Z Bo Jackson, in partnership with the Palace Theatre, Manchester, are proud to announce a gala night of dance – hosted by Kimberly Wyatt – to launch The Z Bo Jackson Company – the UK’s new dance fusion theatre company.
From free runners to hip hop, ballet to street dance, the Z Bo Jackson Company will combine a diverse mix of dance styles with compelling storytelling and magnetic physicality.
The mix of dance styles on display, combined with stunning visuals, means the company’s performances will appeal to dance fans and musical theatre-lovers alike, as well as today’s YouTube and Insta-audiences.
The company launches on Tuesday 10th September with a star-studded gala night of dance at the Palace Theatre, Manchester.
Hosted by the amazing Got to Dance judge and Pussycat Doll Kimberly Wyatt, with guest artists Flawless (Britain’s Got Talent and Street Dance 2), ballet star Brandon Lawrence (Principal Dancer with the Birmingham Royal Ballet) and West End star Chrissy Brooke (winner of ITV’s Dance Dance Dance.)
Singer, dancer and choreographer Kimberly Wyatt will perform alongside Flawless in one number, while BRB’s Brandon Lawrence will perform a solo choreographed by the award-winning George Williamson. Chrissy Brooke will perform with the Z Company ensemble.
Innovative and respected choreographer and director Bo Jackson has created the vision behind the thrilling new company and is excited to launch in Manchester at the Palace Theatre.
Opening Night spoke to Bo who said: “Manchester is the birthplace of the Industrial Revolution and as such the perfect international city in which to launch a new dawn in dance for the 21st Century. The gala will provide a taste of Z’s future ambitions and celebrate Manchester’s unique placement as a Northern Powerhouse in theatre and dance.”
Host of the gala, Kimberley Wyatt, said: “I’m very excited to be part of this unique evening of dance in Manchester to celebrate the launch of Z Bo Jackson Company. It will be a spectacular night of celebrating all things dance, with street dance superstars Flawless, principal dancer of the Birmingham Royal Ballet Brandon Lawrence and Dance, Dance, Dance Star Chrissy Brooke. Prepare to be amazed!”
Get ready for an explosive night of entertainment at Manchester’s Palace Theatre on Tuesday 10th September at 7.30pm. Tickets from £13 are available here.
It’s a little past 9PM and I’m sat watching a modern-day masterpiece, to many the greatest love story ever told… that’s right Love Island is on ITV 2! I jest of course; I am referring to Matthew Bourne’s Romeo and Juliet.
There have been many productions of William Shakespeare’s most famous play, but few will match the innovative, bold and daring narrative choices Bourne has made in creating his latest ballet.
This is very much a Romeo and Juliet for 2019 with the action taking place in the Verona institute: an asylum packed full of young men and women, made to live separately by a team of guards who have no qualms abusing their power or those in their care.
Head guard Tybalt, (Dan Wright) has his sights fixed on young inmate Juliet (Cordelia Braithwaite) however she only has eyes for the Verona Institute’s latest arrival Romeo (Paris Fitzpatrick), a young man sent away by his politically ambitious parents. Romeo and Juliet, as we all know, fall in love but at a fatal cost to them both. This is of course a story most of us are as familiar with as we are our own faces, however this production subverts the narrative keeping it fresh, exciting and engaging.
Braithwaite and Fitzpatrick are outstanding as the titular leads: a mixture of grace, vulnerability and passion, fully exemplified by the pair’s penultimate dance. However all cast, including the six local dancers (local dancers will join the tour at local venues) are outstanding and fully deserve the plaudits that will undoubtedly come their way. What strikes you about any Matthew Bourne production is that every person on that stage is a fully fleshed out character and each character shines through. The masked ball sequence has been transformed into a mash up between a school disco and One Flew Over the Cuckoo’s Nest, and beautifully typifies the production’s narrative.
Bourne’s choreography marries perfectly with Sergei Prokofiev’s emotive and powerful score expertly conducted by Dan Jackson. In addition, the use of all white costumes and the white tiled interior gives the production a virginal and surgical quality, which is further intensified when colour is introduced into the narrative.
Bourne has done it again, taking a traditional story and giving it a contemporary twist with references to current politics and a reliance on institutionalising people rather than treating them. However more than any of that, this is a production celebrating youth: a ballet starring young people, for young people, an absolute must-see!
Matthew Bourne’s Romeo and Juliet is on at the Lowry till 15th June. Tickets available here.
Shakespeare’s much-loved tale of star cross’d lovers has inspired the creative community for generations. The tragic and passionate story set against the conflict of two divided families has spawned countless plays, musicals, operas and songs. Now it’s the turn of world-renowned, award-winning choreography Matthew Bourne to interpret this timeless classic in an all new contemporary reimagining of the familiar tale.
We spoke to Matthew Bourne who revealed that Romeo and Juliet was actually inspired by who he would work with rather than just the story. He explained: “I avoided doing it for years as I think it was something everyone expected me to do and it had been done in so many different ways in so many different mediums. I thought it would be hard to find a new way into it which is something I always search for.”
“The thing that really made me want to do it was the opportunity to work with young people. It is a story about them and young love. I got even more excited when it was suggested we cast it with young people and work with young creative associates in all the different departments of the show alongside my usual world-class team. It is all about nurturing them and telling the story.”
Romeo and Juliet’s plot also lends itself to choreography because of its themes. Matthew said: “Dance is very good at extreme emotions, and Romeo and Juliet as a story is certainly full of those. It has passion, love against the odds, and several extremes of murder and violence. It is all those big emotions. Shakespeare captured it very well. Young people are very hot headed and react very quickly to things.”
“One thing I have tried to bring out is that when young people first fall in love and feel that passion, they really go overboard in many ways. I often think about how classical ballet handles this and how the young girl gets very excited by a kiss on the cheek. Young people today, if they are into each other, are kissing until their mouths are sore. I have tried to capture that intensity.”
“It is also set a little way into the future, but it is not futuristic. It is a time when society is frowning on young people having an excess of feeling and emotion which sends them off on the wrong tracks as far as society is concerned. I got the idea from Arthur Laurents, the co-creator of West Side Story, who was asked why the young people in it are violent and act the way they do? He said they have too much feeling and they need to find a way to release it. I thought that was an interesting way into the story and very true. It made me go in the direction I went in.”
One of this country’s best-known directors and choreographers, Matthew has been creating dance for over 30 years for musicals, theatres and film as well as his own New Adventures company which boasts a list of hugely successful productions including the iconic Swan Lake, Edward Scissorhands, Red Shoes and Play Without Words.
For Romeo and Juliet, Matthew has once again gathered his trusted creative team around him including associate artistic director Etta Murfitt, set and costume designer Lez Brotherston and lighting designer Paule Constable to add their skill, knowledge and talent to the production to both cushion and push him as he brings his interpretation of the Bard’s work to life. Matthew said: “They know me well enough to question me on what we are doing, whether it works, and they will suggest things too. Sometimes a new creative team are a bit nervous about coming forward with their suggestions when they are working with someone like me who has been in the business for a long time. It is nice to work with a team who don’t have a problem with that.”
Also, part of the team is the composer Terry Davies, another long-term collaborator of Matthew’s who had the job of adapting Prokofiev’s music for this production. He said: “While it is wonderful and big and lush for big opera-house productions and suits that style of production, I wanted something a bit more earthy and a bit more quirky. We nervously went to the Prokofiev Estate and asked them if we could do a new arrangement. It would be very faithful to it and it is only 15 musicians who multi-task and play lots of different instruments. It is quite rare for us to take an orchestra out on tour with us. It is sounding wonderful and I hope the Prokofiev Estate are happy. It is a very recognisable score and that is really the script that we work with.”
But that ability to feature and engage with young people is as key to this production as the Montagues and the Capulets. At each venue, six fast-emerging dancers (three male and three female) have been chosen to perform on stage alongside the professional company. After a series of auditions around the country, this highly-talented half-dozen gets the opportunity to be part of a world premiere tour surrounded by the professional company. “They are an integral part of the show. They are not token appearances. They’re part of the main company,” he said.
In addition, a team of young associates have been appointed to work within each creative arm of the project including lighting, sound, orchestration and costume. It is happening with the choreography too, with Matthew being joined by Arielle Smith. “She is wonderful. Not only is she a great up and coming talent but I get on with her very well. We have a laugh. With such an enormous age difference between us of around 30 years, she is like a mate and she is incredibly mature for her years in terms of the way she has handled the whole process and there is a lot of her and her work in it. She is not standing by my side watching me work. She is taking rehearsals, creating movement for the show and she has been great. I hear from the other creatives that they are enjoying working with their associates as well. We have all been getting together and thriving with this opportunity,” he said.
It is a similar model to the Lord of the Flies tour where Matthew and his team gave the opportunity for young men who were interested in dance to be part of the professional production alongside his New Adventures company of professional performers which has generated its own success stories. Three of the young Lord of the Flies were cast for Romeo and Juliet, while others are part of his Swan Lake 2019 company. “They have gone through several programmes that we have to nurture young British-trained dancers. We are very proud of those young guys and we hope that this time we will bring some women into the fray that we have nurtured so there will be even more people who started in Lord of the Flies or Romeo and Juliet that will hopefully come back into the company,” said Matthew.
And with four major productions this year plus a Special Award at the Olivier’s for services to dance, 2019 is proving to be quite a year for Matthew. He recalled: “It has been amazing. Swan Lake coming back is always a thrill because it does introduce so many more people to dance and to our company. It always has an incredible effect on audiences around the country and our casts are so devoted to it.”
“In the middle of all that, getting the Olivier Special Award right in the middle of creating a new show was rather good because the award can feel a bit like it is the end of your career and people are saying ‘Thank you, Please Stop.’ It felt great to be in the middle of a new creation like Romeo and Juliet. It was about the past and about the future at the same time.”
And he is feeling very positive about his Shakespeare-inspired production. He admitted: “What started out as being quite a scary project involving so much untested talent and young people that I didn’t know very well has ended up being rather an exciting new show.”
For Matthew and all the team connected with it, the passion and excitement are every bit as strong as the passion that binds the two young characters at the heart of these exciting and explosive performances.
Matthew Bourne’s Romeo and Juliet will be at The Lowry from Tuesday 11 – Saturday 15 June tickets available here.
First performed in Liverpool in 2017 to mark the city’s Sgt. Pepper at 50 Festival, Mark Morris’ unique tribute to the iconic album is a joyful explosion of music and movement painted with the most vibrant of colour pallets.
Referencing several of Sgt. Peppers most memorable songs as well as the exuberant Penny Lane, Pepperland is an uplifting celebration with its airy choreography & clever interpretations.
Ethan Iverson’s bold score reimagines each of the much-loved songs; the rich sounds of the piano are accompanied by the electronica of the theremin which marries beautifully with Morris’ playful choreography.
Elizabeth Kutzman’s swinging sixties inspired costumes offer a rainbow of Carnaby St inspired colour while the 17 dancers navigate their way through joyous jives to dreamy hippy vibes. The mood is playful, fun and free.
While there are some pieces which are fairly abstract it’s those with live vocals from Clinton Curtis which really engage the audience. The wit of Morris’ choreography during When I’m 64 clearly an audience favourite as the dancers interpret the out of kilter music with comedic consequence.
Morris’ decision to have his dancers stand and sing along to A Day in the Life is particularly striking with just the right amount of nostalgia.
At just over an hour long Pepperland is the perfect show to bring Sgt. Pepper to vibrant life for modern dance audiences. The fluidity of the choreography a fine example of the quality of Mark Morris’s innovative work while the precision of his dancers will inspire and enthral.
On at the Lowry until Saturday 30th March tickets available here.
Hijinx Theatre and Teatro la Ribalta’s international collaboration Into the Light directed by Frantic Assembly’s Scott Graham and Krista Vuori, is a joyful, physical & visual exploration of performance & what it means to be seen, heard and importantly understood.
In an age where we strive for validation from those who observe us via clicks and likes the importance of physical human connection can never be underestimated. Into The Light brings together a group of individual performers some with and some without a learning disability and fuses their energies into a collaborative and visually dynamic piece.
Performers are thrust into the limelight, relishing the feeling of centre stage adoration, one moment stealing the spotlight from one another then the next insecurities threaten as they are pulled back into the darkness.
Being in the ‘light’ represents interaction, connection and validation. The spotlight offers an opportunity for freedom of expression in this inventive and delicately crafted piece of theatre.
There is very little spoken word from the actors on stage instead interview style recordings are played out during the performances detailing individuals hopes, dreams, fears, how performing makes them feel and their thoughts on how they are perceived when they’re both on and off the stage. This audio adds depth and personality to the piece as each individual voice rings out through the theatre.
The storytelling is done so cleverly through movement with each performer clearly finely tuned in their art, at times they toy with the audience, the slightest of movements decides what we see and what we don’t see.
Andy Purves’ atmospheric lighting is excellent and could almost be classed as a member of the cast while Ian Barnard’s music adds to the pace and flow of the piece with some perfectly chosen tracks ranging from The Mamas And The Papas, Dream A Little Dream Of Me to The Beastie Boys, Sabotage.
The inclusivity of this piece is refreshing to see, each actor with a learning disability plays a genuine and meaningful part in the production and is rightfully treated as an equal to every other member of the company. Each performance is thoughtfully considered and beautifully delivered.
Hijinx Theatre and Teatro la Ribalta’s succeed wonderfully in delivering dynamic and innovative theatre. The partnering with Frantic Assembly ensures there is humour as well as intensity in this lovingly crafted piece. Bold and inspiring theatre.
Based on the 1978 film starring John Travolta in THAT white 3 piece suit, Saturday Night Fever strutted into Manchester last night for a week’s stay at the city’s Palace Theatre.
Set in the backstreets of Brooklyn, Saturday Night Fever is a coming of age story combined with a jukebox musical of the Bee Gee’s greatest hits.
Tony Manero (Richard Winsor) lives for his Saturday nights at the local discotheque; the perfect escape from his dull job and not so harmonious home life with his abusive father and downtrodden mother. Dancing is the one thing that gives Tony purpose, credibility and a means of escape. When a dance competition is announced Tony must decide who to compete with, local girl Annette (Anna Campkin) or new girl on the scene Stephanie (Kate Parr).
While there have been several touring versions of Saturday Night Fever this is the first I’ve seen where the Bee Gee’s classics such as Stayin’ Alive, You Should Be Dancing, Jive Talkin’ and More Than A Woman are delivered on stage by a tribute group. Taking on the formidable challenge of becoming the Gibbs brothers are Edward Handoll, Alastair Hill and Matt Faull. The trio are note perfect in their delivery of the iconic soundtrack & could easily fool you into thinking it’s a real Bee Gee’s recording being played.
Experienced actor and dancer Richard Winsor struts his way around the stage as the infamous Tony, confident and cool he also manages to portray the angsty sensitive side of the determined dancer with ease. His skills as a dancer highlighted beautifully during his emotional solo during Immortality.
There is a huge amount of talent on stage; the strong ensemble cast deliver Bill Deamer’s high-energy choreography with at times jaw-dropping commitment. The music too is superb and the show certainly looks the part as Gary McCann’s industrial set of moving stairs and walkways add authenticity to the piece while the colourful 70’s costumes take us right back to the period. The show however feels at times like something is missing, while the production touches on some real issues including suicide and drugs they aren’t ever developed or explored in any real way, we never really get to know anyone well enough to emotionally connect or even really care much about their journey which seems like a missed opportunity which could have taken this show to the next level.
That said Saturday Night fever knows its audience and delivers spectacular dance routines complete with multi-coloured dancefloor and spinning disco balls with perfection. If you’re looking for some seriously sizzling dance routines and stunning vocal arrangements then you won’t be disappointed.
Catch Saturday Night Fever at Manchester’s Palace Theatre until Saturday 26th January tickets available here.
Some shows are so iconic that a single image immediately identifies them, and 23 years after the all-male swans first leapt onto the stage in a flurry of feathers, Matthew Bourne’s Swan Lake has certainly earned this status
Taking the classic score by Tchaikovsky, and reimagining it with a male central pairing and corps, Bourne – who directs as well as choreographs – shook up the traditional concept of classical ballet with this piece when it premiered in 1995.
He admits that not everyone in the dance world welcomed the bold move but it was worth every ruffled feather!
Now updated for 2018, the production has lost non of its impact, and indeed looks and feels as fresh as ever.
The production opens on the bedroom of a restless prince (Dominic North, whose youthful appearance belies his experience in this role). The forced perspective of Lez Brotherston’s Palace set trapping the young royal figuratively and literally – tight bed covers restricting him just as his royal role does.
The society scenes that follow are a witty joy – we even have a royal corgi – with lots of little winks and nods for the audience. There’s so much to see, this is definitely a show that would lend itself to repeat viewings to take everything in.
We follow the Prince and his mother the Queen – an arch Katrina Lyndon giving off perfect ‘Princess Margaret in The Crown’ vibes – going about their royal business.
Trying to conform, the Prince hooks up with party girl Carrie Willis (a real scene stealer of a performance) and they go on a date to the theatre – there is some ‘classical’ ballet in the show – of sorts!
Things don’t go well and the Prince finds himself in a deserted moonlit city park – when the swans arrive, lead by Will Bozier (authoritative and reminiscent of the great Adam Cooper)
What follows is some seriously strong dancing in all senses of the word, which culminates in the mesmerising pairing of North and Bozier. Seeing the Prince shake off his doubts and realise at that moment he is free to be himself is a genuinely joyous and touching moment.
The male company dancers as swans are menacing and magnetic – they even hiss – yet are incongruously vulnerable too. The physicality displayed is done justice by Bourne’s unique choreography – all stamps, jumps and bird-like angles.
Act II brings the sexually-charged Palace Ball scene, with Bozier doubling as the Stranger. Leather trousers replace’s Odette’s black tutu, but the edgy menace remains.
The scene gives the whole company a chance to shine – as things whirl towards the chilling conclusion of the ball, and the poignant final scene.
The Lowry audience were straight on their feet at the end, and indeed probably would have stayed there for a while longer if the curtain hadn’t been brought down. I’m not sure I can recall a warmer and more enthusiastic response to a dance show.
A very special evening watching a very special production. At The Lowry until Saturday December 1 – one not to be missed. Tickets available here.
This week sees the arrival of English National Ballet to the Opera House in Manchester with Kenneth MacMillan’s Manon, first performed in 1974 and rarely seen outside of London.
The ballet, set to a score by Jules Massenet and reworked by Martin Yates, is based on Prévost’s Manon Lescaut, and tells the tale of Manon (Alina Cojocaru) who when being traded by her brother Lescaut (Jeffrey Cirio) meets and runs away with idealistic young student Des Grieux (Joseph Caley).
Their romantic idyll is soon shattered when Manon’s head is turned by the furs and diamonds laid on by the sleazily menacing Monsieur GM (James Streeter) and she abandons Des Grieux for him.
They are later reunited, but they pay the price for their defiance and, somewhat inevitably, it all ends tragically in a swirling, confusing, Louisiana swamp.
Dangerous Liaisons indeed.
The powerful production is packed with extraordinary performances.
As the young lovers Cojocaru and Caley (both making their debuts in the roles) are irresistible. Their Act I playful and shy courtship pas de deux making way for a more physical pairing the following morning. And their hypnotic and heart-breaking final dance together deserved the cheers.
As the sinister Monsieur GM, Streeter rose above being a cut-out villain, his height, combined with costume, make up and beautifully controlled body language sent a real shiver down my spine. Not a man who would take being left lightly.
Crowd pleasers were Ciro’s infectious Lescaut – his drunk dancing clearly delighted the appreciative Opera House audience – and Katja Khaniukova as his mistress, displaying both passion and control.
Artists of the company play a variety of roles from courtesans and their customers to both extremes of society – powdered faces and rouged cheeks contrasting with dirty smudges and ragged clothes, coiffed wigs with tousled hair.
The female artists clearly had great fun in Act II in particular, inside a den of iniquity. Their romantic dresses belying their competitive nature when it came to landing a customer – behind the smiles they were all sly shoves and sharp elbows.
Mia Stensgaard’s stunning design coupled with Mikki Kunttu’s lighting brought modernity to the production. An abstract prow of a ship and an incongruous modern large scale period painting that set the scene in Act 1 brought an interesting twist to proceedings.
Indeed the scope and scale of the production is so vast that at times it seemed a little restricted on the Opera House stage – but with another literary heroine in residence down the road at the Palace, perhaps this couldn’t be helped and really is a minor reservation.
Manon truly is a stunning production that will delight and devastate in turn and again reinforces why ballet companies should be congratulated for stepping away from the more familiar tales, and enabling regional audiences to experience the rarer works.
From 10am on Tue 12 Jun, you can get a free child’s ticket (age 16 and under) to one of 40+ London theatre shows, including Aladdin, Bat Out Of Hell, Wicked, Brief Encounter, and Les Misérables, throughout August when you buy a full-priced adult ticket via the Kids Week website.
There are 172,000 tickets available in total (this includes adult and child tickets) through Kids Week and you can book until the offer ends on Fri 31 Aug – some shows have excluded days and the offer will end once all tickets are sold.
Last year, 104,839 tickets sold within the first 24 hours, so you’ll need to go quick if you’re after a particular performance!
There are no booking or postage fees, and you can save £11.50-£80 depending on the show and seats you choose. You can also get 50% off for up to two more children per adult, so what are you waiting for!
Head to Kids Week for further information and to check out the available shows!
Jane Eyre has been reimagined many times, Northern Ballet’s challenge is telling this familiar story without a single word of Charlotte Brontë’s famous text being uttered. A challenge acclaimed choreographer Cathy Marston undoubtedly rises to as the key details of Brontë’s masterpiece unfold in this dynamic and visually stunning production.
Marston focusses firmly on the female characters within the piece; Jane is indisputably the heroine of the production as Abigail Prudames encompasses the passion and determination of the trailblazer through the most exquisite and precise of performances. Tested to the point of self-betrayal before her belief in love and the fierceness of her own integrity saves her, Prudames tells a story with every slight movement she makes, delivering elegance, drama and emotional depth.
Rochester is brought to life by a brooding Mlindi Kulashe, the chemistry between Prudames and Kulashe is electric, full of passion and intensity. Kulashe capturing the complexity of Rochester’s bruised soul effortlessly, the duo glide from awkward to playful with ease before passion and intensity takes hold.
Adding further layers to the piece is Hannah Bateman’s Bertha Mason, often described as the ‘mad woman in the attic’ she is wild, highly-sexualised and unpredictable as she prowls across the stage barefoot, bathed in red.
The production feels fresh and inspired as the pace dances through Jane’s life from tragic childhood to complex adulthood, her search for fulfilment never wavering.
An ensemble of male dancers, known as the D-Men, symbolise Jane’s inner demons, creating a clear visual image of the orphan girls emotions and inner turmoil, a superb creative decision which visually portrays the constant tug-of-war between Jane’s intensely passionate feelings and her outer reserve.
Young Jane is portrayed to perfection by Ayami Miyata, agitation and frustration depicted in her defiant, energetic movements.
The adaptation does absolute justice to Brontë’s work, bringing the novel to effervescent life with incredible skill and creativity.
Phillip Feeney’s emotive score blends a mixture of both original and 19th-century music which compliments the contemporary feel of this piece superbly. Patrick Kinmonth’s set is sparse moving screens, muted in colour allowing the performers to really be at the centre of this piece, all lit to atmospheric perfection by Alastair West’s lighting design.
The fusing of the traditional and the contemporary ensures this is a performance packed with intensity as well as originality, a beautiful and expressive tribute to both Jane herself and author Charlotte Brontë.
On at the Lowry until Saturday 9th June tickets available here.
From the moment the curtain rises on Matthew Bourne’s Cinderella, you could be forgiven for thinking you were at the cinema and not at the ballet: for this is the level of detail that Bourne has pains-takingly crafted into this beautiful, dark fairy-tale that recrates the horror of a blitz battered Britain.
The Bother’s Grimm classic is given the Bourne treatment as we are transported to London, 1940: Cinderella, is still the down-trodden, skivvy to her wicked step-mother Sybil, and her loathsome step-children whilst also caring for her invalid war-hero father, Robert. However a chance meeting with Harry, an RAF pilot, whilst a welcome intervention from Cinderella’s guardian Angel, sees Cinderella off to the ball.
With all the perils that exists in war-time London: from rabid gangs, air-raids and not to mention you’re own step-family trying to murder you, will Harry and Cinderella share their happy ever after?
This was my first experience of the ballet and I absolutely loved it. Bourne has taken a tale we’re all enormously familiar with and made it his own: filled with a great deal of warmth, humour and a very real sense of urgency and peril, Cinderella is outstanding. Ashley Shaw is perfectly cast as Cinderella: we see her transform from shy, meek girl, to a beautiful strong woman, whilst she maintains a sense of resilience that runs through her performance from start to finish. One scene involving her dancing with both a mannequin and Harry as a mannequin dummy is full of humour and passion, and if any one scene were to encapsulate this show then this would be it.
Andrew Monaghan is solid as the handsome pilot Harry: fully committed in his love for Cinderella and the feeling of desperation of having lost her. Anjali Mehra is fantastic as Sybil, the evil step-mother: suitably wicked whilst strangely alluring, clad in black throughout she certainly has fun with the role. However for me, the production is anchored by Paris Fitzpatrick who is not only Cinderella’s ‘fairy Godmother’ but also an angel of death looming over proceedings: imagine the grim-reaper only with some splendid dance moves and better threads! You’re never quite sure from his appearance if it will signify pain or pleasure.
The show would certainly warrant a second viewing as there so much going on, perfectly exemplified during The Café de Paris section, a drunken dance towards the end of the scene. In addition, there are several blink and you’ll miss them comic interludes from the salvation army and a child being admonished by his mum.
This is almost more a love letter to cinema than a ballet, with Bourne paying homage to classic films of the 1940’s, however undoubtedly there is the influence of modern day directors like Tim Burton and Guillermo del Toro. This is fully apparent in the fabulous set and costume design by Lez Brotherston: so vivid and full of life: on one hand there is the cold great nightmare that is Cinderella’s life in stark contrast to the extravagance and lavish of the ball at the Café de Paris.
Despite its 1940’s setting this production has a very modern feel to it: with some strong female characters throughout from Cinderella herself, to fighting military women, there is also a same sex relationship between a soldier and step-brother which would have of course been illegal back then.
Cinderella has something for everyone: from ballet aficionados to ballet virgins like myself you cannot help but bowled over by the fantastic choreography and the rich engaging timeless story telling.
Matthew Bourne’s Cinderella is on at the Lowry until Saturday 17th March tickets available here.
The Thriller Live tour has moonwalked into Manchester, as it brought it’s all singing, all dancing soulful show back to the Palace Theatre.
You’d be wrong to think that Thriller Live is a biographical musical of Michael Jackson’s Life. Whilst there is potential for that to happen one day, director and choreographer Gary Lloyd very much focuses this show on Jackson’s iconic music and dance moves.
The lead vocalist and resident director, Britt Quentin proves that he’s certainly more than just a VERY uncanny lookalike to the great king of pop. From the outset, Quentin has his performance perfected, from pulling off the signature moonwalk to Jackson’s famous anti-gravity lean.
Thriller cast production shots
It doesn’t matter if you’re Black or White, or male or female in this case. Quentin is joined by five talented vocalists who perform some of Jackson’s classics including: Who’s Loving You, Smooth Criminal and Bad to name just a few.
Notably, amongst the performers Rory Taylor gives a chilling rendition of She’s Out Of My Life and Adriana Louise brings girl power to the show. As the only female vocalist, she proves that her vocals are just as powerful as the men’s, whilst providing pitch perfect harmonies and unique renditions to classics such as I Just Can’t Stop Loving You and Blame It On The Boogie.
Although, there isn’t a specific storyline the show begins in the Jackson 5 era with a set of Motown classics: I’ll Be There, I Want You Back and ABC performed by the incredible Ina Seido. This was quickly followed by Jackson’s 1972 hit Rockin’ Robin, but instead of being performed by a ‘younger Michael Jackson’ as it notably is in the West End version, there was a video clip of a young performer dancing and miming to the song displayed on a screen instead. This seemed a little out of place and dropped the energy of the show, as previous songs and the ones which followed were performed by live vocalists.
The cast is complete by a sensational group of dancers, who provide the energetic atmosphere that the show thrives from. They work tirelessly through every dance number without losing enthusiasm. A special mention must go to self taught dancer Antony Morgan, who brought humour and personality to various scenes throughout the show – notably during Adriana Louise’s seamless rendition of The Way You Make Me Feel.
It was expected that the cast would be receiving a standing ovation at the end of their opening night in Manchester. But the eagerly anticipated crowd were ahead of that game, as the opening of Jacksons 1982 hit Billie Jean began to play, the audience were straight up on their feet and dancing in the aisles for the remainder of the show.
Overall, Thriller Live feels very much like a concert rather than a musical, from the iconic set list to re-enactments of Jackson’s music videos.
But one thing’s for certain, you’ll leave singing, dancing and Shaking Your Body (Down to the Ground).
You’d have to be a Smooth Criminal to miss this Thriller of a show (sorry we couldn’t resist).
Thriller Live continues at the Palace Theatre until Saturday 24th February. For tickets and more information click here.
With all the perils that exists in war-time London: from rabid gangs, air-raids and not to mention you’re own step-family trying to murder you, will Harry and Cinderella share their happy ever after?
Opening Night 