Category Archives: Ballet

Carousel – Opera North at the London Barbican Theatre

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After my taster last week, I got to see the full production of Opera North’s version of Rodgers and Hammerstein’s Carousel. As I mentioned in that post, I knew several of the tunes but had never seen the show or the film version. Was it to be a musical that should be consigned as a period piece or would it still be relevant to the 21st Century?

Having done some research prior to seeing the show, my interest was piqued by other critics and writers saying how they felt this was an opera rather than a musical. I was also intrigued as several friends had rather disparaging remarks to make about the show in the versions they’ve seen over the years. Would I be enamoured, pleased to have seen it but not crazy about it, or regretting I’d made the journey to the Barbican?

The Royal Ballet Sinfonia were in the orchestra pit accompanying and their exquisite playing set the scene as it starts with a wonderful balletic opening where we are introduced to the world of Carousel and its protagonist Billy Bigelow. The eponymous carousel is cleverly created before us and this spectacular opening captivated me into this world.

The Cleverly Created Carousel

This show also has another “wow factor” and that’s the size of the cast, it is huge! I really felt Opera North were pulling out all the stops to make this production feel definitive. It certainly helps to create the operatic feel to the piece.

Michael Todd Simpson was Billy Bigelow and he really gave this character light and darkness. I’m still not sure what to make of this character, is he just a thug, or is he a product of his circumstances? His journey to redemption is certainly bumpy and laden with pitfalls. Is the physical violence he issues an allegory for the way we often inflict hurt on those we love the most? I felt he was portrayed as a broken man and felt sympathy for him, despite his foolish actions. Rarely does a musical or opera get me pondering and thinking about it as much as this has. The domestic violence is not a comfortable issue to be confronted with.

Katherine Manley as his long-suffering wife Julie gave her character an inner resolve and strength which I think complemented Billy’s aggression. Hers is a tragic character but I never sensed hopelessness in her.

Sarah Tynan gave an uplifting performance as Carrie Pipperidge the friend and confidant of Julie and even though their lives go on different trajectories their friendship continues.

Joseph Shovelton was the comic relief in Enoch Snow, but again this character has hidden depths and is a necessary contrast to Billy.

Their voices were superb and it was lovely to hear a cast fill the theatre with no need for amplification.

Act 2 contains a beautiful ballet piece stunningly performed by Beverly Grant and Simon Jaymes.

So as you may well ascertain, I loved it. I really think it does deserve the title of “classic”, I found the story dramatically engaging, the score is beautiful and the way it combines, opera, ballet and musical theatre really makes it a special production.

It’s best known for the anthemic song You’ll Never Walk Alone, and obviously that song has much emotional baggage for many, but as the cast sing it at the end, I couldn’t help but get an emotional tingle down my spine as it brings this story to its conclusion. It was one of those moments in theatre that I know I’ll remember for a long time.

It’s only on for a short run in London, again we’re being shown that London is not the only place where theatre is creatively being made in the UK. If you’ve never seen Carousel, go and catch this production, the director Jo Davies is to be congratulated as I can’t imagine it being done any better.

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The English National Ballet – The Nutcracker – London Coliseum – Review

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It’s a quintessential part of the Christmas period theatrical fayre. The music is well-known by everyone, but I’d actually not ever seen a production of The Nutcracker live until last night. Would I find it all a bit too twee or a bit too childish? Or would it tick all my nostalgia and ballet boxes?

Wayne Eagling and Peter Farmer have created a rather enchanting piece of ballet here. There are hundreds of variations and ways of doing The Nutcracker, but placing it in its original period and drawing on the classic Edwardian Christmas nostalgia, gives it a real resonance and charm.

The story itself is standard fairy story silliness, but it is Christmas and sometimes its nice to just sit back and be swept away and not have to think or analyse too hard. My main criticism of the actual score/story, is it can on occasions feel a bit disjointed. However as it’s the holiday season I won’t be too curmudgeonly.

As is to be expected the dancing was up to the English National Ballets usual high standards. Eagling’s choreography certainly pushes them. Act 1 had some lovely pieces, the party scene was fun, I was impressed by the child dancers, and that was a clever piece of casting. As the audience had a large number of children present. I imagine a great many are probably dancers too, it certainly gave all the young aspiring dancers a chance to see their contemporaries, and hopefully acted as an inspiration to some watching.

The jewel in the crown of Act 1 was the snowflake scene, which was enchanting.

Act 2 is really where the ballet starts to shine though and here Eagling starts to pull all the clever choreography out of his proverbial conjurors sleeve. Anais Chalendard as Clara was a wonder to behold, such poise, grace and beauty. Partnered against the powerful Vadim Muntagirov as the Nutcracker and Junor Souza as The Prince whose leaps were something to behold.

The Waltz of the Flowers was one of my favourite parts of this act, but the best part of the entire show was the final Pas de Deux, which was majestic.

The enthusiastic applause at the end showed that we’d all had a good time and enjoyed this seasonal nostalgic trip. The Nutcracker is a true Christmas classic, and Eagling’s telling of this tale makes for a masterly version.

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Looking back at 2011

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For me 2011, has certainly been my busiest year theatrically. As I sit here with my Xmas Turkish Delight and box of choccy’s, what were my highlights?

  • Finally getting to see Robert Lepage was certainly a memorable occasion. His play The Blue Dragon I referred to as “Theatrical perfection”.

    Robert Lepage as Pierre Lamontagne

  • I saw my first Burlesque  show, which was certainly an eye opener!

    Mistress of Ceremonies

  • London Road at the National Theatre is certainly one of the highlights for me. An amazing piece of theatre.
  • The best new play of this year I think was The Acid Test by Anya Reiss.

Best new play of 2011

  • The best acting I saw this year was in The Seagull at the Arcola, especially Yolanda Kettle as Nina, who gets my “Best Actress Award”. Best Actor goes to Joseph Milson as Ben Stark in Rocket to the Moon at the National.

    Yolanda Kettle, best actress I saw in 2011, in The Seagull at the Arcola.

Joseph Milson, best actor I saw in 2011, in Rocket to the Moon

  • Crazy for You, was definitely the best musical I saw this year.

    The best legs in London!

  • Manon at the Royal Opera House, wins “best ballet” award.

    Manon left me speechless.

  • Best entertainment award would go to Strictly Gershwin. (so good I saw it twice and my wife saw it three times!)

    Dancing from the beautiful Rhapsody in Blue

  • Best theatre book of the year, without a doubt the publication of Volume 2 Samuel Beckett’s letters from 1941 – 1956, I’m still ploughing my way through them, but they’re one of the most rewarding things I’ve read in a long time.

So all in all a very good year theatrically for me.  Thanks to all my readers and I wish you all a very prosperous 2012.

Mad about Manon – Royal Ballet, Royal Opera House – Review

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The Royal Opera House - Stunning Inside and Out

Last night I had a theatrical experience that could almost be described as transcendental. The Royal Ballet and the Royal Opera House Orchestra whisked me away into two hours of bliss with their production of Manon. I had never heard or seen this ballet before. Massenet’s score is moving, melodic and exquisite. I bought a copy immediately after the production and have had it on my ipod constantly these last 24 hrs.

As the score and dancers soar you are taken on this tragic journey or life, death, love and lust. I was literally speechless at the end and had to wipe away the tears from my eyes, it was just beautiful. I can’t really describe why it affected me so profoundly, but it did.

Lauren Cuthbertson was Manon and amazed me with her dancing. This ballet requires her to make her body do things that just look impossible. She was elegant, saucy, troubled and majestic. Bravo! Sergie Polunin as her lover Des Grieux was a perfect partner to Manon, he danced with vigor, poise and power. His final dance with Manon was so touching.

Martin Yates conducted the orchestra and as I said this is a beautiful score, from its opening tender bars to the fun and frolics of Act 2 to the tragedy of Act 3, the sumptuous sounds filled the Royal Opera House. you just can’t beat hearing a live orchestra.

I’ve had a great year theatrically, but I think when I look back at 2011, in the near and distant future, this will be one of my most precious theatrical memories. As and when it’s back on at the ROH, I shall make it top of my list to see, hear and delight in once more. For now the music and memories will take me to that magical place I was at last night.

 

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