Tag Archives: Lez Brotherston

Cinderella

reviewed at the Theatre Royal, Norwich on 27 February

The essence of a fairy-tale is that it has neither time nor roots to ground it. So Matthew Bourne’s riff on Cinderella takes place not n 16th century Germany, nor early 18th century France, nor even the early 19th century of Rossini’s opera but London during the Blitz.

Bourne and Etta Murfitt keep the basic elements of the story – the daughter turned into a drudge by her father’s second wife and her children, the intervention of a quasi-supernatural force to bring her to the man who will marry her – but translates the family and the price into characters we recognise from the classic iconic films dealing with the Second World War.

Prokofiev’s score has been prerecorded and transformed into surround sound (Paul Groothuis and Brett Morris) as at the cinema. The colour palette used by Lez Brotherston (set and costumes) and by Neil Austin (lighting) and Duncan McLean (projections) is predominantly monochrome.

The cast I saw is led by Ashley Shaw as Cinderella, Liam Mower as the silver-clad Angel who guards and guides her – and will go on once the happy ending is achieved to work magic for another disconsolate soul – and Dominic North as the wounded pilot Harry.

Fine characterisations also come from Dan Wright as the foot-fetish stepbrother and Mark Samaras as his youngest brother. Madelaine Brennan’s Stepmother, drink- and man-obsessed with a protective attitude to her own brood that leads her down increasingly nasty paths, is equally eye-riveting.

Shaw, both as the drudge and the beautiful young woman has the measure of the turns and lifts Bourne gives her which echo the angularities of the score. it is a cast which acts as well as dances, well demonstrated by North, Brennan and Mower. 70-odd years ago is for most of us an era vanished into smoke. But what else is a fairy-tale, even an adult one?

Four and a half-star rating.

Cinderella continues at the Theatre Royal, Norwich until 3 March with matinées on 1 and 3 March.

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Filed under Ballet and dance, Reviews 2018

Duet for One

reviewed at the Cambridge Arts Theatre on 9 October

“…that one talent which is death to hide lodged with me useless”. Milton was writing about his blindness, but his desperation is that of any creative or interpretive artist.

Since 1980, my own understanding, as well as that of most fellow critics and theatre- and film-goers understood that this play was based on cellist Jacqueline du Pré whose spectacular career was cut off when she developed multiple sclerosis in her mid-20s.

In a programme note for Robin Lefevre’s tour of his production for the Birmingham Repertory Theatre, author Tom Kempinski denies that his violist protagonist Stephanie Abrahams is actually based on du Pré. Quite frankly, I’m not entirely convinced.

That is not to say that Lefevre’s excellent staging with its realistic set by Lez Brotherston cleverly lit by Ian Scott and with John Leonard’s never obtrusive use of sound isn’t effective. It is.

As Stephanie, Belinda Lang gives a superbly paced performance of a young woman in (quite natural) denial both of her early years and the bleakness of her present situation and lack of options for the future. On one level, this is indeed a duet for one person, her constant fiddling with hair and scarf mirroring her own insecurities.

Oliver Cotton’s Dr Feldmann provides much more than mere accompaniment and a soundboard as the psychiatrist she so unwillingly consults. Between them they people the stage with those who have affected Stephanie’s life.

These include the mother with her own frustrated musical ambitions who died young, the father intent on providing her with future security, the composer husband whose own ambitions don’t really include the care of an increasingly invalid wife.

On one level it’s a tragedy about wasted lives. But the two actors bring out the comedy in their exchanges and the ending is far more upbeat than I remember it from both the original production and subsequent revivals. As all good plays should do, this production leaves one thinking. And wondering.

Four and a half-star rating.

Duet for One continues at the Cambridge Arts Theatre until 14 October with matinées on 12 and 14 October.

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The Red Shoes
reviewed in Norwich on 21 February

Seeing the Powell-Pressburger film The Red Shoes for the first time (for me that was in 1949) is, as the programme notes for this Matthew Bourne danced adaptation emphasise, something of a defining mark for anyone with an interest in ballet as well as the cinema.

Bourne keeps to the film story but adds some subtle hommage to the choreography of, among others, Fokine (Les Sylphides), Massine (Beach) and Cranko (The Lady and the Fool) in the episodes featuring the ecclectic repertoire of the déraciné company run so autocratically by Lermontov (Sam Archer).

There are nice humorous touches, notably when the soon to be supplanted prima ballerina Irina (Michela Meazza) and her posturing partner Ivan (Liam Mower) monopolise an over-worked and under-staffed stage crew in order to ensure that their follow-spots for Les Sylphides are becomingly bright and accurate.

Such characterisations are neatly pointed by all the dancers. It’s great fun picking up the in-jokes, such as the Wilson and Keppel sand dance and the music-hall girls’ abundance of slightly moulting feathers – but you lose nothing if you just take it as it unfolds.

Archer radiates the certainties of a man who has no time to waste on anything which isn’t for the good of his company and even more importantly, his vision for how it should be. So he recruits struggling composer Julius Craster (Dominic North) but reacts violently when Craster and his latest protegée Victoria Page (Ashley Shaw) fall in love.

Emotion is the enemy of art, Archer maintains; which was basically Diaghilev’s reaction to Nijinsky’s doomed marriage to Romola de Pulszky. The irony is, of course, that Lermontov is strongly attracted to Victoria. Glen Graham’s ballet-master and character dancer Grischa can foresee disaster looming; his tempter in the actual Red Shoes ballet sequence plays out both sides of the scenario.

There’s great fluidity as well as style in Bourne’s choeography, both in the ensemble dances and the mre formal pas de deux. The settings by Lez Brotherston take us effortlessly from front of stage to back-stage, from the luxury of Monte Carlo and a Mayfair salon to East End music-hall and garret lodgings – and swirl us in between through a surreal world which is neither realistic stage set nor pure abstraction.

This is a show where the lighting matters; Paule Constable achieves this superbly. The story is multi-layered and the choreography and visuals mirror this in perfect synchrony. The pre-recorded score has been arranged by Terry Davies from the film and concert music of Bernard Herrmann. It’s an evening whee a story and how it’s told balance perfectly.

Four and a half-star rating.

The Red Shoes is at the Theatre Royal, Norwich until 25 February with matinées on 23 an 25 February. The national tour continues until 22 July, including Curve, Leicester between 16 and 20 May.

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Filed under Ballet dance & mime, Reviews 2017