World Ballet Day: Les Ballets de Monte Carlo

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Yet another highlight of World Ballet Day was the appearance of Les Ballets de Monte Carlo as guests of the Bolshoi. The reason it was one of my highlights is that I am a big fan of the company's artistic director Jean-Christophe Maillot (see Jean-Christophe Maillot 5 Aug 2016). His production of The Taming of the Shrew for the Bolshoi nearly brought the House down when that company performed it on 3 Aug 2016 (see Bolshoi's Triumph - The Taming of the Shrew 4 Aug 2016). There is a great video of the the premiere on the Bolshoi's website.

On World Ballet Day the video showed rehearsals for a new ballet called Le Songe which was premiered yesterday at the China National Centre for the Performing Arts. The company will move on to Tianjin and Shanghai. The first performances in Europe will take place at the Théâtre National de Nice on 21 and 22 Jan 2017. This ballet is based on Shakespeare's Midsummer Night's Dream and uses Mendelssohn's Midsummer Night's Dream as Ashton.

There is an opportunity to see another of Maillot's works at the Alhambra in Bradford between tomorrow and Saturday when Northern Ballet dance his Romeo and Juliet. I saw it twice in Leeds last year and reviewed it in Northern Ballet's Romeo and Juliet - different but in a good way 8 March 2015 and Leebolt's Juliet 13 March 2015. You can see a rehearsal for that ballet by Abigail Prudames and Sean Bates in Northern Ballet's slot on the Royal Ballet's YouTube video of World Ballet Day. You will find them 2 hours 17:28 minutes into the film.

One of the ways in which maillot's Romeo and Juliet differed from other productions is the enhanced role he gave to Friar Lawrence and, as you can see from the first of those reviews, that role was danced very impressively by Isaac Lee Baker,  Isaac has now joined Les Ballets de Monte Carlo (see his profile on the company's website) and I think I glimpsed him in the rehearsals for Le Songe, He is certainly on the Royal Ballet's video (1 hour 52 minutes) in its Chance to Dance slot. Sadly, we won't get to see Isaac as Friar Lawrence. Northern has not yet announced its cast list for Bradford but we should get someone good judging by the chaps who danced it in Sheffield, Belfast, Woking and Canterbury.

1984 Second Time Round

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Northern Ballet, 1984, Palace Theatre, Manchester, 17 Oct 2015, 19:30

As I had expected, I liked Northern Ballet's 1984 very much more the second time around. There are two reasons for that. The first is that I knew what to look out for having seen the show in Leeds on 11 Sept 2015 (see My First Impressions of 1984 12 Sept 2915). The second is that Isaac Lee-Baker and Dreda Blow came very close to my picture of Winston Smith and Julia.

There is only so much that the senses can absorb when one attends the theatre.  The first time I saw the show I concentrated on the plot in order to understand the ballet rather than the sound and movement through which the story was expressed.  There was a lot of movement in this ballet - the choreography, of course, but also spectacular electronic displays on a massive "telescreen". Knowing the sequence of the ballet I was better able to appreciate Jonathan Watkins's choreography, Andrzej Goulding's telescreen, Simon Daw's sets and costumes, Alex Baranowski's score and some exquisite dancing.

Lee-Baker as Smith and Blow as Julia were perfect casting in my recollection of Orwell's novel. Smith is a young chap, very impressionable and somewhat naive - the sort who might have been turned by Stalin had he worked in the Foreign Office in the late 1940s rather than the Ministry of Truth in 1984. Such a role requires a young dancer but one with considerable ability. A role tailor made for Lee-Baker who had triumphed as Friar Lawrence in Maillot's Romeo and Juliet earlier in the year (see Northern Ballet's Romeo and Juliet - different but in a good way 8 March 2015) and as Wilson in Gatsby last year (see Northern Ballet at its best: The Great Gatsby in Bradford 16 Nov 2014).

As I recall the novel, Julia is a temptress and I intend it as a compliment when I say that Blow was a very sexy lady. She is another dancer that I began to appreciate for the first time in Romeo and Juliet.  When I saw her as Juliet I wrote:

"Casting Blow for the role was an inspiration. She was a perfect Juliet. Playful and feisty. Loving but conflicted. Brave but fearful. Blow is elevated to my pantheon of favourites."

Julia is a very different role from Juliet but Blow was an excellent choice. She is perhaps Northern's best actor. She was sultry. She was seductive. She was my idea of Julia.

The third leading character in Watkins's ballet is O'Brien, the senior apparatchik who tricks Smith and Julia into dropping their guard and then betrays them. Javier Torres danced that role in September and he was excellent. He saved that show for me on that occasion.  Last Saturday it was Ashley Dixon who was a very different O'Brien but no less convincing. He projected menace and oiliness even in the privacy of his apartment when entertaining his young quaries with a silent telescreen.

It was good to see some of my favourites in the company - Hiranao Takehashi as Charrington, Jeremy Curnier as O'Brien's assistant, Victoria Sibson as the lead female prole and Rachael Gillespie, Abigail Prudames and Mlindi Kulashe who danced in the crowd scenes as party faithful and proles but still shone - as did all in the cast last Saturday night.

Orwell's satire is not an obvious choice for a ballet. In the Q & A that followed the show in Leeds on 11 Sept 2015 Watkins was asked why he had chosen that work as the subject of a ballet. He replied that

"he had read the book as a teenager and had been affected by it. He had contemplated how it could be translated into dance for some time. The same had happened with the Ken Loach film Kes which he first saw about the same time. That film resonated with him because it was set in the area in which he had spent his childhood. Last year he had the chance of stage it for The Crucible in Sheffield. By staging Kes and 1984 he had achieved two longstanding ambitions."

As you can see from the synopsis Watkins followed Orwell pretty faithfully. The sets, costumes, music, choreography, dancing came together beautifully. I don't think that this will ever be one of my favourite ballets but it it one that I now understand, appreciate and recommend.

The company will perform 1984 today in Sheffield for one last time in the North before they take it to the rest of the country. I had hoped to see it in Sheffield with Giuliano Contadini and Antoinette Brooks-Daw in the leading roles but they were dancing on the nights when Jane Tucker teaches the improvers and I was due to see Rambert at The Alhambra. Perhaps I can catch that cast at Sadler's Wells in May. Londoners tend to like Northern Ballet perhaps even more than we Mancunians and I am sure they will enjoy this show.

Leebolt's Juliet

Watching the same ballet twice in a week is  not something I do very often for a variety of reasons. But I was so taken by Northern Ballet's Romeo and Juliet last Saturday with Tobias Batley and Dreda Blow in the title roles that I made an exception. I felt compelled to see it again last night but this time with Martha Leebolt and Giuliano Contadini as the lovers.

It was, of course, very good. How could it be anything else with Leebolt as Juliet, Contadini as Romeo, Antoinette Brooks-Daw as the nurse, Javier Torres as Tybalt, Lucia Solari as Lady Capulet, Sean Bates as Benvolio and Matthew Koon as Mercutio not to mention another impressive performance by Isaac  Lee-Baker  as Friar Lawrence. But somehow some of the sparkle of Saturday night was missing. That was surprising because the last night of a run is often the best. Especially when a show has received excellent reviews as this one has as well as great feedback from the audience.

The absence of sparkle was not the performers' fault. The dancers danced their hearts out as they always do and the Sinfornia played well. But theatre is a two way communication. A great show needs a great audience as well as a great cast and last night's house was definitely not the same as Saturday's. For a start there were fewer of us. The stalls where I sat were nowhere near full. And they were plenty of distractions. The Grand is a very noisy auditorium at the best of times. There's a light rumble whenever someone shifts in his or her seat. But when a file of latecomers take their seats in the middle of the first Act it sounds like a tube train. Worse, there were giggles at certain points such as when Juliet with her back to the audience slips off the top of her clothing before her embarrassed nurse or when the lovers envelope themselves in a sheet in the bedroom scene.

However, there are advantages of seeing a show twice in quick succession and that is that one notices details of the choreography and the story that one missed first time round. Maillot's choreography that I found angular on Saturday does have beauty though of a kind that we are not used to in this country. Until my concentration was disturbed by the arrival of latecomers I reflected on the relationship between the friar and his acolytes, Kevin Poeung and Jeremy Curnier. They hoist Lee-Baker in the air with his arms outstretched as in a crucifixion. The balcony pas de deux is really quite lovely, There is exuberance as Romeo slides between Juliet's feet. There is playfulness as she listens to his heart as Romeo lies prostrate at her side.

One of the reasons why I prefer not to see the same show twice in the same theatre in quick succession is that it is natural to compare one cast with the other. I'm not going to do that here. I liked Leebolt and Contadini just as much as Batley and Blow but they were very different.

Leebolt, who has danced all the major roles in Northern Ballet's repertoire, was magnificent but she was much more like Cleopatra than a teenage girl. There were times when that was good. She communicates emotion well. We could feel her anger throughout the theatre when Romeo sloped into her bedroom after strangling her cousin. Nobody does rage better than Leebolt. Again nobody does despair better than her. Her entreaties to the friar where masterly. It is a big ask of a mature woman at the height of her career to put herself literally in the shoes of a child - though not impossible for a I saw Fonteyn dance Juliet convincingly when she was well over 50.

Contadini was a perfect fit for Romeo, He was boyish, tender, headstrong, contrite and above all passionate, He partnered Leebolt convincingly.

Solari, Brooks-Daw, Torres, Koon and Bates and indeed the whole cast danced well in their roles. They deserved a lot more than one round of curtain calls.

I shall miss Maillot's Romeo and Juliet now that it is done. If ever there was a ballet that should be taken to the Wells then it ought to have been this one. I would just love to know what a London audience would make of a Romeo and Juliet without sword fights but with a turbulent priest. As they put up with Pastor's version for Scottish Ballet last year which was in many ways a lot more radical I think they just might buy it

Coming Back to Ballet

I've danced all my life including 30 night show at the West Yorkshire Playhouse. But I haven’t done much ballet. 

It wasn't something that many kids of Asian heritage did when I was growing up in Bradford In the 1970s. I did have a friend at school who was taking ballet lessons. She would show me what she had learnt and was not best pleased when I was able to do the exercises somewhat more easily than she could. She gave up in the end and passed some of her ballet things on to me. 

The only other time I had a go was when I kept Jane company at The Base in Huddersfield. I took a few classes on Tuesday evenings which I enjoyed very much until the teacher moved the classes to a local university on Wednesday evenings which clash with other commitments.

Just before Christmas I created a lavender and sweet martini dessert to celebrate Isaac Lee-Baker’s performance as Wilson in The Great Gatsby. Jane wrote an article about it called Food and Ballet which was read by one of the members of her over 55 class at Northern Ballet.

“We ought to get her in here” said Jane’s friend.

“But she’s not 55 yet” replied Jane.

I understand that the teacher said that wouldn't matter if I wanted to try ballet again, so Jane passed the invitation on to me.

I turned up to Annemarie Donoghue’s class at Northern Ballet a few weeks ago and enjoyed it very much. We did all the barre exercises that I had done in Huddersfield - pliés, tendus, glissés, ronds de jambe and battements tendus – and then some exercises in the centre. We did rises, marches and little sautés with our feet in parallel and then first position. Then a lovely port de bras. Finally some travelling exercises in which Annemarie showed us a movement and got us to imitate it.

Annemarie is a very good teacher and she taught a very friendly crowd. Several of the students complimented me on my dancing which made me feel very welcome. After the class I joined the students for a hot drink and a bite to eat at Café 164. Altogether it was a lovely day.

One thing I enjoyed in particular about Northern Ballet's class was that we had a live pianist. Dancing to the piano and feeling that rhythm was great. Piano is another of my passions. I longed to indulge it. After pestering my parents for lessons which they could not stretch to, I used to sit on the fence at the home of the piano teacher and watch others take their lesson through the lead patterned windows in the hope that would help me learn a thing or two. 

Anyway life is for living and its never too late. So I now attend ballet classes and I am heading back to taking a few more piano lesson too this year. 

There were only two problems with the Over 55 class. The first was that it met during the day which is difficult for me as I run a business. Most of the other students seemed to be retired or in jobs that allowed them a lot of flexibility. The other problem was that I don’t yet have any shoes and had to dance in bare feet which was a bit stressful for my poor soles... I wish I could do ballet in soft cushioned trainers but that would be sin I think... I dare say I will get used to that... So I’ve been looking for classes that meet in the evenings and found Ailsa Baker’s at KNT Danceworks in Manchester.

Ailsa is another good teacher and clearly very popular. I counted 50 students in her beginners’ class. She let me dance in socks - much easier than dancing barefoot . She was very friendly but still commanded everybody’s attention. She made us work very hard in the stretching and strength building exercises. There seemed to be a wide range of ability and experience from professionals to newbies. Ailsa was very encouraging. Because the class was large the vibe was magic and very chatty. Like all the other classes we started with barre exercises and stretches and then proceeded to port de bras and jumps. It was great fun.

As Manchester is a bit of a trek from Bradford I am checking out Chris Hinton-Lewis’s Thursday evening class at Northern Ballet. I’ll let you know how I get on.

Northern Ballet's Romeo and Juliet - different but in a good way

Northern Ballet, Romeo and Juliet, The Grand, Leeds, 7 March 2015


Having seen Seymour and Fonteyn as Juliet in my youth and having seen more recently Xander Parish and Viktoria Tersehkina in the Mariinsky's Romeo and Juliet and Friedemann Vogel and Alina Cojocaru in English National Ballet's and with Birmingham Royal Ballet's sensational Coppelia fresh in my memory I feared that Northern Ballet's Romeo and Juliet last night would be an anticlimax. It was anything but. It might have disappointed me had it tried to ape MacMillan or Lavrovsky, but it didn't. It was entirely original while remaining faithful to Shakespeare.

But not slavishly faithful. There's a puppet show but no sword fights in Jean-Christophe Maillot's Romeo and Juliet. Tybalt clubs Mercutio with a blunt instrument for which he is strangled by Romeo. There's a bedroom scene but Juliet is not in her nightie. She's sitting on her bed with her nurse when Romeo arrives. When she first sees him Juliet tries to thump him one as she is beside herself with rage and despair having learnt what her husband had done to her cousin. The biggest innovation is the pivotal role that it gives to Friar Lawrence. In most ballets and in Shakespeare's play he is a minor character solemnizing the marriage and supplying the drug that knocks Juliet out cold. But in Maillot's ballet he is a much more important and interesting character. He's the do gooding cleric whose clever wheeze to bring peace to Verona backfires disastrously. The ballet opens with him the friar and he remains on stage at the close. In that respect Maillot has not just rewritten the ballet. He has actually rewritten Shakespeare and perhaps improved on the play.

Maillot's choreography is not pretty but it is dramatic. The dancers individually and in pairs or groups adopt unusual shapes. At many times I was reminded of Martha Graham and Merce Cunningham. There was extensive use of mime. Emotion was transmitted with clarity and immediacy. There were some delightful touches. The balcony appears as a slope and Juliet slides down into view as Romeo appears. He helps her down. She shakes her legs as he lowers her down communicating a frisson of excitement and not a little apprehension. In the wedding scene a length of fabric is cleverly transformed from veil into an arch indicating a chapel.

I should at first say something about the designs for they are nothing like Pyotr Williams's in the Mariinsky's version with its landscape vistas or the lushness of Nicholas Giorgiadis's in the MacMillan version. Ernest Pignon-Ernest's set is compact and functional.  Ideal for touring perhaps but a little austere. My heart sank when an image of a church, the title of the ballet and the names of the dancers were projected onto the stage as in a PowerPoint presentation in the overture. Were we to be treated to a flickering light show? I wondered. But that was the only use of the technique and elsewhere Dominique Drillot's lighting was effective. Particularly the partially inverted cross in the crypt scene. It interacted well with Jérôme Kaplan's costumes and the set. They appeared bland and almost monochrome at first but the understated use of colour prepared us for delight at Juliet's shimmering gold ball dress.

And now the dancers. Where do I begin?

I saw my beloved Northern in a completely new light last night. I knew Tobias Batley to be dashing and handsome from his other work but he communicated sensitivity and even vulnerability last night.  I also saw another side of Dreda Blow.  I had last seen her as Mina in Deacula in which I had admired her dancing but did not warm to her. I was surprised when I heard that she had been cast as Juliet. I had expected Leebolt in the role, of course, but I would have chosen Pippa Moore as the alternate Juliet. Casting Blow for the role was an inspiration. She was a perfect Juliet. Playful and feisty. Loving but conflicted. Brave but fearful. Blow is elevated to my pantheon of favourites.

But we still got Moore as the nurse. This is a character role and she danced it beautifully. She is also a complex and conflicted character that demands much from a dancer. Again, it was perfect casting.

Gita Mistry's Lee-Baker

The pivotal role, as I said before and also in my preview is Friar Lawrence. He reminds me of the preacher in Appalachian Spring and of the minister in Gillian Lynne's re-staging of A Miracle in the Gorbals. He appears not in a habit but in a suit and dog collar. It requires a strong and dramatic dancer and we found strength and drama in Isaac Lee-Baker. This is a strenuous role and amazingly he is performing it night after night in both casts. After he had danced Wilson in Gatsby at the Alhambra my friend Gita named one of her puddings in his honour. Had she seen him last night I think he would have merited one of her famous curries.

There were strong performances also from Hannah Bateman as the haughty Lady Capulet, Mlinde Kulashe as the headstrong Tybalt (another bit of inspired casting and another career for me to follow), Joseph Taylor as Paris, Abigail Prudames as the lovely Rosalne - the list could go on but then it would read like a telephone directory. Nearly all my favourites had a role yesterday including Rachael Gillespie and Kevin Poeung. Why do I like them especially? When they move they make my spirits soar. Why's that exactly? Dunno. Maybe it's because they love their dancing so. It reminds me of a story about Sir Peter Wright that one of my favourite dancers from the Birmingham Royal Ballet once related but I won't go into it now.

Unlike many balletomanes I like to let a ballet sink in before I see it again, even with a different cast. A matinee and an evening performance on the same day or even in the same season is usually too much for me. But I think I will make an exception with this work. I am dying to see what Leebolt, Contadini, Brooks-Daw and Torres make of this show.

And I need to see this show without thinking of cushions whenever the Dance of the Knights is played. Why cushions? Ernst Meisner knows for he favourited this tweet:

I just couldn't get Bart and his cushions out of my mind when watching Romeo and Juliet tonight.
— Terpsichore (@jelterps) March 7, 2015

.

You must read my review of Bart Engelen's performance of Milena Siderova's  Full Moon to find out.

Further Reading

Rod Nordland  Back in Afghanistan, Modern Romeo and Juliet Face Grave Risks 7 March 2015 NY Times

Our Three Hundredth Post - Now we are a Team

For the last two years I have been running Terpsichore on my own though I have had great contributions from Joanna Goodman, Mel Wong and, most recently, Peter Groves. Now I have a partner in the blog and other activities that we are about to launch under the Terpsichore sign. The well known chef - Gita Mistry whom the distinguished food critic Jay Rayner described as "The greatest Indian cook in Britain."

Gita is not quite a newcomer to this blog. Inspired by his performance as Wilson in The Great Gatsby she created the most humongous pavlova in honour of Isaac  Lee-Baker which I mentioned in Food and Ballet 20 Nov 2014.

But Gita also loves dance. Watching it and doing it. She has danced for years years in different styles  She has done  bharat natyam, kathakali, dandiya rass  and an old Gujarati style of folk dancing called garba.  Between the ages of 9 and 13 she performed contemporary dance at on the stage in Bradford.  A few years ago she performed in a Bollywood musical at the West Yorkshire Playhouse which ran for 30 nights. Other styles she has enjoys include latino, salsa and even the can-can, Most recently she has taken up ballet and had classes from Annemarie Donoghue and Ailsa Baker.

In the next few months we shall run a series of talks in Leeds and Manchester with dancers, choreographers, teachers and others on the lines of those in London run by Danceworks and the London Ballet Circle. We shall invite top speakers from Northern Ballet, Phoenix and visiting companies. Wherever possible, we shall try to offer some Gita Mistry goodies at those events.

Now that there are two of us there will be a lot more contributions to this blog, Facebook group and twitter streams. There will be just as much ballet but also posts on Indian, street and jazz.

There may be posts on food. Cheryl of Ballet News offers cup cakes to her dancers.  Gita can offer those and a whole heap more.

If you want to get stared why not try these scrummy delights: Mushroom Bajias

(Serves 4)
14 tbsp gram flour
3 tsp grated ginger
1 tsp green rocket chilli
1 tsp ground cumin
2 tsp dried coriander
1 tsp cumin
¼ tsp turmeric
Salt to taste
2 tbsp fresh coriander leaves
A pinch chilli powder
2 tsp ground nut oil
150ml luke warm water
750g whole medium sized chestnut or button
mushrooms
Ground nut for oil for deep frying
Preparation
Grate the ginger and finely chop the green chilli.
Prepare the mushrooms by cutting the larger ones in half and keeping the smaller ones whole. Wipe them clean and
avoid soaking them in water as this will make the mushrooms limp.
Method
1. In a bowl, sieve the gram flour and add the ginger and green chilli. Add a little water and using your hand beat
the mixture to form a paste, making sure to avoid lumps. Mix in some more water and continue to beat.
2. Once you have a smooth thick paste consistency, add the dry spices, 2 tsp oil and salt, and beat. Cover and leave
the batter somewhere warm for 1 hour.
3. Approximately half-fill a heavy bottom Lowu or a heavy bottom wok with groundnut oil, and heat.
4. Take the batter and add a little more water to loosen the mixture to form a batter consistency. Mix in the fresh
coriander leaves.
5. (Test the oil by dropping a little batter into the oil if it rises to the top within a few
seconds and becomes crispy then its ready.) Dunk the mushrooms into the batter and
then place them in the hot oil. Give them a few seconds then frequently turn them until
crispy and golden brown, drain off the excess oil. Serve while still hot and crispy.

Enjoy!

Food and Ballet

Gita Mistry's Dessert in Honour of Isaac Lee-Baker

Photo Gita Mistry

Food has lots of connections with ballet. It is of course fuel for the lifts and jumps that delight an audience, But a good meal also complements a memorable evening in the theatre. Sometimes it is part of the scenario of the ballet as in The Taming of the Shrew where Petruchio starves Katherina into submission. Occasionally a great dancer inspires a chef to create a great dish as happened when Anna Pavlova visited New Zealand. Something like that happened on Saturday when my friend Gita Mistry and I saw The Great Gatsby in Bradford (see Northern Ballet at its best: The Great Gatsby in Bradford).

Gita is an artist in her own right. She is a chef who won the BBC's Eating with the Enemy contest a few years ago. She won over 4 of the country's top food critics.  She is also a dancer who has performed at the West Yorkshire Playhouse and other venues. She has even kept me company at the barre more than once.

Like me Gita was impressed with The Great Gatsby. She particularly enjoyed Nixon's choreography with its soaring lifts, the dancers' virtuosity and passion, the costumes which accounted for a fleet of pantechnicons parked outside the Alhambra. One particular dancer stood out for her - Isaac Lee-Baker who danced the hapless Wilson in the ballet. She was so impressed with his performance that she created the dessert that appears above in his honour.

We had intended to courier it to Quarry Hill tomorrow but temptation got the better of us. It was scrumptious. I mean seriously scrumptious.  I might add that it had far too much cream and sugar than is good for a dancer so we really did Isaac Lee-Baker a favour by keeping it beyond his reach.  But Gita has shared her recipe in DanceFood - A Dessert for Isaac Lee-Baker 16 Nov 2014 Gita Mistry Food.  And if Isaac really wants to throw caution to the wind I am sure that Gita could be prevailed upon to make another just for him.

Over the next few weeks Gita and I will be exploring the relationship between food and dance in all its aspects. I can't promise any new dishes but there will certainly be plenty of tips and useful information.