Ballet Cymru in Bangor - Finishing a Great Week of Ballet

Standard YouTube Licence

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 Cymru's Dylan Thomas Programme: The Company's Best Work Ever

Standard YouTuvbe Licence


Ballet Cymru  Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs 29 Nov 2018 Stanley and Audrey Burton Theatre, Leeds, 1 Dec 2018 Pontio Arts and Innovation Centre, Bangor

I have been following Ballet Cymru for over five years and they have never failed to impress  In 2015 their Cinderella was my ballet of the year and their TIR was the runner-up (see Highlights of 2015. 29 Dec 2015).  In that year they were also my year and I tipped Krystal Lowe as a dancer to watch. They have continued to impress me every year but I think their Dylan Thomas double bill - Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs - is their best work yet.

It was so good that I saw it twice. The first time was in Leeds on 29 Nov and the second at the Pontio Arts and Innovation Centre at Bangor on 1 Dec 2018.  Leeds was excellent but Bangor was even better as Cerys Matthews and Arun Ghosh were on stage and the audience was even more receptive and responsive.  The show was in effect a double bill.  It began with Poems and Tiger Eggs which consisted of readings of a selection of Thomas's poems by Matthews to Ghosh's music.  The second piece was A Child's Christmas in Wales.  Both works were created by Darius James and Amy Doughty.

Poems and Tiger Eggs opened and closed with In My Craft or Sullen Art.  That is a poem I did not know before Ballet Cymru introduced me to it at the workshop on 28 Nov 2018 (see More than a Bit Differently: Ballet Cymru's Workshop and the Launch of the Powerhouse Ballet Circle 29 Nov 2018). It is now a poem that I adore.  Beth Meadway danced to it as a solo in the opening and the whole cast danced to it at the end.  In the workshop, we were taught to listen for the words "Not for the Proud Man" and then react. Meadway turned her head sharply in the solo and the whole cast moved as one when the poem was read again.

Scottish Ballet had staged Ten Poems by Christopher Bruce on the centenary of Dylan Thomas's birth which I saw in Edinburgh and reviewed in Bruce Again on 6 Oct 2014.  One of the works that Bruce had set to dance was Do Not Go Gentle Into That Food Night.  Darius James and Amy Doughty also chose that poem for Poems and Tiger Eggs.  Both Bruce and James and Doughty created duets but James and Doughty's was somehow softer and more lyrical.  Incidentally, if anyone wants to listen to a fine reading of the poem, I strongly recommend the performance by Benjamin Zephaniah which is published on YouTube by the Poetry Society.

Thomas's poems incline to the melancholy but there was some levity too in Laugharne with Krystal Lowe as the stranger who got off the bus and forgot to take it back again.  I particularly liked the bit about people coming from all sorts of places like Tonypandy and even England.  The cast made the sign of the cross at that point though I wonder whether Calvinist Nonconformist chapel folk would do that.  Maybe the Welsh Italians (of whom there are many) though there are more of them on the banks of the River Chubut than the Taf Estuary.

A Child's Christmas was very different and undiluted fun.  It began with a film clip made (I think) by my good friends Lawrence and Samantha Smith-Higgins of Red Beetle Films.   In it, children explained what Christmas (or, in the case of one little girl, Eid) meant to them. Mainly presents and lots to eat.  It proceeded with "One Christmas was so much like the others" and proceeded to snow, cats and Mrs Protheroe's fire.  That fire was better than all the cats in Wales lined up on a wall.  There was the "What would you do if you saw a hippo?" and the carol singing where the children heard a ghostly voice joining in their carol. My favourite bit of the dancing was "Still the Night" before a stained glass image. There were other favourites too such as "The Uncles". I'm not Welsh but I can relate to that for we Saes have uncles too as well as aunties who get a little tipsy and start singing about death.

The workshop on 28 Nov 2018 helped my understanding of James and Doughty's choreography considerably.  Sue Pritchard, who also attended the workshop, thought the same.  Peter Harrop (who lives in Wales) joined us the performance. Peter was not in Leeds on 28 Nov 2018 but he attended Ballet Cymru's company class and reported that it was very gruelling. Apparently, no concessions were made for the adult ballet dancers.

The Pontio Arts and Innovation Centre is an impressive building just below the Arts building of Bangor University.  It has a theatre, cinema and a FabLab (see  Liverpool Inventors Club Re-launch - Fabulous FabLab 28 Jan 2012 NIPC Inventors Club).  There has been a lot of investment by the university to build a knowledge-based economy on both sides of the Menai Straits (see Jane Lambert Anglesey and the Fourth Industrial Revolution 12 Oct 2018 IP Northwest).  There has always been a close link between the University and the community in this corner of Wales. It was actually founded by a subscription of local quarrymen, This Centre will do much for the artistic and cultural life of the region.

More than a Bit Differently: Ballet Cymru's Workshop and the Launch of the Powerhouse Ballet Circle

"We are a ballet company who like to do things a bit differently", proclaim Ballet Cymru on their home page.  "We enjoy finding new ways to make what we do exciting, innovative and relevant." They can say that again. Last night's workshop at Yorkshire Dance was one of the most challenging but also one of the most enjoyable balletic experiences since my first plié at St Andrews Dance Society over half a century ago.

It started off like any other ballet class with a walk around the studio except that we had to make and maintain eye contact with each other. The walk quickened to a trot and then a tennis ball was introduced which we had to catch and throw to one another.  Dan Morrison  and Robbie Moorcroft who led the exercises conducted the pliés, tendus and glissés in the centre and not at the barre. We did a few unusual exercises. For example, teaming up in pairs we pulled and pushed against each other to create support.

The first hint that we had to use our brains as well as our bodies came in the port de bras.   We were led gently enough through bras bas, first, second, thord and fourth,  "Now it is for you to decide what comes next," said our mentor. In other words we had to choreograph the rest of the phrase.  The obvious continuum for me was arms in fifth, rise and soutenu but others who included Fiona, the teacher who led me back to ballet nearly 50 years after that first plié, were much more ambitious. Dan and Robbie asked us to add steps and I tried an ababesque which is never a good idea with my sense of balance and excess weight.

About hslf way through the workshop the members of the company played an extract of the score of the company's new ballet, Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs.   Cerys Matthrews was reading ome of Dylan Thomas's poems - not one I know - about the thoughts that come to mind when waking with a start in the middle of the night.  The company demonstrated the way they had interpreted that poem.  Each dancer expresssed it differently.  It was now our turn and we each worked at it independently and in groups.  Members of the company circulated and helped us polish the piece. Beth Meadway worked with me. I couldn't quite manage the elevation or coordination for a cabriole so she suggested a temps levé instead.   In the last few minutes each group danced what it had learned to the other group and the Ballet Cymru dancers.   It was an unmissable experience.

But the evening did not stop there for Darius James and Ballet Cymru were the first guests of Powerhouse Ballet Circle.  We met in Martha's Room where we had laid on some drinks and nibbles. The Martha after whom the room is named is of course Martha Graham.  After our members had introduced themselves to members of Ballet Cymru and we each had a glass in our hands I interviewed Darius just as they do in the Civil Service Club in London.  "Croeso i Sir Efrog a Powerhouse Ballet" I said in my best Welsh. Happily, Peter, Alicia, Zoe and Holly were not there to correct me. I asked Darius about his career, what brought him into dance, his training in Newport and at the Royal Ballet School, his time at Northern Ballet (or Northern Dance Theatre a it was then called) and the ahievements of Ballet Cymru since he set it up in 1986.  Not much happened in the performing arts in Newport in the early days but now there is a lot thanks to the Riverfront Theatre on the banks of the Usk. I invited questions fropm the floor. Amelia asked about costume and set design and Sue about how Darius rated Powerhouse Ballet.   There were also questions from Miguel Fernandez and Krystal Lowe of the company,

Even thouigh I had a lot of last minute cancellations owing to illnesses and probems on the railways as well as other glitches both the workshop and the launch of the Powerhouse Ballet Circle went well.  The London Ballet Circle has a very close link with Ballet Cymru and we hope to do so too.  Our next guest is likely to be Yoko Ichino who has accepted our invitation in principle and I will advise members of the date and venue sooon. I also hope to arrange visits to schools and companies in the region and then, maybe, a trip to Newport.  At its 70th anniversary celebrations I learned that Dame Ninette de Valois regarded the London Ballet Circle as part of a tripod of achievements of equal importance to her company and school. I hope that Powerhouose Ballet Circle will be similarly supportive of dance in the North.

Ballet Cymru Workshop

A workshop that is a little bit different

28 Nov 2018  Yorkshire Dance  18:00 - 19:30 

© 2018 Sun Trenverth Photography: all rights reserved
Reproduced with kind permission of Ballet Cymru 

Ballet Cymru describe themselves as "a ballet company who like to do things a bit differently." They enjoy finding new ways to make what they do exciting, innovative and relevant.

They achieved those objectives with TIR where they collaborated with Cerys Matthews to translate traditional Welsh songs into dance. I described it as a "thrilling experience" in my review of the company's performance of that ballet in Newport.

Matthews and Ballet Cymru have collaborated again to produce Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs which the company will dance at the Stanley and Audrey Burton Theatre in Leeds on 29 Nov 2018. This show promises to be one of the highlights of the Leeds dance season for 2018/2019 so if you have not yet bought your ticket do so now while you still can.

The day before that performance we shall host a workshop for Ballet Cymru at Yorkshire Dance where they will teach us some of the choreography from that show. This is a rare opportunity to dance with artists of Wales's classical dance company who have come from all parts of the world to the work of Darius James and Amy Doughty two of my favourite choreographers.

This workshop is open to anybody aged 18 or above who is regularly attending ballet classes at Northern Ballet Academy or Dance Studio Leeds in Leeds, KNT Danceworks in Manchester, Hype Dance in Sheffield, Ballet North in Halifax or any other adult ballet class of similar standard. Ballet Cymru do not expect you to be another Pavlova but you are unlikely to get much out of the evening if you have not yet mastered the basics.

Admission is free but you must register here in advance. Yorkshire Dance is literally just across the road from Northern Ballet and Phoenix Dance Theatre. It faces the Leeds School of Music. The bus station is the same distance in the opposite direction and the mainline railway station with regular services to all parts of the country is just a little further away.

Immediately after the workshop Powerhouse Ballet will hold a reception for Darius James and the company in Martha's room at Yorkshire Dance where we shall launch the Northern Dance Circle. The Circle will promote dance and dance education in the North in very much the same way as the London Ballet Circle does in London. You can attend that even if you do not attend the workshop. Again, there will be no charge to attend the event but you must register in advance.

Go to the Eventbrite Page

Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs

© 2018 Sleepy Robot 

If I were washed up on Sue Lawley's desert island with a DVD player and had seconds to rescue discs from the jaws of a sea monster, Cerys Matthews's TIR  would be one for which I would risk a limb.  The reason I say that is that it would remind me of an unforgettable performance by Cerys and Ballet Cymru of her music interpreted in dance by Darius James and Amy Doughty at The Riverfront Theatre in Newport on 6 Nov 2015 (see "The Pride of Newport and the Pride of Wales" 8 Nov 2015).

Cerys Matthews, Darius James, Amy Doughty and Ballet Cymru have collaborated again to create Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs.  This is a new ballet to be premiered in Brecon on 12 Oct 2018.  It will then tour the country including London, Newport and Leeds on 29 Nov 2018.  

According to the company's press release, the ballet will be based on  Cerys's album Dylan Thomas – A Child’s Christmas , Poems and Tiger Eggs.  These are based on Dylan Thomas's writings featuring the story about the uncles and snow that we all read at school.  Cerys will recite the story in person when the show comes to Bangor, London and Newport.  The music for the ballet is composed and arranged by Cerys and Mason Neely.

This is not the first time that I have seen a ballet based on Dylan Thomas's work.   Christopher Bruce created Ten Poems for Scottish Ballet in 2014 which I reviewed in Bruce Again  on 8 Oct 2014.  That was an impressive work but as I said at the time "there weren't too many laughs." Ballet Cymru's ballet promises to be more cheerful though even A Child's Christmas has a sombre side.

Powerhouse Ballet (several of whose best dancers live in North Wales) will be hosting a workshop for Ballet Cymru at Yorkshire Dance on 28 Nov 2018 between 18:00 and 19:30 to which all are welcome.  Particulars of that event will be announced on the company's website shortly.  Booking will be through Eventbrite.

Newyddion Gorau drwy'r dydd! Ballet Cymru are coming to Leeds

Standard YouTube Licence

The bit of the headline in Welsh means "Best news all day,"

Ballet Cymru are coming to Leeds on 29 November 2018 to perform A Child's Christmas in Wales.  It is another collaboration between Cerys Matthews, Darius James and Amy Doughty  The last time those three worked together they produced TIR .   This is one of my all time favourite ballets as you can see from my reviews The Pride of Newport and the Pride of Wales 8 Nov 2015 and Ballet Cymru in London 1 Dec 2015.

James and Doughty are not the first choreographers to translate Dylan Thomas's poetry into dance.  Christopher Bruce created Ten Poems for Scottish Ballet in 2014 to mark the centenary of the poet's birth.  I reviewed the work in Bruce Again on 6 Oct 2014.

This may be Ballet Cymru's first visit to Stanley and Audrey Burton Theatre but Darius James is no stranger as he danced with Northern Ballet when it was called Northern Ballet Theatre.  It will be good to welcome him back.  I hope that this is the first of many visits.

Tickets for this show are already on sale and are likely to go like hot cakes.  This link will take you to the Stanley and Audrey Burton Theatre website.

Ballet Cymru's 2018 Summer Tour

Standard YouTube Licence

For its 2018 summer tour which opens in Newport on 11 May 2018, Ballet Cymru has revived Darius James and Amy Doughty's Cinderella.  The first time I saw that beautiful ballet I wrote in Ballet Cymru's Cinderella 15 June 2015:

"I have seen a lot of versions of Cinderella over the years: Ashton's of course for the Royal Ballet but also Matthew Bourne's set in wartime London, Nixon's for Northern Ballet and a version danced by the Bristol Russian Youth Ballet Company which starred Elena Glurdjidze (see Good Show - Bristol Russians' Cinderella in Stockport 19 Feb 2014), Until yesterday evening I liked Ashton's version best but now I think I prefer Darius James and Amy Doughty's for Ballet Cymru. Perhaps I will change my mind again when I see Christopher Wheeldon's for the Dutch National Ballet at the Coliseum on 11 July 2015 as it looks lovely in the YouTube trailer, but for now this Welsh Cinderella is my favourite."

I saw Wheeldon's Cinderella less than a month later and loved it but not more than James and Doughty's. Theirs is a little gem.  One of the best Cinderellas ever created by any company.

The places to which Ballet Cymru are taking Cinderella on tour are as follows:

• Newport  11-12 May
• Ayr 16 May
• Blackwood  23 May
• King's Lynn 27 May
• Teignmouth 30 May
• Abergavenny 1 June
• Sale 2 June 
• Preston 3 June
• Hereford 7 June 
• Lincoln 10 June
• Bury St Edmunds 11-12 June
• Newcastle under Lyme 13 June
• Tewkesbury 15 June
• Basingstoke 16 June
• Bracknell 17 June 
• Milford Haven 20 June 
• Taunton 30 June 
• Stevenage 4 July 
• Lichfield 6 July
• Bangor 7 July.

If you live anywhere near any of those towns and cities, do yourself a favour and book yourself a ticket.

What thrills me even more than the revival of Cinderella is the launch of  A Child’s Christmas In Wales at the Gordon Craig Theatre in Stevenage on 5 July 2018.  Why the company has waited until just after the summer solstice to launch a ballet about Christmas and why it as decided to do so in Hertfordshire of all places beats me. Never mind! It will be good.  I shall be there. With music by Cerys Matthews, how could it be anything else? Even though its dancers and creatives come from the four corners of the earth, Ballet Cymru is an unmistakably Welsh company.  As such it is at its best when it is most Welsh. 

So this should be Ballet Cymru's best summer season yet.  As I also said in my 2015 review of Cinderella: "Ballet Cyrmu is a great national treasure not just for the principality but for the whole United Kingdom ...... It is a good example of what a small touring company can do and provides an excellent model for others."