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.
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.
The latest neoclassical programme from New English Ballet Theatre is The Four Seasons / Remembrance, a stylish double bill that combines the abstract and the historical.
The vibrant young modern ballet company prides itself on creating refreshing new works for developing dancers, thereby furthering the art form and nurturing promising artists. Indeed, Artistic Director and CEO Karen Pilkington-Miksa has been recruiting a fresh batch of dancers each year since founding New English Ballet Theatre in 2011. These dancers receive a 12-month contract which affords them training and development opportunities with exciting creatives, as well as coveted time spent dancing on tour and in the West End.
While past offerings have thrown a spotlight on emerging choreographers, The Four Seasons / Remembrance features works from established dancemakers Jenna Lee and Wayne Eagling.
New English Ballet Theatre is returning to The Peacock Theatre in London’s West End this week with a brand new double bill, The Four Seasons / Remembrance.
As a modern ballet company, New English Ballet Theatre makes a heroic effort to drive the art of classical ballet forward through continual reinvention. It proudly promotes the talents of the next generation of exceptional artists (not only showcasing fledgling dancers but also emerging choreographers, musicians, designers and visual artists), by giving them paid employment in a profession they love.
As a result, the critically acclaimed neoclassical troupe — which was founded by its visionary artistic director, Karen Pilkington-Miksa, in 2011 — is developing a reputation for being one of Britain’s most exciting young ballet companies.
This autumn’s double bill promises to be a visual and musical spectacle of passion, hope and remembrance.
Dazzling dance musical An American in Paris is a breathtakingly beautiful show.
The acclaimed stage adaptation of the classic 1951 Hollywood film, which starred Gene Kelly and Leslie Caron, is directed and choreographed by Christopher Wheeldon. Widely admired on both sides of the Atlantic, thanks to his work with The Royal Ballet and New York City Ballet, Wheeldon is a seasoned master who skilfully uses the power of dance to drive the whole musical.
An American In Paris features an impressive array of dance styles and really seems to be the epitome of the maxim “why walk when you can dance?”. Everything moves with a spring in its step — from the radiant lead performers to the stunning sets — and there is a remarkable fluidity as the cast dance their way through the sensuous tale of art, friendship and love.
This lavish production certainly made me fall in love with dance all over again, and I thought I was already as besotted as it is possible to be!