Newcastle Nutcracker

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Scottish Ballet  The Nutcracker  Theatre Royal Newcastle 2 Feb 2018

I have seen three versions of The Nutcracker over the last few months: the Royal Ballet's at the Royal Opera House, the Birmingham Royal Ballet's at the Hippodrome and Scottish Ballet's at the Theatre Royal Newcastle.  I just can't decide which I like best because each version has its own strengths. Scottish Ballet's are Peter Darrell's libretto and choreography, Lez Brotherston's designs and, of course, the company's brilliant dancers. 

In Darrell's version, Clara remains a little girl. She does not morph into Sugar Plum.  She gets rid of the vermin who stray into the second act by kissing rather than thumping them.  At the end of the ballet it is she and not Sugar Plum who invites the conductor onto the stage to take a bow.  I also like Scottish Ballet's divertissements.  The Chinese, for example, are not treated as acrobatic clowns despire the musical prompting.  They have a short but sweet dance for two female dancers.  The Arabian dance is a charming solo for one femalle. There is an English dance with a hornpipe that brought to mind  Balanchine's Union Jack and, to a lesser extent, Cranko's Pineapple Poll.

Brotherston's sets and costumes are magnificent. It cannot be easy to create a set for touring. The opening scene looked like a Christmas card.   It gave way to the Stahlbaums' Christmas party in a solid looking living room but the scene that impressed me most was the kingdom of the sweets with its hundreds of Christmas tree baubles.  As for the costumes I particularly liked the female mice.  Without a doubt Brotherston's vermin are the best in the business.  Nobody has better mouse heads.

Sugar Plum was danced by Bethany Kingsley-Garner. I became one of her fans when I saw her in Cinderella in 2015 (see Scottish Ballet's Cinderella 20 Dec 2015). I was impressed by her performance in Dawson's Swan Lake a few months later (see Empire Blance: Dawson's Swan Lake 4 June 2016). She delighted me yet again in The Nutcracker.  She was partnered well by Evan Loudon. Chrstopher Harrison was a splendid Drosselmeyer.  Marge Hendrick was a charming Snow Queen. As I have said before, it is the children who can make or break The Nutcracker and in this production the students definitely helped to make it.  Particularly Ailish Ogilvie who danced Clara and Charles O'Rourke her tiresome little brother.  Finally, it s always good to see Matthew Broadbent.   Tall and athletc he attracts attention. I was a fan when he was at Northern Ballet and even  more so now.

There were a few weaknesses. The orchestra sounded a little thin at times partcularly in the overture but that could have been the theatre's accoustics.  Newcastle's Theatre Royal is an archotectural gem and it is easy to reach by public transport but it is not the most comfortable venue. Scottish Ballet's Christmas show visits all the major venues in Scotland but rarely ventures into England and never south of Newcastle. That is a shame because audiences in the rest of the UK would love it.

Dawson's Swan Lake comes to Liverpool

An amazing week 4 @scottishballet with 2 on stage promotions 4 @BalletCoco and @bethanykgarner a fabulous ballet tradition @HampsonChris

— Hannah Bateman (@hannah14bateman) May 28, 2016

A typically generous tweet from one of my favourite dancers whose company has also been busy with its performances of 1984 at Sadler's Wells and Jane Eyre at Richmond.   The "fabulous ballet tradition" to which Hannah Bateman refers is probably the one referred to by Graham Watts:

Congrats to @HampsonChris & @scottishballet 4 renewing tradition of onstage promotions & to @BalletCoco & @bethanykgarner 4 their elevation

— Graham Watts (@GWDanceWriter) May 28, 2016

I am personally delighted by both promotions because Bethany Kingsley-Garner delighted me with her performance as Cinderella last December (see Scottish Ballet's Cinderella 20 Dec 2015) and Constance Devernay with hers in Hansel and Gretel.  I might add in passing that I hope Hampson's renewal of the tradition spreads to other companies because I can think of at least one female leading soloist whose elevation to "premier" (or principal) dancer I should like to see very much indeed.

Yesterday I tipped Scottish Ballet's Swan Lake in What's On Tonight 28 May 2016 even though I have not yet seen it. I felt safe in doing so for two reasons.  The first is that I have seen David Dawson's work before and trust him to do a good job (see my reviews of Empire Noire and 5 in Going Dutch 29 June 2015 and Ballet Bubbles 16 Feb 2016). The second is that I know and trust the company having followed them ever since they were in Bristol. I love them dearly and they have never disappointed me.  I can't say that of many other companies. Not even the Royal Ballet.

Dawson was commissioned to create a new Swan Lake and the synopsis suggests that is exactly what he has done. It is possible to be innovative without being gimicky and his story seems to be one that is believable and within human experience yet faithful to the classical tale.  However, it is not just Petipa that inspired Dawson. According to Scottish Ballet's website he also drew inspiration from Zbigniew Herbert's poem Study of the Object.

Does it work?  I shall find out on Friday when I see the ballet for myself at the Liverpool Empire. However, one Northern Irish ballet goer seems to think so:

Oh @scottishballet that is a thrill-ride #SwanLake if rest of it is that speed,I fear for us all @BalletCoco & @andrew_peasgood sensational

— Friends Ballet NI (@FriendsBalletNI) May 28, 2016

And the conclusion was:

Definitely room in life for 2 Swan Lakes,traditional with beautiful corps & evil villain & scintillating thrill-ride that's @doublediamond1

— Friends Ballet NI (@FriendsBalletNI) May 28, 2016

I have never met Friends Ballet NI and do not even know the author's gender but I know from his or her tweets that he or she is very knowledgeable and perceptive about ballet.  I remember tweeting to Friends Ballet NI from Leeds station last March about another company's Swan Lake which I did not like nearly as much as he or she seems to like Scottish Ballet's. If Friends Ballet NI who has had to take a flight or cross the sea to see it enjoyed last night's show, I don't think anybody who took my tip yesterday will be sharpening a claymore out for my blood for wasting his or her evening.

Changing the subject radically I do hope to see Matthew Broadbent on Friday. He used to be with Northern Ballet and he is greatly missed.  Not only is he a fine dancer as you will see from my review of Cinderella he is also something of a novelist. Check out The Boy from Colombo and The Girl from Bletchley Park (Dr Shaw Murder Mystery).

Scottish Ballet's Cinderella

@jelterps @scottishballet Enjoy the performance!

— Christopher Hampson (@HampsonChris) December 19, 2015

You bet I will. Merry Christmas to all at @scottishballet especially to Matthew Broadbent who is greatly missed. https://t.co/VCvjNVJYH0

— Terpsichore (@jelterps) December 19, 2015

Scottish Ballet, Cinderella,  Festival Theatre, Edinburgh 19 Dec 2015

While just about every other company in the United Kingdom is staging The Nutcracker this Christmas (see All those Nutcrackers 11 Dec 2015) Scottish Ballet presents Cinderella not as "a rags-to-riches story that offers a girl a way out of the ordinary" but as a study of grief and loneliness. But it is not only Cinderella who is lonely, as the choreographer, Christopnher Hampson, explains in his interview with Alan Morrison in the programme notes. So, too, is the prince and they each find a way out of their loneliness by finding each other.

Such a prince has to be very sensitive and Hampson chose Christopher Harrison to dance that role. Having previously seen Harrison as Romeo and Stanley in A Streetcar named Desire (Scottish Ballet's Timeless Romeo and Juliet 18 May 2014 and Scottish Ballet's Streetcar 2 April 2015) which are strong male roles. It was something of a revelation that he does sensitive but he can and he did it very well. His bride, Bethany Kingsley-Garner whom I had previously seen as Gretel and the the Sugar Plum (see Scottish Ballet's Hansel and Gretel 23 Dec 2013 and Like meeting an old friend after so many years 4 Jan 2015), was a more obvious fit. She was a delightful Cinderella -not too good to be true - she appreciated the attention from the dressmakers when they came to prepare her stepsisters and stepmother for the ball.

The other stars in Hampson's Cinderella are those step sisters and for those roles he chose the company's female principals, Eve Mutso and Sophie Martin. These are magnificent dancers.  I saw them both in Marc Brew's Exalt earlier this year (see No Mean City - Accessible Dance and Ballet 26 April 2015). Mutso has been nominated for the National  Dance Awards for her performance as Blanche in Streetcar. It must be difficult for such graceful creatures to clown on stage but how we laughed as they struggled through their dance lesson and dress and show fittings, their gauche encounters with the prince and his courtiers and their attempts to make the slipper fit.

Hampson structured the ballet very cleverly, Each Act was preceded with a prologue with the house lights up. The mourners at the funeral of Cinderella's mother started the ballet. Two flunkies dusted a chandelier before Act II. Matthew Broadbent, one of Leeds's favourites when he was at Northern Ballet, laboured at his last as the bossy royal shoemaker. For me it was such a delight to see him again. The transposition of the grasshopper (Jamiel Lawrence) for the scornful dancing master and moths and spiders for the shoe and dressmakers is another example of Hampson's ingenuity. They mirrored the real world with fantasy.

There was some novel choreography. The grasshopper's dives which startled Cinderella first time and then amused her at the next delighted me. So too were the back to back lifts in the final pas de deux between Cinderella and her prince which were surprisingly graceful. There was Martin's can-can as she tried to interest the prince and Mutso's duet with the courtier struggling to retain his dignity with this she monster.

The sets and costumes for this performance were stunning. They were designed by Tracy Grant Lord who had originally created them for the Royal New Zealand Ballet's production of Hampson's Cinderella in 2007. The were among the best that we have seen since the days of Diaghilev. The designs are almost an integral part of the libretto. For instance, the rose tree that Cinderella plants by her mother's grave with its leaves that become a face and are almost a continuing presence of her mother.

There is so much to like about this production. Even the programmes are to be treasured for their fine paper, rich colours, striking designs and high quality printing. The Festival Theatre is a delightful venue with a restaurant that serves some of the best meals and snacks that I have ever savoured in Edinburgh. Despite the Forth Bridge closures the Edinburgh season is pretty close to fully booked but the show will shortly tour Glasgow, Aberdeen and Inverness though, sadly, not the rest of the country.  It was well worth a trek from Yorkshire. Knowing what I now know, I would travel from the Lizard or cross seas or even oceans to see it again.

I began this year with a review of Darrell's Nutcracker and it is fitting that the last ballet that I will see this year is Hampson's Cinderella. Scottish Ballet connects me with my days at St Andrews which were the happiest of my life. I try not to have favourite companies. I love English National Ballet, the Dutch National Ballet, Rambert, the Royal and Birmingham Royal Ballets, Ballet Black, Ballet Cymru, Northern Ballet, Phoenix and many others with a passion. But Scottish Ballet was my first love and you know what they say about the first love being the love that is never to be forgotten.

Hampson's Cinderella

The Forth Road Bridge

Author Euchiasmus

Source Wikipedia

Copyright released by the author

I had planned to see Scottish Ballet's Cinderella with a good friend from university who lives in Perth but I received an email from her yesterday calling off our outing because of the horrendous congestion on the roads and railways as a result of the temporary closure of the Forth Road Bridge. She and all the other motorists who have been inconvenienced by those emergency maintenance works may be amused by The Scottish Cinderella though I doubt that she would want her granddaughter to watch it just yet. Some of the language would make even the ratings at the Rosyth naval base blush.

Parents and grandparents in Scotland and indeed the rest of the United Kingdom may prefer to let their little ones watch this trailer or better still take them to see the show which opens at the Festival Theatre in Edinburgh tonight. It remains at that venue for the rest of this month and then goes on tour to Glasgow, Aberdeen and Inverness where I hope my friend will be able to catch it.

This is the ballet that Christopher Hampson created for the Royal New Zealand Ballet in 2007 to considerable critical acclaim. Hampson mentioned this ballet when he spoke at the State of the Art Panel Discussion: Narrative Dance in Ballet on 20 June 2015 (see My Thoughts on Saturday Afternoon's Panel Discussion at Northern Ballet 21 June 2015). He described it as a study of grief which is certainly consistent with the synopsis.

This has been a bumper year for Cinderella with productions from Ballet Cymru (Ballet Cymru's Conderella 15 June 2015) and the Dutch National Ballet (Wheeldon's Cinderella 13 July 2015) following on from David Nixon's last year (see Cinderella - even better 30 Nov 2014 and Northern Ballet's Cinderella - a Triumph 27 Dec 2013). I liked all those shows but I think my favourite up to now has been Ballet Cymru's. However, Scottish Ballet (or STB as it was called when I first knew it) was the first ballet company that I got to know and love and you know what they say about first love.

In my review of Northern Ballet's Cinderella in Sheffield I commended Matthew Broadbent who amused us all with his antics as a performing bear. Broadbent has now joined Scottish Ballet and it will be very good to see him again.

Returning to the Forth Road Bridge there used to be a permanent tailback across the Forth Road Bridge when they charged a toll - especially after decimalization when motorists had to fish around their pockets or handbags for a half penny as the half crown had ceased to be legal tender. I remember some medical students picked up a skeleton in Edinburgh and plonked it in the front passenger seat of a left hand drive car. They inserted the toll money in the skeleton's fingers and waited for the cashier to collect it. Feeling the bones she looked up and got the shock of her life. Her temper was not improved on being told by one of the students that the motorist had died waiting for his turn in the queue.