Choreographer Sir Matthew Bourne’s Swan Lake, danced by his New Adventures company, returns to Milton Keynes Theatre this month and the revival will have audiences flocking to the venue.
First performed in 1995, Matthew Bourne’s Swan Lake is an unconventional take on the beloved nineteenth century classical ballet. Although still set to Tchaikovsky’s magnificent score, this interpretation replaces the customary corps of swan maidens with a posse of feral, bare-chested male birds and adds a homoerotic twist to the traditional tale of love, freedom and identity.
These bold choices ruffled plenty of feathers when audiences first encountered the production.
Matthew Bourne’s incredible dance production of classic ballet film The Red Shoes is the perfect fit for his New Adventures troupe.
Every female dancer knows the right pair of pointe shoes can change your life but the crimson slippers at the heart of Michael Powell and Emeric Pressburger’s seminal 1948 motion picture The Red Shoes take this sentiment to the extreme. Those red shoes are symbolic of a devoted young ballerina’s turmoil as she is forced to choose between the career she lives for and the man she loves.
The Academy Award-winning film is the quintessential backstage melodrama. Cinema and dance collide in the most spectacular style to depict an absorbing tale of obsession, ambition and jealousy. The characters are distinctive and dedicated to their art. The screen is ablaze in every scene with their desire to dance, make music and move audiences; as well as their passion for living and loving. The extraordinary extended ballet sequence blurs the line between reality and surreal fantasy…
I love the film. And I love that Bourne’s stage version is clearly his way of showing how much he loves it too.
Blockbuster choreographer Matthew Bourne’s production of The Red Shoes will enthral audiences at Milton Keynes Theatre next week.
Matthew Bourne’s production of The Red Shoes is a contemporary ballet version of the classic dance film. The quintessential backstage melodrama tells an intoxicating story of obsession and possession, chronicling the tragedy of a ballerina whose intense desire to dance conflicts with her need for love.
Following a sold-out Christmas run at Sadler’s Wells, Bourne’s New Adventures company is bringing all the glamour of the 1948 British film to audiences beyond the capital on an extensive UK tour. Predictably, tickets have been selling exceptionally fast and extra dates for Bourne’s production of The Red Shoes have already been added.
Celebrated film-making duo Michael Powell and Emeric Pressburger combined glorious Technicolor wizardry with emotive and dramatic performances to create their seminal motion picture. An all-consuming love for the arts generally – and dance especially – is at the heart of The Red Shoes. Significantly, Powell and Pressburger devoted plenty of screen time to dancers, ensuring their cinematic ode to the agony and ecstasy of dancing is largely told through the medium of dance itself. No wonder Bourne decided the film was the ideal source material for his latest production.
Incredible dancing. Intense storytelling. Totally immersive. English National Ballet’s new Giselle by Akram Khan is an epic dance experience. Everything about Akram Khan’s Giselle is so inspired that, after joining an elated audience in a lengthy standing ovation, I left Sadler’s Wells utterly convinced that no words will ever do this masterpiece justice.
The company, under the direction of Tamara Rojo, is intent on evolving the art of ballet. While still honouring the classical tradition (the dancers begin their Nutcracker season at Milton Keynes Theatre next week), English National Ballet is adding amazing diversity to its repertoire with fresh new works. Following the resounding success of Dust, his piece for the Lest We Forget programme, anticipation has been sky-high for Akram Khan’s Giselle.
In short, Akram Khan’s Giselle is a triumphant re-imagining of the 1841 Romantic Era ballet. All the essential themes – love, betrayal, revenge, the opposing realms of life and death – remain but Khan’s vision teases out the dark undertones that have always been there. Dragged to the surface, these elements are expressed with visceral urgency, arresting intent and harrowing sensibility.
(noun) A thing with distinct and independent existence;
(mass noun) Existence, being.
Wayne McGregor‘s whole body of choreographic work could arguably be conceived of as an entity – a living catalogue of thrilling movement possibilities realised thanks to the multi award-winning dance-maker’s enduring fascination with art and science.
Entity epitomises McGregor’s experimental metascience: it is a creation examining how we create. First performed in 2008 by Wayne McGregor’s Random Dance (now Company Wayne McGregor), the piece engages nine performers in a danced investigation of movement exploring the intersection of creativity and cognitive neuroscience.
Bodies, lights, technology and film collide in this riveting voyage of discovery through a sensational soundscape created by Coldplay and Massive Attack collaborator Jon Hopkins and composer Joby Talbot. Quite simply, Entity is awesome experienced live.