Artiklar från 2008 – till idag
Although the ballet is premised on Petipa’s classical structure it gives precedence to the male dancers. In addition to the Prince/ Salamander, the four suitors Kings have fearsome solos, and the Fool is also a challenging role. Even the aging King and his four doctors are all male but as compensation there is the central role of Princess Rose.
As Rose, Marianela Nuñez is simply glorious; dancing her way from the turmoil of the court and into the wide world and developing into her mature self. She finds true love when she accepts her Prince in Salamander form who is then, of course, transformed.
MacMillan more usually known for his dark, troubled characters has created some of his best neo-classical choreography for Rose in her three solos and pas de deux where he extends the ballet vocabulary to subtly build her character. Nehemiah Kish, in probably his best role to date, proves a fine partner and an engaging Prince.
It is scheduled for just a few performances but will hopefully soon return.
Sexual Tension at Scottish Ballet
At Sadler’s Wells, Scottish Ballet presented Annabelle Lopez Ochoa’s ballet, A Streetcar Named Desire. While based on Tennessee William’s drama, eminent theatre director Nancy Meckler has skilfully extracted the essential elements of the story, acting out the scenes from Blanche’s early life to clarify the play and create a valid dance production.
The commissioned music from Peter Salem evokes the genteel homes, steamy jazz clubs, the claustrophobic apartment and the rising sexual tension. Estonian, Eva Mutso, has a dream of a role as the damaged Blanche DuBois. She is on stage much of the evening and captures Blanche’s fragile and unstable psyche in a remarkable performance.
Tama Barry, as Stanley, exudes an animal magnetism and the complex male/ female dynamics between the two are skilfully developed to the tragic climax.
Ochoa’s choreography is vibrant in the ensemble scenes but most successful in the duets where movement carries the narrative so effectively.
While it introduced ballet to new audiences, it was unfortunate that ballet was represented only by women only thus enforcing the stereotype of ‘ballet is for girls’, and had little of the excitement of modern ballet – no big lifts or tours (although there were a few fouettes) however Flawless were brilliant, wonderful performers to a man.
37 Plays in 37 Languages
As part of the Cultural Olympiad, Shakespeare’s Globe Theatre presented Shakespeare’s 37 plays in 37 languages. A Midsummer Night’s Dream in Korean was spiced with folklore and dance, the Serbian’s brought a sense of history to their perceptive interpretation of Henry Vl, Part 1, and most gratifying a group of actors and musicians from war ravaged Kabul brought a deliciously funny Comedy of Errors to a warmly appreciative audience.
Maggie Foyer
18 June 2012
FÖLJ OSS PÅ
Redaktion
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