Northern Ballet’s Victoria is an enthralling epic that intelligently and emotively chronicles Queen Victoria’s life as a monarch and mother.
Created to celebrate this year’s 200th anniversary of Queen Victoria’s birth, the ambitious two-act ballet is the impressive handiwork of acclaimed British choreographer Cathy Marston. Her spirited exploration of Victoria as a passionate woman, emblematic queen, working mother and stricken widow inventively depicts some of the most significant events in this remarkable Royal’s life.
Working alongside dramaturg Uzma Hameed, Marston has managed to condense Victoria’s lengthy reign (she spent 63 of her 81 years on the throne) into two hours of absorbing dance.
Being scared has never been quite as much fun as it is in the stage adaptation of bestselling author Peter James’ supernatural thriller, The House on Cold Hill.
A distinct chill is discernible in the air at Milton Keynes Theatre thanks to the arrival of this entertaining play, which is described by the cast and creatives as a “modern day ghost story”.
All things considered; the production neatly fulfils its brief. The action occurs in a sprawling country house where things go bump in the night. The cast includes a geeky ghost hunter, a madcap medium, and a sceptical but likeable family. The everyday gadgets that we all now rely on are heavily featured and, at times, seem to be controlled by the spirit world.
This production is not so scary that it will send shivers down your spine, but the twists and turns will keep you gripped and there are moments that will tickle your funny bone. Expect to be intrigued rather than intimidated, amused rather than alarmed and somewhat spooked rather than totally terrified…
Plot and pop are entertainingly in tune in The Band, a bubbly jukebox musical that celebrates fandom, friendship and fulfilment.
The Band is written by Tim Firth, features the music of Take That (Britain’s most successful boy band to date) and stars the winners of the BBC’s 2017 reality show Let It Shine. Thousands of talented wannabes applied to take part in the programme and a handful competed through four rounds of competition on prime-time Saturday night telly. At the end of the series, five young men were chosen to become ‘the band’ for a new touring musical.
Significantly, The Band is not a tribute to the Take That boys. Nor, somewhat surprisingly, is it all about the winners of the television contest. Instead, it is a heartfelt ‘ta very much’ to music enthusiasts and an affectionate ode to friendship.
Matthew Bourne’s Swan Lake is back at Milton Keynes Theatre as a revived production that brings astonishing new energy and emotion to a legendary piece of dance theatre.
I delight in Matthew Bourne’s work because he interprets his chosen narratives with intelligence and affection. He scrutinises characters’ motives, questions the situations they find themselves in, and reimagines their stories through drama-led dance in ways that all theatregoers can relate to.
Bourne provoked an immediate reaction from stunned audiences — particularly classical ballet aficionados — with the premiere of his Swan Lake in 1995. Vexed traditionalists and dubious dance fans mourned the absence of female swans in tutus and pointe shoes. Yet, many found themselves simultaneously marvelling at the glistening naked torsos of the menacing male ensemble and moved by earthy, emotive choreography set to Tchaikovsky’s timeless score. Audiences were challenged to reconsider their beliefs about dance, and many young men were inspired to consider dance as a profession.
Twenty-four years later and the current revival, performed by Matthew Bourne’s New Adventures company, is winning standing ovations wowing the next generation of audiences and dancers.
Christmas at the London Coliseum means the return of English National Ballet’s Nutcracker, a festive favourite that is guaranteed to lift your spirits.
Nutcracker has been at the heart of English National Ballet’s repertoire since the Company was established in 1950. The current production, the Company’s tenth, dates from 2010. Made by then Artistic Director Wayne Eagling, with designs by Peter Farmer, this interpretation largely follows the traditional scenario but has a few unique flights of fancy mixed in too.
On Christmas Eve, young Clara and her brother Freddie enjoy a party with family and friends. Clara receives a Nutcracker doll as a present but, after a skirmish with jealous Freddie, the doll gets broken and has to be repaired by the mysterious Drosselmeyer. The party ends, the children are sent to bed and Clara has an action-packed dream in which her Nutcracker is attacked by an evil Mouse King. Departures from the traditional narrative in Eagling’s offering include the enchanting addition of a hot air balloon to whisk Clara and her Nutcracker away; horrifying giant mice invading scenes that are conventionally rodent-free; and a Puppet Theatre replacing the customary Kingdom of Sweets in Act Two.
English National Ballet’s talented dancers capture all the requisite wonder and magic of the Christmas staple. Having demonstrated in recent years that they are as adept in contemporary choreography from the likes of Akram Khan as they are in the classics, they assuredly keep this familiar ballet feeling fresh.