Dance

Flashdance the Musical

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By guest reviewer Casey Nicole Gwilliam

Flashback to the 80’s in this dazzling production of the all time classic, Joanne Clifton dazzles as the feisty Alex, a young apprentice welder with a passion for dance, and a dream to get into the prestigious Shipley School of Dance.

With the help of her old dance teacher Hannah (Carol Ball), Alex prepares for her Shipley audition, as well as falling for the dashingly handsome Nick Hurley (Ben Adams) and having to save the day and set her friend Gloria (Hollie Ann Lowe) straight, she seizes the opportunity and dances her heart out.

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The numbers that were amongst audience favourites included “Maniac” and “Gloria” as well as the crowd pleasing “I Love Rock and Roll” which wowed the audience as the immensely talented ensemble dazzled with their moves demonstrating some  incredible tricks that made the audience wince and then cheer. The entire ensemble gathered together and created an absolutely amazing and retro atmosphere, wowing the audience with their moves and vocals that left even the audience breathless!

The lighting and set along with the extremely vintage costuming hurled the audience into the 80’s along with the perms and pumps. The authentic 80’s feel gave a sense of nostalgia, and was in keeping with the 1983 movie of the same title. Keeping audiences happily entertained.

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Joanne Clifton’s performance stood out as leading lady, Alex. Her husky voice was perfect for the scrappy young dancer and her acting and singing skills were on a par with her dance; proving to be a delightful triple threat. As well as having the audience envy her for pulling off spanks and a sports bra for the majority of the show.

Overall the show makes for an extremely enjoyable evening and was an instant hit with the audience, everybody was up dancing during the finale mega-mix ensuring everyone got a chance to show their moves!

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Flashdance the Musical is on at the Blackpool Opera House until Saturday 4th November, tickets available here http://www.wintergardensblackpool.co.uk/events/flashdance/

Behind the Scenes of Flashdance – The Musical – Part 2 Ben Adams

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As part of out Flashdance The Musical interviews we spoke to Ben Adams who plays Nick Hurley alongside Joanne Clifton as Alex Owens ahead of the show’s opening night this evening  in Blackpool.

Flashdance is associated with one of the most iconic dance scenes ever; will we see you throw some shapes during the show?

Ben: My character isn’t supposed to dance at all, he’s the polar opposite really to Alex the female lead who does a huge amount of dancing, I don’t really get to do any, I don’t think the producers knew that I could dance as there wasn’t anything in the script, although I do throw a few shapes at the end but it’s nothing spectacular compared to the rest of the incredibly talented cast, particularly Joanne Clifton her dancing is fantastic.

ON: The last time we saw you on the stage you were playing Aladdin in Panto, how does appearing in a musical differ to panto?

Ben: It’s very, very different, my character in Flashdance is quite serious, also American, they really are very different art forms, similarly though it’s a lot of fun, I’ve had so much fun doing this show so far, it really is a great role to play.

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ON: How did you become involved in this production?

I’d spent the first sort of six months of this year writing and producing for other artists, but I kind of felt that sitting in a studio writing things for other people to go and have fun with is something I could always do alongside other work and also something I can do as I get older, I feel at the moment I haven’t really got the performing bug out of my system so when Flashdance came along I though yes this is a perfect opportunity to get out there, tour the country and have a bit of fun while doing so.

ON: Sellador are known for their creativity, how have you found working with them?

Selladoor are brilliant, such an incredibly brilliant production company who are doing so well at the moment, the last production I saw of theirs was Little Shop Of Horrors which was absolutely fantastic, so as soon as I realised that Selladoor were doing this I knew it was an absolute no brainer, I knew it was going to be a great show.

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ON: Your new single has been getting plenty of attention, could a new album and maybe a tour be next on the cards?

Before I agreed to do Flashdance I’d already planned to do the album so I’ve actually finished that now and was going to put it out but thought maybe we should postpone it as I don’t have a lot of time to go out and promote it but now so much is done online anyway so you can really reach so many people online and through social/online media so it’s not really a problem, the album is now planned for the beginning of 2018 which I’m really excited about. It’s really nice to see what a great response the single has got as I think a lot of people in my position are maybe pushed into doing more middle of the road stuff, not necessarily tracks that are particularly modern but because I produce my own material I can really do whatever I want to do.

ON: We’ve noticed a bit of activity on twitter from your musical the Eugenius! account, can you give us any spoilers?

I can’t announce anything officially but watch this space for an announcement very, very soon! Make sure you’re following!

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ON: After your experience working with Joanne Clifton would you consider a stint on Strictly?

I actually did Strictly in Norway and I came second which Joanne likes to rub in because obviously she came first, I’m not sure I’d be allowed to do the British one due to already doing a version but I absolutely loved it. It was so much harder than it looks, there were things that I was doing that I thought looked good and then they judges just told me it was all wrong, I quickly had to buck up my ideas and really learn it as best I could. The discipline is unbelievable, it’s very tricky.

Speaking of tricks, you’ll be in Blackpool for Halloween, will you be playing any tricks on your fellow cast members?

Of course! I’m a 35 year old man with a 16 year old mind, so there will be a lot of that I’m sure, I haven’t quite worked out what yet but I’ll absolutely be planning something!

Flashdance opens at the Blackpool Opera House on Monday 23rd October and runs until Saturday 4th November for tickets head to www.wintergardensblackpool.co.uk/events/flashdance/

 

 

Tango Moderno

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Following on from the success of Midnight Tango, Dance ‘Til Dawn, and The Last Tango, Vincent Simone and Flavia Cacace bring their latest offering to Manchester with the much anticipated Tango Moderno.

Sadly we learn at the very start of the show that due to injury Vincent will be unable to join us tonight but of course the show must go on so we have not one but two additional dancers taking his place in the form of Italian pro Pasquale La Rocca and Argentine Tango expert Leonel Di Cocco.


Fusing elements of Latin, Ballroom and Contemporary Flavia and partner dance their way through modern day scenes featuring the ‘unlucky in love’ spreading their fairy dust Cupid style allowing love to blossom. Flavia as always is sublime, she sizzles and scorches her way through each routine, all eyes undoubtedly fixed on her every time she takes to the stage, she truly is the most beautiful of dancers. Both Pasquale La Rocca and Leonel Di Cocco do a superb job of filling Vincent’s shoes, each dances exquisitely, both are strong, sharp and commanding.


The narrative however (yes you could argue that’s not what the audience are here for) is clunky and lacks any depth. Singer Tom Parsons tries his best to give the production pace with clever lyrical rhyme between songs which he delivers with style but each piece feels very disconnected. Accompanying singer Tom Parsons is singer/dancer Rebecca Lisewski, who too delivers some stunning vocals. Special mention also goes to violinist Oliver Lewis who gives a note perfect performance. The dancers who make up the Company work hard delivering some intricate and imaginative routines but at times often feel cluttered as the set takes up a large part of the stage, reducing the amount of available floor space.


As this is a Tango Moderno modern themes are introduced in the form of internet dating, selfies and smartphones, does this work? In parts, yes, there’s a really inventive ‘Tinder themed’ dating routine where dancer are swiped out of frame and unsuccessful dates are portrayed hilariously with some great character acting but on the whole and judging from the audience reaction when Flavia and partner deliver a traditional and absolutely faultless Argentine Tango during the finale it is clear what the audience came for. While there is absolutely a place for hip hop and more modern themes can you really improve on the classic when that is exactly what your audience loves you for? What we really wanted was some good old razzamataz, big band show stoppers that sizzled and wowed, that sent us away with that warm fuzzy feeling, ready to dig out our sequin gowns. When your average audience member (me included) would rather tango than watch Towie, it’s better to leave the tinder and the texting at home.

Tango Moderno on at the Opera House until Saturday 21st November www.atgtickets.com/venues/opera-house-manchester/shows/tango-moderno

 

Acosta Danza – Debut

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By Nikki Cotter

Internationally acclaimed star of the ballet world Carlos Acosta bring his ballet company Acosta Danza to the Lowry this week as part of the new Cuban Companies first ever UK tour. Under his artistic directorship, Acosta Danza offers audiences an opportunity to experience an engaging mixture of the finest ballet and contemporary dancers Cuba has to offer.

Act One opens with a revival of Marianela Boán’s The Crossing Over Niagara, inspired by the tightrope walker Charles Blondin who famously crossed Niagara Falls carrying a man on his back, this is a breath-taking and astonishingly controlled piece. Two male dancers move slowly and perfectly together, seemingly naked their measured flow and symmetry allows audiences to see the stress and strain such controlled movement places on the human body in this hypnotising piece. Accompanied by the music of Olivier Messiaen, the two male dancers capture the intensity of the experience perfectly, their stretch, balance and absolute trust in each other is mesmerising.

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Next comes New York City Ballet soloist and resident choreographer Justin Peck’s Belles-Lettres, performed largely en pointe the four pairs are dislodged from their loving duets by a lone figure, enigmatic and impish he disrupts the status quo forcing couples to let loose and shake off the uniformity. The piece showcases the most beautiful of classical ballet techniques, technically brilliant the dancers move effortlessly with grace and polished elegance.

Act Two opens with Award-winning Spanish choreographer Goyo Montero’s new work Imponderable inspired by Cuban folk musician Silvio Rodriguez, known colloquially as the Cuban John Lennon. Imponderable is a bold and lively abstract piece created for twelve dancers. Making full use of the Lowry’s expansive Lyric stage, the dancers, back-lit, immerse themselves in dry ice as they writhe and thrash in the mist, showing a real strength and power in their movements, later in the piece they add torch light, which allows each dancer their own spotlight as the stage lights dim.

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Next we have the much anticipated arrival of Carlos Acosta on stage. Sidi Larbi Cherkaoui, Sadler’s Wells Associate Artist has created a classic duet, Mermaid, especially for Acosta who is joined by contemporary dancer Marta Ortega. The two glide beautifully across the Lowry’s lyric stage in this mesmerising and enchanting piece as we see Acosta fall in love with the mythical sea creature, Ortega largely en pointe is deeply expressive as she displays delicately her discomfort at being a ‘fish out of water’ while Acosta reminds the audience of his strength and sublime dance ability in a powerful and moving performance.

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Final piece of the evening is UK-based Spanish choreographer Jorge Crecis’ ‘Twelve’ This is a fun and immensely physical piece as dancers move athletically whilst throwing water bottles to each other from all corners of the stage, at some points incredibly frenzied yet at all times perfectly measured. This is a astonishing piece showcasing not only the talent and discipline of the company but also their incredible fitness and agility.

Acosta Danza deliver a disciplined and daring evening, undoubtedly a debut to be proud of.

On at The Lowry until Saturday, for tickets head to https://www.thelowry.com/events/-acosta-danza

 

English National Ballet | Song of the Earth/La Sylphide

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By Nikki Cotter

English National Ballet delivered a spectacular double bill at Manchester’s Palace Theatre last night, the two works, both new to the company offered dance fans an opportunity to see both Sir Kenneth MacMillan’s, Song of the Earth and August Bournonville’s La Sylphide recreated by Frank Andersen and Eva Kloborg in one delightful evening of dance.

First performed in 1965, MacMillan’s choreography for Song of the Earth features three central figures, a man, a woman and a messenger, ‘the messenger of death’. The trio are supported beautifully by the corps de ballet in this powerful and emotive exploration of the journey of life and the ever present looming of death. Beautifully set to Mahler’s haunting song cycle, Das Lied von der Erde and performed live by the stunning English National Ballet Philharmonic with accompanying operatic performers Rhonda Browne and Samuel Sakker. Each of the six songs are delivered with precision and impressive sculptural beauty. Dressed in simple greys, whites and blacks the dancers make full use of the Palace’s expansive stage, as the messenger of death Jeffery Cirio tenderly seduces firstly the solid and strong man Joseph Caley then draws in the stunning woman Tamara Rojo until she is left with no other choice than to accept the relentless call of death.


Song of the Earth allows ENB to showcase their strengths in this captivating piece, the two male leads deliver a dramatic and engaging opposition with Joseph Caley’s light and optimistic demeanour challenged by Jeffery Cirio’s dark and seductive dance of death. Tamara Rojo’s transition through the piece from playful innocence to tormented resignation is superb.


Part two in this captivating double bill is August Bournonville’s classic romantic ballet La Sylphide. Frank Anderson and Eva Kloborg stay faithful to Bournonville’s 1830s choreography as this charming piece introduces us to themes of love, infatuation and ultimately tragedy. In this engaging and joyous production we meet James (Issac Hernandez) on the morning of his wedding to Effy (Anjuli Hudson) as he wakes from a dream to see a mysterious and beguiling Sylphide standing before him, this sets off a fateful sequence of events which ultimately leads to tragedy and heartbreak.


With stunning design from Mikael Melbye we are transported by the corps de ballet to a jubilant wedding celebration in the Scottish Highlands. The festivities however are continually interrupted, firstly by the Sylph (Jurgita Dronina) who mesmerises and draws groom James (Issac Hernandez) in with her captivating beauty and secondly by the cackling and calculating witch Madge, portrayed wonderfully by Jane Haworth. The choreography is fast and perfectly precise, mixing classical steps with Scottish folk dance superbly. The Character acting is exceptional as this story is clearly and engagingly told. Moving from the thrilling scenes in the Higlands to the beauty of the enchanted forest La Sylphide captivates the audience entirely. Issac Hernandez is thrilling as James, strong and powerful he leaps elegantly from fling to forest. Jurgita Dronina enchants as the Sylph, mysterious yet magical.


These two exhilarating works allow English National Ballet to really shine and will undoubtedly delight both classic ballet lovers first timers alike, their commitment to making ballet accessible continues to impress, bold, dynamic and hugely entertaining.

 

Matthew Bourne’s The Red Shoes

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Due to popular demand and for the 1st time in New Advenutres history, Matthew Bourne’s Olivier award winning production, The Red Shoes returns to the Lowry next week for the second time during its current season, offering audiences one final chance to catch the visually stunning and technically sublime production which has captivated audiences since its World Premiere at the Theatre Royal Plymouth in November.

Based on the academy award winning film by Michael Powell and Emeric Pressburger and of course the much loved Hans Christian Andersen fairytale, The Red Shoes tells the story of “Victoria Page”, the girl who yearns to become the greatest dancer in the world.

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New Adventures favourite, Ashley Shaw, most recently seen across the UK and internationally as “Aurora” in Matthew Bourne’s critically acclaimed Sleeping Beauty, takes on the role of Victoria and has enchanted audiences with her exquisite and breath-taking talent. The Red Shoes is an utterly captivating and timeless piece, a tale of heartbreak, passion and love as Victoria becomes Principal dancer in the new ballet ‘The Red Shoes’ but finds herself torn between two men, resulting in the most beautifully intense and incredibly emotive performances.

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Lifting this already superb production to an even higher level is the stunning new score arranged by New Adventures Associate Artist, Terry Davies using the magnificent music of golden-age Hollywood composer, Bernard Herrmann. The combination of this exquisite theatrical score and breath-taking performances from the New Adventures Company make this a show not to be missed.

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After it’s sell-out visit to the Lowry last December The Red Shoes returns for one week only from Tuesday 11th until Saturday 15th July tickets available here www.thelowry.com/events/matthew-bournes-production-of-the-red-shoes

 

Breakin’ Convention 2017

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Hosted by founder Jonzi D and local MC and music producer Martin Visceral, Breakin’ Convention is a real celebration of hip hop disciplines, offering audiences the opportunity to see both internationally renowned artists and local talent performing in one evening on the Lowry’s Lyric stage.

Not only is the stage alive with performers but the entire Lowry building is buzzing with activity before, during and after the show, giving a real carnival atmosphere to the nights proceedings. It’s wonderful to see such a diverse mix of theatregoers, as young and old alike gather together to enjoy the thrilling and talented performances and hip hop market place on site as the Lowry comes to life in this festival of movement and artistry.

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Act I sees performances from Fidget Feet, Gianluca Papa, Chad Taylor (Shockout) and Soweto Skeleton Movers. All unique in style and experience each piece is delivered with passion and offers some real crowd pleasing moments for the audience. Special mention must go to Soweto Skeleton Movers, experts in pantsula dance developed by Skeleton Mover pioneer Jabulani, their performance is fast, frentic and utterly fascinating. Their comedic contortion is incredible, at times you can’t quite believe what you are seeing, their level of skill and talent is extraordinary as they thrill and delight with their outstanding and brilliant magical hat tricks, an absolute must see!

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Act II introduces audiences to 01612twelve95, Tentacle Tribe and the incredible Just Dance from South Korea. Each gives an outstanding performance with Just Dance completely blowing the audience away with their utterly mesmerising skills. Their performance features traditional live Korean music delivered brilliantly by a Buddhist monk who compliments the style of the piece perfectly. Just Dance are bold, dynamic and utterly captivating, their performance is technically precise and visually stunning, the talent amongst this crew is staggering.

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Breakin’ Convention is a true celebration, spreading a message of positivity whilst constantly pushing the boundaries, roll on Breakin’ Convention 2018! Read more about the annual festival and see further tour dates here http://breakinconvention.com/

 

BREAKIN’ CONVENTION ’17 brings its beats to The Lowry

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JustDance by Belinda Lawley

Just Dance, image credit: Belinda Lawley

Sadler’s Wells’ critically acclaimed international festival of hip hop dance theatre, Breakin’ Convention, is back, with performances from UK and international companies and crews.

 

Following the annual festival at Sadler’s Wells over the May bank holiday (Saturday 29 April – Monday 1 May), Breakin’ Convention is now touring for a second consecutive year and comes to The Lowry, Salford Quays this weekend Friday 19 & Saturday 20 May.                                              

 

Now in its 14th year, the production is once again hosted and curated by Associate Artist Jonzi D who has changed the profile and influenced the development of the UK British hip hop dance and theatre scene over the last two decades.

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Jonzi D, image credit: Belinda Lawley

Breakin’ Convention is one of the world’s greatest celebrations of hip hop culture.

 

The tour line-up includes Soweto Skeleton Movers who mix comedic contortionism with the Pantsula dance style native to the townships of South Africa and perform to Kwaito music, a form of Afro house.

Breakin Convention 30 April 2017 at Sadlers Wells theatre.

Soweto Skeleton Movers, image credit: Paul Hampartsoumian

Joining them is Canadian group Tentacle Tribe, the Montreal-based dance company. Tentacle Tribe creates uncommon dance works with a contemporary twist using conceptual hip hop and influences from all types of earthly creatures.

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Tentacle Tribe, image credit: Paul Hampartsoumian

Completing the international line up are Just Dance from South Korea with an updated vision of Korean shamanistic mask performance. Live Korean drumming accompanies a crew of poppers and B-boys, with many with world titles to their name.

 

The UK tour also offers local dance companies the opportunity to perform alongside the International acts. Local crews for The Lowry dates include:

 

Friday 19 May: 01612twelve95, Chad Taylor Dance, Fidget Feet, Shockout Arts

Saturday 20 May: Explosive, Lauren ‘Fidget’ Haywood, LadyBoy, Stage Pro Academy

 

 

Tickets on sale now https://www.thelowry.com/events/breakin-convention

 

Lord of the Dance: Dangerous Games

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Since its debut at The Point Theatre in Dublin on 2nd July 1996, Michael Flatley’s Lord of the Dance has mesmerised audiences the world over, from London to Las Vegas public demand for the show renowned for its spectacular showstopping routines has never waned. Now almost 21 years since its official debut, Flatley brings his rejuvenated show Lord of the Dance: Dangerous Games to Manchester’s Palace Theatre with local talent James Keegan taking on the lead role of The Lord handpicked no less by the main man himself.

Lord of the Dance: Dangerous Games is built around a classic good versus evil story, after an introductory projection featuring Flatley and his young son, Michael St. James, we are introduced to our talented cast via the dream of Little Spirit, (Jess Judd). Little Spirit sees the Lord of the Dance as everything good in the world, this purity and honesty is however threatened by the Dark Lord (Zoltan Papp) and his evil army of Dark Disciples, add to this the dark temptation that comes in the form of Morrighan the Seductress (Andrea Kren) who is determined to come between The Lord and his true love, the pure and perfect Saoirse (Caroline Gray).

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The story is a simple one, sometimes a little unclear but let’s be honest we haven’t come here expecting a deep and thought provoking narrative it is without doubt the dancing the draws the crowds year after year and it soon becomes very clear as to why. We are eased in with some exceptional acrobatics from Little Spirit who I’d happily have watched more of, as she introduces us not only to the story but also the running musical theme which we hear throughout the show, Lord of the Dance of course! As we meet the rest of the cast via various routines it is the full traditional ensemble pieces that really grip the audience, the energy and talent on display is mind-blowing, you can’t help but smile whilst watching, it’s an absolute thrill to hear the thundering drum of these lightening quick feet.

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The production is at its most powerful during the battle scenes, Zoltan Papp makes for a deliciously menacing Dark Lord, whipping the audience into a frenzy with his fabulous footwork. The sequence where he along with his Dark Disciples corner Little Spirit (Jess Judd) is performed beautifully, strong and precise with great characterisation, special mention also goes to the battle sequence between The Lord of the Dance (James Keegan), The Dark Lord (Zoltan Papp) and their respective armies, beautifully choreographed and directed by Flatley this scene really packs a punch.

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Paul Normandale’s staging of this production is almost as impressive as the talent on stage, huge flat screens the full width of the Palace’s imposing stage deliver colourful and bold projections, interjected with thrilling and sometimes unexpected pyrotechnics, complimented by stunning lightening design also by Normandale. Christopher Woods’ costume design is impressive, there are all manner of styles on show, with some really beautifully designed pieces, juxtaposed to the traditional is a section where the females are in not much more than bras and knickers while the men also whip their tops off, while this got a few whoops from the audience it seemed a little unnecessary and distracted from the beauty of the performances on stage.

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Special mention must go to musicians Giada Costenaro Cunningham and Nicole Lonergan, their fiddle playing is exceptional, a real highlight sandwiched between the exhilarating dance routines. As well as musical elements the audience are treated to vocals from Erin the Goddess (Sophie Evans) the choice of songs for me fell a little flat, something more upbeat and memorable would have sat better within the production and left more of an impact.

Manchester lad James Keegan really gives his all in the role of The Lord, following in the footsteps of Flatley is no mean feat but Keegan soon has the audience in the palm of his hand as he dances his way across the stage with precision, style and bags of charaisma.

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There is no doubt that Flatley has the magic formula when it comes to entertaining his fans, Lord of the Dance: Dangerous Games is an absolute feast of dance and colour, with jawdropping choreography that will no doubt continue to delight and thrill dance fans for years to come. It’s an impressively entertaining show, bringing joy to young and old alike, hugely deserving of praise and the standing ovation Manchester was only too happy to bestow.

On at the Palace Theatre until Saturday 15th April, tickets available here http://www.atgtickets.com/shows/lord-of-the-dance/palace-theatre-manchester/

 

Dance – Sampled

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dance-2In Dance Sampled, we are witness to ten minute extracts of dance from companies in genres including Flamenco, Tango, Contemporary, Ballet and Break. This example of how to see dance and also how we can become audiences of dance is a really interesting and intriguing one.

Delivered by The Movement, a collaborative from Birmingham Hippodrome, Saddlers Wells and The Lowry, all are committed to bringing a new wave of watching, focussing on accessibility and inclusivity. The collection of work is an exceptional evening of dance from 8 dancemakers who enthral the audience. It is wonderful to see that the audience present matches the variety and diversity of the performances in a packed out Lyric theatre.

Before each performance we’re introduced to the work with a projected interview on stage with the performers or choreographer. This is insightful, it lands the work for the audience and magnifies the eloquence of language we have for the variety of performances we are celebrating.

Flamenco trio dotdotdot open the evening with flamenco collaborations in a sublime cacophony, fan opening across live guitar across vocals from Javier Ribera across dancers beating through canons of dance from the determined trio and layered with lyrics from spoken word artist Toni Stuart, magnificent!

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BBC Young Dancer of the Year 2015, Conor Scott holds the centre of the evening with a majestic physicality, presence and creativity. His original piece is a wonderful exploration of loneliness, nostalgia and joy.

The audience welcome the essence of purity in The Faun danced beautifully by Yanelis Godoy and Julio Torres, choreography by Sidi Larbi, Cherkaoui originally danced by James O’Hara & Daisy Philips with Music by Claude Debussy and Nitin Sawhney.

The evening culminates in a daring performance by bgroup The Ruggeds from Holland dancing with skills that I have never experienced before, they’re pushing boundaries, skating across the floor in inversions, twisting in the air with raw energy and landing like tigers. The have a capacity for danger and play, a really exciting performance.

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The dancers and the dances throughout this evening have an extraordinary flare and each have a really unique talent, which makes the evening a real spectacle. The beauty of this project lies not only in the stunning performances but the accessibility of it, the highly engaging bite-sized excerpts give audiences a chance to experience a broad range of dance at affordable prices, with tickets available for just £15. In addition to this audience members were also invited to participate in a wide variety of workshops activities within the theatre foyer across the two day stay, an enormously engaging evening and a great opportunity to experience all dance has to offer. Highly recommended.

Guest reviewer: Kate Jackson

 

Danza Contemporanea De Cuba

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The three works explored a huge celebration of cuban culture, talent and the collision of contemporary and cuban techniques. Each of the pieces ask so differently of the dancers we see the power of their embodiment transform throughout the evening.

Reversible by Anna Lopez Ochoa immediately introduces us to the intimacy of the work to come, two statues framing the stage. Man and Woman dressed only in underwear both bare chested, raised high by a circle of supporting dancers. The hugely talented 25 strong cast weave through duets designed to break force and stretch intention in combined forces meeting their equal intensity, the engagements explore provoking couples who resists and draw out and detach, playing with attraction and sensuality the choreography finds new ways to move without losing contact, with fluidity the cast fall through the space. With moments of outstanding dancing from bodies moving in totality the company dance as one body of movement one voice heard in 25 tones, Ochoa is looking at the essence of humanity when caught in the broils of love and attraction. The bare chested men and women is unquestionably identifying strength and sensuality within humanity. Costumes by Vladimir Cuenca style men in skirts and women in trousers suggesting gender equality.

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The Listening Room by Theo Clinkard, sets the stage for a thoughtful performance sending a blanket of silence across the audience he opens with a line of dancers quietly engaging with the soundscape they are hearing through their own set of headphones, each are set up with an mp3 player. We’re witness to their interpretation. The authenticity in the concepts that were being delivered brings a new light to the stage, a humanness which is celebrated through the choreographer, later in the after show talk Theo Clinkard talks about his focus to see instinctive choices. This is apparent and resonates with moments of authenticity and humility. The cast find it a pleasure to play in this arena, which is also deeply crafted in movement and phrases of choreography. We can see that they have enjoyed this creative process. Really stunning lighting accompanying the piece is designed by Fernando Alonso.

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Matria Etnocentra by George Cespades is an ultimate delivery of cuban rhythms beaten together with an army soldiers solidarity and so fierce and passionate. They dance from their hearts with rhythms so complex and with furious speeds but with a dignified cool. Army boots, khakis and tanks, sometimes underwear, sometimes work wear.The cast move easily in the complexity of the formations, they thrive as the layers get more intense – a build of endurance fighting within the formations and the rhythms. Choreography that we would normally see as celebration is reversing its position and driving this work as a protest. George Cespedes is prehaps staging his protest. Matched by electronic duo nacional Electronica and Hermanos Exposito.

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A really brilliant triple bill, with outstanding talent, it was a pleasure to hear the director talk about his interest in Contemporary Dance and Cuban Dance ‘colliding’ to make progressive world class dance Miguel Iglesias which is certainly what he is delivering. They will take Europe by storm wishing them the very best with their tour.

Guest reviewer – Kate Jackson

 

Billy Elliot – The Musical

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Billy is from a place where the men don’t dance, end of story, but, with a gritty determination, and an undeniable charm plus more talent than most of us have in our little fingers, he sets out to prove his doubters wrong by breaking the mould and going all the way.

Billy Elliot the Musical is a total phenomenon which has been seen by almost 11 million people across five continents and has won over 80 awards internationally, including an almighty 10 Tony Awards and a hugely impressive 5 Olivier Awards. Based on Lee Hall’s 2000 film, set in a northern mining town against the background of the 1984/’85 miners’ strike, the story revolves around Billy, who trades his boxing gloves for ballet shoes and soon discovers a passion for dance that ultimately changes not just his but the lives of his family and community forever.

So ingrained was life in the pits that son’s followed in their father’s footsteps, proud to do so and loyal to their communities. The impact of Maggie Thatcher and her Conservative Government on these communities is something that will never be forgotten and for most certainly not forgiven. Billy Elliot tells the story of a boy with a talent who wants out of the hardships of life in a mining town but needs the support and the backing of the proud men he adores yet watches become more and more broken by the oppressions of the state.

Billy Elliot does not shy away from the reality of the hardship and ill-treatment of the working classes during the miners’ strike of ‘84/85 and this only makes it more powerful and spellbinding. The contrast of the softness and innocence of the children in tutu’s dancing amongst the striking miners and heavy handed baton-wielding Police is powerful and emotive, reminding me of days in the 80’s when my sisters and I would help my Father seal envelops to send for job after job after first striking then being made redundant, unsuccessful time after time, yet never giving up.

Billy Elliot Tour

Billy Elliot is a story of hope, with emotional highs and heart-breaking lows, it is utterly absorbing. it will make you laugh out loud as well as pause an take The talent on stage is simply mind-blowing. With four Billy’s cast on the tour, tonight is the turn of Lewis Smallman to show us he truly was born to boogie. I don’t think any words could do justice to just how incredibly talented this young actor is, the challenges of the role are immense, not only do the boys need to have excellent contemporary dance, tap and ballet skills, but they’ve got to be able to sing and act and all with a Geordie accent! Lewis is totally mesmerising, his sheer talent and commitment to the role brought me to tears as I watched him move, he made for the perfect Billy.

As well as Lewis all the children in the cast are magnificent, with special mention going to Samuel Torpey Billy’s cross-dressing best friend Michael, whose duet with Lewis Smallman on Expressing Yourself is just perfection, funny, fabulous and full of razzle-dazzle, no doubt we will be seeing much more of this incredible talent, a true star in the making, he has the x-factor in bucket loads! Evie Martin takes on the role of Debbie with all the cheeky wit you’d hope for, she is fantastic, sassy and witty with just the right amount of attitude. The adult cast are exceptional too, lump in the throat moments between Billy and his dead Mum are at juxtapose with the scenes of violence and intimidation on the picket line. Annette McLaughlin as Mrs Wilkinson is outstanding, firm and feisty she truly believes in Billy, the scenes between the two are incredibly powerful as she offers a little of the Mother’s touch missing from Billy’s life. Martin Walsh as Billy’s Dad and Scott Garnham as Tony, Billy’s brother are real and believable, hardened by life and the rough hand they have been dealt yet when it comes down to it their love for both Billy and each other shines through.

Billy Elliot Tour

Everything about this production for me was perfection, from Elton John’s sublime score, to the incredible lighting design from Rick Fisher, and as for Peter Darling’s choreography, wow! Totally awe-inspiring, complex and compelling, expressive and moving, I barely blinked for fear of missing anything it just is that good.

Billy Elliot is an absolute triumph of a show, heart-warming, inspiring and utterly mesmerising, it’s very rare you see a whole audience leap up in appreciation but I absolutely guarantee by the time the curtain falls you will be on your feet roaring for more!

On at the Palace Theatre until Saturday 28th January tickets available here;

http://www.atgtickets.com/shows/billy-elliot/palace-theatre-manchester/