When? Tuesday 12th February 2013
Where? Alhambra Theatre, Bradford, stalls
Who? Scott Austin, Robert Carter, Paolo Cervellera, Loic Consalvo, Boysie Dikobe, Roberto Forleo, Paul Ghiselin, Carlos Hopuy, Chase Johnsey, Philip Martin-Nielson, Trystan Merrick, Raffaele Morra, Lawrence Neuhauser, Alberto Pretto, Giovanni Ravelo, Carlos Renedo, Davide Maronglu
In my January preview piece, I designated Les Ballets Trockadero de Monte Carlo as a ‘must see’ show at the Alhambra; I am delighted to say that some years since my last Trocks experience, the evening proved every bit as enjoyable I had hoped.
The all-male cast – in-character throughout as a touring Russian Corps de Ballet and given such delightful names as “Nina Immobilashvili” – find the perfect blend of comedy and genuine dance theatre. This ensures that a hearty laugh is never too far away from – albeit sometimes just a flash – of unquestionable dance quality from the talented company.
In my opinion, the secret of Trocks long-lasting success is that one can really take away what they wish from the evening; many admired the athleticism of the ‘ballerinas’, many enjoyed the faux-bona-fide ballet stylings, complete with pre-recorded orchestral support (undoubtedly a necessity for the show to see light of day). Ballet fans will quietly enjoy the somewhat overt nods to classic repertoire such as Swan Lake and Les Sylphides, whereas others with no interest in ballet can simply enjoy the ridiculousness of it all and the amount of fun the players are clearly having on stage. In short, the packed Alhambra audience were having a ball too.
True, the sets and costumes are serviceable at best and no live music is an obvious sacrifice to make; the focus is wisely kept on the seventeen-strong cast and their incredible legs. The decision to include two intervals would appear to be a justified one, with the hard-working cast looking tired towards the end of some vignettes. Despite this, the evening flew by in a sea of visual gags and tutus.
Brava!
- Harry Zing
Chewingthescenery.com
When? Friday 9th November 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Robert Anker, Minica Beason, Bradley Charles, Sheree Dubois, Natasha Gooden, Ess Green, Ross Green, Rowen Hawkins, Denny Haywood, Carrie-Anne Ingrouille, Sherona Knight, Kayla Lomas-Kirton, Cherelle Jay O’Donnell, Andry Oporia, Rohan Pinnock-Hamilton, Sarah Richards, Ross Sands, Letitia Simpson, Shaun Smith, Duwane Taylor, DJ Walde, Elliotte Williams-N’Dure
Kate Prince’s Zoonation have fast become a major player in the UK dance scene. Some Like it Hip Hop, a co-production with Sadler’s Wells, is a superb follow-up to Prince’s critically acclaimed 2006 Into the Hoods, a dance show which bridged the gap between musical theatre and ‘pure’ modern street dance. Very loosely based on Billy Wilder’s 1959 classic comedy Some Like it Hot, the narrative takes place in a dystopian city, where the Governor (Duwane Taylor) has blocked out the sun, banned books and relegated women to the role of second class citizens, doing menial jobs in a male oriented society. Those deemed not ‘up to scratch’ are exiled from the city gates by the tyrannical regime. Two women (Sarah Richards and the outstanding Minica Beason) decide to rebel – and posing as delightfully unlikely men – regain entry to the city with hilarious consequences. Narrator (Ross Green) moves the plot forward with rhyming couplets interspersed with superb dance scenes, perfectly complimented by superb live vocal performances by standout singers Elliotte Williams N’Dure and DJ Walde.
The dancing throughout is superb, the cast have little to say but communicate fluently and emotionally through dance. The scenes comprise of a number of standalone songs inspired by modern hip-hop music, 1970′s disco and even a dash of acoustic folk music in the form of DJ Walde’s lovely second act guitar ballad ‘Destination Unknown’. Three memorable characters emerge; Sudsy Partridge (Shaun Smith) is fantastically expressive and excels in his second act rebellion, winning over the audience with a charming performance. Oprah (Natasha Gooden) is a feisty, rebellious teenager who comes to the city keen to right the wrongs of the past, she dances very well and enjoys a fun second act disco number. But undoubtedly the star turn of the evening comes from Robert Anker as Simeon with the “175 IQ”. His dancing and characterisation were faultless and the tricky moves he pulled off were simply stunning. Interestingly, the company rotate the lead roles very frequently, meaning repeat visits are a very attractive proposition. The largely British company are so talented and versatile I suspect they are entirely interchangeable; it would be fascinating to see the production again after the next rotation.
It was a delight to see the Alhambra filled with young people, who were enthusiastic from the off – and positively rocking by the deafening finale. For many, it will have been a first taste of theatre and I can’t think of a better show I have ever seen to introduce a younger generation into the arts. This is not to say Some Like it Hip Hop is limited by its target audience – if it even has one – as there is truly something for everyone with an open mind who enjoys quality dance theatre. Less of a traditional book musical than In the Heights, but certainly more than just a dance show Some Like it Hip Hop is one of the best dance musicals I have ever seen. Kate Prince’s Zoonation are as innovative and exciting a theatre company as any and the future looks very bright for British dance with Zoonation at the fore. Some Like it Hip Hop is a show I could watch again and again.
- Harry Zing
Chewingthescenery.com
When? Wednesday 24th October 2012
Where? Alhambra Theatre, Bradford, stalls
Who? John Hull, Giuliano Contadini, Mariana Rodrigues, Antoinette Brooks-Daw, Isabella Gasparini, Graham Kotowich, Mark Dennis, Jessica Morgan, Dreda Blow, Hironao Takahashi, Darren Goldsmith, Olivia Holland, Shanti Mouget, Michela Paolacci, Hannah Bateman, Ayana Kanda, Julie Charlet, Luisa Rocco, Sebastian Loe, Matthew Topliss, Matthew Broadbent, Ashley Dixon, Joseph Taylor, Kevin Poeung, Isaac Lee-Baker, Nicola Gervasi, Jessica Cohen, Rachael Gillespie, Thomas Aragones, Jeremy Curnier, Josh Barwick
David Nixon’s Beauty and the Beast, returning to Yorkshire after its successful world premiere in Leeds last December, is modern ballet at its brilliant best. Almost Disney-meets-The Phantom of the Opera, Nixon’s charming and visually appealing production ticks all the boxes for a great night at the theatre; a moving and well-conveyed narrative is superbly brought to life by the terrific company – with the principle dancers particularly shining – set against the diverse and emotive backdrop of Duncan Hayler’s imaginative sets, which are expertly lit by top lighting designer Tim Mitchell (whose work I had most recently admired in Dirty Dancing).
Nixon, who directs and choreographs, is rightly proud of this production, which blends melodrama and a wide variety of contemporary ballet styles to stunning effect. At times, it is rather like watching a classic silent movie; the theme of the piece carries wonderfully with the entrancing score. John Longstaff’s arrangements integrate the music with the drama seamlessly; the profoundly gothic tone in the second act opening and finale (Saint-Saëns: Symphony No. 3 – ‘organ’) surely could not have sounded better than it did on the night, under the baton of John Pryce-Jones and his talented orchestra.
The constantly shifting set pieces keep a real feeling of danger to the piece, in spite of the accessible family-friendly nature of the ballet; the beautiful backdrops are gorgeously lit and largely this is all the dancers need as a frame. Set pieces are flown in and out and – one faux-pas aside involving a to-scale lorry being reversed onto the stage – are very effective and in keeping with the tone of the piece.
Beauty and the Beast is a brilliant family show in the truest sense; there is something for the whole family to enjoy. The theatrics kept the immaculately behaved younger members of the audience rapt, while others sat in awe of the quality of the footwork – needless to say the muso’s were in for a treat too. Hironao Takahashi gives a wonderfully theatrical turn as The Beast; his dancing, whilst not world-beating from a technical viewpoint, was passionate and very physical and as he scales the second rigging of his castle and sneers from his lofty perch, he felt every bit the character I wanted him to be. Michela Paolacci is lovely as Beauty and is reminiscent of the likes of Mary Philbin, such was her tendency to the theatrical. Technically, her dancing was also a joy to watch and Paolacci remains one of the top talents associated with Northern Ballet, as she approaches her tenth year with the company. There are also standout performances from the conceited young Prince Orion, John Hull, and some fine comic relief throughout from the two sisters, amusingly played by Hannah Bateman and Ayana Kanda.
I absolutely adored this production, which I found to be of the highest quality. Nixon stops inches short of musical theatre throughout, making it hard to accept as a pure ballet; I personally enjoyed it as a piece of melodramatic theatre, with some terrific ballet dancing thrown in for good measure. For many who would never have dreamed of seeing a classic ballet, visiting this production will hopefully be the catalyst for a lifelong love affair with dance – and that can only be a good thing for the art and the industry in general.
- Harry Zing
Chewingthescenery.com
When? Friday 25th May 2012
Where? Alhambra Theatre, Bradford, stalls
Who? Abel Rojo, Alberto Gonzalez, Lisvet Barcia, Aymara Vila, Carlos Blanco, Jenny Nocedo, Liesbeth Saad, Jennifer Tejeda, Mario S. Elias, Marta I Ortega, Norge Cedeno, Thais Saurez, Yaday Ponce, Yelda Leyva, Yosmell Calderon, Yoerlis Brunet, Alejandro J Ransoli, Raul Reinoso, Claudia Iglesias, Gabriela Burdsall, George Cespedes, Heidy Batista, Denis Martinez
Right on cue in the middle of a (rare) early British heatwave, ‘Danza Cuba’ began its short stay at the Bradford Alhambra last night. On the back of a successful 2010 UK tour, this new production features three new and very different independent pieces. The dark, boxing-themed ‘Sombrisa’ (D Dir. Itzik Galili) opens the show with the full company clad in mock boxing attire down to black gloves; the black backdrop miles away from the audience’s expectation of a summer festival of dance. The serious and dramatic piece is adequately performed, a relentless drum solo works the dancers to their physical limits, yet perhaps lacks the theatrical drive required to truly engage the audience. The second piece, ‘Carmen?!’ (D Dir. Kenneth Kvarnstrom) is a comic speed re-telling by the male ensemble, set to Bizet’s iconic score. There were laughs aplenty from the warming audience and the male company appeared far more comfortable with this piece collectively, given the opportunity to play a role rather than rely on solely technical ability. The final routine, ‘Mambo 3XXI’ (D Dir. George Cespedes) promised from the title alone to be more in line with the audience’s expectations of the show and didn’t disappoint. ‘Mambo 3XXI’ features a wider variety of dance than the other pieces and is heavily influenced by Latin-American themes. A loose narrative threads the segments together nicely and the show is brought to an impressive conclusion with some of the tightest and most impressive dancing of the evening.
Unlike some similar touring productions, ‘Danza Cuba’ features no live music or singing, favouring pre-recorded drum solos, bands and singers. Whilst this helped to maintain a focus on the dancing, based on my previous experience of exceptional dance productions to visit the Bradford Alhambra (such as Burn the Floor and, especially, Havana Rakatan) I feel live music would have benefitted this production hugely.
The production is sparse to say the least; the sunny, Cuban imagery from the colourful promotional material is simply absent. However, with simple lighting, basic costumes and a high work rate from the company, the show seems full enough. The proficient Cuban troupe are known as their nation’s flagship contemporary dance company and many may go expecting a classic taste of Havana. ‘Danza Cuba’ are, in actuality, a dance troupe who happen to hail from Cuba, and who specialise in Modern, Caribbean and Classical dance (albeit only with a comic twist) rather than traditional Cuban dances, at least in the three routines premiered in this particular outing.
This production is ideal for newcomers to dance, being both accessible and digestible in terms of length. In fact, the production includes two twenty minute intervals and a total running time of just under two hours. The evening zipped along nicely and each individual piece had its own quality and unique style. The tour has played and is still yet to play many of the other great regional theatres, with Sadlers Wells notably yet to come.
‘Danza Cuba’ plays at the Bradford Alhambra until the 26th of May 2012.
- Harry Zing
Chewingthescenery.com
When? Monday 31st October 2011
Where? Alhambra Theatre, Bradford, stalls
Who? Robbie Kmetoni, Janette Manrara, Kallyanne Brown, Damian Samuel, Ash Leigh Hunter, Kevin Clifton, Giselle Peacock, Santo Costa, Emma Slater, Jorja Freeman, Kieran McMahon, Sasha Farber, Stephen Wright, Aliaz Skorjanec, Gary Wright, Karen Hauer, Jemma Armstrong, Dianne Buswell, Faye Huddleston, Trent Whiddon, Gordana Grandosek, Floris Bosveld, Natascha Dejong, Steven Rogers, Peter Saul, Jessica Lingotti, Jason Gilkison (Director/Choreographer)
Is it possible to make ballroom dancing modern, relevant and extremely cool? So asked Director/Choreographer Jason Gilkison back in 1999 when he developed Burn the Floor, the sexy, sassy dance sensation currently setting the Bradford Alhambra theatre alight. Fresh from a season on Broadway, a successful West End run and currently on an international tour, Burn the Floor last night proved that it deserves its status as a triple-A dance production and the première showcase for international ballroom dancing. The varied and wonderfully well executed array of ballroom dances are a delight from the first minute to the last, ranging from joyous swing and jive numbers to outright unashamed allegory like the intensely passionate “Burn For You” or the sexually charged rumba, featuring a blindfolded Karen Hauer, who particularly shone throughout the evening.
In fact, it is the cast – along with the superb choreography from Gilkison and longtime collaborator and friend Peta Roby – which make this show the success that it is. They are hard working, wonderfully talented but above all else and in my eyes, crucially, they love every single second on stage and really take their opportunity to shine with both hands – well, feet. I also particularly enjoyed Kevin Clifton’s high energy (almost manic) performance and the little flourishes added to his characters, which made the whole experience more human and down to earth – and established a connection to the audience. There was not a fault to pick with the cast who clearly gave their all – no mean feat after three years on the road and yet another international tour to come after Christmas.
The show itself was split into four sections, two styles per act; Inspiration, Things That Swing, The Latin Quarter and Coda, each one with particularly strong moments; even if you are not a fan of say, jive dancing, it is impossible not to smile and feel an involuntary toe-tapping during “The Dirty Boogie”. Whilst the pre-recorded music works well enough, I would have preferred a live band on stage or in the pit, but I can appreciate the additional cost would almost certainly mean a reduction in the dancing cast which, at sixteen in number for this tour stop, felt just right for the large Alhambra stage. There are, however, two live percussionists (Joe Malone and Henry Soriano) who are excellent throughout. Joining them on stage at regular intervals are the two vocalists, Peter Saul and Jessica Lingotti, the former particularly impressing again with moving and soaring vocals in “Burn For You”, which really was worthy of the ticket price alone. It was also very interesting to learn that the show is regularly updated and re-rehearsed for each venue; one number, Shakira’s Act II “Objection (Tango)” isn’t even listed in the programme/brochure* as it was only added to the show a month or so ago.
The staging is simple; an elevated area upstage houses the percussionists and gives a performing area for the singers – oh, and a mirror ball is flown in and out occasionally, but there is little to say about the staging other than it puts the onus on the dancers to fill the space and become the stars – and they certainly do just that. The costumes (Janet Hine) are what you would expect from a tour of this calibre and do not disappoint the men in the audience – or the women for that matter! There is no plot or real narrative drive, which I am actually thankful for, Burn the Floor isn’t preachy, it has nothing to “say” – it is simply some of the finest ballroom dancing you will ever see, performed by a young and very talented international company of dancers. What more could you want from a dance show?
Burn the Floor plays at the Bradford Alhambra until 5th November 2011.
- Harry Zing
Chewingthescenery.com
——————————————————————————————————————————————————————————————–
Notes
*The gorgeous, glossy full colour programme/brochure is a marked step up from the usual fayre offered by producers and we at CTS applaud them. I have written a piece for the first edition of the new segment Zing’s Rants about the state of programmes in theatres presently; Burn the Floor is an example of how to do it properly.
