it in their Cool Britannia. mixed bill. I had also seen performances of the work by Alvin Ailey and the Royal Ballet. Maia Makhateli and Vito Mazzeo danced it exquisitely. Even though they could not have heard me on the other side of the North Sea I clapped and cheered until my voice was hoarse and my palms were raw. My only reservation was that I am not sure that the pas de deux succeeds as a standalone work. The ballet's appeal lies in the combination of McGregor's choreography with Talbot's score and Pawson's architectural set designs. That did not quite come across in the extract.

Victor Gsovsky's Grand Pas Classique was new to me. The reason why I had not seen it before it that it is an exhibition piece to display the dancers' virtuosity. It had been created for Yvette Chauviré and Vladimir Skouratoff at the Theatre des Champs-Élysées in 1949. It could be regarded as a mid-twentieth century hommage to the Imperial Russian Ballet perhaps in the same way as the third act of Jewels. The ballerina is resplendent in a blue and white classical tutu. With spectacular jumps for the man and lots of fouettés for them both, it cannot be easy. Jessica Xuan and Jakob Feyferlik performed it with great flair and precision.

Anna Öl and James Stout

The second work to be premiered on 19 Dec was David Dawson's Metamorphis I. He is an Associate Artist of the Dutch National Ballet and he has created a lot of pieces for that company though my favourite of his works is his Swan Lake for Scottish Ballet. Metamorphosis I reminded me a little of Swan Lake possibly because Swan Lake is also about metamorphosis. The choreography and even the costumes seemed to echo that work. However, Philip Glass's music was different, A piano piece played by Olga Khoziainova. The dancers were Anna Öl and James Stout. Immediately after seeing this piece, I tweeted:

Ooh! A new work by @doublediamond1. Metamorphosis danced by Stout and Ol. It would be worth flying to Amsterdam just to see that short work again.
— Terpsichore (@jelterps) December 19, 2020

That just about sums up my impression of the work.

Hans van Manen was an important influence when I first took an interest in dance at the end of the 1960s. He has created a vast body of work over the years. Many - and I include myself in that number - regard him as the world's greatest living choreographer. One of his most popular works is 5 Tangos to the following pieces by Astor Pizzolla: Todo Buenos Aires, Mort, Vayamos al diablo, Resurrección del angel and Buenos Áires hora cero. In this context it is important to remember that tango is more than a style of social dancing. It is an art form in its own right in Argentina. Pizzolla helped to elevate tango music from something that was played on the streets of the immigrant neighbourhoods of Buenos Aires to the world's concert halls. The tango as it is performed around the River Plate is a swaggering dance for alpha males and vampish females which van Manen captured in his work. For the gala, Artur Shesterikov danced the solo Vayamos al diablo (literally "Let's Go to the Devil") with energy, flair and machismo. It was one of the highlights of my evening which is why Shesterikov's photo is at the top of this review.

Qian Liu and Semyon Velichko in Romeo and Juliet

The other great Dutch choreographer of our time is Rudi van Dantzig. He created the Dutch National Ballet's Romeo and Juliet which I have yet to see. I have however seen productions of Romeo and Juliet by MacMillan, Lavrovsky, Maillot, Pastor, James and others. Having seen the balcony scene danced by Qian Liu and Semyon Velichko it is now a personal priority to see the complete work. The leading roles must be the most difficult for any principal to perform because they have to imagine themselves as impulsive teenagers even though they are expected to be mature adults in nearly every other role they dance. A good test of a Romeo and Juliet is whether the audience can imagine them as kids despite their 'life and stage experience. Qian Liu and Velichko passed that test in my eyes.

Jared Wright, Martin ten Kortenaar, Vito Mazzeo and Daniel Robert Silva
in Classical Symphony

More Prokoviev in Brandsen's Classical Symphony and a chance to review his male dancers: Martin ten Kortenaar, Sem Sjouke, Joseph Massarelli, Daniel Montero Real, Dingkai Bai, Michele Esposito, Manu Kumar, Alejandro Zwartendijk, Isaac Mueller, James Stout, Daniel Robert Silva, Pascal Johnson. Giovanni Princic, Leo Hepler, Bela Erlandson, Giorgi Potskhishvili, Vito Mazzeo, Nathan Brhane, Rémy Catalan, Fabio Rinieri, Bastiaan Stoopm Dustin True, Rafael Valdez, Conor Walmsley and Sander Baaij. With their jumps and turns, the virtuosity and athleticism of those artists were impressive. Balanchine is reported to have said that ballet is "a purely female thing" but this piece showed the fallacy of his remark.

Anna Tsygankova and Constantine Allen in "Duet"

As its title suggests this gem of a work by Christopher Wheeldom to a piano piece by Ravel is a duet. This was yet another ba;let that I had not seen before but long to see again. According to the programme, Duet was created in 2012 but I have not yet found out for whom it was created and when it was first performed. It could well have been made for Anna Tsygankova and Constantine Allen for they made it their own. This is a work that was particularly well suited for Tsygankova because she is an accomplished pianist. Having seen her performance as Cinderella in London I thnk she has a special understanding of Wheeldon's work (see Wheeldon's Conderella 13 July 2015). I imagine she would be a great Hermione in his Winter's Tale and I hope that she may be cast in that role one day.

Sho Yamada in Solo

Solo was the second van Manen masterpiece in the programme. Originally created for the Netherlands Dance Theatre Junior Company in 1997, this is a work for three male dancers. to the music of Johann Sebastian Bach. It was performed on 19 Dec 2020 by Sho Yamada, Daniel Silva and Remi Wörtmeyer. This was another highlight of my evening.

Anna Ol and Jozef Varga in Onegin

The last full-length ballet that I saw before the lockdown was the Royal Ballet's Onegin with Thiago Soares in the title role, Itziar Mendizabal in the lead roles. The penultimate scene from John Cranko's Onegin was a poignant reminder of a lost year. It is the denouement where Onegin shows up after years of exile to look up his old flame Tatiana. Earlier in the story, Tatiana had declared her love for Onegin in a letter which he heartlessly destroys in front of her. That led to a duel in which he killed his best friend and was forced into exile. Tatiana would have been heartbroken but she found a good man to marry and was living very happily until Onegin returned to seduce her. In the final duet, Tatiana is still attracted to the cad and for a second we fear that she will throw her new life away. But she doesn't. Instead, she screws up Onegin's love letter in front of him and sends him on his way. A dramatic scene danced passionately by Anna Ol and Jozef Varga. Although the ballet was created by a South African it was based on a poem by Pushkin which Ol will have known well. Like Osipova who danced Tatiana in London in 2015, she seemed to have injected a je ne sais quoi which only a Russian could do.

Snowflakes

The gala ended with scenes from Wayne Eagling's The Nutcracker and The Mouse King. The first was the Snowflakes scene which the members of Powerhouse Ballet had intended to learn on 14 March. We had booked Mark Hindle to teach it to us but we had to abandon the workshop at the last minute to avoid the risk of infection. The first thing we shall do once this virus is eradicated will be to fix a new date for the workshop. I was delighted to see that the lead dancers in the Snowflakes scene were Maria Chugai and Jingjing Mao. I am a very big fan of both dancers but particularly Chugai who impressed me with her performance as Myrthe in Heerlen in 2018. During the lockdown, she has given us two unforgettable online classes and been our guest at The Stage Door,

The other scenes in the gala were the Chinese, Russian and Greek divertissements and the grand pas de deux of the Sugar Plum Fairy and her cavalier. The Chinese dance was performed by Kira Hilli, Fabio Rinieril Dustin True, Rémy Catalan and Dingkai Bai. I had noticed Hilli when the Junior Company visited Covent Garden and it is good to see that talented young artist has made the main company. The soloists in the Russian dance were Sandra Quintyn and Pascal Johnson.

Floor Eimers and Nathan Brhane in the Greek scene

If anyone is wondering, the Greek dance was what other companies call the mirlitons. With a ruined temple as a backdrop with mythical beasts, it was danced superbly by Floor Eimers Sem Sjouke, Nathan Brhane and Daniel Montero Real. Wayne Eagling also produced The Nutcracker for English National Ballet when he was its Artistic Director but I do not recall that scene.

Maia Makhateli and Young Gyu Choi

The evening was perfected by the final pas de deux. Makhateli was a delightful Sugar Plum. Seldom have I seen her solo danced so beautifully. Young Gyu Choi, a powerful athletic dancer, who gas impressed me in everything that he has performed, was a worthy cavalier.

This has been a miserable year for balletgoers but this gala is a positive memory. Many who lived through the Spanish flu pandemic blocked 1918 from their recollection and we may do the same. Whatever else I remember or choose not to remember of 2020 I shall never forget that outstanding gala. My congratulations to all the dancers, musicians, technicians and other staff who made it happen.

Monday, 22 May 2017

Photos from Birmingham Royal Ballet's Northern Tour

Robert Parker as Captan Belaye in Birmingham Royal Ballets Pineapple Poll

Photo Roy Smiljanic
© 2017 Birmingham Royal Ballet: all rights reserved
Reproduced with kind permission of the company

I reviewed the Birmingham Royal Ballet's performance of Solitaire, 5 Tangos and Pineapple Poll at York on 12 May 2017 in Birmingham Royal Ballet's Northern Tour 2017 13 May 2017. I now have some lovely photos of scenes from the triple bill which I am delighted to share with you thanks to Mr Lee Armstrong. the company's design executive. I should stress that the photos were not taken at the performance that I reviewed but they will give you a good idea of the costumes, scenery and choreography.

The artist who danced Captain Belaye in York was Matthias Dingman. The artist in the photograph above is Robert Parker who is the Artistic Director of Elmhurst Ballet School. Parker would be very well cast for the role of a sea captain as he is qualified in real life to be an airline captain. According to his biography, he acquired a commercial pilot's qualification in 2008. Last week Northern Ballet and Phoenix hosted a dancers' career development workshop at Quarry Hill helping dancers explore their career options when they retire from the stage (see Evolve in Leeds 4 May 2017). Even though he has returned to dance as Artistic Director of a leading ballet school, his qualification shows that dancers really can do anything. I would quite happily board a 747 in the knowledge that its captain has reliably supported high flying and fast moving ballerinas through countless fish dives. Incidentally, I last saw Parker at the 25th anniversary of the Birmingham Royal Ballet's move to the Hippodrome and David Bintley's 20th anniversary as the company's Artistic Director (see In Praise of Bintley 21 June 2015).

In my review of Solitaire I mentioned how much I enjoyed "Desmond Heeley's gorgeous costumes - especially the red bodice of Baselga's tutu - and his draping golden sun backcloth design" which you can see in the photo below

Miki Mizutani in Solitaire

Photo Bill Cooper
r© 2017 Birmingham Royal Ballet: all rights reserved
Reproduced with kind permission of the company

Readers will recall that Dame Ninette de Valois asked Sir Kenneth MacMillan to create Solitaire at very short notice using sets and costumes that had been designed for The Angels by Cranko.

Finally, two glorious shots from 5 Tangos also taken by Bill Cooper:

Saturday, 13 May 2017

Birmingham Royal Ballet's Northern Tour 2017

Standard YouTube Licence

Birmingham Royal Ballet, Solitaire, 5 Tangos and Pineapple Poll, York Theatre Royal, 12 May 2017, 19:30

As I mentioned in Doing the Splits 8 May 2017, the Birmingham Royal Ballet splits into two. One group of dancers visits theatres in the North of England and North Midlands which this year includes Durham, York and Nottingham while the other goes to Cheltenham, Poole and Truro. Yesterday, I caught the dancers on the Northern Tour at York Theatre Royal in a splendid triple bill consisting of MacMillan's Solitaire, van Manen's 5 Tangos and Cranko's Pineapple Poll.

Each of those works was created by one of the greatest 20th-century choreographers. John Cranko was only 24 when he staged Pineapple Poll in 1951. Kenneth MacMillan was slightly older in 1956 when Ninette de Valois asked him to create Solitaire at very short notice using sets and costumes that had been designed for The Angels by Cranko. While in retrospect in looks like an early work because his career has lasted so long, Hans van Manen had already been working for over 20 years when he made 5 Tangos for the Dutch National Ballet in 1977.

I had already seen 5 Tangos performed by the Birmingham Royal Ballet in High Wycombe (see Birmingham Royal Ballet in High Wycombe 31 May 2015) and Scottish Ballet in Glasgow (see No Mean City - Accessible Dance and Ballet 26 April 2015). I had also seen two performances of Pineapple Poll, one of which was by the Birmingham Royal Ballet when it was still known as the Royal Ballet Touring Company at a matinee at Sadler's Wells together with Ashton's Les Rendezvous and Facade, and the other by the Chelmsford Ballet (see A Delight Indeed 27 March 2015). Solitaire, however, was new to me and what a treat it turned out to be.

According to the Kenneth MacMillan website, Solitaire was subtitled "A kind of game for one". The site describes it as "a sequence of dances knit together by Malcolm Arnold’s Eight English Dances and by the continuity provided by Margaret Hill’s appearance in each one." Margaret Hill danced the lead role in the original production. Referred to only as "the girl", she opens and closes the work appearing in one capacity or another in every scene. The other dancers are her playmates though it is hinted that they may not be real. They enter the stage, dance a scene and disappear as suddenly as they came on. Yesterday "the girl" was danced delightfully by Arancha Baselga who was joined on stage by 16 other dancers in various scenes. My enjoyment of the ballet was greatly facilitated by Arnold's music which included much that was familiar including the signature tune to "What the Papers Say" on Radio 4 on Sunday night. I also enjoyed Desmond Heeley's gorgeous costumes - especially the red bodice of Baselga's tutu - and his draping golden sun backcloth design,

Yesterday, the Dutch National Ballet's online magazine ran a feature on van Manen entitled Hans van Manen: een levende legende the meaning of which is obvious. A link appeared on Facebook which has already attracted 426 likes, 29 shares and lots of comments including this one from me:

"Just seen Birmingham Royal Ballet dance van Manen's 5 Tangos in York this evening. It was great. Jenna Roberts, Matthias Dingman and Maureya Lebowitz were in the cast. They did the great man justice."

That just about says it all. I love this work, the designs and Piazzolla's music, the choreography, the vigorous and expressive dancing and all the connotations with Argentina, one of my favourite countries, and the Netherlands where van Manen is a national living treasure and the subject of a great deal of blogging by me.

Pineapple Poll with its synopsis based on W S Gilbert's ballad The Bumboat's Woman's Story, Charles Mackerras's arrangement of a selection of Gilbert and Sullivan's favourite tunes and Osbert Lancaster's intricate designs was a wonderful way to round off a wonderful evening. Yesterday it occurred to me that this work may well have inspired Ashton to create Fille and Balanchine to create Union Jack. There is certainly a link in Osbert Lancaster in that he created the designs for both Poll and Fille and the exuberance of Mackerras's arrangement finds resonance in Hershey Kay, Maybe my imagination but why not. Matthias Dingman was the gallant Captain (later Admiral) Belaye. Easy to see why the girls' hearts were aflutter. Laura Kay (who had earlier delighted the audience as a playmate in Solitaire) danced his sweetheart Blanche. Laura Purkiss was her interfering aunt, Mrs Dimple, who doubles as Britania at the end. Nao Sakuma danced Blanche's rival, Pineapple Poll. Kit Holder was the hero of the piece rising from pot boy to naval officer and Poll's husband without even having time to remove his apron. There were lots of other favourites in the cast including the magnificent Valentin Olovyannikov who delighted me in The Taming of the Shrew last year (see Birmingham Royal Ballet performs my favourite ballet at last 23 June 2016).

Birmingham Royal Ballet are giving two more performances today plus a talk and they are also opening their company class to the public. Next week, they move on to Nottingham. I would have been back today had I not been dancing in my own ballet this evening. If you can get a ticket for the matinee or evening performance in York tonight or Nottingham next week I strongly recommend the show.

Monday, 8 May 2017

Doing the Spits

Standard YouTuve Licence

This is the time of the year when the Birmingham Royal Ballet splits into two. One lot goes to Durham, York and Nottingham while the other goes to Cheltenham, Poole and Truro. I like to see both shows whenever I can but Cheltenham clashed with my only chance to see Northern Ballet's Casanova again before it goes to London. Also, the show in the southern tour's repertoire that I most want to see is Ruth Brill's Arcadia and that will come back to Birmingham as part of Three Short Story Ballets between the 21 and 24 June 2017.

For once I think the North will get the better end of the deal because it brings Pineapple Poll by John Cranko, my all time favourite choreographer ever, and 5 Tangos by Hans van Manen, my favourite living choreographer as well as Sir Kenneth MacMillan's Solitaire.

Pineapple Poll, created for the Sadler's Wells Ballet in 1951 as part of the celebrations for the Festival of Britain when Cranko was only 24, shows the genius of the man. With the possible exception of Graduation Ball (see Please, pretty please, will somebody revive this lovely ballet 2 Jan 2016) it is the happiest, jolliest, prettiest one act ballet ever and a personal favourite. I have only seen it twice. Once quite recently by the Chelmsford Ballet as part of their double bill with Marney's Carnival of the Animals (see A Delight Indeed 24 March 2015). And once at Sadler's Wells with what was then the Royal Ballet Touring Company in the late 1960s and 1970s.

The first occasion was the one and only time my mother and I could ever persuade my father to attend the ballet. An erudite and urbane Mancunian and a fine economist he regarded the ballet with a mixture of suspicion and contempt. Suspicion because he regarded it as an instrument of Soviet soft power which was certainly one of the reasons for the Bolshoi's first tour of London in 1956 and contempt because he regarded the classical tutu and gentlemen's tights as bordering on the indecent. He sat very quietly through the show with a half benign and half sarcastic grin. At the end of the performance, my aunt asked him whether he had enjoyed it. "Up to a point", he replied. With Union Jacks everywhere Pineapple Poll was far subversive and there are no tutus in sight. He admitted to a certain admiration for the athletic prowess and nimbleness of the dancers and indeed the beauty of the women but he was less kind about the middle-aged matrons who made up the audience. "I should like to see them try to do some of the jumps that those girls cam do" he added.

Like Graduation Ball, Pineapple Poll is a wonderful period piece with sets and costumes by Osbert Lancaster and music by Sir Arthur Sullivan. Enjoy the YouTube clip which would have been made not long after the ballet was created with such stars as Merle Park, David Blair, Stanley Holden, BrendaTaylor and Gerd Larsen. Birmingham Royal Ballet will dance it at the Theatre Royal York this Friday and Saturday and then in Nottingham on the 16 and 17 May. It really is a treasure.

Sunday, 26 April 2015

No Mean City - Accessible Dance and Ballet

In an Explosion of Joy 21 Sept 2015 I wrote:

"If a dancer contracts an illness or suffers an injury that confines him to a wheelchair then it is the end of his career is it not. Not necessarily. Yesterday I saw a dancer in pointe shoes - I think it was Suzie Birchwood but if I am mistaken I apologize - as beautiful and graceful as any, approach a stage in a wheelchair. She was lifted onto the stage and danced. She thrilled us - not as one who had overcome a disability - but as a dancer. She delighted us with her port de bras, her battements, her pointe work but most of all with her expression of joy."

Last night I was lucky enough to meet that wonderful dancer after she had performed with such stars as Eve Mutso and Sophie Martin in Marc Brew's Exalt at The Tramway.

This was a new work commissioned for dancers of Scottish Ballet, the accessible dance company Indepen-Dance 4 and, of course, Birchwood. The names of the dancers appeared on the cast list in strict alphabetical order without any indication of their company or rank. So good were Kelly McCartney, Hayley Earlham, Adam Sloan and Neil Price of Indepen-Dance (and of course Birchwood) that it was not easy to tell who was with which company. That appears to have been the idea for the notes in the cast list state:

"Drawing on each of the dancers' diverse experience skills and disciplines, Brew explores whether combined knowledge can exalt into movement greater than the sum of its parts, that challenges the concept of what a dancer is, who can dance and how we can create dance."

Well, clearly combined knowledge can exalt into movement greater than the sum of its parts because the performance was thrilling. Nils Frahm's music, haunting and lilting, was interpreted skilfully by Brew. There were complex and difficult movements, especially around each of the four ladders on stage, but these elided into a continuous flow. The audience loved it for the applause at the end of the show was deafening.

I also loved Brew's thinking for ballet is for everyone not just an elite. It belongs to those with disabilities as well as those who have been trained at White Lodge and Floral Street. It belongs to those of all ages and all body shapes and sizes. I would add that it also belongs to those of all races and cultures. Coincidentally, the previous evening I had attended a talk in Cirencester by the restaurant critic Jay Rayner where he had comprehensively dissed some well known restaurants with pretentious menus and nonsensical jargon such as "concepts behind menus". It seems to me that such eateries get away with it because of snobbery and there is just as much snobbery in the performing arts as there is in eating.

After the show Brew told me that he had recently been appointed as a choreographer to Ballet Cymru. That is excellent news both for him and the company. It is also good news for audiences in the southern part of the UK who may see a bit more of his work.

Exalt was the first part of a double bill. The second was Hans van Manen's 5 Tangos. I have been a van Manen fan for as long as I have been following ballet and I love his work but I enjoyed 5 Tangos more than any of his works that I had seen before. I have been to Buenos Aires on two occasions twice and have been fascinated by the tango which is far more than a social dance style. It is a genre of music and indeed poetry as well as dance as I mentioned in my review of Scottish Ballet's Streetcar earlier this month. Van Manen paid faithful homage to that art form using music by the Argentine tango composer Astor Piazzolla. The dancers - the women clad in red and black and the men in black - executed his choreography with flair. They were led by Luciana Ravizzi who had danced Blanche at Sadlier's Wells. She is a Porteña, proud and elegant and yesterday she was magnificent. Clearly, the Glaswegians treasure her. She received three enormous bouquets at the end of the show.

I should say a word about the Glasgow audience. Even though I am a Friend of the company yesterday was the first time I had visited Scottish Ballet's home at The Tramway. There was a buzz in the auditorium and the bar that I have felt only in London in the United Kingdom. Evidently, Scottish Ballet has cultivated an audience that understands and appreciates dance and expresses its appreciation with the same enthusiasm. The Tramway is a fine venue with galleries, film screenings and all sorts of other live performances. The auditorium appears to be at least twice as big as the Stanley and Audrey Burton Theatre at Quarry Hill. It is easy to reach being next door to a railway station. There is plenty of street parking nearby and Glasgow Corporation (unlike Leeds Metropolitan District Council) is not mean enough to charge on Saturday and Sunday evenings. A whole new meaning to "No Mean City".

Scottish Ballet traces its origins (as does Northern Ballet) to Western Theatre Ballet in Bristol. I first got to know it when it moved to Scotland in 1969. It is great to see how it has flourished into the United Kingdom's other world class ballet company. By working as equals with Marc Brew and Indepen-Dance Scottish Ballet has (n my eyes at least) added to its glory.

Friday, 10 April 2015

DIG this - Marc Brew's Exalt and Hans van Manen's 5 Tangos

DIG stands for Dance International Glasgow which takes place at various venues in Glasgow between 24 April and 5 June 2015. One event that is tempting me North is Scottish Ballet's collaboration with Indepen-dance4 in Marc Brew's Exalt which the two companies will dance as the first part of a double bill at The Tramway on 24 and 25 April 2015. The second part will be Hans van Manen's 5 Tangos which Scottish Ballet last performed in 2012 (see the interview with Mea Venema who teaches van Manen's ballets).

Last September I was lucky enough to meet Brew after Ballet Cymru and Gloucestershire Dance performed his Stuck in the Mud in the streets and on the beaches of Llandudno (see An Explosion of Joy 21 Sept 2014). This was my first experience of inclusive dance and it was one of My Personal Ballet Highlights of 2014 28 Dec 2014. According to its website:

"Indepen-dance is an inclusive dance development company offering creative movement classes to people with diverse abilities, their carers, family members and volunteers. Throughout the year, the company performs work of high artistic quality created in collaboration with professional choreographers and dancers. Indepen-dance enables individuals with diverse abilities to participate in and benefit fully from a high quality arts provision."

Indepen-dance 4 appears to be a group of performers within Indepen-dance consisting of Hayley Earlam, Adam Sloan, Neil Price, and Kelly McCartney.

I have not yet met van Manen but I have twice applauded him the last time being after Visions Fugitives had been performed by the Dutch National Ballet Junior Company on 6 Feb 2015 (see The Dutch National Ballet Junior Company's best Performance yet 8 Feb 2015. He is one of the resident choreographers of the Dutch National Ballet and one of the reasons why I am a Friend of that company. I have admired his work all my life. He is one of the all time greats of ballet.

Scottish Ballet is a very special company of which the whole UK and not just Scotland should be very proud. Its performance of Streetcar Named Desire at Sadler's Wells on 1 April 2015 was magnificent. One of the most remarkable experiences in the theatre ever. Because of its collaboration with Marc Brew and Indepen-dance I am even more impressed with that company,

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