Matthew Bourne’s Cinderella is a cinematic wartime romance that memorably captures the glitz in the Blitz to illuminate the power of true love.
The popular choreographer’s dance theatre troupe, New Adventures, is making its annual visit to Milton Keynes Theatre this week with a revival of the 2010 reworking of his original 1997 production. There were standing ovations on opening night, so audiences are still lapping up this fanciful tale of love and conflict.
Set in the capital during the darkest days of the Second World War, Matthew Bourne’s Cinderella sees ordinary Londoners navigating both affairs of the heart and the terror of nightly air raids.
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.
Dancer Dominic North is currently touring with New Adventures, performing in Matthew Bourne’s Sleeping Beauty.
He found time for a quick chat with Georgina Butler to discuss how things have moved on since the “original” Princess Aurora dozed off…
Dancer Dominic North first appeared with Matthew Bourne’s New Adventures in 2004 as an ensemble swan in Swan Lake. Since making his official début in a principal role as Edward in Edward Sissorhands in 2008 at the Sydney Opera House, he has performed as many of Bourne’s lead characters.
Matthew Bourne is renowned for delving into stories in a bid to reveal characters’ motivations and unearth deeply buried narrative elements. His Sleeping Beauty is devised as a gothic romance full of fairies, supernatural surprises and, of course, true love. Bourne plays around with the time that the story is set so that Princess Aurora is born the year that the classical ballet first premièred and “comes of age” with a 21st birthday during the Edwardian era. This means that she is roused from her slumber in 2012 (which is when Bourne’s Sleeping Beauty was premièred).
He certainly gives the traditional tale enough ingenious twists and turns to keep a contemporary audience intrigued. Just for starters, Aurora falls for the royal gamekeeper; the couple enjoy a sweet romance before the princess visits the land of Nod and a vampiric twist heavily influences who is there to wake her up a century later! Nonetheless, Bourne’s careful attention to detail when coming up with his concept means that he manages to put his own spin on proceedings while simultaneously paying homage to the masterpiece that the classical ballet will forever be.
I am such a balletomane and The Sleeping Beauty may well be my favourite classical ballet (although, admittedly, the top-spot seems to change far too frequently to enable me to have a definitive favourite!). Still, prior to seeing Matthew Bourne’s version, I had never properly considered quite how momentous falling asleep for 100 years would actually be. Maybe it is just because we know the children’s yarn so well but his imaginative approach certainly adds an array of fascinating features that were missing from my bedtime stories!
What better way to learn more about Matthew Bourne’s Sleeping Beauty than by chatting to New Adventures‘ principal dancer Dominic North all about the role that has made him wake up and see this fairy tale differently…
We all endeavour to carve out a place for ourselves in the world and Matthew Bourne’s Edward Scissorhands reminds us that Bourne has most certainly found his place as a dance-maker.
Matthew Bourne is renowned for his bold adaptations of classical ballets including Nutcracker, Swan Lake and Sleeping Beauty. The clever re-writes unearth previously unexplored elements of these well-loved stories and his company, New Adventures, impressively engages audiences through innovative contemporary dance. As a dedicated balletomane, I have found Bourne’s inventive interpretations deliciously refreshing so I expected Matthew Bourne’s Edward Scissorhands (a work that does not exist in the classical ballet repertoire) to be similarly “cutting-edge”.
Happily, opening night was a “shear” delight, with Bourne proving once again how sharply attuned he is to theatregoers’ predilection for quirky stories told well. Based on Tim Burton’s 1990 fantasy film, Edward Scissorhands is the touching tale of a boy created by a bereaved father. In Bourne’s dark prologue, we learn that the late Edward was a young boy who was struck dead by lightning while playing with scissors. His grieving father becomes determined to bring his son back to life and sets to work producing an artificial being. Unfortunately, the eccentric creator is frightened to death by Halloween trick-or-treaters, leaving Edward alone and unfinished – with scissor blades for hands.
The simple — admittedly, surreal — narrative follows isolated Edward’s attempts to fit into 1950s suburban America. Bourne excels at creating characters and the production certainly delivers razor-sharp character-driven dance-drama.