Nixon's Little Mermaid - Perhaps His Best Work Yet

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Northern Ballet The Little Mermaid 19:15 2 Dec 2017 Sheffield Lyceum

In 2017 in Retrospect 7 Jan 2018 I chose Northern Ballet as my company of the year because of its three, new, full-length ballets:

"These were Kenneth Tindall's Casanova which I had expected to be good and was not disappointed (see Casanova - "it has been a long time since I enjoyed a show by Northern Ballet as much as I enjoyed Casanova last night" 12 March 2017 and Casanova Second Time Round 7 May 2017). Daniel de Andrade's The Boy in the Striped Pyjamas which I did not expect to like at all but was moved deeply (see The Boy in the Striped Pyjamas - "an impressive work that was danced splendidly by Northern Ballet" 10 Sept 2017) and David Nixon's The Little Mermaid which I have yet to review but is, perhaps, his best work yet."

Here is my promised review.

There are many reasons why I liked The Little Mermaid. First, the libretto which follows Hans Christian Anderson's story closely. Secondly, the score. I applaud Nixon's commissioning Sally Beamish who had also composed the music for David Bintley's work, The Tempest (see The Tempest 9 Oct 2016). Thirdly, his casting which provided an opportunity for Abigail Prudames and Joseph Taylor to shine in leading roles.  Lastly, but by no means least, I admired Kimie Nakano's sets and costumes very much, particularly the underwater scenes in the first act.

The quality of this ballet that impressed me most was the detailed study of the mermaid's psyche,  She exchanged a carefree life below the waves with friends and family for an excruciating and lonely existence on land.  She gave up all that she had for the love of a human.  She did that not once but twice.  She had an opportunity to sink a knife into the prince who had spurned her and thereby return to the sea as a mermaid.  An opportunity that some women would have seized willingly even without the reward of personal transformation. Instead. she chose a path that she thought would lead to self-annihilation.

Much was demanded of the dancer who was to perform that role.  It had to be one of the company's younger members for the mermaid, like Shakespeare's Juliet, was on the cusp of adulthood. Also like Juliet she had to project a range of emotions, some conflicting as she grew up almost overnight,  Prudames was impressive in that role. Earlier in the year I had seen her in the preview (see First Impressions of the Little Mermaid 27 July 2017).  I noted then:

"I also liked some of the extracts, particularly the solo when the mermaid. danced by Abigail Prudames, discovers her new legs. Stranded on the shore she experiences pain for the first time. Prudames communicated that sensation chillingly. Much as Edvard Munch does in The Scream."

Three months on and after several weeks of  performances on tour she was even more impressive.

Though less is demanded of the male lead emotionally, the audience has to understand why the mermaid was prepared to sacrifice so much for him.  He has to be magnetically attractive, dashing and handsome. Taylor showed all of those qualties and more. Brave in the storm and compassionate on finding a beautiful, solitary. voiceless young woman on the shore,  Though captivated by her dancing he remained faithful to his bride.

The bride was danced by Dreda Blow, one of the company's leading soloists. A pretty role that she performed delightfully.

Other important roles were the lord of the sea (Matthew Topliss) who supplied the potion that transformed the mermaid into a human being as well as the knife by which she would have changed back, the mermaid's sisters, Ayami Miyata and Rachael Gillespie, two of my favourite artists who are always a pleasure to watch and the mermaid's affectionate and faithful friend, the seahorse, Kevin Poeung, another dancer whom I like a lot.  The corps had important tasks in the ballet, as sea creatures (or, in some cases, as bearers of such creatures), as sailors, fishermen and villagers. Altogether it was a very polished performance.

I had enjoyed the extracts from Beamish's score in the preview.  Having heard the whole work I liked it even more than her music for The Tempest.  I particularly liked the Celtic allusions that Beamish inserted subtly much in the way that Løvenskiold had done in his score for La Sylphide. There were Scottish or Irish echoes in the men's kilts (plain material without tartans) and in the human characters' names: Adair, Dana and Brina.

This production will visit the Festival Theatre in Edinburgh between the 22 and 24 March 2018. I shall be interested to know what a Scottish audience makes of the kilts and Beamish's score. It will then move on to Milton Keynes (close to two of the company's most devoted fans) in April and round of its tour at Leicester in May. No new full length works this year but with tried and tested favourites like Cathy Marston's Jane Eyre and The Nutcracker the company can expect another good year.

First Impressions of The Little Mermaid

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Northern Ballet  Beneath the Surface  26 July 2017 18:00 Stanley & Audrey Burton Theatre

I attended David Nixon's presentation of extracts from his new ballet, The Little Mermaid, which, ironically, Northern Ballet will premiere at one of the most southern venues in the United Kingdom on 21 Sept 2017. From the little bits on show last night, it looks quite promising.  The presentation was recorded and is available on Northern Ballet's YouTube channel which I have embedded above so you can make up your own minds about the show.

What I enjoyed particularly last night was the music which is by Sally Beamish. As Nixon said. she wrote the score for David Bintley's The Tempest which I described as "enchanting" in my review of the 8 Oct 2016, I also liked some of the extracts, particularly the solo when the mermaid. danced by Abigail Prudames, discovers her new legs. Stranded on the shore she experiences pain for the first time. Prudames communicated that sensation chillingly. Much as Edvard Munch does in The Scream.

Yesterday's presentation was very different from Casanova Unmasked in Feb when Kenneth Tindall appeared with Nixon and his dramaturge, John Kelly., with Kerry Muzzey listening in from Los Angeles. Except for the dancers and the Q & A at the end, it was very much a one man show. I guess that is because Nixon is his own librettist as well as his own costume designer.

Hans Christian Andersen's stories have inspired at least two other works this year: Sir Matthew Bourne's Red Shoes which has recently finished its UK tour and Paul Chantry's Sandman for his own company which will launch in September.  I know of at least one other version of The Little Mermaid, namely Christopher Moore's for Ballet Theatre UK which I reviewed in Pure Delight - BTUK's Little Mermaid in Southport 27 April 2014. This is not a happy story but then not all ballets are. La Bayadère is not exactly a bundle of laughs and nor is Giselle, Romeo and Juliet or Swan Lake.

I was intrigued by at least one aspect of the scenario which Nixon did mention in his speech and I was surprised that nobody asked it in the Q & A.  I did get the chance to put it to Nixon at the reception which followed the presentation. The questions that were asked were not all that probing. Patsy-patsy stuff about whether dancers really do feel pain - try one of the Academy's adult ballet classes, madam, then you'll know. Another question seemed to be about the health and safety issues of doing Macmillan and some other choreographer.  Nixon responded by discussing the artistic challenges in shifting from one choreographer to another which was much more interesting, The questioner intervened to say that he had answered the question that she had intended to ask. "I know you so well," he replied kindly.

The Little Mermaid will snake its way round the country between opening night and Leicester on 8 May 2018. No plans to open in London or Manchester (or even Salford) and it will not hit Yorkshire until the 26 Nov when it will open in Sheffield followed by a stint in Leeds.

Calling all Northerners and Fans of Northern Ballet

Civil Service Club, Venue for London Ballet Circle Meetings

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David Nixon, one of the Vice Presidents of the London Ballet Circle and Artistic Director of Northern Ballet will be interviewed by Esme Chandler on the first floor of the Civil Service Club at 13-15 Great Scotland Yard, London SW1A 2HJ from 19:30 on Monday, 28 Nov 2016, The event is open to the public for a fee of £5 for members of the Circle and £8 for everybody else.

In case anyone from the North of England wants to attend that event, the venue is easy to reach by tube from King's Cross, St Pancras and Euston Stations and the Victoria coach station.  Embankment, which is served by the District Line and Charing Cross are not far away.  Great Scotland Yard leads off from Northumberland Avenue which runs from Trafalgar Square to the river. Look out for the green and white flags of the Nigerian embassy which abuts Northumberland Avenue as the venue is right next door.  If you are driving from the North a good place to park is Luton Parkway. The station multi-storey is very cheap even by Northern standards and you can make the rest of your way into town by Thameslink. You can change to the District line at Blackfriars.

Those coming to the London Ballet Circle can order meals and drinks before and after the talk. Again, at Northern prices. I can particularly recommend the fish and chips and the roast dinner. If you want to combine Nixon's talk with a spot of Christmas shopping, Harrods and Harvey Nicks are within walking distance and Fortnums is even closer. There is, of course, also the whole of the West End to entertain you if you want to stay for any length of time.

Of course, you will have come mainly to hear about Northern Ballet. The season began with revivals of Nixon's Wuthering Heights (see Janet McNulty's review Northern Ballet's "Wuthering Heights" at the West Yorkshire Playhouse 9 Sept 2016 and my Northern Ballet's "Wuthering Heights" at the West Yorkshire Playhouse - about as good as it can get 10 Sept 2016) and Jean-Christophe Maillot's Romeo and Juliet (see Romeo and Juliet after the Shrew 15 Oct 2016) and will continue with Nixon's Beauty and the Beast which I reviewed in my law blog IP Yorkshire (see Ballet and Intellectual Property - my Excuse for reviewing "Beauty and the Beast" 31 Dec 2011 IP Yorks).

Happily, some new work is promised for the new year.  There is, of course. Kenneth Tindall's first full-length ballet Casanova as I mentioned on 24 May 2016. I will try to get an interview with Kenny before the premiere on 11 March. There will also be Daniel de Andrade's The Boy in The Striped Pyjamas that opens in Doncaster in May and will tour the rest of the country before finding its way back to Yorkshire and Nixon's own Little Mermaid  which opens in Southampton in September and trundles into Sheffield in November and Leeds in December.

There should be a lot to discuss with our company's artistic director. We don't get a chance to talk to him very often. It will be worth making the long trek south just this once.

Let it snow - Ballet Theatre UK's Autumn and Winter Tour

One of my favourite ballet companies is Ballet Theatre UK, They have some lovely young dancers: David Brewer, Ines Ferreira and Sarah Mortimer to name just three. They work incredibly hard travelling sometimes hundreds of miles for one or at the most two performances and then back on the road again. Look at their tour dates for their Autumn and Winter tour: Coventry on the 23 Oct (the company's website says the 25 by the way), Wimborne on the 24 and Bognor on the 25. And yet when they come on stage they seem fresh and full of energy.

By touring the small towns and suburbs of the UK they are bringing ballet to an audience that would never otherwise see it. Yes I know that the Birmingham Royal Ballet splits into two and tours some of the smaller venues of Northern and Southern England (see Vaut le Voyage - Birmingham Royal Ballet in Shrewsbury 28 May 2015 and Birmingham Royal Ballet in High Wycombe 31 May 2015) and that Northern Ballet has just completed a tour of smaller theatres with Madame Butterfly (see Nixon's Masterpiece 22 May 2015) but these talented and incredibly resilient young men and women do that sort of thing all the time. Through their work they are removing some of the elitism and snobbery of ballet for which I for one am extremely grateful. To appreciate why that's important, read For Emma 28 April 2014 an article that I wrote after their visit to Southport.

In order to draw an audience the company's artistic director Christopher Moore bases his ballets around well known stories. Ballet Theatre UK performed The Little Mermaid in Spring 2014 (see Pure Delight - BTUK's Little Mermaid in Southport 27 April 2014), Swan Lake (albeit with a radically different libretto to take account of the size and structure of the company which annoyed some people but not me) last Autumn and Winter (see The Bedouin of Ballet 12 Dec 2014) and Aladdin earlier this year (Ballet Theatre UK's Aladdin 5 April 2015). This time the company is reviving The Snow Queen which is based on Hans Christian Andersen's well known fairy tale.

I have no doubt that this show will draw in the crowds from Coventry to Yeovil and I shall see them on one of their transits from the North but I do have a plea to Mr Moore as a reviewer. Please - pretty please - type out a cast list for each of your venues and get the local Staples to run off as many copies as you've sold tickets. It'll only cost a few quid and it will pay dividends in audience (and critics') goodwill. It really will. Also the dancers will be acknowledged - and these fine young men and women deserve to be acknowledged. Up to now I have been relying on the mother of one of the dancers to give me the cast lists but she is a busy lady with her own dance classes (see There's more to Harpenden than Thameslink 17 May 2015). Alternatively, invest in an easel and pin up the names in the foyer as Matthew Bourne's New Adventures does.

Ballet Theatre UK also has a school which I shall discuss in a future post. One day I hope to meet Mr Moore and learn more about his vision and ambition for the company. If you have not yet seen this company do go to one of their shows. I have not yet met anyone - including grizzlies like me who can remember Fonteyn and Fracci - who has not left the theatre in which they have performed on a high.

Emma, Frances .... and other Liverpudlians - Maybe this is for you

Liverpool Town Hall

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On 26 April 2014 I saw Ballet Theatre UK's production of The Little Mermaid at The Atkinson and loved it (see Pure Delight - BTUK's Little Mermaid in Southport 27 April 2014). Sitting next to me in the theatre was a young woman called Emma who had just started to appreciate ballet and expressed the wish to take up adult ballet but was not sure how to start. For her and everyone else in a similar position I wrote For Emma 28 April 2014.

A few weeks later I had a cup of tea with Frances who was in my over 55 ballet class in Leeds. Frances loved that class as do we all but she thought she would have to give up her ballet because she is going back to Liverpool.

And then there are others in that great metropolis by the Mersey including many of my instructing solicitors and patent attorneys of both genders whom I would just love to see in tights and leotards.

Well, ladies and gentlemen, maybe this is for you. KNT Danceworks whose complete beginners class I reviewed the other day (see "So Proud of Manchester - KNT Danceworks Complete Beginners Class" 29 Aug 2014) runs classes in Liverpool and according to twitter they are holding a free session at Liverpool Town Hall on 8 Sept 2014

Special one-off evening of dance classes in #Liverpool at @TownHallLpool Exciting! @CllrEricaKemp @RachelPlant5 pic.twitter.com/ydCjAjbNhJ
— KNT Danceworks LIV (@danceliverpool) August 17, 2014

If the Liverpool classes are anything like the Manchester ones they should be great and after the taster ..........

For Emma

Lord Street, Southport                                               Source Wikipedia

Sitting next to me in the Atkinson for Ballet Theatre UK's performance of The Little Mermaid on Saturday was a young lady called Emma. She was with several friends from work.

"Wasn't it lovely" she remarked as the applause died away.
"It certainly was" I agreed.
"Do you see a lot of ballet" she asked.
"Quite a few" I replied. "I keep a blog called Terpsichore" I added, writing down the URL on a scrap of paper.
"Oh I am only just getting into ballet,"
"Did you study dance as a child?" I asked,
"Not really" she said. "I would love to do it now but I suppose it is too late".
"It's never too late" said I. "According to the BBC there's a student in Scotland aged 102."
I told her about my classes at Leeds and Huddersfield and adult ballet in general,
"You're so lucky to live near Leeds" replied Emma but I know of nothing like that round here."
"There almost certainly are adult ballet classes in Southport" I countered "and there will certainly be one somewhere in Merseyside."
"Tell you what" I added "if you visit my blog I'll give you a few tips in an article just for you."

So, Emma, this article is for you.

First up, the main dance authority for the UK is the Royal Academy of Dance. Anybody can join as a friend for £19 and get all sorts of benefits and concessions. They have a searchable database of qualified teachers all over England and you can see who works in or near Southport. Another good source of information is North West Dance.    It is then worth googling "ADULT", "BALLET" and "SOUTHPORT" and cross-referencing any dance schools that come up on then search with the RAD teachers and North West Dance activities. When you have found some schools and teachers you like give them a bell or send then an email. See whether any of them will take an absolute beginner and then take it from there.

Second up, don't spend too much money at first. Nobody expects you to wear expensive shoes or dance wear at this stage. Most teachers will let you turn up to your first class in t-shirt and leggings and dance in bare feet. When you get a bit more settled you can invest in a leotard and soft toed shoes. You don't need to worry about pointes at this stage and it may be that you never do. I buy my shoes from Frederick Freeds in London. Would you believe that they still had a record of my size from when I first started dancing? You teacher will tell you all about how to break in a pair of shoes gently.

Next, I would see as much professional ballet on the stage as possible for it is amazing what you can learn from watching dancers.  Ballet Black, one of my very favourite companies, is coming to the Atkinson on  the 22 May. If there are any tickets left go grab yourself one. I will be there. I saw their show in  London in  February and it was outstanding. Birmingham Royal Ballet is coming to The Lowry in September with Beauty and the Beast. English National Ballet is bringing Swan Lake to Liverpool in November. Northern Ballet is coming to Manchester with Cinderella also in November.

If you want to discuss any aspect of ballet you should join BalletcoForum. You will there discover a remarkable lady who lives not too far away from you with an encyclopaedic knowledge and at least as great a passion for ballet as mine. And there are many others there who can guide and encourage you in your appreciation of ballet.  Finally, I am by no means the only blogger. My own favourite is Dave Tries Ballet. He started in his twenties and he is now dancing with stars of English National Ballet.  Follow his journey from his first class to where he is now in just a few short years. You might also learn some maths from him too.