REVIEW: ‘Fame the Musical’ – Milton Keynes Theatre, June 2019

 

Fame the Musical is lighting up the stage at Milton Keynes Theatre this week, delivering a high-energy burst of nostalgia for fans of the film and inspiring a brand new generation.

This revamped 30th anniversary production, directed and choreographed by Nick Winston, brings a fresh vibrancy to the original teen musical.

Long before Glee (2009 – 2015) and High School Musical (2006), Fame mixed an intoxicating cocktail of drama, music, singing and dancing to chronicle the lives of performing arts students mastering their craft in anticipation of a big break. The film was released in 1980 and swiftly became a sensation, generating a popular television show and a smash-hit stage musical.

Currently touring the UK, the latest rendering of Fame the Musical is entertaining audiences with dynamic dance and electrifying vocals. And THAT song; that triumphant theme tune you just can’t help but remember? Well, it doesn’t have its moment centre stage until the finale so I’m still humming it now!

 

Fame the Musical. 2018/2019 UK tour.

 

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REVIEW: English National Ballet’s ‘Cinderella’ in-the-round – Royal Albert Hall, June 2019

 

English National Ballet’s Cinderella in-the-round reimagines the rags-to-riches story as a stunning fairy tale for our times.

Inspired by the Brothers Grimm version of Cinderella, choreographer Christopher Wheeldon develops a quirky narrative centred around humanity and nature. In short, Cinderella’s compassion, creativity and courage – combined with a little mystical assistance from her dearly departed mother – help her make her own magic.

Wheeldon devised his imaginative interpretation in 2012, as a co-production between Dutch National Ballet and San Francisco Ballet. He has revisited it for English National Ballet, restaging it as Cinderella in-the-round at the Royal Albert Hall.

 

Cinderella in-the-round campaign photography of Emma Hawes and Francesco Gabriele Frola by Jason Bell.

 

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REVIEW: The Royal Ballet’s ‘Medusa’ mixed bill (‘Within the Golden Hour / Medusa / Flight Pattern’) – Live Cinema Season, May 2019

 

The Royal Ballet confidently dances distinctive works from three leading contemporary choreographers in the Medusa mixed bill: Within the Golden Hour / Medusa / Flight Pattern.

 

Medusa is a brand new narrative work from acclaimed Belgian choreographer Sidi Larbi Cherkaoui. Created on The Royal Ballet, with Natalia Osipova in the title role, it is his first commission for the Company.

Cherkaoui draws on his training in ballet, hip-hop, tap, jazz and flamenco to devise dance for an impressive range of performers. His eclectic style means he is in demand with major ballet companies and major pop stars alike. He is artistic director of Royal Ballet of Flanders; artistic director of his own contemporary dance company, Eastman; and an associate artist at Sadler’s Wells.

Within the Golden Hour, choreographed by Christopher Wheeldon, is an abstract ballet devised for San Francisco Ballet in 2008 and first performed by The Royal Ballet in 2006.

Wheeldon trained at The Royal Ballet School before joining The Royal Ballet in 1991. He later moved to New York City Ballet where he was promoted to soloist before becoming the Company’s first resident choreographer. Wheeldon, who was made an OBE in 2016, is now artistic associate of The Royal Ballet and regularly choreographs for leading international companies.

Flight Pattern was Canadian choreographer Crystal Pite’s first work for The Royal Ballet. When this large-scale ensemble piece exploring the plight of refugees premiered in 2017, it was the Company’s first new mainstage work by a woman in eighteen years.

Pite is a former member of Ballet British Columbia and William Forsythe’s Frankfurt Ballet. Her professional choreographic debut was in 1990, at Ballet British Columbia, and she has since created more than fifty works. Pite is the recipient of three Olivier awards, including one in 2017 for Flight Pattern.

 

Broadcasting performances such as the Medusa mixed bill in cinemas makes it possible for audiences outside London to experience exceptional dance. Long may the creation, and widespread consumption, of ballet continue – I love being able to pop to my local cinema to watch The Royal Ballet in action!

 

Medusa mixed bill

 

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NEWS: Happy International Dance Day, 29th April 2019

 

The theme for International Dance Day 2019 is “Dance and Spirituality”.

When I am dancing, I am meditating. I am living in the moment: body, mind and soul uniting to make me “me”.

I have always used dance classes as an opportunity to escape day-to-day concerns and realign myself. My fondness for being productive means that I am inclined to treat myself like a machine, diligently getting things done – but no one can be industrious all the time. Dancing is the equivalent of pressing pause, switching myself off and rebooting in safe mode!

 

Georgina Butler. International Dance Day 2019. Dance and Spirituality.

 

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REVIEW: Matthew Bourne’s ‘Swan Lake’ – Milton Keynes Theatre, February 2019

 

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.

 

Matthew Bourne's Swan Lake. New Adventures production poster image.

 

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