UK Theatre Network

Founded in 1988 by former Bolshoi soloist and choreographer Victor Smirnov-Golovanov, Moscow City Ballet has become one of Russia's most successful touring companies. Smirnov-Golvanov’s goal is bringing his heritage of classical ballet in the Moscow style to audiences all over the world. This winter the MCB returns to the Richmond Theatre with Swan Lake and The Nutcracker.

This version of Swan Lake by Natalia Ryzhenko and Victor Smirnov-Golovanov takes it back to its classical roots, which probably meets the expectations of part of the audience because this might be their introduction to ballet. The lady next to me obviously did not go to the theatre very often as she first illuminated the auditorium with her mobile phone and then kept unwrapping sweets – together with her friend - in a very irritating way up until the interval. Apart from that, this was a very pleasant evening. The First Act was a bit slow moving but the production gained pace after the interval. Just like last year, the Jester stole the show. Valeriy Kravtsov, an incredibly skilled and accomplished dancer with great stage presence and boundless energy, sped up the pace of the production whenever he featured on stage. Odette/Odille was danced beautifully by Liliya Orekhova, with Odette’s birdlike anxiousness and fragility contrasting exquisitely to Odile’s seductive self-confidence. Daniil Orlov as Rothbart was charismatic and menacing, Talgat Kozhabaev was, by contrast to his performance in The Nutcracker, a little bland. The fight between Prince Siegfried and Von Rothbart that climaxes this ballet was exciting and intense. 

The set design and the costumes (Elizaveta Dvorkina and Natalya Povago) were stunningly beautiful with Odille’s black and white dress reflecting the fight of good versus evil. The scenes at the Lake were particularly atmospheric and quite thrilling. The only problem I noticed was the lack of space. The dancers were struggling at times because the choreography demanded a wider stage. 

The Nutcracker tells how little Clara and her Nutcracker Prince defeat the armies of the Mouse King and embark on a sleigh-ride to the Kingdom of Sweets, where they meet the Sugarplum Fairy, dancing snowflakes and other delightful characters.

This production was truly magical and joyful. The first half was a bit slow but, as in Swan Lake, the pace picked up considerably in the second half. The set design and the costumes were colourful and imaginative. The backdrop in the Second Act featuring angels, fairies, and flowers had a touch of Chagall. 

Theatre Royal, Glasgow (17 - 31 December 2011)

 

Ahead of the curtain there is a real feeling of anticipation in the auditorium.  A look through the beautifully presented programme / brochure featuring details on composition, artistic process, company and rehearsals gives a sense of the love, care and reverence that this production has received.  As the lights dim, there is just time to glance into the expansive orchestra pit of the Theatre Royal to see row after row of attentive musicians as they await the first upbeat from Resident Conductor, Richard Honner.  We are clearly in for a Christmas treat!

The curtain opens on a simple scene outside a doctor's office as the concerned King (Owen Thorne) and Queen (Eve Mutso) learn of their inability to conceive a child.  But the good Lilac Fairy (Noellie Conjeaud) is able to intervene with magic.  The doctor's office is swiftly struck to reveal the impressive set of the Royal Gardens featuring a substantial summer house which pivots smoothly to allow space for the ensemble to weave their magic of dance in celebration of the Royal Christening.  In this open setting we are also able to appreciate the lighting effects adorning the set from Designer, Anthony McDonald.  Subtle but effective changes of colour are used to influence mood as the many principals perform for the assembled Royal Party.  We are also treated to a mist effect around the trees giving the backdrop an ‘other-worldly' quality appropriate to the tale.  The quality continues into Act II as the enchanted forest setting is given an ethereal depth as we meet more fantastic characters like Snow White, Cinderella and Red Riding Hood.  Costume-wise, we are treated to flowing gowns and royal finery across two centuries as the Beauty, Princess Aurora, and her royal court sleep for a full hundred years.  With the initial part of the tale set in 1830, the story reaches a happy conclusion in 1946 … and it is a real joy to see such breathtaking choreography performed in 20^th century costume.

Tchaikovsky's immortal score was performed with power and sensitivity by the Scottish Ballet Orchestra.  Ashley Page's artistic direction incorporates a great deal of humour with the bad fairies portrayed as wicked (rather than evil) for the family audience.  Several laugh-out-loud moments reached a peak, for me, at Princess Aurora's birthday celebration as the audience was teased with a number of sharp objects upon which the cursed Princess might prick her finger.  Would it be the hedge shears wielded by the gardeners (who looked strangely like the bad fairies), or perhaps the swords worn by Aurora's four suitors … no, it would be the 8 foot tree-like comedy cactus presented in a gift pot at the end of the scene!

Performances from Claire Robertson and Eric Cavallari as Princess Aurora and her Prince were captivating and I would be remiss were I not to mention the beautifully charismatic performances from Tomomi Sato as the Fairy of Song and Lady Bluebird.  All of the principals were expressive and displayed superb synchronicity throughout the performance.  The production was exquisitely executed and a joy to behold.

Listings Info:

Scottish Ballet "The Sleeping Beauty"

Sat 17^th to Sat 31^st December 2011

Tickets: £7 - £35

Box Office 08448 717 647 (Bkg fee)

http://www.atgtickets.com/Scottish-Ballet's-The-Sleeping-Beauty-Tickets/2/530/ (bkg fee)

 

Tour details:

Festival Theatre Edinburgh
11 - 14 January 2012
Tickets from £10
Box Office 0131 529 6000*
BOOK ONLINE NOW  Full booking details

His Majesty's Theatre Aberdeen
18 - 21 January 2012
Tickets from £11.50
Box Office 01224 641122*
BOOK ONLINE NOW Full booking details

Eden Court Inverness
25 - 28 January 2012
Tickets from £14
Box Office 01463 234 234*
BOOK ONLINE NOW Full booking details

 Theatre Royal, Newcastle
1 - 4 February 2012
Tickets from £10
Box office 08448 11 21 21
BOOK ONLINE NOW Full booking details

The Russian State Ballet of Siberia
Romeo And Juliet

There is something incredibly beautiful about ballet. Although pretty much a novice when it comes to this particular form of dance even I can appreciate that, but for me the Russian State’s production of Romeo and Juliet fell a little short.

Now, it was fantastic to a ballet performed at the Waterside that had a live orchestra and not a recording of the music which helped to create the atmosphere, the costumes were mostly great, and individually there were some stunning performances – the Bedroom scene between R&J was absolutely beautiful and I enjoyed very much the clowning of Romeo’s friends, lead by the superb Mercutio. However for me it was in the larger ensemble dances that I felt this production faltered. In the opening scene the prince seemed more panto than powerful ruler and didn’t for me command the respect you expect knowing the original Story.

The ballroom was stronger and the inferences to something more than familial love between Mrs Capulet and her nephew Tybalt was well delivered but I couldn’t help feeling ultimately underwhelmed by the larger routines. My verdict, in all a good show with some excellent individual performances, one absolutely stunning duet but maybe more could have been done with the street scenes. But don’t let that put you off.

Reviewed by:
Kevyn Connett

The Russian State Ballet and Orchestra of Siberia

In the second of their three dazzling ballet masterpieces, presented at the Waterside on consecutive nights, The Russian State Ballet of Siberia performed traditional fairy story Sleeping Beauty on Friday 25th March.

Formed in 1981, The Russian State Ballet of Siberia has now established itself as one of Russia’s leading ballet companies and has built an international reputation for delivering performances of outstanding quality and unusual depth. Both the soloists and the corps de ballet have been highly praised by critics, and never fail to delight audiences with their breathtaking ability and stunning costumes.

The classic story of love and innocence, mystery and magic, Sleeping Beauty , continues to prove why it is every child’s favourite fairytale. With stunning choreography, sumptuous costumes and wonderful sets the fantasy world is created in which the Lilac Fairy struggles against the evil Carabosse.

The backdrops and some of the first costumes had very muted colours and the fairies costumes complimented this with the soft pallet of pastel shades.  It was interesting to see the use of Jacobean period costume with the men wearing huge wigs, feathered hats and breeches, which can’t have been easy to dance in!  Prince Desire though wore more traditional ballet tights enabling him to leap and jump around the stage with great vigour and ease.

The story begins at the Christening of Princess Aurora in the palace of King Florestan 1V, played with imperious aloofness by Alexander Kuimov and his graceful Queen (Margarita Nosik).  The fairies of the Kingdom are presenting presents to the new Princess, when the evil fairy Carabosse (gleefully played by Kirill Litvinenko, who makes a great villain and whose presence fills the stage) enters with her rats and tries to attack the Princess.  The statuesque and very elegant Natalia Vyskubenko beautifully plays the Lilac Fairy who blocks Carabosse from her evil intent, but not before she has pulled out the hair of Cattalabutte (Roman Kirkorov) and promised that the Princess will die after pricking her finger. 

On Princess Aurora’s (Maria Kuimova) 16th birthday party, the villagers join in the festivities and make garlands for her.  Four Princes arrive and she dances with each of them in turn, charming them all with her great beauty and accomplished dancing.  Carabosse gives Aurora a spindle and she pricks her finger, dancing dizzily before collapsing.  As Carabosse vanishes, the Lilac Fairy appears and assures the King and Queen that the Princess has not died, but is only in a deep sleep.  She is carried up to bed and Lilac Fairy waves her wand to make the whole kingdom fall into a deep sleep.

Act 2 takes place 100 years later, as Prince Desire (Yury Vyskubenko) searches for Princess Aurora in the forest.  Lilac Fairy appears and takes him to her and when he kisses Aurora she awakens, along with everyone in the kingdom making Carabosse die.  At the wedding of Princess Aurora and Prince Desire, all the fairy tale characters from Charles Perrault’s stories come to celebrate and dance for them.  There’s the white cat (Anastasia Kazantesva) and Puss-in-Boots (Denis Pogorelyy), Bluebird (Ivan Karnaukhov), Princess Florine (Natalia Goroshko), Little Red Riding Hood (Anna Germizeeva) and the Wolf (Roman Pavlenko), Cinderella (Ksenia Vdovina) and the Prince (Vyacheslav Kapustin).  In true classical fairy tale fashion they all live happily ever after!

 For the latest programme at Aylesbury Waterside Theatre visit www.ambassadortickets.com/aylesbury  or call the Box Office on 0844 871 7607.

Yvonne Delahaye
www.uktheatre.net

Les Ballets Trockadero de Monte Carlo

King’s Theatre, Glasgow

Tuesday 8 March 2011

 

There’s a real buzz in the auditorium: many in the audience already know and love the Trocks. There’s an announcement before the show: ’All the ballerinas are in a very good mood tonight.’

The Trocks are a 16 strong company of professional male dancers, founded in 1974 to bring a playful, entertaining view of classical ballet to the widest possible audience. Starting in a loft in New York, they have since become a global dance phenomenon. Incorporating the full range of ballet and modern dance in their repertoire, they cock a snook at the absurd and ossified conventions of classical ballet, whilst gleefully celebrating its lyricism, its passion and its athletic aesthetic. The fact that the male dancers play all the roles, often in enormous size 12 pointe shoes, is a joy, and the overtly hairy chest of Odette in their signature piece, Act 2 of Swan Lake, adds to the hilarity of the evening without taking away from the exhileration of seeing some of the most graceful ballerinas ever. Pratfalls and gestures taken straight from Melodrama. Music Hall and early silent movies add to the tropes of transgression that are the dynamic of an evening that also includes straightforwardly beautiful dancing in the Pas de Deux Grand Classique. Their take on Balanchine, Go for Barocco, was a stunningly funny precision piece to the music of Bach, his elegance expressed through a group of what appeared to be competitive muscular 1930s bathing belles. And The Dying Swan was executed in a cloud of moulting feathers, and bows that lasted longer than the piece itself. The final dance, Raymonda’s Wedding, takes a typically ludicrous fantasy ballet narrative and comically violates it as really really large ‘female’ dancers are partnered with short ‘male’ dancers who can’t even see round them as they work together, and ‘accidents’ contravene the idea of grace: the Prince collides painfully with the prosc arch and a ballerina reappears from the wings with heavy black rimmed glasses on.

In ballet, dancers normally ignore the audience until the curtain calls…here the company engage with you from the start and you are genuinely invited to share the joke (or the joy) with them. They are dancing in travesti – not in drag – challenging the gender and race – and size – assigned stereotyping decisions that underlie normal ballet school and ballet troupe practice.

They have an awareness of the performance of personality, underlined by being gay in a world where assigned gender is a political as well as a corporal axiom, where the gay body has been the subject of exploration in performance art, and in the lives of gay men, predicated on a division of the self externally imposed. This lived reality chimes with the creation of glamorous names for classical ballerinas: the Trocks revel in dual Russian personae, male and female: punned pseudonyms such as Ida Nevasayneva and Mikhail Mypansarov.

They are all extremely accomplished and talented ballet dancers – with great comic timing and real rapport with the audience. It’s their love for the great traditions of Russian Imperial Ballet that enables them to work to such comic effect, producing both affection and respect. Even the final Curtain Call became a parody – of the grotesque inexpressivity of River Dance.

At the end of the show, you couldn’t imagine an audience all being in more of a good mood: when the Trocks are in town, it’s very much like being invited to the best party ever.

Susan C. Triesman

 

Listings Info:

Les Ballets Trockadero de Monte Carlo

Tue 8^th and Wed 9^th March

Tickets: £14 – £27

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

 

The UK tour goes on to:

New Wimbledon Theatre

Fri 11 and Sat 12 March

Brighton Dome Concert Hall

Tue 15 and Wed 16 Mar

Nottingham, Royal Concert Hall

Fri 18 and Sat 19 March

Milton Keynes Theatre

Tues 22 and Wed 23 March

High Wycombe, Wycombe Swan

Fri 25 and Sat 26 March

Birmingham Hippodrome

Wed 30 March 0- Sat 2 April

Sheffield, Lyceum Theatre

Tue 5 and Wed 6 April

Bradford, Alhambra Theatre

Fri 8 and Sat 9 April

Edinburgh Festival Theatre

Tues 12 and We 13 Apr

Salford, The Lowry

Fri 15 and Sat 16 Apr

On 2nd March, I was treated to an evening of entertainment at the Waterside Theatre in Aylesbury in the form of the Evgennii Panfilov Russian State Ballet’s production of ‘The Big Ballet’

The programme described The Big Ballet as ‘a show like no other in the world’ and I have to agree with this wholeheartedly, although I say that maybe not for the same reasons as Panfilov intended.

As a young man, Evgenii Panfilov, the show’s choreographer, secured his position as one of the most influential choreographers in Russian Ballet. Never one to shy away from controversy, Panfilov decided that he was going to prove two things to the world; firstly, that people of a larger build are able to move with similar grace, dignity and flare as traditional dancers, and secondly, that he would be able to create a ballet troupe out of dancers with no previous dance experience.

As I sat in the auditorium waiting for the show to start, I felt optimistic and intrigued by the possibilities of what I was about to see. Little was I to know that what I would witness would go above and beyond anything I could have predicted as the show was definitely not what I expected.

The first act was described as an ironic comedy parody of the famous ballet, ‘Swan Lake’.

Despite being a ballet lover and having training in the discipline myself from an early age, it soon became apparent that I was not familiar enough with the original story of  ‘Swan Lake’ to be able to fully understand or appreciate the commentary ‘The Big Ballet’ was trying to make. To this end, ‘The Big Ballet’ fell under the common ballet production curse of not being obviously accessible due to its audience not necessarily being familiar with the narrative of the story beforehand.

The other thing that immediately struck me as a little strange was the fact that, although all of the cast were generously built women in their own right, all of the chorus members were also wearing full padded body suits to make them all a uniform size. I found this slightly odd for a production that said it was hoping to support a positive view of heavier built women and to value the individual.

As stated in the programme, it was obvious at some intervals that not all of the dancers were classical trained. This did not seem to matter however as the cast attacked the choreography with humour, conviction and strong characterisation. The highlight of the act was definitely the iconic reinvention of the famous ‘Dance of the Cygnets’.

The second act saw The Big Ballet dancers joined on stage by the svelte and consistently bare-chested male dancers of the modern ballet troupe, ‘Fighting Club’ Dance Company, intended to provide a stark visual contrast. However, the contrast between the male and female dancers’ size and physique was not as vast as the contrast between the content of the second act itself, compared to the first.

After the interval, the pace and style of the show changed beyond recognition as the audience was presented with a manic, camp and sexually charged romp through a cornucopia of different dance styles and themes. The music selection was nothing less than what you would expect from any major American or London gay club, with the act opening with The Village People’s classic ‘Go West’ and featuring other notable tracks by Robbie Williams, Shirley Bassey, Mary Hopkin and Jennifer Lopez amongst others.

As for the dances that accompanied the music, as an audience member you simply didn’t know what to expect next as the following 45 minutes incorporated everything from a highly patriotic tribute to the strength of Russia, break dancing, spandex wearing sailors, strip tease belly dancers and dominatrix bondage bikers and their overly effeminate male counterparts. The only guarantee was that, no matter what was about to appear on stage next, it would incorporate lively music, dazzlingly colourful and flamboyant costumes and a stage full of dancers actively and visibly enjoying themselves.  

For me, the highlight of the evening was an impassioned and angst-filled solo by one of the male dancers, fearlessly and contemporarily performed to Robbie Williams haunting track ‘Love Somebody’. My only disappointment from this number, and generally in relation to the male dancers’ choreography, was the absence of any of the soaring and awe-inspiring jumps that you so often associate with male ballet dancers. Despite the dancers’ obviously evident physical strength, no big jumps sadly ever materialised.

In terms of pure technique, I feel that the young male dancers did sadly slightly overshadow the women, despite them only being featured in the second half of the show. However, the winning ingredient of the whole evening was the residual humour and dedicated yet fun loving nature that was so clearly apparent throughout all of the female dancers’ performances. This attitude encapsulates everything that Panfilov was trying to achieve with ‘The Big Ballet’ and therefore I feel that I can say that the show was a success.

Reviewed by:
Vicky Poole

On Tuesday 15th February for one night only, the audience were enthralled by the  incredible talents of Balletboyz , ensuring a swift and welcome return.

Balletboyz (formerly known as George Piper Dances), founded in 2001 by Michael Nunn and William Trevitt, has made a dramatic mark on the British dance scene. It has thrilled audiences and dance critics alike with its exhilarating mix of award winning repertoire, performance style and high artistic standards.

Michael and Billy, previously lead dancers with The Royal Ballet, became better known for their Ballet Boyz programmes on Channel 4 which followed their every move during The Royal Ballet’s nomadic years whilst the Royal Opera House was under renovation. Having developed a taste for film and sharing the highs and lows of creating a show, film work has become intrinsic to Balletboyz performances and is a popular way of demystifying the artform and the choreographic process.

There were three dance pieces in the evening, interspersed with film about the casting and training of the 9 new BalletBoyz. 

Torsion by Russell Maliphant
Balletboyz signature duet (originally created on Balletboyz founders Michael Nunn and William Trevitt) has been reworked by Russsell Maliphant for six dancers. It is a breathtaking display of power, grace, precision and technique featuring thrilling partnering work and stunning lighting by the acclaimed designer Michael Hulls.  The moody lighting enhances the exhilarating build-up of power, the cantilevered lifts, the rolling bodies and lunges, which can’t be easy in demin. It retains the extraordinary central image of a dancer spinning a wide, slow circle on his knees as if unwinding the work's energy on a thread. I couldn’t help but think that in 20 years time a few knee replacements might be required!

Alpha by Paul Roberts
An ensemble piece commissioned by Balletboyz, Paul Roberts is a pre-eminent choreographer working within the commercial sector and has worked with Boyzone, Girls Aloud and Pixie Lott to name but a few. A beautifully haunting work of lyrical, masculine dancing, Alpha proved to be a sure fire hit with audiences up and down the country. Original music is by up and coming singer-songwriter Keaton Henson.
Clad in hooded pyjama-style silks, the cast execute smoothly elusive lifts and flips.

Void by Jarek Cemerek
In his first commission for a major company exciting Czech choreographer Jarek Cemerek created a new piece of adrenaline fuelled frenzy exquisite dancing. Jarek is based in Prague and has danced as a freelance artist all over Europe.  Produced and directed by Nunn and Trevitt.

Balletboyz is an extraordinary evening of fluid movements, strength and flexibility.  The ripped bodies of these young men seemed to be made of rubber as they contorted their torsos into more and more unusual positions.  I marvelled at their lightness of foot as they moved silently and effortlessly through lifts and tumbles without breaking into a sweat. 

In the Q&A after the show I asked how they warmed up before the show, as one slight wrong movement could incur serious damage?   Apparently they do a full run-through each day and individually warm-up for half an hour prior to the show.  The average age when the boys started contemporary dancing seems to be between 16-18 and each day they have to do ballet to instil a greater sense of discipline.

The choreographers on this show were chosen from 180 that auditioned and 5 were selected.  The shows evolve and organically change throughout the tour and what was most surprising to learn is that each dancer changes roles daily!  That shows the extraordinary skill and talent of each dancer and the calibre of their craft.

The tour continues with one nighters around the country and will culminate in a week at Sadler’s Wells Theatre from 29th March to 4th April.  Full details can be seen on www.balletboyz.com

Yvonne Delahaye

Underneath the Floorboards – BalletLORENT at Northern Stage, Newcastle

Anything that helps get kids hooked on theatre and the arts, at the earliest age possible, is a good thing in my opinion. So much the better when the production is of the quality of balletLORENT’s ‘Underneath the Floorboards’.

Aimed at the under 5’s, this enchanting show tells the story of John (Jon Beney) as he prepares to pack up his toys in readiness for moving house. Whilst in the process, he discovers a strange world beneath his bedroom floor. But, when he can’t find his way back, he worries he’ll be left behind . . . until a host of weird, wonderful and curious creatures begin to appear from the shadows.

Firstly, he meets a shy fawn (beautifully brought to life by the amazingly agile Gwen Berwick), then a mischievous, shaggy character called Gruffy (Gavin Coward) and, finally, the enigmatic Mimic (Philippa White), who mirrors the movement of those she meets.

Ben Crompton’s story is beautifully beguiling and is simple enough for the youngsters to engage with and, because it isn’t contrived or patronising in the least, it is strangely absorbing for adults, too. The piece integrates Kit Haigh’s music and catchy songs seamlessly and Matt Britten’s lighting design creates evocative atmospheres extremely effectively.

Paul Shriek’s costume design incorporates a range of fabrics, textures and colours to stimulate the youngsters’ sense of touch and sight and, indeed, they are actively encouraged to be tactile with them.

The show has an intimate setting, to ensure a comfortable viewing experience for both children and adults, with ease of access to encourage the young people to freely interact with the performers and the story.  The theatre space has been kitted out with a soft floor, cushions and a seated area.  This approach continues to champion the defined methodology delivered by balletLORENT and Northern Stage intended to entertain and inform this age group.

 

Liv Lorent’s choreography compliments characterisation and it is the perfect way of introducing movement and dance to small children. It has been carefully constructed to enable them to safely get close to the dancers without putting themselves in harm’s way.

 

Indeed, every aspect of this delightful dance production is commendable and the most ringing endorsement of all came from the youngsters, some of whom engaged with the piece so actively that they almost stole the limelight from the four highly-talented dancers.

 

Steve Burbridge.

 

Reviewed at Northern Stage on Wednesday 26 January 2011. Transfers to Gateshead Old Town Hall on Thursday 27 & Friday 28 January 2011.

 

Swan Lake is one of the most well known and popular ballets and maybe this fact does not always work to its advantage.

The first act seems incredibly slow because the parade of eligible girls is endless and is obviously meant to showcase each dancer's unique abilities. This might be fascinating for some members of the audience but it does not drive the story at all. Only when Von Rothbart appears does the pace quicken somewhat. Nurlan Kinerbaev is very charismatic as the evil wizard and grabbed my attention every time he appeared on the stage. Liliya Orekhova is brilliant in her double-role as Odette and Odile, her movements very birdlike when she dances the white swan and her technique flawless. Another highlight is Valeriy Kravtsov as the Jester. He manages the most incredible acrobatic feats as he flies through the air with a smile on his face.

The relatively small stage of the Richmond Theatre was a challenge for the dancers but as a touring company they are probably used to adapting to cramped spaces and other difficult conditions.  

The Moscow City Ballet will next perform Swan Lake and Sleeping Beauty at the Lighthouse (Poole Arts Centre) in Poole from 8^th to 12^th February.

 

Prokofiev was commissioned to write a ballet by the Kirov Theater in 1934. When he proposed Romeo and Juliet as the subject, the Kirov objected stating that “living people can dance, the dying cannot.” Prokofiev next approached the Bolshoi Ballet Theater. After seeing the score in summer 1935 the Bolshoi declared the ballet undanceable. The work only received a premiere on 30 December 1938 at the Brno opera House in Prague. Now the Moscow City Ballet is touring with this famously difficult ballet as one of its productions and quite successfully so.

Natalya Povago’s design presents the Elizabethan era with rich, colourful period costumes, and imaginative drapes evocative of the Renaissance Italian art of the time. As this is a touring production there is only one town square set used for all three acts but the dancers have our imagination design the rest.  

The tragic ending of the play is foretold in a graphic prologue of Romeo, Juliet, Tybalt and Mercutio carried in inverted crucifix by pallbearers from beyond the grave. This tableau is repeated as an epilogue which completes the dramatic circle. The rivalry between the two families is established in the opening scenes with clashes of the two opposing families wearing green and purple. The costume colours act like those of opposing street gangs; with the dancers evoking animosity and cementing the drama of the story from the start. Sergei Zolotarev’s Mercutio is a young, funny swashbuckling hero. In contrast, Tybalt (Danil Orlov) is portrayed as an aggressive, virile, no-nonsense fighter with a deep brotherly love for Juliet, their closeness apparent when he gives a red dress to her that she is wearing throughout much of the performance. Alevtina Lapshina captures the innocence and joy of Juliet perfectly. The scene in Juliet’s bedchamber when she teases her nurse effectively shows her playfulness and youth. The balcony scene – although without a balcony – is enchanting as the two ill-fated lovers seem to fly through the air. When they get married in secret they cannot help kissing each other whilst they should be praying, to the dismay of Friar Lawrence. The tension builds up and Romeo is accidentally responsible for the death of his friend Mercutio as the scenario becomes darker. The dawn parting duet is deeply moving and Romeo’s final dance with Juliet’s seemingly dead body disturbing.

The choreography (Victor Smirnov-Golovanov) is impressive and dramatic through most of the ballet although the exposition is somewhat slow moving. All the main characters are well cast except for Paris (Anton Nosov) who seems very rigid and not quite convincing. The orchestra is conducted by Igor Shavruk.

The Moscow City Ballet will next perform Swan Lake and Sleeping Beauty at the Lighthouse (Poole Arts Centre) in Poole from 8^th to 12^th February.