Ballet West Showcase 2018

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Ballet West Showcase 27 May 2018 19:30 Macrobert Arts Centre, Stirling

Each winter for the last 5 years I have come to Scotland to see a performance of a full-length classical ballet by Ballet West.  On Sunday I returned to Scotland for Ballet West's 2018 Showcase.

The Showcase took the form of a gala consisting of 18 separate works divided into two parts or "acts".   Each act began with an extract from a classical ballet and included a solo and original choreography by the school's teachers, Natasha Watson, Indra Reinholde and Martin Fenton. Ballet West performed the Showcase at the Conran Halls in Oban on 19 May 2018 and the Macobert Arts Centre at Stirling University on 27 May 2018.

The first act opened with the grand pas de deux from Paquita which I had seen in rehearsal on my visit to Taynuilt on 30 April 2019.  The full work is not performed very often in the United Kingdom but the pas de deux is seen more frequently in competitions and galas. As in the rehearsal Paquita was danced by Uyu Hiromoto and Lucien by Joseph Wright. I admire both dancers but especially Hiromoto. As I wrote in Ballet West at the Beacon 13 Feb 2017 which was the first time I saw her, Hiromoto has a certain quality that is difficult to pin down but I spotted it in Xander Parish and Michalea DePrince. She danced delightfully on Sunday. In her dancing I saw not just a talented and accomplished student but Paquita herself. Congratulations to Wright for his partnering and also to the soloists and corps de ballet who accompanied them.

The solo for the first act was the victim's dance from The Rite of Spring.  It was performed by Francesca Rees who is still in her first year at Ballet West. The sharp, angular, movements to Stravinaky's throbbing score still manage to shock after 105 years.  It cannot be an easy work to perform even for an experienced dancer and it must be particularly challenging for one so young. Rees responded to that challenge splendidly. She is clearly someone to watch and I shall look out for her on next year's winter tour.

Watson contributed no less than five works to the the first act   They ranged from Symphony No 3 which was reflective to Who Lights the Sun which was playful.  The contrast in mood was the difference between a deep, dark, pool and a fountain.  Until last night the only work by Watson that I had seen was the piece that she had prepared for Oscar Ward and Uyu Hiromoto in the BBC Young Dancer Competition. Having seen her several times in principal roles and having blogged about her achievements in Lausanne and at the Genée even before I saw her I knew that she was an outstanding dancer. Now I see that she is at least as talented as a dance maker.  The nation's - indeed the world's - artistic directors, impresarios, angels and others who commission dance would do well to take note.

Hey Now by Martin Fenton was in complete contrast to everything that had gone before. The programme stated that the music was by "London Generation" but I wonder whether that should have been "London Grammar". Be that as it may it was a pleasure to watch. The girls wore jeans and trainers with their hair in pony tails. They danced freely and vivaciously. It was the first time I had seen them like that.  I was delighted.

One of most interesting works of the first act was Indra Reinholde's November to Max Richter's music. This was a fluent classical piece for third year dancers.  Reinholde's A Mid-Autumn Night's Dream appeared to be an intriguing study of the unfulfilled aspirations. It consisted of a soloist with one group dancing reality and the other dreams. With layer upon layer of meaning I need to see it again and probably several times to understand it properly.

The first act finished with Sarajevo, a piece that Watson had made for the company's Glasgow Associates to Max Richter's score.  A deeply moving piece that those excellent young students performed brilliantly.

The second act opened with the scene from La Sylphide in which James abandons Effie and follows the sylph. The work is performed regularly overseas but rarely in the UK which is odd as it is set in Scotland. We may see more of it in future as it has been staged recently by English National Ballet and Sir Matthew Bourne has produced Highland Fling for Scottish Ballet which is based on  La Sylphide. Dylan Waddell, whom I knew from MurleyDance and Ballet Cymru, danced James and Sarah Nolan was the sylph.  Nolan performed her role charmingly.  I think hers will be yet another name to watch.  Waddell partnered her sensitively enabling her to shine. In what I believe to be a variation to Bournonville's choreography, the ballet mistress, Olga Savienko, created roles for the sylphs which they performed delightfully.

Watching a Scottish company perform that beautiful work just south of the Highland line gave me considerable personal satisfaction. As long ago as August 2013 I wrote in Taynuilt - where better to create ballet: 

"I don't know whether Ballet West has ever thought of staging La Sylphide but they might because Taynuilt is Gurn and Effie territory."

Well now they have and I am over the moon.

The solo for the second act was From Within by Hortense Malaval who is in the second year.  It had been created for her by Watson.  A very different work from the Rite of Spring but probably no less challenging. Malaval displayed not only considerable virtuosity but also the power to possess a stage and command an audience.  The audience warmed to her and rewarded her with thunderous applause.

The solo was followed by three more works by Reinholde: Light and Ash, A Song of Sorrow and Pride and, my favourite of her works, Symphony No 41.   The last work was created for the young women who had welcomed me to their class on 30 April 2018. They were my team.  They had a difficult score.  Late Mozart to me sounds a little like Beethoven and that's what I thought it was. I remembered one of the pundits at Northern Ballet's symposium on narrative ballet on the alleged impossibility of dancing to Beethoven yet here were these splendid young dancers doing just that. Or at least interpreting music that was equally difficult. Clad in flowing blue garments that must have been a delight to wear, they were clearly having fun. They danced with verve and my heart danced with them. They finished the piece on their backs as the lights cut. Bravissime! I clapped and clapped until my palms were raw.

A work that reminded me of van Manen's In the Future was Watson/s Pocket Calculator.  Just listen to the words "I'm the operator of the pocket calcuulator". Watson spun those works in a generally fun slightly disconcerting work that showed yet another side of her immense creativity. The song also began the finale that drew the audience into the show. They clapped rhythmically to the music breaking into deafening applause as each wave of artists appeared to take their bow. Again, I clapped enthusiastically and shouted "brave, brave" for the women in blue.

I had seen the winter shows. I had even visited the school, watched and indeed attended one of its classes. But it was only on Sunday that I fully appreciated how good it was.  In that Showcase  the school showed the strength and depth of the artistic education that it offers.  Had I any aptitude for dance and an ambition to go on stage, I should have loved to have studied there.

A Very Special Giselle

Ballet West Giselle Beacon Arts Centre, Greenock
3 Feb 2018, 19:30 

I've seen a lot of performances of Giselle in my time and I have seen some of the world's greatest dancers from some of the leading companies in the leading roles but never have I seen a more dramatic performance than this evening's by Ballet West.  Let me give just one example. In the first act Hilarion denounces Albrecht to Giselle. Albrecht tries bluff and bluster but Hilarion will have none of it.  He takes a hunting horn, holds it to his lips and then blows it. For several seconds everything freezes. It is like the pause of a slow motion video of a simulated car crash.  Bathilde emerges from the cottage where she had been resting and makes clear to Giselle that Alcrecht is her man. Everybody knows what happens after that. Tonight's performance was not just a ballet. It was a thriller.  The tension  ratcheted up from the moment that Hilarion spotted Albrecht with his girl.

What was remarkable about this show was that most of the cast were students. Not students of the Upper School or even Elmhurst, Central or Tring but of Ballet West, some 500 miles North of London. In terms of distance from the metropolis, it may be the remotest and most beautifully located ballet school in the whole the United Kingdom but it also appears to be one of the best (see Taynuilt - where better to create ballet? 31 Aug 2013).

Nobody should be surprised.  Natasha Watson who danced Giselle today was a Genée medallist (see Yet More Good News from Ballet West - Natasha Watson's Medal in the Genée 30 Sep 2013) and the only British finalist of her year, or indeed several years. at the Prix de Lausanne (see Natasha Watson in Lausanne  15 Nov 2014).  Watson is not the only student to have done well. Uyu Hiromoto, who danced Myrtha, reached the finals of the BBC Young Dancer of 2017 with her classmate Oscar Ward (see the Student Achievement page of the Ballet West website).

One reason why those students do so well is that they have excellent teachers.  I met several of them tonight. Daniel Job, who staged Giselle, has danced with some of the world's leading companies. He is one of the most impressive individuals I have ever met in dance.  In a few minutes of conversation during the interval, he pointed to all sorts of nuances and dimensions of his work in addition to all those that I could see for myself. If his classes are anything like his chat, they must be inspiring.

We glimpsed a little bit of the quality of the teaching in a short work before Giselle called Rossini Cocktail that was performed by several of the company's associates and first year full-time students.  Some of the associates seemed to be very young indeed but all the performers in that piece were poised and polished.  Every step was precise and controlled.  Every synchronized movement perfectly in time. Those students had been trained by Watson. As they live in Glasgow which is a 2 hour drive and an even longer train journey from Taynuilt they could only rehearse infrequently. Clearly, all were talented but they were also inspired.   I have reviewed Rossini Cocktail separately in Fizzing! Ballet West's Rossini Cocktail 6 Feb 2018.

The designers and technicians who created the sets and costumes are as talented and resourceful in their specializations as the dancers are in theirs. Everything has to be assembled and  dismantled for each performance and transported considerable distances.  There are at least two scenes  in Giselle and one of those scenes has at least two structures.  The sets have to be robust as well as realistic. Although the students and staff of Ballet West come from all parts of the world this is an unmistakably Scottish company and its Scottishness was emphasized in the set designs. The backdrop to Giselle's house was Argyll with a loch and hills - not a winding river with watch towers and distant castle.  Giselle's grave was marked by a Celtic cross surrounded by birch trees with the outline of a loch in the distance.

Hilarion (called "Hans" in this production) appeared pinning his gifts of game to Giselle's door.  Much of the ballet depends on that character for it is his jealousy and anger that lead to the death of Giselle.  The role was danced by Joseph Wright who projected those emotions impressively.  Hilarion is followed by Albrecht and his squire.  Albecht was to have been danced by Jonathan Barton, the Vice-Principal of the school but he was indisposed by an injury sustained in a previous performance. Barton's place was taken by Dean Rushton and he was magnificent.

Albrecht knocks on Giselle's door and she appears.   I cannot speak too highly of Watson. I have been one of her fans for years.  She delights me with her dancing.  In this performance she dazzled me with her acting.  Having seen the Royal Shakespeare Company's Hamlet on Thursday I feared that Mimi Ndiweni's performance as Ophelia would have spoilt me for any performance of Giselle. Not a bit of it.  Her hair loose, dangling the sword, eyes rolling, Watson was chillingly realistic.  Her acting was as impressive as her dancing.

The other leading female role is Myrtha. She was danced by Hiromoto who had impressed me last year as Odette-Odile and in the BBC dancer of the year competition.  She was brilliant: icily serene, emotionless, technically perfect.  It was as if she had been born for the role.  She and Watson alternate as Giselle and Myrtha and I am told that Hiromoto's Giselle and Watson's Myrtha are exquisite.  I would love to see the ballet again with Hiromoto and Watson swapping roles.

There are so many dancers to congratulate that this review risks resembling a telephone directory but I have to mention Dylan Waddell and Lucy Malin for their peasant pas de deux.  I know Waddell from Ballet Cymru and Murley Dance and he has always impressed me. He did so again in Giselle. I also have to add Niamh Dowling for her performance as Giselle's mum - another seemingly small but pivotal role - Sarah Nolan as Mayna and Storm Norris as Zulma. All the cast danced well.  I wish I could name them all.

This show moves on to Livingston on 7 Feb, Oban on 8, Glasgow on 10, Inverness on 15 and Edinburgh on 17. I would love to see this show again but when? Phoenix's Windrush  opens on 7 Feb. Northern Ballet's fundraiser follows on the 8. I have tickets for The Winter's Tale on 15 and The Lowry's Dance Sampled for 17.  If you live in Scotland you must catch this show. If you live anywhere else get a train or plane.  This Giselle is special.  It is too good to miss.

I have been following Ballet West since I saw their performance of The Nutcracker on 23 Feb 2013 (see Ballet West's The Nutcracker 25 Feb 2013. Every subsequent show has been better than the last.  Last year's Swan Lake was good but this was on a different level.  It is Ballet West's best show ever.  How will they improve on something close to perfection?

Ballet West at the Beacon

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Ballet West, Swan Lake. Beacon Arts Centre, Greenock, 12 Feb 2017


I have been coming to Scotland at this time of the year to see Ballet West's winter show for the last four years (see Ballet West's "The Nutcracker" 25 Feb 2013, Swan Loch - Ballet West's Swan Lake, Pitlochry 1 March 2014 3 Marh 2014, Ballet West's Romeo and Juliet 1 Feb 2015 and  Thinking out Loud about Ballet West 8 Feb 2016). Each and every production has been a little better than the last. The current production of Swan Lake  is no exception.  Accordingly, it is the company's best show yet.

I saw Swan Lake last night at Greenock, a small town on the southern bank of the Clyde estuary about 25 miles from Glasgow, in the main auditorium of its magnificent Beacon Arts Centre, which is just over 4 years old.  That auditorium has a fair size stage and seats about 500 with an uninterrupted view from every point. The building is near the river and I would expect its location to command spectacular views of the river. Obviously, there was not much to see as I wandered down from Greenock Central station with my phone on Google maps at 18:00 on a cold, dark and drizzly Sunday evening.

I was welcomed to the Beacon by Ballet West's principal and artisic director, Gillian Barton, who staffed a concession stall with programmes and merchandise. She told me that the previous night's performance at the Armadillo (SECC) had been excellent and wondered how her company could possibly match that success. She added that Natasha Watson, whom I had mentioned in so many reviews and featured in A Cause for Double Celebration at the Robin's Nest 8 Feb 2016 and who had been cast as Odette-Odile, had fallen ill. Her place was taken by Uyu Hiromoto who is a second year student at the school. An exceptionally talented student it has to be said who had impressed me in last year's performance of The Nutracker and who had been selected to tour Malaysia (see Ballet West in Malaysia 18 June 2016) but Odette-Odile is a demanding role even for a principal ballerina of a major company.

If Gillian Barton really did worry about the performance, she need not have done.  I did not see the show at the Armadillo so I am in no position to compare the two, but I should be very surprised to learn that last night's performance fell short of Saturday's in any way. Last night's show was a triumph for two many reasons and here are just too. First, Hiromoto rose to the occasion magnificently. The second was casting Rothbart as a woman and the inspired execution of that role by Miranda Hamili.

Hiromoto and Hamili in their different ways are super talented young women. As my wise first ballet teacher (a seasoned performer who had once danced with the Queensland Ballet as well as a wonderful teacher) once warned, "ballet is a jealous mistress and a tough task master out to break you" so I will not tempt fate by forecasting a golden future for either of them. All I will say is that I sensed the same feeling that I had when I first saw Michaela DePrince in Amsterdam in 2013 (see The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013 25 Jan 2013) or Xander Parish at the York Summer School gala in July 2007 andjust  look at both of them both now. I knew I was looking at something special then and I saw something special again last night.

The reason why Swan Lake is so compelling is that it reveals two faces of humanity in the same dancer.  The sweet, loving, tragic Odette and the brassy, brazen Odile. I have seen many performances in my time and many of the world's leading ballerinas in  the role.  Some are the perfect Odette.  More are the perfect Odile. Few can dance both roles equally well (Scottish Ballet's Bethany Kingsley-Garner being one who can). Hiromoto, despite her youth, is another,  She was a perfect Odette - delicate, lyrical, willowy.  Could she transform herself into what Mr Trump would call "a nasty woman" I asked Daniel Job, the company's choreographer and artistic advisor during the interval. "You'd be surprised" he replied with a smile.  Job was right. Her head raised and somehow holding her arms and upper body in quite a different way Hiromoto transformed herself.  Haughty and heartless, she executed Legnani's 32 fouettés splendidly.  I was counting as I always do and ready to break into applause at number 28.

Hamili has a mastery of character. In Acts 2 and 4 she is of course the evil magician and danced the role largely as a man would have done but in Act 3 she came into her own. She dominated that Act as she slouched over the throne one leg slung over the arm of the chair.  Yawning first, then filing her nails much to the discomfort of Mary Anderson who danced the Queen. It was hard to take my eyes off her even for the divertissements which were beautifully danced.  She assumed centre of stage as Odile began the seduction scene whispering into Odile's shell-like not to accept anything less from Siegfried that betrothal. Ballet West had a brilliant Rothbart in Isaac Peter Bowry who is now dancing lead roles for Ballet Theatre UK. Hamili was every bit as good. Whoever cast her in that role, coached her and dressed her deserves a medal. She added a whole new dimension to the work.

However, they were not the only stars. As in 2014 Siegfried was danced by Jonathan Barton, a graduate of the school who is now its Vice-Principal and yet another Genée medallist. Even though I had seen Anthony Dowell and Rudolf Nureyev in that role I had always regarded Siegfrield as a secondary role because of the focus on Odette-Odile. But I have begun to understand his role better over the years and Barton has helped with that understanding. He is transformed in the ballet every bit as much as Odette. We see him as a callow and not a particularly nice teenager mad for gadgets and unwilling to grow up. "Gee, Ma, that crossbow is really cool." "Don't even mention marriage to me, ma" he gestures extravagantly when his mum suggests he has regal responsibilities.  He meets Odette and begins to grow, Reluctantly he becomes a hero.  He has to jump in the lake to do it but he liberates all those girls who would have been condemned as swans to scrub about bulrushes for stale bread from humans.

Oscar Ward, who accompanied Hiromoto to Malaysia, danced Benno. Ballet West's Benno is not quite as pivotal as David Dawson's but I could detect a little of Dawson's influence in the way Ward danced that role. He came into his own in the pas de trois supported delightfully by Sarah Nolan and Storm Norris. Later Ward danced the Neapolitan divertissement with Abigail Drew with the exuberance and charm.  It was good to see two familar faces, Dylan Waddell whom I had previously seen in MurleyDance and Ballet Cymru and Mark Griffiths who is also from Ballet Cymru. Those chaps danced several roles - guests at the party and Siegfried's mates on the swan shoot.  Later Waddell was also in the Spanish dance.

Other highlights included the cygnets (Alice Flinton, Perihan Gulen, Lucy Malin and Rebecca Strain), the divertissements (particularly the kids from Glasgow who were lovely and came close to stealing the show) and of course the swans in Act 2 and 4. I've had a go at learning the cygnets, Hungarian dance, prince's solo and swans' entry and know just how demanding those dances are (see KNT's Beginners' Adult Ballet Intensive - Swan Lake: Day 1, Day 2 and Day 3).

The current Swan Lake is a new production with new sets and, I think, new costumes.  The designs that I saw at Pitlochry in 2014 had been good but last night's were even better.  I instinctively drew breath as the curtain rose on the opening scene as the guests arrived for Siegfried's coming of age party. My only criticism of the whole evening was the excessive use of the yellow and blue filters in the lighting design. Swans are supposed to be white, not birds of Paradise, yet for long stretches of the evening they were yellow and blue. There were hitches. The arch of someone's cross-bow fell off, there was the occasional stumble, acts did not follow quite as fast as they might have done and the curtain came down slightly too late at the end of Act 2 and too soon early at the end of Act 4. But this was a tour and I have seen far worse from far more famous companies in far bigger theatres.

So Gillian Barton, Daniel Job and their cast can congratulate themselves on an excellent performance. Next year they will dance Giselle. I had hoped for La Sylphide as Gurn, James and Effie used to haunt Ichrachan House but I guess Madge must have put a spell on them.  I would love to see a Scottish company dance La Sylphide on their home turf but the nearest any of them have got is Sir Matthew Bourne's Highland Fling which Ballet Central (another ballet school's performance company) are taking on tour this year.

There is one more show before the dancers return to Taynuilt and that is at Edinburgh International Conference Centre on 18 Feb. If you are free that day and can get a ticket you should be there. Since I have been following them, this really is Ballet West's best show yet.

Little Red Riding Hood comes to London

Little Red Riding Hood

Photo John Bishop
(c) 2016 Ballet Cymru: all rights reserved
Reproduced wth kind permission of the company

Ballet Cymru, Little Red Riding Hood and Three Little Pigs, Sadler's Wells, 29 Nov 2016

David Murley

Ballet Cyrmu, a jewel-box of a ballet company, recently performed their production of Roald Dahl’s Little Red Riding Hood and The Three Pigs. Based in Newport, Wales, the company came to London and put the fairy tale inspired show on at the Lilian Baylis Studio Theatre at Sadler’s Wells from the 28th – 30th November 2016. The performance was perfect in length, not too long or too short. To add, the spectacle goes down a treat with both children and adults alike.

First on the bill for the evening was Little Red Riding Hood. Keeping true to the ‘Revolting Rhymes’ of Welsh author Dahl, the company members execute James’s and Doughty’s choreography with acute precision while maintaining vivid characterisations. Integrating complex footwork and maintaining a high level of animation to sustain characterization is a skill. It takes a lot of energy and concentration – something the dancers of Ballet Cymru have made to seem effortless. There were moments in the enchaînements of the Sprites and Little Red Riding Hood herself where the sequences of dance appeared to be a marathon of endless steps. However, the dancers blazed through the plentiful choreography, again, seamlessly staying in character. 

The technicality of the female dancer’s footwork – especially the use of the metatarsals, particularly amongst the female Sprites in Little Red Riding Hood was noticeably articulate and crisp. From a technical dance point of view, this was exceptionally pleasing to watch. Keep up the good work, ladies! 

Spanish company Artist Anna Pujol portrayed a likeable, empowered, no-nonsense and even glamorous Little Red Riding Hood. Pujol has sass and class. There were moments speckled throughout the piece when she was a budding Cyd Charisse. English Narrator Mark Griffiths, who trained in Canada, finds himself back in the UK in Ballet Cymru after performing with the Royal Winnipeg Ballet. His solid and robust North American training was evident in his double saut de basques and strong jump. Not only did Griffiths exemplify strong and confident dancing abilities, but he excelled in the role as Narrator. Griffiths was able to speak clearly, audibly and enunciate with clarity that was easy on the ear. To add, Griffiths’s displayed a propensity to chop and change accents as he voiced over the different characters in Dahl’s story. 

After a short interval, the programme continued with Dahl’s The Three Little Pigs. It was refreshing to see some of the other company members given a chance to shine. Rockstar Big Bad Wolf, played by Australian Dylan Waddell, was positively hammy, nimble and authentic. He was consistent throughout, technically and character-wise. Waddell has a genuine stage presence. 

The staging of the Three Little Pigs' houses was simply adorable. Anyone who has kids, or occasionally cries during films will most certainly have a hearty chuckle as the wolf huffs and puffs and blows their houses down. Again, kudos to Spanish dancer Pujol for re-entering as Little Red Riding Hood, this time with a towel on her head and looking simply divine. 

The company of dancers at Ballet Cymru appear to be a strong and tight-knit community within themselves. There appears to be a supportive camaraderie amongst them, which is essential in maintaining a healthy and successful group of dancers. I wish them well, and look forward to seeing the group again soon. They were a pleasure to watch. 

Ballet Cyrmu next head to Cardiff where they will be putting on their production of Little Red Riding Hood and the Three Little Pigs. The company will perform on the main stage of the Millennium Centre with a full 72-piece symphony orchestra on the 4th December 2016. Ballet Cymru is the first dance company to perform Dahl’s story set to composer’s Paul Patterson’s colourful and vibrant score. All the best to the company in Cardiff. The evening will undoubtedly be an enchanting one.