Birmingham Royal Ballet's Aladdin nearly Five Years on

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Birmingham Royal Ballet Aladdin The Lowry, 23 Sept 2017, 19:30

Shortly after I started this blog I reviewed Birmingham Royal Ballet's Aladdin (see my review of 1 March 2013). I saw it just after I had started taking ballet lessons with Fiona Noonan several months before I entered the over 55 class at Northern Ballet. Although I had seen a lot of ballet before 2013 I had not actually done very much. I have since learned that however much ballet you see from the stalls or dress circle you really don't know what you are talking about until you try your hand at it. Then your admiration for those who make their living from the art soars beyond bounds.

In March 2013 I wrote:

"Having developed my love of ballet while Frederick Ashton was the Royal Ballet's choreographer I am very hard to please. But pleased I was. The pas de deux that Bintley created for Aladdin and the Princess danced yesterday by Jamie Bond and Jenna Roberts reminded me a lot of Ashton. So did the powerful roles for the djinn (Matthias Dingman), Mahgrib and Sultan (Rory Mackay). Also, the sweet role for Aladdin's mother danced delightfully by Marion Tait - no Widow Twankey she. Other lovely touches - and very familiar to Manchester with our famous Chinese quarter - were the lion and dragon dances. It is probably unfair to single out any of the other dancers because all excelled but I was impressed particularly by Céline Gittens who danced Diamond. Finally, Davis's score with its oriental allusions was perfect for Bintley's choreography."

I saw many of the same dancers in the same roles last night. Would I still like it especially as I had been looking forward to Stanton Welch's La Bayadère which had to be axed when Birmingham City Council reduced its grant to Birmingham Royal Ballet? (see A Birmingham Bayadère 26 Nov 2016 and How Nikiya must have felt when she saw a snake 31 Jan 2017)

Well, I am glad to say that I liked Aladdin even more last night and I think I have to thank my teachers in Leeds, Manchester, Huddersfield, Sheffield, London, Liverpool, Cambridge, Budapest and, half a century ago, St Andrews for that as they taught me how to appreciate ballet. As before I loved Carl Davis's score. I was impressed by Sue Blane's costumes, Dick Bird's sets and Mark Jonathan's lighting. I was thrilled by David Bintley's choreography. Most of all I was dazzled by the dancing.

César Morales was a perfect Aladdin alternating from an awkward adolescent to the sultan's splendid sun in law. Jenna Roberts was as lovely as she had been when I had last seen her in that role. Iain Mackay was a magnificent magician (why does Salford feel it has to boo him at the curtain call just because he is cast as a baddie?)  Aitor Galende. clad and coloured from head to toe in blue was a noble djinn. Tom Rogers was every inch a sultan.  Marion Tait is always a delight. One of my all-time favourites. It was appropriate that many of my other favourites appeared as jewels for gems they are. The incomparable Céline Gittens, glittered as a diamond, Chi Cao glowed as an emerald, Samara Downs and Alys Shee gleamed as gold and silver, Yasuo Atsujii and Yijing Zha radiated as rubies, Karla Doorbar shone as onyx as indeed did the whole cast.

I attended the performance with a friend who has seen a lot of ballet and attended a lot of classes though she likes the other performing arts and other dance forms at least as well. She also saw the 2013 show with me and said she enjoyed last night's performance even more. Sitting next to us were a couple for whom ballet was still a new experience. In fact, for one them it was his first live show. I was curious to see whether he would take to it. He told me that he found difficulty with the first act but enjoyed the second and third very much. On balance he enjoyed the whole experience.

I hope to see Stanton Welch's La Bayadère one day even if I have to fly to Texas to do so.  As one of my favourite young dancers has just moved from HNB to the Houston Ballet I hope to do so soon, I was sad to learn that the company had suffered so much from Hurricane Harvey.  As I said in Houston Ballet  30 Aug 2017 we in the North know the damage flood water can do. I am sure that company will emerge stronger than ever as Northern Ballet did. I shall look out for the Houston Ballet on World Ballet Day and give it a special cheer.

Let it snow - Ballet Theatre UK's Autumn and Winter Tour

One of my favourite ballet companies is Ballet Theatre UK, They have some lovely young dancers: David Brewer, Ines Ferreira and Sarah Mortimer to name just three. They work incredibly hard travelling sometimes hundreds of miles for one or at the most two performances and then back on the road again. Look at their tour dates for their Autumn and Winter tour: Coventry on the 23 Oct (the company's website says the 25 by the way), Wimborne on the 24 and Bognor on the 25. And yet when they come on stage they seem fresh and full of energy.

By touring the small towns and suburbs of the UK they are bringing ballet to an audience that would never otherwise see it. Yes I know that the Birmingham Royal Ballet splits into two and tours some of the smaller venues of Northern and Southern England (see Vaut le Voyage - Birmingham Royal Ballet in Shrewsbury 28 May 2015 and Birmingham Royal Ballet in High Wycombe 31 May 2015) and that Northern Ballet has just completed a tour of smaller theatres with Madame Butterfly (see Nixon's Masterpiece 22 May 2015) but these talented and incredibly resilient young men and women do that sort of thing all the time. Through their work they are removing some of the elitism and snobbery of ballet for which I for one am extremely grateful. To appreciate why that's important, read For Emma 28 April 2014 an article that I wrote after their visit to Southport.

In order to draw an audience the company's artistic director Christopher Moore bases his ballets around well known stories. Ballet Theatre UK performed The Little Mermaid in Spring 2014 (see Pure Delight - BTUK's Little Mermaid in Southport 27 April 2014), Swan Lake (albeit with a radically different libretto to take account of the size and structure of the company which annoyed some people but not me) last Autumn and Winter (see The Bedouin of Ballet 12 Dec 2014) and Aladdin earlier this year (Ballet Theatre UK's Aladdin 5 April 2015). This time the company is reviving The Snow Queen which is based on Hans Christian Andersen's well known fairy tale.

I have no doubt that this show will draw in the crowds from Coventry to Yeovil and I shall see them on one of their transits from the North but I do have a plea to Mr Moore as a reviewer. Please - pretty please - type out a cast list for each of your venues and get the local Staples to run off as many copies as you've sold tickets. It'll only cost a few quid and it will pay dividends in audience (and critics') goodwill. It really will. Also the dancers will be acknowledged - and these fine young men and women deserve to be acknowledged. Up to now I have been relying on the mother of one of the dancers to give me the cast lists but she is a busy lady with her own dance classes (see There's more to Harpenden than Thameslink 17 May 2015). Alternatively, invest in an easel and pin up the names in the foyer as Matthew Bourne's New Adventures does.

Ballet Theatre UK also has a school which I shall discuss in a future post. One day I hope to meet Mr Moore and learn more about his vision and ambition for the company. If you have not yet seen this company do go to one of their shows. I have not yet met anyone - including grizzlies like me who can remember Fonteyn and Fracci - who has not left the theatre in which they have performed on a high.

BTUK's Aladdin Second Time Round

I attended Ballet Theatre UK's performance of Aladdin in Southport with Jane and her family on 4 April 2015 (see Ballet Theatre UK's Aladdin 5 April 2015). Like Jane I was annoyed at having to wait outside the auditorium until minutes before the start of the show and the lack of programmes and cast sheets.

I saw the show again at The Key Theatre in Peterborough on Saturday and I am glad to say that it had improved greatly. I set out my immediate reactions in a text to Jane who had been watching the Dutch National Ballet Junior Company at the Linbury. I wrote:

"Performance polished, refined and graceful. The pas de deux was as smooth as a baby's bottom. Real improvement on last time and very well articulated by the dancers. The male dancers as a group were very well composed and extremely responsive to the score and well disciplined."

The production was more polished in other ways. In Southport some of the dancers seemed to be in danger of losing their costumes. Nothing like that happened in Peterborough.

However, there were still no cast lists or programmes making it difficult for me to identify the dancers and I found that really annoying. It is also  unfortunate that the dancers do not get the credit they deserve. I appreciate that BTUK must have lots of overheads with its extensive touring but a Xeroxed cast list or even just a sign on an easel at the entrance to the auditorium (which is what Matthew Bourne's company does) would hardly break the bank. We were after all paying nearly £20 per head for our tickets. I might add that many theatre goers keep a programme as a souvenir of their evening.  With a programme they are much more likely to come twice.

Another reason why the absence of a programme was annoying is that there was no synopsis. It was not easy to follow what is going on. That is partly because the choreography was too complex. Each sequence was exquisite. The costumes and coiffures were gorgeous. But it was all too much.The ballet would have benefited from far fewer scenes, particularly in Act I. The succession of dances complicated rather than elucidated the story. The changes of costume did little to assist my comprehension.

 I attended the ballet with an enthusiastic family member who was born in Mumbai but who had lived in this country for many years. She had read the story of Aladdin twice and was reasonably familiar with it. This was her first experience of ballet and I suggested Aladdin to her because of its oriental theme, colour and music which I thought might appeal to her tastes. As it happened I was right. She did enjoy all that as well as the pointe work but she asked me several times to explain what was happening and I was not really able to help her. There must have been many people like us in the audience and if they can't understand a performance there is a risk that they will conclude that ballet is not for them.

In the absence of a cast list I think the following roles were danced by the following dancers:

• Aladdin David Brewer
• Princess Ines Ferreira
• Genie Philip Tunstall
• Slave of the Ring Jessica Hill
• Magician Vincent Cabot
• Sultan Robert Noble

The reason I say "I think" is that I got this cast list from Jane who got it from Helen Brewer (David's mum and the lady who runs the Harpenden Summer Dance School). Helen originally told Jane that that cast would dance the matinee performance. I think I recognized David and Ines because they had danced those roles in Southport last time.

Being a sports fan I am used to looking out for a man or woman of the match. In this ballet I would award the person of the match  (overall best dancer) to Ines and man of the match (best male dancer) to David. Having seen the same ballet in diametrically opposite parts of England I consulted their website to see where else they danced.  They do go to a lot of places. I counted over 50 shows in just short of 4 months. The distances they have to cover between venues in a very short time are considerable. I feel really sorry for the young dancers.  It all makes me wonder whether a little less could yield so much more.

I should like to say a word about the Key Theatre. It is a very pleasant venue on the banks of the Nene. It is quite a modern building and all facilities were in order. It has an elegant restaurant with great service where we savoured asparagus and poached egg with Hollandaise sauce and beautiful French fries. Generous portions too. Save for the lack of programmes and cast lists it was a much better experience than at the Atkinson."

Other Reviews

6 June 2015    RhodaKuc   BalletcoForum

Children's Favourites

This Easter weekend my home has been full of laughter as I have been entertaining Vlad the Lad and his mum and dad.

As I've said many times before Vlad likes ballet and he got more than a little this weekend. On Good Friday he watched Darcey's Ballerina Heroines bounding around my sitting room attempting grands jetés and tours en l'air. On Saturday he watched Ballet Theatre UK's Aladdin at The Atkinson in Southport. And yesterday I was even more excited than he was when I recognized Quarry Hill on Mr Tumble. "Ooh look Vlad" I squealed, "This is where you saw me dance when you last came to visit me" (see The Time of My Life 28 June 2015).

But Vlad's favourite ballet by a country mile is Ballet Black's Dogs Don't Do Ballet which he saw at Harlow on 11 Oct 2014 where he was also lucky enough to meet Chris Marney and Cassa Pancho (see Woof 12 Oct 2014). Ballet Black and their beautiful dancers are bringing that show to Leeds the weekend after next and North London on 22 May 2015.

Although Ballet Back come from London they are very much at home in Leeds as I noted the last time they paid us a visit (see Ballet Black at Home in Leeds 7 Nov 2014). One of the reasons for that is that Northern Ballet has grown an audience for ballet in Yorkshire and they start them off young. Northern Ballet is about to tour Yorkshire and the rest of the country with Elves and the Shoemaker. 

Vlad's first ballet was English National Ballet's My First Coppelia which he saw at The Peacock this time last year. This year I have promised to take him to My First Swan Lake.

Vlad's mum has seen a lot of ballet with me and my late spouse over the years and she loves it. Her husband has only seen a few but his favourite to date was Ballet Black's triple bill at the Linbury on 14 Feb 2015 which happened to coincide with my birthday. That was a great performance.  I don't think I have ever seen a better one from that company (see Ballet Black's Best Performance Yet 17 Feb 2015).

Ballet Theatre UK's Aladdin

A good test of the mettle of a company is how well it copes with adversity. Because it danced in Southport in the middle of Easter bank holiday weekend a lot of things went wrong yesterday most of which were not the fault of the company.

First, The Atkinson's bakery closed at 15:00.  This is one of the USPs of the theatre if not the whole metropolitan borough of Sefton. My hungry crowd which included an omnivorous and voracious 4 year old who c an't stop jumping and running and "the foodie friend" referred to in my review of The Atkinson of 2 Aug 2014 had been saving themselves for the Bakery's delights all the way from Yorkshire. Quelle deception! We had to hoof off scouring the town for fish and chips which was our second choice.  I am sorry to say as an exiled Lancastrian in the Land of the Tykes that the establishment that claimed to be the best chippie in town was decidedly inferior in the size of its portions and the quality of its frying to the West Riding average. Secondly, the Atkinson's ladies' was a disgrace.  No bog roll in the cubicles and tissues floating in the communal sink in which we were supposed to wash our hands. Thirdly, we were kept out of the auditorium until well after the advertised start of the show. Fourthly, nobody was selling programmes or even giving away cast lists which means that I can't give you any details of the synopsis or even the composer of the score. I can tell you the names of some of the dancers but only because the mum of one of the dancers told me before the show. I can also say that Daniel Hope designed the costumes but only because of the video Ballet Theatre UK - The Making of Aladdin - Costumes.  Finally, there was a much smaller crowd than I had seen for The Little Mermaid or Swan Lake which was hardly surprising given the date of the performance.

Yet despite all those glitches it was still a good show. The young dancers danced their hearts out and were rewarded at the end by enthusiastic applause and even whoops of delight in the case of Philip Tunstall who danced the jinn. Two ladies in row B actually rose to their feet.  So I think artistic director Christopher Moore can safely chalk up yesterday's show as a success malgré tout.  His heart must have been in his shoes even more than his dancers David Brewer and Ines Ferreira at the end of a very difficult pas de deux in the last scene of the show.

Aladdin is not an easy story to tell in ballet terms. There was an awful lot of detail in Act I that I couldn't follow. Happily I was put in the picture by Janet McNulty of BalletcoForum whom I met in the bar in the interval. She had a much better recollection of the Bintley plot than I did and she was able to reel off the story as well as Madame Novikova of Pathe Live. Act II was much easier to follow and contained some thrilling choreography including the pas de deux that I mentioned above. I was impressed with Brewer and Ferreira. My companion Gita liked Tunstall and a dancer who fitted the description of Sarah Mortimer. Gita who is new to ballet but not to dance spots technical points that I miss. And 4 year old Vlad loved the sword swallower. He likes ballet but I had feared that yesterday's show might have been too long and too complex for him. It wasn't. He was leaping and bowing like the dancers he had just seen even before we left the auditorium.

I do urge the denizens of Dartford and other towns to flock to the show on Tuesday and subsequently for they will have a good time. A company of this quality deserves a good crowd.  I just hope that the management of those theatres do a better job than The Atkinson did yesterday. As yesterday fell in the middle of a double bank holiday weekend I am not giving up on that normally excellent arts centre.

Birmingham Royal Ballet's Aladdin

The Lowry, Manchester, 28 Feb 2013

It is not every day that a new ballet is premièred.  Between the end of February and the beginning of March 2013 there will have been two:

• Birmingham Royal Ballet's Aladdin at the Birmingham Hippodrome on the 15 February; and
• Northern Ballet's The Great Gatsby at The Grand Theatre in Leeds tomorrow.

I hope to see The Great Gatsby in Leeds on 7 March 2013 and I shall review it as soon as possible afterwards. Yesterday evening I saw Aladdin at the Lowry in Salford, near Manchester.

The Birmingham Royal Ballet is one of the world's great ballet companies.  Founded by Ninette de Valois the company was and remains the Royal Ballet touring troupe.   It adopted its present name in 1990 when it moved from Sadlers Wells to the Birmingham Hippodrome.   It is directed by David Bintley who choreographed Aladdin.

Aladdin is one of the stories in One Thousand and One Nights or Arabian Nights which are rarely read to children nowadays. Most of us in the United Kingdom will have been taken to a pantomime by the name of Aladdin which is about as far removed from the original story as a value burger is from a cow.   I remember being taken to The London Paladium or some other West End theatre in the late 1950s or early 1960s where the principal characters - Aladdin, Widow Twankey (his mother) and Wishee Washee (his brother) -ran a Chinese laundry. There was very little of that in Bintley's work.   It was far closer to Andrew Lang's compilation which was to be expected given the production's funding from the Houston Ballet Foundation and its original creation for the National Ballet of Japan.

Having said that there were certainly members of last night's audience who thought they were at a pantomime which manifested itself in an initial booing of Iain Mackay who danced The Mahgrib (or wicked magician) magnificently though those boos were quickly transformed into well deserved applause. More annoying, there was an intolerable level of coming and going, shuffling in the seats, unwrapping of sweets and even illicit photography  which required more than a little concentration to blot out.

Fortunately, the brilliance of the work did blot out those distractions.   Bird's sets and Blane's costumes were captivating.  You can get some idea of that brilliance from the Creating Aladdin website - the hustle and bustle of a Chinese street, the stalactites and stalagmites of the cave that glowed in different colours as the scene progressed, Aladdin's home, the Sultan's palace, Aladdin's castle after his marriage to the Princess Badr and Morocco.

However, it is the choreography, music and the artistry of the dancers that generate magic for audiences and for me and my companion it all worked wonderfully.   Having developed my love of ballet while Frederick Ashton was the Royal Ballet's choreographer I am very hard to please.   But pleased I was.   The pas de deux that Bintley created for Aladdin and the Princess danced yesterday by Jamie Bond and Jenna Roberts reminded me a lot of Ashton.   So did the powerful roles for the djinn (Matthias Dingman), Mahgrib and Sultan (Rory Mackay).   Also, the sweet role for Aladdin's mother danced delightfully by Marion Tait - no Widow Twankey she.   Other lovely touches - and very familiar to Manchester with our famous Chinese quarter - were the lion and dragon dances.   It is probably unfair to single out any of the other dancers because all excelled but I was impressed particularly by Céline Gittens who danced Diamond.   Finally, Davis's score with its oriental allusions was perfect for Bintley's choreography.

This show will stay at The Lowry until tomorrow after which it will move to Plymouth, Sunderland and the Coliseum.   If you are near any of those venues - or even if you are not - you should try to see this work.   I think it will become an audience favourite along with the 19th century classics which very few modern works do.