(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.
(reviewed at the Theatre Royal, Norwich on 24 November)
Productions of The Nutcracker cam be a little like a fancy bun – when you’ve savoured the fondant icing and the glacé cherries, you’r3 left with what can be a boring sponge cake; lots of action followed by a formality of divertissements. Northern Ballet with David Nixon’s staging avoids most of the traps.
There’s a lot going on in the first act, some of it being quite unusual in its emphases. The transition to the snow fairyland and thence to the second act and its array of set-piece dances is less fractured than can be the case through having Clara (Rachael Gillespie), dancing on full point, and her Nutcracker Prince (Ashley Dixon) as young people just awakening to romantic love. Sister Louise (Lucia Solari) and her suitor James (Javier Torres) are just that bit older and more sexually aware.
We’re in late Regency London at the house of Mr and Mrs Edwards (Sean Bates and Hannah Bateman). Also in residence are his doddery parents (Pippa Moore and Filippo DiVilio). When Uncle Drossmeyer (Matthew Topliss) arrives, he is a much younger, more flamboyant character than we’re accustomed to seeing – nearer to a stage magician than a sinister neighbour. Clara and Louise’s obstreperous brother Frederick (Matthew Koon) and his school-friends have a distinct ability to wreck any would-be polite social gathering.
Out of an elaborate oversized box Drossmeyer produces his French dolls (straight from the Sevrès factory) and a loose-limbed lanky Chinese one, like a stringless puppet in Sebastian Loe’s performance. The Mouse King looms out of an enormous hole in the skirting-board, far more fully realised in Isaac Lee-Baker’s characterisation as a full-blown villain, one of the “enter stage left” variety. Solari and Torres are the Sugar Plum Fairy and her Cavalier, both showing controlled footwork as well as a partnership affinity in the lifts and jumps.
Nixon’s choreography blends the familiarly classical with neat demi-charactère sequences which show off his young dancers’ strengths as well as having audience appeal. Set designer Charles Cusick Smith blends the realistic with the disproportionate characteristic of dream locations. John Pryce-Jones conducts the Northern Ballet Sinfonia with respect to Tchaikovsky’s score (the orchestral reduction is by John Longstaff) and sympathy for the dancers.
The Nutcracker (casts may differ) is at the Theatre Royal, Norwich until 28 November.