Bajadera where tech meets ballet

Photo Eakdgyth
Source Wikipedia
Creative Cinnibs Licence

Forget phone apps like Dutch National Ballet's Bounden (see Bounden - Something that appeals to my Interests in Technology and Dance 17 Dec 2013). Virtual reality ballet is old hat (see Pacific Northwest Ballet experiments with Virtual Reality 27 March 2017). To see the real potential of technology and ballet you need to visit Leeds or San Diego next Spring to see the world's first simultaneous performance of the same ballet from two venues 6,000 miles apart.

How can that be possible?

"Simple!" Smiles Bharatnatyam Bhatti, Chief Technical Officer, of Silicon Valley startup Pygmalion Pixels. "We project a lifelike image of a dancer onto the stage of a theatre here in Californa and the identical picture at the same time onto the stage of a theatre over there in Leeds, England."

Bhatti, originally from Hyderabad developed an interest in ballet while researching for his PhD on 3D imaging technology at Stanford.  "Did you know that there is actually a ballet set near my hometown" he added. "I think it is called La Bayadere, or something like that."

The technology involves taking multiple pictures of real, live, dancers and somehow running them through some special software which feeds apparatus that projects 3D images onto the stage.  The software allows a choreographer to get the images to do superhuman feats like 12-foot jumps or 128 fouettés.

Bhatti had heard that there were two premier dancers from Leeds in Southern California, Tobias Batley and Martha Leebolt, and invited them to take part in his project.  "Toby was really impressed when I showed hm a lifelike image of himself effortlessly doing any number of tours en l'air."

Toby and Martha told their former artistic director, David Nixon, about this technology and he came on board from the start. "David has created a whole new ballet based on that ballet I was telling you about but set somewhere here out west," said Bhatti. "I think he is calling it Bajadera which I've googled and turns out to be some sort of candy from Croatia but it sounds kinda Spanish like Baja California."

The story goes that Solly, a deputy sheriff, has just shot some desperadoes at a showdown in Tombstone. He loves Nikki,  a dancing girl in the Last Trump Saloon but the sheriff, Mr Gamzatti, has other ideas. His daughter is in love with Solly and has persuaded her father to make Solly an offer that he just can't refuse  - if you get my meaning. Adding to the complexity, the town's preacher has the hots for Nikki but she is just not interested in hm. Naturally, Nikki is not too happy about Solly's forthcoming marriage and attacks Miss Gamzatti with a knife. She says nothing at the time but vows to get her own back by planting a rattlesnake in a bouquet of flowers.

The wedding goes ahead in the Last Trump Saloon. The festivities begin with Donald, an orange coloured robot performing a jerky dance. Nikki is bitten by the snake. The preacher offers her serum that can save her life but she refuses it indicating that life without Solly just isn't worth living.  Just before Solly and Miss Gamzatti exchange vows the town is hit by an earthquake and the saloon is destroyed.

Solly chews on some magic mushroom and sees 246 computer generated images of Nikki descending a ramp doing tendus and arabesques.  There are solos by three of those images and finally Solly imagines himself dancing with Nikki again. In his narcotic induced stupor, Solly allows himself to be bitten by the rattlesnake that had been disturned by the earthquake and finds himself soaring into the afterlife looking for Nikki.

"So what do you think?" asked Bhatti. "Worlds fail me" I reply. "Toi, toi and chookas to everyone involved. Just let me know when it is all over."

Romeo and Juliet after the Shrew

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Northern Ballet Romeo and Juliet, Alhambra, Bradford 14 Oct 2016, 19:30

I have to be frank. It was the Bolshoi who sold me my ticket to Northern Ballet's Romeo and Juliet last night with their exquisite performance of The Taming of the Shrew at the Royal Opera House in the summer (see Bolshoi's Triumph - The Taming of the Shrew 4 Aug 2016). It was they who turned me into a Maillot fan (see Jean-Christophe Maillot 5 Aug 2016 and World Ballet Day: Les Ballets de Monte Carlo 10 Oct 2016).

Had it not been for the Bolshoi I think I would have used my precious ballet going weekend to see Ballet Black last night and then hop on a train to London to see the matinee performance La Fille mal gardee today. No disrespect to Northern Ballet which is a fine company but I had already seen its Romeo and Juliet twice last year (see Northern Ballet's Romeo and Juliet - different but in a good way 8 March 2015 and Leebolt's Juliet 13 March 2015). Fille is one of Ashton's masterpiece which is performed only by the Royal Ballet and Birmingham Royal Ballet and then not every year.

Now there is a lot of difference between the massive 240 year old company founded by Prince Ursov with all the resources of the Russian state and a mid-size 41 year old company in Leeds and I came to the Alhambra wondering whether I had done the right thing in letting Lise and Colas go for a year or so. I am glad to say that I think I did for Northern Ballet danced very well  last night. It was far better than either of the performances that I had seen in 2015 even though the cast was the same it was as the first time that I had seen the show.

Perhaps one of the reasons why yesterday's performance was so good is that they danced in the Alhambra before a Bradford crowd. From the theatre goer's point of view it is the best dance venue in Yorkshire and second only to the Lowry in the North. The Grand at Leeds is all very well but there are pillars and all sorts other obstructions to spoil the view, the bars are crowded and leg room in the cheaper seats is terrible. The Quarry at West Yorkshire Playhouse has none of those disadvantages but its capacity is limited to 750. I also find that a Bradford audience is generally more discriminating and appreciative. The Alhambra is on the circuit for world class touring companies like NDT II and Alvin Ailey. Also, they are that much closer to Manchester and thus more likely to see Birmingham Royal Ballet, English National Ballet and other visitors to the Lowry and Palace.

The title roles yesterday were danced by Tobias Batley and Dreda Blow. Blow fits naturally into Juliet's role. As I said in Northern Ballet's Romeo and Juliet - different but in a good way:

"She was a perfect Juliet. Playful and feisty. Loving but conflicted. Brave but fearful. Blow is elevated to my pantheon of favourites."

That was still my view of her last night. Batley has to work at Romeo.  We are used to seeing him as mature men such as Heathcliff, Marc Antony and Gatsby rather than as a callow, headstrong, teenage boy, but he did work at it and was quite convincing in the balcony and bedroom pas de deux. However, the most arresting scene was Lady Capulet's explosion of rage and that will be the image that I will retain from the show. Hannah Bateman was magnificent in that role. Also impressive was Mlindi Kulashi who portrayed Tybalt as a bit of a thug. Rather unusual perhaps but quite logical when you think about it. Antoinette Brooks-Daw won the crowd's affection as the loyal, long suffering, much put upon nurse. Abigail Prudames was an adorable Rosaline. At least three people including Romeo would still be alive had Romeo stuck with her. Joseph Taylor interpreted Friar Lawrence's role quite differently from Isaac Lee-Baker whom I had previously seen in that role. Maillot had invested some of the authority that in other productions is vested in the duke in the friar's role. Yesterday we saw Taylor as the guardian of the public interest crumble as the corpses piled up from his loss of control.

That brings me back to the reason why I was in the theatre. As I explained in  Northern Ballet's Romeo and Juliet - different but in a good way Maillot's production is quite unlike Lavrosky's, MacMillan's, Nureyev's or any other production of Romeo and Juliet and that is because he has rewritten the play. He did very much the same even more successfully with The Taming of the Shrew.  He is now working on an interpretation of Midsummer Night's Dream called Le Songe which, despite using Mendelssohn, appears to be as different from Ashton's Dream as his Shrew is from Cranko's and his Romeo and Juliet from MacMillan's. The glimpses of the rehearsal on his World Ballet Day slots were tantalizing. Maillot appreciates Shakespeare and understands him but that does not stop him from taking the occasional liberty with him - and getting away with it.

Tell Tale Steps 2

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Stanley and Audrey Burton Theatre, Northern Ballet, Tell Tale Steps 2, 16 June 2016


I really must congratulate the panel and choreographers on last night's Tell Tale Steps 2. As you can see from the above recording, the discussion was focused and instructive and each of the choreographers' offerings was original and interesting.  As readers can see what happened for themselves I shall not describe the content. Merely my thoughts on it.

The panel discussion was chaired well and all the panellists made a valuable contribution.  Though there were no opportunities for asking questions the panel did discuss the one topic I wanted to raise, namely the reinterpretation of existing ballets (see To Boldly Go - Northern Ballet's Sleeping Beauty Tale 16 July 2016). Geraldine Morris who danced with the Royal Ballet between 1963 and 1971 said that ballets evolve constantly and that there wasn't much left of Petipa or even Ivanov by the time she performed Swan Lake. I found that surprising because we all have our favourite bits which in my case are the cygnets, Legnani's 32 fouettés and the divertissements and, in particular, the Neapolitan dance but I defer to her vastly superior knowledge of the subject. Also, having looked up the history of the ballet I find that these were post Petipa. Mary Brennan gave a good example of a ballet that had changed (albeit in a different context) when she spoke about Mats Ek's Giselle the second Act of which is set in a psychiatric hospital (see Giselle - Mats Ek on YouTube).

Something new that I learned about Giselle from Dr Morris is that William Thomas Moncrieff staged a melodrama at the Theatre Royal Sadler's Wells entitled Giselle or The Phantom Night Dancers based on Gauthier's story withing weeks of the ballet's premiere in Paris. A rare example of drama taking its lead from the dance instead of the other way round.

The panel discussion was good in another way. In all the years I have been following Northern Ballet I have hardly exchanged more than 2 sentences with David Nixon. Last night I heard more of substance from him than in all the previous years put together. He spoke about his art and inspiration and, in particular, about his performance of Siegfried where Nixon portrayed the prince as a young man which was something of an innovation. I couldn't help reflecting that that is exactly what David Dawson had done in his Swan Lake for Scottish Ballet which I saw two weeks ago (see Empire Blanche: Dawson's Swan Lake 4 June 2016). I haven't liked everything that Nixon has created. I am not a big fan of his Swan Lake or his Beauty and The Beast but I really warmed to the man last night. Mary Brennan said that she would take his Midsummer Night's Dream together with Mat's Ek's Giselle to her desert island (see Realizing Another Dream 15 Sept 2013). While I am not sure I would go that far. Nixon's Midsummer Night's Dream is certainly one of my favourite works.

I enjoyed all the choreographers' works. They were asked expressly not to offer complete works for the purpose of the lab which is understandable but I do hope that they don't leave their creations in limbo for each of them deserves to be staged.  The most polished and most dramatic of the works was Charlotte Edmonds's which is hardly surprising as she is already a highly respected choreographer. There was drama too in Carlos Pons Guerra's Birds and some brilliant characterisation with the avian head movements. My favourite work was Morgann Runacre-Temple's "New Coat" with some brilliant miming.

Particularly pleasing was to see the work of two of Northern Ballet's most experienced dancers, Tobias Batley and Lucia Solari. This was the first time I had seen Batley's work and I hope it won't be the last. I especially liked his first solo based, I think, on Charles Trenet's Boum Boum but his Lady Godiva was good too.  Solari showed considerable promise too with her ballet based on the life of Lili Elbe, the first trans-woman to undergo a form of gender reassignment surgery. From my perspective this subject matter was a little too close to the bone for as I said when I reviewed Gwyn Emberton's Five Women Wearing the Same Dress in MurleyDance Triple Bill 2 Dec 2013 which also dealt with transsexuality, gender identity disorder is certainly not a bundle of laughs. Also, the condition is nothing like the depiction in The Danish Girl. Having said that there was some excellent choreography in which I think I detected more than a hint of influence from Demis Volpi's Little Monsters.

I was really impressed by the dancers' enthusiasm for the project. Some of the company's most experienced members, such as Martha Leebolt, Hironao Takahashi and Giuloano Cortadini, played leading roles in the various pieces and contributed greatly to  their success.  Last night was an altogether higher plane to last year's effort. Well done all round!

Charlotte Edmonds's Fuse danced by the Dutch National Ballet

Photo Michel Schnater

Copyright 2016 Dutch National Ballet

All rights reserved

Reproduction licensed by the company

One of the more interesting events of last year was Northern Ballet's Tell Tale Steps. That was a day at the Stanley and Audrey Theatre which began with company class, continued with a discussion on the future of narrative dance and finally a performance of the works of several of the choreographers. I attended part of the event and reviewed it in My Thoughts on Saturday Afternoon's Panel Discussion at Northern Ballet 21 June 2015. There is also a film of the day on the "About the Lab" page of Northern Ballet's website.

The company has just announced a similar event for this year called Tell Tale Steps 2 Narrative in Ballet. It will take place in the Stanley and Audrey Burton Theatre on 16 June at 18:00. The format for the event will be different from last year which is probably a good thing:

Tell Tale Steps 2

"First, hear a panel of leading arts professionals discuss the delights and difficulties of creating narrative in dance. Then share with five emerging choreographers the results of their research into how to create a narrative through dance. Following a three week residency at Northern Ballet, the choreographers demonstrate, with dancers from the company, how they have investigated the building blocks of dance narrative, creating characters, a sense of place and drama.
The five selected choreographers have been supported in their research by David Nixon OBE, Artistic Director of Northern Ballet and mentors from Dance, Theatre, Film and Literature.
The choreographers are Lucia Solari, First Soloist at Northern Ballet; Morgann Runacre-Temple, Freelance Choreographer and Choreographer in Residence at Ballet Ireland, National Ballet of Ireland; Tobias Batley, Premier Dancer at Northern Ballet; Charlotte Edmonds, Freelance Choreographer; and Carlos Pons Guerra, Choreographer and Artistic Director of Denada Dance."

Of course I know about Charlotte Edmonds and have seen the Dutch National Ballet's Junior Company perform her Fuse in Ballet Bubbles quite recently (see Fuse 22 Feb 2016 and Ballet Bubbles 16 Feb 2016) but this will be the first time I will have seen any work from Tobias Batley. I turned to The Choreographers page to learn more. There is plenty of info on his dancing but nothing on his choreography. I shall be interested to see what he will do. Lucia Solari is another Northern Ballet dancer whose work I look forward to seeing.

Tickets for the event cost £6 to £12 and can be booked on-line through the theatre's website.

Batley and Leebolt

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I have just received the following email from Mr Alex Wright, Development Officer: Friends, Patrons & Legacies of Northern Ballet:

"Dear Miss Lambert
Martha Leebolt and Tobias Batley
As valued supporters of Northern Ballet, we wanted you to be amongst the first to know that at the end of the season, Premier Dancers Martha Leebolt and Tobias Batley are to take a leave of absence from the Company to pursue new opportunities.
The pair, who have formed a dynamic dance partnership under the directorship of David Nixon OBE, will return as Resident Guest Artists to perform in Northern Ballet’s Wuthering Heights at the West Yorkshire Playhouse in September, and our tour of Romeo and Juliet from September to October.
Artistic Director David Nixon said: ‘Martha and Tobias have had an extraordinary journey with Northern Ballet from very young dancers in the corps, to the leading artists they are today. Through their hard work and commitment they have made a significant contribution to both my work and the Company as individuals and as a creative and inspirational partnership. There comes a time, especially when a dancer has been in the same place for a long time, that artists need to go out and discover new things which will enrich them and take them to new heights. Both Martha and Tobias are at this place in their lives and I respect their decision to broaden their life experience. This is not about saying goodbye forever and I am therefore pleased that they will both still be doing some performances with the Company next season. We all wish them the very best.’
We are delighted that there will be opportunities to see both Martha and Tobias perform with Northern Ballet throughout 2016, and I hope you will join me in wishing them well with their future endeavours.
Best wishes
Alex"

Mr Wright does not specify what those new opportunities are and I have been unable to find out despite scouring all the usual on-line publications and social media but whatever they are doing I should like to offer my congratulations to Mr. Batley and Ms. Leebolt and wish them both well for the future.

While on the subject of Northern Ballet I should also like to mention that Javier Torres will be the London Ballet Circle's guest on 23 May and choreographer Jonathan Watkins will be the Circle's guest on 6 June 2016 (see 70 Years of the London Ballet Circle 10 May 2016).

Für Andrea - more Information on 1984

I mentioned my Swiss friend Andrea who is into just about everything except ballet in 1984 on 28 Feb 2015. Last September she emailed me this link with the words: "This is one ballet I might actually want to see." I promised to look out for it and give her the dates as soon as they were announced which is what I din in February.

Now I can give her so much more information because Northern Ballet have recently posted the trailer to YouTube that you see above. They have also posted the story, photos, touring schedule and lots of other information about the ballet to their website. We now know that Tobias Batley and Martha Leebolt will dance Winston Smith and Julia and there will probably be at least one other cast. Also, meine liebe Andrea, Sie haben die Informationen. Wollen Sie diese Ballett sehen? Oder nicht?

I had some misgivings about whether Orwell would translate into dance but it is the same choreographer who made us laugh at Albert and the Lion in Sapphire. If anyone can pull this off it is Jonathan Watkins. So we await the first performance with bated breath. Where next for Watkins and Northern Ballet? Wigan Pier perhaps.

My Thoughts on Saturday Afternoon's Panel Discussion at Northern Ballet

Photo Marie-Lan Nguyen
Source Wikipedia

Before I left for Birmingham I listened to a panel discussion advertised as a State of the Art Panel Discussion: Narrative Dance in Ballet. It took place in the Stanley and Audrey Burton Theatre between 13:15 and 15:00 on 20 June. The panel was chaired by Mike Dixon and consisted of the critics Mary Brennan, Louise Levene and Graham Watts, Christopher Hampson, the artistic director of Scottish Ballet and dancers Tobias Batley and Dreda Blow.

Northern Ballet's artistic director, David Nixon, introduced the session by explaining that this discussion was part of the Tell Tale Steps programme the purpose of which was research. He described the work that had been carried out by Kenneth Tindall, Ludovic Ondiviela, Constant Vigier and Andrew McNicol as a "laboratory" and not a workshop. The crucial difference, he explained, is that a workshop is for creating things whereas a laboratory is where experiments take place.

It all sounded very exciting and I awaited inspiration and erudition with bated breath. Although it was a very interesting discussion that did not exactly happen.  I certainly didn't learn anything I did not already know or could not easily have looked up on Google. If that was the case for me it must have been even more true for Nixon and the other dance makers and dance artists who attended.

The problem was that the panel was too large and their experience was too diverse.  Each of the speakers spoke about his or her personal experience. The critics spoke about the criteria for judging a ballet. Hampson spoke about how he creates a ballet which is very personal. Batley spoke about his reading before works starts on a new ballet and produced his copy of The Great Gatsby bristling with post it notes. He gave an example of how he considered a sentence in the novel about his character's smile and tried to incorporate it into his performance. Blow spoke about the ballet that she had created for children.

To me the discussion was unfocussed.  Maybe because I am a lawyer I would have appreciated some definitions. The title of the discussion was "Narrative Dance in Ballet" but what exactly did the panellists mean by "narrative dance"? Something with a plot like Sleeping Beauty? But that would exclude an awful lot of ballets like Les Sylphides which has characters like sylphs and a poet and indeed tells a story but does not have a plot as such. On the other there are some ballets like Giselle where the plot is best forgotten. Others like The Nutcracker where the plot is tenuous at best. I was bursting to ask that question from very early in the discussion but I did not get my opportunity until the very end.  In fact, only Gita and I managed to get a word in edgeways.

There were topics that I really wish the panel could have developed. Brennan mentioned the work of Peter Darrell who was artistic director of Western Theatre Ballet when it moved to Glasgow. Another panellist mentioned all the versions of Cinderella that had been produced lately including Hampson's and wondered whether there was a trend. Yet another discussed how technology enabled dance makers to explore topics that could not have been addressed before. Anther opined that it was impossible to choreograph ballets to Beethoven. I could have contributed to all those discussions.

The topic I most wanted to discuss was Darrell. I was at St Andrews when Western Theatre Ballet moved to Glasgow and one of our professors was John Steer who later chaired the company. Scottish Theatre Ballet (as the company called itself after the move) was the first company that I got to know and love. That was because Darrell had ignited my love of ballet. I met him once and got to know some of his dancers better. I am still a Friend of Scottish Ballet and I greatly admire the work of Hampson, his successor. Some of the things that were said about Darrell, his work and legacy did not sound quite right,

Although the panel discussed Cinderella, nobody mentioned Darius James's version for Ballet Cymru which I saw last week and is the very best version of the story I have seen to date (see Ballet Cymru's Cinderella 15 June 2015). They spoke about Ashton's, Ratmansly's, "Christopher's" (I am not sure whether they were referring to Wheeldon or Hampson) but not the gem that has recently been touring the nation.

On the use of technology and whether it increases the dance maker's range I wanted to sound a note of caution.  The use of film to represent flashbacks was not new. I had seen MacMillan's Anastasia and modern choreographers should treat such technologies with circumspection.

As to whether Beethoven can be choreographed, nobody mentioned Ashton's magnificent Creatures of Prometheus to the Eroica symphony which marked the bicentenary of the composer's birth.

I had hoped to introduce myself to Hampson and Watts but the panellists were whisked away to the boardroom after the discussion.  Gita buttonholed Brennan for a while and she seemed to want to talk but even Brennan was eventually RKO'd from the profanum vulgus by a minder. I think that was a big mistake (huge) on the part of the organizers. The folk who gave up their Saturday afternoons to attend the seminars are the ones who keep the ballerinas in pointe shoes, whether as theatre goers, taxpayers, Friends of the company or in many cases all three and we have ideas, views and experiences to contribute that could be useful.

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