Mark Reece's Blog - Posts Tagged "ballet"
Review- Into the music ballet
The Birmingham Royal Ballet (BRB) under the directorship of Carlos Acosta continues to perform a variety of innovative ballets.
Recently, the BRB performed 'Into the music', which was a set of third short ballets. The first performance was 'Forgotten land', which started with the dancers facing away from the audience, gazing at a stormy backdrop. Celine Gittens starred in one of the principle roles, and the choreography was by Jiri Kylian, a choreographer whose work Acosta recently expressed an interest in being performed more regularly in the UK. The movements in the ballet seemed to invoke a sense of wonder or perhaps loss, as the dancers appeared to explore an island for the first time. It was an interesting work full of evocative movements.
The second ballet was 'Hotel', and was my favourite of the afternoon. Pre-recorded footage was used in addition to live recording by some of the dancers. Images were displayed at the side of the stage and were incorporated into the performance, as the dancers knocked on the doors of 'hotel rooms', interrupting the footage.
The music and dancing of the manager and assistance managers indicated whimsy, as if they were secretly lovers or wished to escape their duties. However, the general atmosphere was one of disquiet, with a curiously dystopian feel. The backdrop indicated sheer stone walls, which combined with the constant surveillance of the recording and the lowly status of the staff created an air of authoritarianism. A very intriguing ballet that could have been full length.
The final ballet was 'The seventh symphony', which did not appear to have any story, but rather highlighted the theme of the three works, which was of the interplay between dance and music. Celine Gittens returned to star in the first movement, but all the dancing displayed the usual quality and elegance of the BRB.
This was an excellent performance, and an interesting counterpoint to the BRB's classical ballets.
Recently, the BRB performed 'Into the music', which was a set of third short ballets. The first performance was 'Forgotten land', which started with the dancers facing away from the audience, gazing at a stormy backdrop. Celine Gittens starred in one of the principle roles, and the choreography was by Jiri Kylian, a choreographer whose work Acosta recently expressed an interest in being performed more regularly in the UK. The movements in the ballet seemed to invoke a sense of wonder or perhaps loss, as the dancers appeared to explore an island for the first time. It was an interesting work full of evocative movements.
The second ballet was 'Hotel', and was my favourite of the afternoon. Pre-recorded footage was used in addition to live recording by some of the dancers. Images were displayed at the side of the stage and were incorporated into the performance, as the dancers knocked on the doors of 'hotel rooms', interrupting the footage.
The music and dancing of the manager and assistance managers indicated whimsy, as if they were secretly lovers or wished to escape their duties. However, the general atmosphere was one of disquiet, with a curiously dystopian feel. The backdrop indicated sheer stone walls, which combined with the constant surveillance of the recording and the lowly status of the staff created an air of authoritarianism. A very intriguing ballet that could have been full length.
The final ballet was 'The seventh symphony', which did not appear to have any story, but rather highlighted the theme of the three works, which was of the interplay between dance and music. Celine Gittens returned to star in the first movement, but all the dancing displayed the usual quality and elegance of the BRB.
This was an excellent performance, and an interesting counterpoint to the BRB's classical ballets.
Review- Coppelia
The Birmingham Royal Ballet recently performed one of its repertoire of classical ballets- Coppelia. The set and costumes seemed to have re-designed since the last performance and looked excellent.
Tzu-Chao Chou was fantastic as Franz, his dancing perfectly highlighting the roguish nature of the character. The dancers playing Swanilda's friends were also very memorable, showing great virtuosity.
It was surprising that such a major production only ran for four days; one can only hope that public interest remains high in this kind of outstanding work.
Tzu-Chao Chou was fantastic as Franz, his dancing perfectly highlighting the roguish nature of the character. The dancers playing Swanilda's friends were also very memorable, showing great virtuosity.
It was surprising that such a major production only ran for four days; one can only hope that public interest remains high in this kind of outstanding work.
Review- The Nutcracker
When the curtain goes up and the ballerinas of the Birmingham Royal Ballet are frozen in position around a Christmas tree, one knows what time of year it is.
The performance at The Hippodrome in Birmingham has been left largely unchanged, although the sets were re-designed slightly, with the back curtain and some of the drapes now matching the dress of Clara's mother.
A charming and beautiful ballet, with exquisite dancing, sets, and music, this is a performance that one might happily watch annually for a lifetime, as I intend.
The performance at The Hippodrome in Birmingham has been left largely unchanged, although the sets were re-designed slightly, with the back curtain and some of the drapes now matching the dress of Clara's mother.
A charming and beautiful ballet, with exquisite dancing, sets, and music, this is a performance that one might happily watch annually for a lifetime, as I intend.
Review: three short BRB ballets
I recently saw three short ballets, performed by the Birmingham Royal Ballet at the Hippodrome, Birmingham. As always, all the performances were highly impressive, but my favourite was 'still life at the penguin cafe'.
That ballet, like each of the three, was performed in a single act. It involved a series of dancers taking on the roles of endangered animals, including penguins, a flea, and a zebra. The ballet alternated in tone between the natural humour engendered by dance styles loosely appropriating the movements of animals, and dramatic, somber moments, when the animals suddenly drop down dead, highlighting the danger of them becoming extinct. Although I didn't understand some of the sequences, the ballet was original and affecting.
The other performances were firstly, 'interlinked', which seemed to highlight co-operation between different people, apparently inspired by the commonwealth games. Several of the sequences involved the dancers supporting each other, presumably meant allegorically.
The final performance was 'Apollo', in which the god of the title was visited by three muses, who demonstrated their knowledge and skills to him, before being rejected then finally embraced. I didn't fully understand the allusions made, but the simplicity of the ballet made it very elegant and enjoyable.
All in all, another fine performance by the BRB.
That ballet, like each of the three, was performed in a single act. It involved a series of dancers taking on the roles of endangered animals, including penguins, a flea, and a zebra. The ballet alternated in tone between the natural humour engendered by dance styles loosely appropriating the movements of animals, and dramatic, somber moments, when the animals suddenly drop down dead, highlighting the danger of them becoming extinct. Although I didn't understand some of the sequences, the ballet was original and affecting.
The other performances were firstly, 'interlinked', which seemed to highlight co-operation between different people, apparently inspired by the commonwealth games. Several of the sequences involved the dancers supporting each other, presumably meant allegorically.
The final performance was 'Apollo', in which the god of the title was visited by three muses, who demonstrated their knowledge and skills to him, before being rejected then finally embraced. I didn't fully understand the allusions made, but the simplicity of the ballet made it very elegant and enjoyable.
All in all, another fine performance by the BRB.
Review- The nutcracker at the Birmingham Hippodrome
From the moment the curtain raises to reveal Clara's mother in a vibrant red dress gazing at a Christmas tree over the playful sound of Tchaikovsky, one is immersed in the world of The nutcracker.
The sets have changed slightly in recent years- in particular, the flight sequence looked a little different this time, but the performance by the Birmingham Royal Ballet has remained largely unchanged over many years- and there is no good reason why it should change much.
Rosanna Ely debuted as Clara this year, and danced very skillfully. In a minority of dancers from the BRB as being born in the UK, the programme reveals the global reach of the company, which must partly explain its predominance, and the exceptional skill of its dancers.
For some reason, there is currently only a single announced BRB performance in 2024; hopefully, more shows will become available soon.
The sets have changed slightly in recent years- in particular, the flight sequence looked a little different this time, but the performance by the Birmingham Royal Ballet has remained largely unchanged over many years- and there is no good reason why it should change much.
Rosanna Ely debuted as Clara this year, and danced very skillfully. In a minority of dancers from the BRB as being born in the UK, the programme reveals the global reach of the company, which must partly explain its predominance, and the exceptional skill of its dancers.
For some reason, there is currently only a single announced BRB performance in 2024; hopefully, more shows will become available soon.
Review- The Sleeping Beauty ballet
I recently saw The Sleeping Beauty, performed by The Birmingham Royal Ballet (BRB) at The Hippodrome in Birmingham, and the performance was amongst the best I've watched.
Although the BRB always has good choreography, the sets and costumes in this show were outstanding. The dresses worn by the aristocrats in the Christening and wedding sequences formed the backdrop of some wonderful set pieces by the fairies, and there were some great dramatic moments, such as the entrance of Carabosse on her carriage. The gold glitter at the end of the wedding, which sparkled as it sprinkled across the stage, was also memorable.
The only slight disappointment is that this is the only classical ballet to be performed by the BRB before The Nutcracker at Christmas. Although the contemporary performances are good, I hope their frequency does not come at the cost of the traditional shows.
Although the BRB always has good choreography, the sets and costumes in this show were outstanding. The dresses worn by the aristocrats in the Christening and wedding sequences formed the backdrop of some wonderful set pieces by the fairies, and there were some great dramatic moments, such as the entrance of Carabosse on her carriage. The gold glitter at the end of the wedding, which sparkled as it sprinkled across the stage, was also memorable.
The only slight disappointment is that this is the only classical ballet to be performed by the BRB before The Nutcracker at Christmas. Although the contemporary performances are good, I hope their frequency does not come at the cost of the traditional shows.
Review- Carlos Acosta's 'On Before'.
Until booking this performance, I didn't know that Carlos Acosta still performed as a dancer (aged 50). He's clearly a busy man. Not to mention an extremely accomplished one.
'On Before' comprises a series of vignettes. I'm unfamiliar with them, but I had the impression that they were thematically unconnected. Some may have had religious connotations, containing sequences involved candle like lights, choral singing and lights leading upwards.
Whatever the interpretation, Acosta moves beautifully, displaying an impressive range of styles, including some performances that seemed influenced by 'street dance'.
It will be interesting to see how long Acosta continues to dance in addition to directing. On the basis of this performance, there's no reason why he couldn't continue for a considerable time.
'On Before' comprises a series of vignettes. I'm unfamiliar with them, but I had the impression that they were thematically unconnected. Some may have had religious connotations, containing sequences involved candle like lights, choral singing and lights leading upwards.
Whatever the interpretation, Acosta moves beautifully, displaying an impressive range of styles, including some performances that seemed influenced by 'street dance'.
It will be interesting to see how long Acosta continues to dance in addition to directing. On the basis of this performance, there's no reason why he couldn't continue for a considerable time.
Review- Birmingham Royal Ballet's 'Luna'
I recently saw Birmingham Royal Ballet's 'Luna' at the Hippodrome. The performance was split into six scenes, all loosely themed around environmentalism and feminism.
Although not to the same standard as a full length ballet, there were some memorable sequences. My favourite was 'learning to dream big', in which five girls read after being sent to bed. The books turn fluorescent and illuminate various possible futures for the girls, highlighting the value of education.
Inevitably in a performance structured in this way, there were some weaker parts; in particular, I thought that some of the songs tended towards the crass ('we want the sea, we don't want excuses').
In addition to some major performers such as Celine Gittens and Rosanna Ely, some of the sequences featured a number of children, which made for an interesting contrast.
There are no bad performances by the Birmingham Royal Ballet; I'd recommend this performance, like all the others.
Although not to the same standard as a full length ballet, there were some memorable sequences. My favourite was 'learning to dream big', in which five girls read after being sent to bed. The books turn fluorescent and illuminate various possible futures for the girls, highlighting the value of education.
Inevitably in a performance structured in this way, there were some weaker parts; in particular, I thought that some of the songs tended towards the crass ('we want the sea, we don't want excuses').
In addition to some major performers such as Celine Gittens and Rosanna Ely, some of the sequences featured a number of children, which made for an interesting contrast.
There are no bad performances by the Birmingham Royal Ballet; I'd recommend this performance, like all the others.
Review- The nutcracker at the Birmingham Hippodrome 2024
I recently saw the latest iteration of The Birmingham Royal Ballet's Nutcracker, and it was up to its usual exquisite quality.
There were some minor changes to the set and costumes- this year, the backdrop in the first act matched the dress of Clara's mother- but overall, the performance was similar to previous years. Given that the ballet is such high quality, that is an endearing quality.
Carlos Acosta has made changes to several of the performances since becoming director, but seems content to leave this one unchanged- likely a wise decision.
There were some minor changes to the set and costumes- this year, the backdrop in the first act matched the dress of Clara's mother- but overall, the performance was similar to previous years. Given that the ballet is such high quality, that is an endearing quality.
Carlos Acosta has made changes to several of the performances since becoming director, but seems content to leave this one unchanged- likely a wise decision.
Review- 'Dragons' ballet at the Birmingham Hippodrome
I recent saw 'Dragons' at the Birmingham Hippodrome, which was performed by South Korean ballet group 'Eun-Me Ahn Company'. It was a short ballet at around an hour and fifteen minutes, with a number of rapid scene and costume changes.
The performance utilised holograms of the performers dancing, sometimes alongside live dancing, enabling a range of scenes to be depicted, including an underwater sequence.
The performance was very fast paced and elaborate, images and sounds flashing before the audience. There wasn't obviously an overarching story, although some of the sequences might be said to reflect growth, or joy in life in general.
By contrast, the dancing itself was curiously minimalist, with none of the pirouettes or pas et deux associated with classical ballet.
Although I didn't find the performance as engaging as a narrative ballet, I'd be interesting in seeing this company again, should they return to the UK.
The performance utilised holograms of the performers dancing, sometimes alongside live dancing, enabling a range of scenes to be depicted, including an underwater sequence.
The performance was very fast paced and elaborate, images and sounds flashing before the audience. There wasn't obviously an overarching story, although some of the sequences might be said to reflect growth, or joy in life in general.
By contrast, the dancing itself was curiously minimalist, with none of the pirouettes or pas et deux associated with classical ballet.
Although I didn't find the performance as engaging as a narrative ballet, I'd be interesting in seeing this company again, should they return to the UK.
