Beauty and the Beast | Theatre Review

Show: Beauty and the Beast
Venue: Festival Theatre, Edinburgh
Date: 14^th March 2019
Company: Birmingham Royal Ballet
Choreography: David Bintley
Music: Composed by Glenn Buhr, performed by Royal Ballet Sinfonia
Principal dancers: Maureya Lebowitz (Belle), Yasuo Atsuji (The Beast), & Beatrice Parma (Wild Girl)

Based on the classic story we all know and love, Birmingham Royal Ballet’s take on Beauty and the Beast made for a rich and visually captivating performance. The show really is a feast for the eyes, its greatest strength being the sumptuous costume design, ornate set pieces, and moody lighting; all of which come together to create an atmosphere that feels entirely in-keeping with the story’s fairy tale origins.

Sonically, the show is also a hit. Buhr’s specially composed score is seamlessly performed by the Royal Ballet Sinfonia. Intricate and textured, the music has a timeless, whimsical quality, honouring the extensive history of the narrative. As for injecting something new into proceedings, that’s where the choreography comes in. Though it is playful and original, the heavy leaning towards storytelling over conventional dance means there are a few moments in which the pace drags. When the show hits its stride, however, it’s an arresting experience, the second Act in particular really showing off the quality of the production across all departments.

Production shots, courtesy of Birmingham Royal Ballet.

Each member of the company did a good job with what they were given, and a couple of the big group routines were excellent. The standout individual performer was undoubtedly Beatrice Parma as the vixen-turned-woman. Her movement fused classical ballet with a strange vulpine quality. Her entire presence on stage was enigmatic and compelling.

Having seen a fair few ballets in my time, I can’t say this one ranks amongst the best, but it’s well worth catching during its UK tour if you have the chance. The recognisable story and approachable presentation make it accessible for enthusiasts and newcomers alike.

The Nutcracker | Theatre Review

Show: The Nutcracker
Venue: Perth Concert Hall
Date: 19^th November 2018
Company: Russian State Ballet
Director & choreographer: Konstantin Uralsky
Music: Composed by Tchaikovsky; performed by the Russian State Symphony
Principal dancers: Karina Likhanova (Marie), Igor Likhanov (The Nutcracker), Marina Nomyrova (Sugar Plum Fairy), & Anton Piasteskhin (Prince Coqueluche)

***

The Nutcracker

Based on the classic tale by E.T.A. Hoffmann, the ballet adaptation of The Nutcracker has become a staple of the theatre scene during the festive period. This touring production by The Russian State Ballet and Opera House is every bit as magical and enchanting as you’d want it to be.

The story is one of timeless whimsy that embraces the wonder of Christmas, the power of childhood imagination, and the beauty of dreams come true. A young girl’s Christmas gift – an unassuming nutcracker doll – comes to life as the clock strikes midnight on Christmas morning. He and the other toys must overcome the Mouse King, before travelling through snowy climbs to The Land of Sweets, where they celebrate their victory with all manner of weird and wonderful characters.

First-off, I have to give special mention to the three dancers who performed the Arabian Dance (the second Act sees a number of ‘dolls’ from around the world come to life to perform a balletic interpretation of their national dance). I’ve been lucky enough to see a fair few ballets in my time, including another company’s production of The Nutcracker, but this was quite possibly the most intricate, stylised, precise, and visually arresting sequence I’ve ever seen on stage. The production would have been worth seeing for this, and the snowflake scene, alone.

Production photos, courtesy of the Russian State Ballet and Opera House.

But if those moments set a precedent for the quality of the show at large, I was in no way disappointed. Hearing the iconic Tchaikovsky score performed live by a 30-piece orchestra made all the difference. Utterly transporting, there are several pieces in the suite that everyone will recognise the moment they hear them, even if they have no interest in ballet whatsoever – and all were performed flawlessly. The set design and props were excellent, and the costumes some of the most sumptuous and detailed I’ve seen in a ballet. It was this kind of attention to detail that elevated the show to the next level – but then the Russians are famous for their ballet, of course. After seeing this production, I have no doubt as to why.

The company is currently touring the UK, with a rotating repertoire of The Nutcracker, Giselle, and Swan Lake. I highly recommend catching them if you can – especially in a showing of The Nutcracker. Its playfulness, and accessible, family-friendly story make it ideal for newcomers and lovers of the form alike. Not to mention that it’s a perfect early Christmas treat to get you in the festive spirit.

Highland Fling | Theatre Review

Highland Fling

Show: Highland Fling by Scottish Ballet
Venue: Festival Theatre, Edinburgh
Date: 14^th April 2018
Director and choreographer: Matthew Bourne
Music: composed by Herman Severin Løvenskiold; performed by The Scottish Ballet Orchestra
Principal dancers: Constance Devernay (The Sylph) & Jamie Reid (James)

—

Highland Fling is a reimagining of the original ballet by Filipo Taglioni, La Sylphide, which was first performed in 1832. This new version was created by Matthew Bourne in the 90s, and is set in modern-day Scotland. The story follows a young man, engaged to be married and living a pretty wild life, who attracts the attention and adoration of a mysterious Sylph. She draws him into her world, but their attempts to be together will inevitably end in tragedy.

Seeing this performance so recently after a production of The Little Mermaid made for an interesting contrast. Both present central themes of doomed love and an ill-fated desire to change who (or what) you are, and yet were very different tonally.

This particular show doesn’t feel like a traditional ballet for the most part, and would be more accurately described as ballet-meets-interpretive-dance-meets-comedy-meets-tragedy. It’s highly story driven, and the first half in particular was very comedic (and it’s worth pointing out for those interested that it may not be one for young children, as there are a fair few references to sex and drugs). The second half takes a darker turn, when James enters the realm of the Sylphs. I particularly enjoyed the choreography in this section, with the Sylphs’ movements enhancing their ethereal and alluring nature.

Production stills, courtesy of Scottish Ballet.

The ability to shift from the comedic, jaunty tone that prevailed throughout the bulk of the performance, to deliver a surprisingly powerful and poignant climax was great – and the latter portion of the show with its haunting final image was definitely the highlight for me.

The setting of 1990s Scotland and various pop-culture references made for a fun and unique set-up, but I appreciated the choice to retain Løvenskiold’s musical score from the 1800s. It was a nice nod to the story’s more classical roots, and it tied in well with the fairy tale-esque elements of the story.

It was altogether very different from any other ballet I’ve seen, but I admired it for its bold, playful interpretation of a classic.

The Little Mermaid | Theatre Review

Show: The Little Mermaid by Northern Ballet
Venue: Festival Theatre, Edinburgh
Date: 24^th March 2018
Director & choreographer: David Nixon
Music: composed by Sally Beamish; performed by Northern Ballet Sinfonia
Principal dancers: Ayami Miyata (Marilla, the mermaid), Nicola Gervasi (Lyr, Lord of the Sea), Matthew Koon (Dillion, the seahorse), Mlindi Kulashe (Prince Adair), Rachael Gillespie & Abigail Prudames (Evelina & Erina, the mermaid’s sisters)

Northern Ballet’s The Little Mermaid

This ballet was an inspired and beautiful adaptation of the original fairy tale by Hans Christian Andersen. The way the costumes, lighting, staging and choreography came together to create the sense of an underwater world was incredibly clever and very well executed.

The principal dancers were all wonderful, and though it definitely has to be seen to understand and appreciate its full impact, the way the supporting dancers were used to represent the ever flowing and undulating movement of the sea was a stroke of genius. This was used to particularly great effect in key moments throughout the narrative to enhance both the ethereal and powerful qualities of the water.

Speaking of the narrative, it was easy to follow for those well versed and new to the story alike, and I really respected the choice to represent the darker, more melancholic, though beautiful version penned by Andersen, rather than the ‘happily-ever-after’ of the Disney-fied version.

The classical sense of the seamlessly performed original score helped to emphasise the timeless quality of the story; its central theme of not changing yourself to try and please others one that still resonates strongly to this day.

I’ve seen a fair few ballets over the years, and this one easily ranks amongst my favourites. Intelligent, engaging, moving; I urge you to try and see it if it tours near you.