Northern Ballet's Cleopatra in Sheffield

There are some ballets that have to be seen more than once to be appreciated fully. David Nixon's Cleopatra is one of them. I saw it in The Grand in Leeds on 6 March 2014 and reviewed it in  "Cleopatra - Northern Ballet, The Grand, Leeds 6 March 2014" on the 7 March 2014. Although I was impressed I was not bowled over as I was by Cinderella on boxing day (see "Northern Ballet's Cinderella - a Triumph!" 27 Dec 2013) or by Birmingham Royal Ballet's Prince of the Pagodas earlier this year (see "Lear with a Happy Ending - Birmingham Royal Ballet's Prince of the Pagodas 30 Jan 2014" 31 Jan 2014). I wrote: "This is a ballet that has to be seen more than once and probably many times to be appreciated fully."

Well, yesterday I saw Cleopatra again and enjoyed it so much more. I don't know whether that was because I had seen the ballet quite recently and knew what to look for or whether it was because I was more comfortable in the Sheffield Lyceum than I had been in Leeds and could concentrate on the performance. 

The Lyceum is in my humble opinion the best large theatre in Yorkshire allowing plenty of leg room, a good view of the stage from just about every point in the auditorium, spacious bar areas, efficient and courteous staff, ample parking across the road and plenty of reasonably priced eateries within walking distance. So much better than The Grand in every way. Why Northern Ballet does not make more use of The Lyceum - indeed why it dies not appoint it as its flagship theatre - beats me. For much of the day I have been asking on twitter and BalletcoForum why there isn't more ballet in Sheffield (a city region of 1.9 million and within an hour's drive of several million more) and I have yet to receive a convincing answer. As a Mancunian exile living in "Summer Wine Country"  with no axe to grind in Yorkshire rivalries I'd say that as a city Sheffield knocks Leeds into a cocked hat; but as I sport the red rose in inter-Pennine rivalries what do I know.

Anyway returning to the show, it was interesting to compare last night's cast with those who appeared on the 6 March 2014. On that occasion I saw Martha Leebolt for whom the role of Cleopatra had been created. Last night it was Michela Paolacci who interpreted the role quite differently. Now Cleopatra is not a nice lady. She marries and then murders her brother in his bath and she despatches Mark Antony with a chilling sauté but, whereas Leebolt's Cleo was as hard as nails, I somehow warmed to Paolacci's. I could imagine her defence counsel's plea of mitigation - a single mum, coming from a dysfunctional home, a victim of circumstances - all that sort of thing. For me the highpoint of the ballet is the confrontation of the fair Octavia danced brilliantly by Pippa Moore with Cleopatra over Mark Antony (Ashley Dixon). Octavia represents everything Western and decent while Cleopatra is sultry, sexy and degenerate. Of the other roles, Jospeph Taylor (who has only been with the company for a couple of years) was a great Wadjet, Hironeo Takahashi a convincing Caesar and Matthew Topliss (another recent recruit) a suitably imperious Octavian.

The cast three weeks ago was the company's first team. Last night provided an opportunity for Northern Ballet's promising newcomers, but yesterday's show was not in any way second rate. All danced well and all deserve to be commended. Even though I now know the ballet quite well I should still like to see it again. Too bad it is not to be staged outside Yorkshire this year. I do hope the company revives it again soon.

The Things I do for my Art: Northern Ballet's Breakfast Meeting

Northern Ballet

This morning I rose while the wilis were still abroad and drove 26 miles to meet some of these lovely people. They are the staff of Northern Ballet and this morning they invited us to breakfast and a show at their magnificent premises at Quarry Hill in Leeds.

"Set the alarm at 05:30 for tomorrow morning. Better be worth it @northernballet". 

I had tweeted peevishly the night before.   Well I am glad to tell you that it was worth it.  Refreshments were waiting for us on arrival as we waited to be shepherded into the Stanley and Audrey Burton Theatre for the show.

As you have often been told, there is no such thing as a free lunch. Well we learned from Leanne Kirkham that there is no such things as a free breakfast either. "You can't come to a ballet school and not expect to move" said Leanne, "especially after a free breakfast." So she had us sitting up straight in our seats, reaching for the ceiling and stretching our arms.  "Eight to the right! Eight to the left" "Then four and four." "Two and two," And finally "Four singles to right and left."  Just as in glissés.  "But I only had a bacon  butty and a cup of coffee" I said to myself.

Leanne was followed by Mark Skipper, the company's Chief Executive Officer. who belted out an impressive list of achievements. Taking London by storm with Gatsby. The best ballet centre in Europe with 7 studios.  Tours in every part of the UK and many overseas,. And a remarkable return on investment for  Ugly Duckling.

Next we had interviews with Pippa Moore and Matthew Topliss who demonstrated some of the lifts that we see in a pas de deux.  Moore is one of my favourite dancers and she was wonderful in Midsummer Night's Dream. I can't think of a better way to start the week than watching her and Topliss.

Last on the bill was the Technical Director Andy Waddington who took us through the 2 year long process of building a ballet in 10 minutes.

At the end of the presentations we got an opportunity for questions. In my review of Midsummer Night's Dream I mentioned a video in which the dancers acted one of the scenes that they were about to dance. As Moore was one of the dancers in that sequence I asked her whether that dialogue was a one off or whether they exchanged a dialogue in every ballet.  "Oh we do that all the time" said Moore.  "We act it first and then dance the steps."

Someone suggested that Leeds should seek to become European capital of culture on the proposition that it was the second cultural centre after London.  As a proud Mancunian I am not letting anyone get away with that.  Yes Leeds has Northern Ballet and Opera North but we have the Hallé, the Royal Exchange, Media City, The Lowry, The Royal Northern College of Music, Chethams and more museums and theatres than most can shake a stick at. I imagine that Glaswegians who host Scottish Ballet and Scottish Opera and the people of Birmingham with the Birmingham Royal Ballet and the City of Birmingham Symphony Orchestra might also have a thing or two to say about Leeds's pretensions.

The title of this company is not Leeds Ballet, nor even Yorkshire Ballet but Northern Ballet. It is an institution in which everyone north of the Trent and south of the Cheviots can take pride.   I have often argued that the communities along the M62 corridor should think of themselves as a regional city just as those along the San Diego Freeway do in Southern California. After all the Coastal Range is much higher than the Pennines. Cities like Leeds, Liverpool, Manchester and Bradford should learn to integrate for that is the only way to counter the pull of London. In that regard it should never be forgotten that Northern Ballet started as Northern Dance Theatre in Manchester.

After the presentations we were invited to tour the building starting with the top floor with the familiar Studio 7.  We were taken from there to a board room with swan wallpaper and panoramic views of Leeds. Then to more studios on the floors below with wardrobes, meeting rooms and the technical department.

Finally, some of us had one to one interviews with Mark Skipper, Laraine Penson, head of communications or Jon Ingham, head of fundraising.   I was allocated 10 minutes with Mr. Ingham.  He told me about some of the ways to help the company such as sponsoring a dancer and becoming a friend or patron. Northern Ballet has given so many people so much pleasure over the last 44 years or so. Would it not be nice to do them a good deed in return?