Tag Archives: Dreda Blow

Casanova
reviewed in Norwich on 4 April

Northern Ballet has never been afraid to present those facets of drama which are not usually fully explored in traditional ballet scenarios. Its latest première is based on Ian Kelly’s biography of Casanova and choreographed by Kenneth Tindall with an original score by Kerry Muzzey, probably best known as composer for film and television.

How you view Giacomo Casanova, the defrocked Venetian priest who fell foul of the Inquisition, led an amormously ramshackle life in various European courts and ended as a count’s librarian in Bohemia, probably depends on which dramatised adaptations of his life and loves (with the emohasis on the latter) you’ve encountered. Between them, Kelly and Tindall have scraped away some of this clutter to suggest a far more intellectual man of the Enlightenment than usually confronts us.

Touring ballet productions tend to simplify the scenic aspects and rely on costuming and lighting. Christopher Oram uses a succssion of moveable black and gilt ribbed panels (pillars or bookcases?) with an ornate baroque picture-frame lowering above. His costume palette concentrates on a complete range of greys, from almost-white to near-black. Reds, purple, gold and blue are reserved for the principal characters.

Alatair West’s lighting pours purple onto the early Venetian scenes and whitens as Casanova’s travels take him to Louis XV’s Paris. Nathan Fifield conducts Muzzey’s score which is often stridently brassy as the brass and timpani weigh in. It suits the story very well and complemens Tindall’s choreography.

This makes much use of lunging steps for the men balanced by equally forceful arm movements. These characterise the Inquisitors in particular. Casanova’s female sequence of lovers at times echo this with their extended arabesques en pointe and in the lifts. Many of these are athletic but not always graceful; the pas de deux with Dreda Blow’s Bellino doesn’t really suggest the love inherent in it.

Giulano Contadini in the title role fully deserves the acclamation awarded it at the curtain call. He acts as well as dances the part, from musical seminarian to disillused philosopher. it’s a rounded portrait of a real man. Of the other roles, Hannh Bateman as the husband-abused Henriette, Victoria Sibson as mme de Pompadour, Javier Torres as Senator Bragadin, Mlindi Kulashe as the Chief Inquisitor and Sean Bates as Cardinal de Bernis are also three-dimensional characterisations.

Four and a half-star rating.

Casanova continues at the Theatre Royal, Norwich until 8 April with matinées on 6 and 8 April. it can also be seen at the Milton Keynes Theatre between 19 and 22 April.

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Filed under Ballet dance & mime, Reviews 2017

Beauty and the Beast

(reviewed at the Theatre Royal, Norwich on 26 October)

Northern Ballet has launched its autumn 2016 tour of artistic director David Nixon’s Beauty and the Beast in Norwich. This being a Dixon production, although much of the choeorgraphy follows classical lines – and his company has the skills to make this appear just as it should be – the story, the characterisations of the main characters and the costumes combine folk- and fairy-tale elements with more than a passing nod to the late 20th and 21st centuries.

His choice of music is equally wide-ranging. Glaunov for the more-or-less traditional finale but also the uncompromising diatonic and dissonance of Poulenc and the musical picture-painting of Bizet, Debussy and Saint Saëns. The Northern Ballet Sinfonia under John Pryce Jones fused these elements at the service of the dance. Duncan Hayler’s mirrored sets are lit by Tim Mitchell, mostly to fine effect except when reflexions dazzled the audience and left the dancers in shadow.

Dreda Blow, on the opening night, makes a charming Beauty, lyrical in both her solos and in her pas de deux with the Beast and with the Prince and strong of foot for the leaps with which Dixon has endowed the part. Her Prince – initially a self-centred primping posturer – is Giliano Contadini, supporting Blow effortlessly in their pas de deux and acting well throughout.

La Fée Magnifique (think Carabosse en pointe) is Victoria Sibson with Hannah Bateman as her beneficent counterpart Luminaire, a Lois Fuller swirl of shimmering flowing tissues. This storyline has Alfred, an ambiguous man-servant who we see first as the Prince’s valet and then as a manipulator for both Magnifique and Luminaire. Hironao Takahashi conveyed an impression of this multi-faceted master of ceremonies with just the right touch of control.

Ashley Dixon as the Beast – the Prince transformed as a result of his selfishness – is a fine characterisation as well as an athletic one, dangerous as only a feral animal can be but always suggesting that something better underlies the savagery, if only it were allowed to come to the surface. This is most apparent in the opening scenes of the second act with Beauty. He thoroughly diserved th audience’s applause at the first night curtain calls.

Beauty and the Beast is at the Theatre Royal, Norwich until 29 October with matinèes on 27 and 29 October. The production’s five-centre tour continues until 7 January.

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Filed under Ballet & dance, Reviews 2016