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

 

BRB – Aladdin

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Birmingham Royal Ballet returns to the Lowry’s Lyric theatre this week with their magical, family-friendly production of Aladdin. Taken from the stories of the Arabian Nights, David Bintley’s splendid version of this classic tale, with music by the BAFTA award-winning Carl Davis chose Salford to begin their Autumn/Winter ’17 season.

This enchanting production perfectly balances humour with beautiful chorography, and explores aspects of the tale that audiences may not have been aware of. The story begins with a young, cheeky Aladdin (Mathias Dingman) escaping the clutches of the palace guards with the help of the mysterious Magician, the Mahgrib (Iain Mackay), who subsequently tricks Aladdin into entering the dark cave on his behalf to retrieve the lamp.

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Each Act has its own crescendo which does not fail to dazzle the audience. The Cave of Riches at the end of Act I, is one of exquisite beauty, in which mischievous Aladdin is surrounded by an array of dancing gems who demonstrate a wide range of styles and techniques much to the delight of the audience. The gems lead Aladdin to the old lamp which places him on a road to riches and leads him to his true love, princess, Badr al-Budur (Momoko Hirata).

The sets and costumes become more vibrant and luxurious as the story unfolds, and as Aladdin himself becomes more accustomed to his life of luxury under the brilliantly blue Djinn of the lamp (played by Tzu-Chao Chou). The performance would not be the same without the dazzling orchestra conducted by Paul Murphy and led by Robert Gibbs, which adds to the atmosphere immensely, allowing the performance to swap and change between suspense and humour seamlessly.

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This production is bound to astonish audiences of all ages, with its delightful and superbly delivered chorography, technicoloured sets, sumptuous costumes and enchanting score. Birmingham Royal Ballet once again prove why they are one of the most loved and celebrated companies around, visually stunning, highly entertaining and not to be missed!

On at The Lowry until Saturday 23rd of Sepember tickets available here http://www.thelowry.com/events/aladdin

Reviewed by Emily Cotter

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

 

Casanova

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Set against the backdrop of 18th Century Venice and Paris, we meet passionate, adventure seeker, Casanova, a man consumed by his desire to experience life at its fullest and most satisfying without question.

Hugely respected for their narrative based work, critically acclaimed Northern Ballet breathe life and skilful artistry into this new production created by award-winning choreographer Kenneth Tindall. Together with Ian Kelly, Tindall devised the original scenario for this fresh and enthralling piece from sections of Casanova’s memoirs, revealing more of the man than just the legendary lover we are all so familiar with. We meet Casanova on a more human level and see how his priest training is thwarted due to the constant distractions of both his mind as well as his body.

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Tindall’s stunning and innovative choreography captivates from start to finish, sensual and thrilling the powerful scenes featuring the corps de ballet move from contemporary to classical with ease, the two marry beautifully together. Tindall’s choreography is electrifying, the traditional pas de deux are there and are entirely fizzing with emotion and sensuality, as Casanova (Giuliano Contadini) is seduced by M.M (aristocratic nun and mistress to Cardinal de Bernis) in a staged seduction the passion between them is intense, they move as one and thrill with their skill and precision. In contrast to this as Casanova dances with his true love Henriette (Hannah Bateman) we see a new tenderness and real depth of heartfelt desire, stark contrast to the frenzied passion we have witnessed before. Giuliano Contadini is sublime as Casanova, dashingly handsome and physically perfect with just the right amount of cheeky swagger.

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The striking set and costumes designed by Christopher Oram are partnered perfectly by Alastair West’s stunning lighting design, atmospheric and dramatic it is truly spectacular, we see shafts of light streaming through church windows breathing fresh hope of liberty, more than the strict life of the church to a young and curious Casanova. The original score by modern classical, film and television composer Kerry Muzzey, is delivered superbly Northern Ballet Sinfonia.

Special mention must go to the brilliance of the staging during the prison of the Inquisition scene; a corner of a giant gilt frame is lowered towards Father Balbi (Jeremy Curnier) as he is tortured by the Inquisition in order to force a confession naming Casanova, enormously powerful and visually absolutely magnificent.

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Northern Ballet once again prove just how exciting and dynamic as a company they truly are. Casanova is utterly mesmerising, the piece literally smoulders as bodies slip and slide together flawlessly. Tindall has created a perfect work, creating a ballet that pushes the boundaries and delivers dance in a wholly stunning and accessible form. As the piece draws to a close and Casanova’s life flashes before him we are able to reflect on this truly remarkable production, an absolute must see.

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On at the Lowry until Saturday, tickets available here http://www.thelowry.com/events/casanova

BRB – Cinderella

brb-5Birmingham Royal Ballet triumphantly returns to the Lowry with David Bintley’s magical production of the classic and much loved fairy-tale ballet, Cinderella. Originally performed in 2010 and broadcast by the BBC as their 2010 Christmas ballet, Bintley’s award winning production features the complete original score by Russian composer Sergei Prokofiev delivered superbly by the Royal Ballet Sinfonia. Staying true to the Cinderella story, we meet the wicked stepmother, Cinderella’s two ugly sisters (who we of course love to hate), as well as the handsome prince and not forgetting her magically gifted fairy Godmother.

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We begin in the dark and dank depths of Cinderella’s kitchen dwelling where a bare foot Cinderella has been cast by her wicked stepmother and ugly sisters, her only purpose in life seemingly to serve them. Despite the bleak and depressing surroundings Jenna Roberts ensures Cinderella shines and her joyous and delicate performance is enchanting. She moves with poise and perfection, light on her feet and full of endearing charisma.

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The story telling in this production, as with all Birmingham Royal Ballet productions is wonderfully clear allowing for a beautifully paced performance where we move effortlessly from one piece to the next, eager for more. Complimenting this exceptional narrative is an impressive set and deliciously extravagant costumes both designed by John F. Macfarlane, familiar to audiences as designer of the BRB’s hugely popular Nutcracker. The excellent narrative also allows for some great comedy acting from Skinny (Samara Dowes) and Dumpy (Laura Purkiss), the ugly sisters. Both excel in their roles and their acting is wonderful, offering the audience laugh out loud moments each time they enter the stage they are a fantastic fun and absolutely adored by the audience.

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Perfectly partnering Jenna Roberts’ Cinderella is handsome Prince, William Bracewell. Strong and athletic Bracewell is perfection in the role and the two of them glide beautifully together, their pas de deux performed at the grand ball is utterly mesmerising, they delivery of Bintley’s choreography is precise and striking. As the clock strikes twelve the dreamlike scene begins to crumble as Cinderella dashes from the scene leaving only her sparkly slipper, cue a highly entertaining hunt for the wearer of the shoe.

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Birmingham Royal Ballet succeeds once more in making a production which is not only enchanting and utterly thrilling but accessible and appealing to all. It is wonderful to see a diverse audience from very young children to those senior in age all totally captivated by this stunning production.

Cinderella is a work of magic, enchanting and sublime, an absolute delight.

On at The Lowry until 4th March

http://www.thelowry.com/event/birmingham-royal-ballet-cinderella

 

 

Dance – Sampled

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

 

The Peony Pavilion

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In heading to The Lowry for The National Ballet of China’s production of The Peony Pavilion , I knew could expect excellence but had no other preconceived idea. I guess the introduction to the evening prepared for something different, the choreographer introducing his cast and the story was quite different, enigmatic and totally charming. I felt closer to the story already. Often described at the Chinese Romeo and Juliet, The Peony Pavilion tells the story of a young girl, Du Liniang who falls into a slumber and dreams of falling in love with a young scholar, Liu Mengmei.

The opening solo dance was effortless and quite beautifully abstract, stunning choreography from Fei Bo . A central square which changed throughout the play as dreamspace or prison or a solitary confinement was a minimalist design which made the lines across the stage so clean.

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The set was stunning, for most of the play there was a huge branch which embodied the back half of the stage sitting on a high diagonal which gave a poetic presence of absence, confirming the nature of seasonal change when leaves leave before new buds can grow.

The costumes were stunning especially the chinese opera singer Jia Pengfei who moved like a geisha and gave the most interesting performance of the evening, she dressed and undressed seamlessly describing time or drawing a warning. They were jaw dropping with elaborate, finely detailed embroidery of classical chinese flowers at times she took shape of rose through the movement of her material. The tiny chiffon layers of the ensemble followed the whipping of pirouettes or lame duck sequenced complex choreography.

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There’s a sense the company is moving with this piece into a modern classical style, a mixture of classical contemporary techniques interwoven into the ballet, the theme of marrying pointe work with bare feet wasn’t as interesting choreographically as it may have tried to be.

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The second half gave rewarding performances in a lead male solo and ghost duets . The huge cast gave a warm performance, the stage rained with peony petals, changed into a forest environment where the ensemble played with trailing green neon light in a poi like chained ball which left resonance in the space as they moved.

It was a charming portrayal of the story, striking and utterly captivating.