Tag Archives: Javier Torres

The Nutcracker

reviewed at the Norwich Theatre Royal on 21 November

It’s a popular ballet at this time of year, the story of a Christmas festivity with many layers of meaning. It’s also a ballet of two acts which is notoriously difficult to fit nto an over-arching cohesion.

Act One is all story, with dancing. Act Two can then seem like a succession of divertissements with little relationship to what has gone before. David Nixon’s Northern Ballet binds the two acts more closely than many productions.

Here Clara (Rachael Gillespie) is a teenager not much junior to her sister Louise (Minju Kang). So she dances en pointe throughout, distancing herself from the younger members of the Edwards family’s party.

The period is Regency and the place is England. That allows for uncle Drosselmeyer (Mlindi Kulashe) to conjure up an orientalist fantasy world both at the party and in the gardens beyond the clouds. Louise and her suitor  James (Javier Torres) fit into this quite logically as the Sugar-Plum fairy and her cavalier.

Some of the costumes have been redesigned for this revival; the whole production looks fresh. Dixon melds his own choreography with some of Ivanov’s original set pieces, but the joins are scarcely discernible.

Gillespie gives us a credible portrait of a girl on the cusp of womanhood, suggesting the tentativeness of that transitional state. She becomes the focus of the dance as well as the drama in Act Two, one which Kang and Torres don’t quite manage to defeat.

There’s a dash of the Lord of Misrule about Kulashe, whether displaying the animated dolls (Kyungka Kwak, Jonathan Hanks and Riku Ito) from his cabinet of curiosities or launching Clare and Ashley Dixon’s Nutcracker prince on their fantasy journey.

Kevin Poeung, Adam Ashcroft, Nina Queiroz da Silva, Gavin McCraig, Abigail Prudames, Conner Jordan-Collins, Harris Beattie and George Liang all do well with the national and character dances. There a real sense of ensemble in the corps de ballet.

Four star rating.

The Nutcracker runs at the Norwich Theatre Royal until 24 November with matinées on 22 and 24 November.

 

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Filed under Ballet and dance, Reviews 2018

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