ChrisG

Looking forward to seeing this in Chester in June!

Well deserved - I first really noticed her as Maggie in Hobson's Choice and she's been on an upward trajectory ever since. Must admit I was half expecting this announcement after her Salford performance the other week!

Having been at the first performance of this programme on Thursday afternoon it's been really interesting seeing the reaction to it from others and how everyone seems to have reacted differently. Here are my final, extremely personal, thoughts having digested what I saw for a few days: Whether this was a programme that NYCB would themselves have chosen or whether it was one thrust upon them by Sadler's Wells, what I saw in the programme that was on offer was a synthesis of what I'm assuming is the direction that Stafford and Whelan want to take the company in the post-Martins era, i.e. honouring the past but moving boldly into the future. Yes, of course I would have liked a Symphony in C or a Serenade, but what I saw was very much a 21st century company, respecting the past but not bound by it. I've only seen NYCB twice before, both occasions on a visit to New York back in late 2012, and the two programmes I saw then just consisted of works by Balanchine and Robbins (which I will freely admit I loved, especially my first exposure to Symphony in C) and a bit of dull as ditchwater choreography by Peter Martins. It was fine, but it seemed somewhat stuck. This Sadler's Wells programme did not. Yes, it could have had a little bit more Balanchine and/or Robbins, and some things worked better than others but it took chances, which I respect. Now that I've had a chance to think about it I realise that I really loved the Justin Peck work - the choreography, the music, the costumes, everything - (which seems to place me in a minority!), and the Kyle Abraham work wasn't far behind. I still am not sure about the Tanowitz work but that's the thrill of the new - you're never going to like everything It's the same with the Royal Ballet - I love watching Macmillan and Ashton and the 19th century classics but if that's all I ever saw at Covent Garden I would know I was seeing an art form that was fossilised. Ditto with the music I sing - I absolutely love singing a Messiah or a Brahms Requiem as much as the next person, but the music I've sung that has thrilled me most over the last 10 years has been music by contemporary composers such as Emily Howard and Brett Dean - it's music that helps me believe my art form has a future as well as a distinguished past. So in summary thanks to New York City Ballet for coming over and thanks to Sadler's Wells for the invitation. It was exciting to see how you have developed in the 12 years since I last saw you and I'm excited as to what the next 12 might bring. Come back soon and share it with us!

Another thank you for the video - I wish I could have been there! I'm so glad he finished his career with Francesca. Over the last ten or so years their's has been the partnership I've most looked forward to seeing. I've seen them together in Nutcracker (both as Hans Peter/Clara and as Sugar Plum/Prince), Swan Lake, Manon, Giselle and Cinderella and there's always been an instinctive connection between the two. One final thought - as a youngster he had to choose between ballet and cricket and remains a big cricket fan (anyone remember him being interviewed by Jonathan Agnew on Test Match Special?). Now that he doesn't have to worry about injury I'd love for him to get his bat and pads out of storage and make the odd appearance on the cricket field - I'm sure the Lord's Taverners would welcome him into one of their XIs!

Just heading back north after the matinee. What a wonderful company - I love them all! I’ll leave detailed analysis to those more qualified but here’s my initial reaction to the four pieces: Rotunda - my first live Justin Peck work. Beautifully organic in the way the ensemble coalesced and separated into groups of various size, like the murmuration of starlings or minute life viewed under a microscope. I was particularly taken by Miriam Miller and Indiana Woodward in the second and third sections and Megan Fairchild and Gilbert Bolden in the main pas de deux Duo Concertant - Megan Fairchild again, this time with Anthony Huxley. Balanchine at his least showy and all the better for it, playful but restrained, like a couple attending a musical soirée and unable to resist the temptation to dance. Beware the false ending though! Gustave le Gray - had a certain kind of austere charm but didn’t move me. Though the piano pushing sequence provided the most arresting image it was ultimately a bit too silly for its own good. Love Letter (on shuffle) - took a while to get me hooked but ultimately I loved it, including the wacky costumes! I really like the way Kyle Abraham marries contemporary dance and hip hop with the purity of ballet technique. There was a narrative of sorts with the lead male character (Taylor Stanley? - correct me if I’m wrong) looking for love that was beautifully resolved at the end. All in all a wonderful afternoon - let’s hope it’s not another 16 years before they come again!

Must admit I feel quite excited about it. Yes, the world doesn't exactly need one more Nutcracker, but this will be going to places that don't normally see a decent Nutcracker, which I'm sure this will be. I'm especially glad this will be going to the Lowry (even if it will be a month after Christmas!)

Just found this announcement. The show is also touring to Canterbury, Aylesbury, Richmond, Southbank Centre, Woking, Milton Keynes and Salford: Norwich Theatre and Valid Productions are delighted to announce the brand new dance co-production CARLOS ACOSTA’S NUTCRACKER IN HAVANA, choreographed and directed by Carlos Acosta CBE, which will open at Norwich Theatre Royal on 1 November 2024 before embarking on a UK tour including a week-long run at London’s Southbank Centre in December 2024. NUTCRACKER IN HAVANA is a colourful Cuban take on the festive classic, set to an exuberant Cuban newly-commissioned version of the magnificent Tchaikovsky score, arranged by Cuban composer Pepe Gavilondo. Featuring over 20 dancers from Carlos’ Cuban company Acosta Danza, this traditional story is brought to life with ballet at its core but in Carlos’ unique style, seeing dance traditions of Cuba carefully fused and woven throughout the classic tale. With spectacular video projection and set design by Nina Dunn (9 to 5 Musical, Bonnie and Clyde, Birmingham Royal Ballet’s Don Quixote), Cuba collides with the Land of Sweets, bringing snow to Havana in a visually stunning spectacular treat for all. Carlos Acosta CBE said: “I am so excited to be bringing Acosta Danza to the Nutcracker. My generation in Cuba grew up without the spirit of Christmas and with this show I can combine the joy of the Nutcracker with the vibrant Havana culture. I cannot wait to take audiences from the humble settings of Clara’s home through to the beautiful dream sequences passing through the grand and vibrant Havana ballrooms of the 1940s and 50s. “I have always taken pride in recreating some of the most iconic and loved ballet titles, from Carmen through to Don Quixote. Infusing the colour, feel and vibrancy of Havana with the tradition and beauty of Nutcracker is a real highlight for my career.” Stephen Crocker, Chief Executive and Creative Director of Norwich Theatre said: “Norwich Theatre is delighted to be working with Carlos Acosta, Acosta Danza and Valid Productions once again, following the success of our partnership in reviving Carlos’ solo show, On Before, which continues to tour in the UK and internationally. This is the next major step in Norwich Theatre’s evolution as an originator of new work and creative force bringing the world to Norwich and Norfolk and taking Norwich and Norfolk to the world. “The whole Creative Team and I are so inspired by Carlos’ vision for a fresh and different Cuban telling of this much loved tale. I hope that Nutcracker in Havana will both capture the imagination of dance lovers and also bring new audiences to dance. I am proud that we are creating a Nutcracker able to tour to the widest range of venues and to towns and cities not regularly receiving dance of this scale and quality.” International superstar Carlos Acosta was born in Havana, Cuba and trained at The National Ballet School of Havana. After winning a succession of awards, including the 1990 Prix De Lausanne, he went on to dance professionally with the world’s most prestigious companies, with London’s Royal Ballet becoming his home. Carlos retired from classical ballet in 2016, after 28 years, having performed almost every classical role from Spartacus to Romeo. Carlos created many award-winning shows throughout his ballet career, including Tocororo, and Carlos Acosta and Friends of the Royal Ballet, also choreographing the Royal Ballet productions of Don Quixote and Carmen and the 2014 West End production of Guys and Dolls. He has also written two books, including a work of fiction ‘Pig’s Foot’ and his autobiography ‘No Way Home’. Yuli, a film inspired by his life, premiered at the San Sebastian, Havana and Berlin Film Festivals to critical acclaim before its premiere and general release in April 2019. The culture and history of Carlos’ homeland have been important influences throughout his career and continues to be so following the establishment of his own dance company, Acosta Danza, in 2016. The company tours the world with its vibrant combination of classical and contemporary, fused with Cuban elements of dance. In 2017, Carlos opened his first Dance Academy through the Carlos Acosta International Dance Foundation and in 2023 opened The Acosta Dance Center in Woolwich. He was also recognized in the Queen’s New Year’s Honours List and received a CBE in 2014, later also receiving the Queen Elizabeth II Coronation Award from The Royal Academy of Dance in 2018 and the Critics’ Circle’s Annual Award for Outstanding Services to the Arts in 2019. In January 2020, Carlos became Director of Birmingham Royal Ballet. NUTCRACKER IN HAVANA is choreographed by Carlos Acosta, with video projection and mapping by Nina Dunn, costume design by Angelo Alberto, compositions and arrangements by Pepe Gavilondo Peón and set and lighting design by Andrew Exeter. NUTCRACKER IN HAVANA is produced by Norwich Theatre and Valid Productions. Find out more about the full tour at nutcrackerinhavana.com

I was at the show yesterday, and it ended at 10.25, so it lasted just under 3 hours. I know from experience how much orchestra overruns cost and with the current uncertainty around funding, you don't want them! By the way, even if he was somewhat shortchanged by the choreography as a result of the cuts I thought Matthew Ball was excellent yesterday, and seemed to have real rapport with Céline. The Act 3 pas de deux was perfection.

I notice that all the shows except the very first are now showing as ‘Sold Out’!

Hayward and Sambé this afternoon. No words - just sublime!

It's just been announced that Matthew Ball is guesting on the evenings of February 24th and 29th!

Yes, it’s interesting how many names in the programme book are listed as having started in 2023

I felt privileged to be at Zurich’s picture-perfect Opera House this afternoon to see one of the first fruits of Cathy Marston’s tenure as Artistic Director at Zurich Ballet, a triple bill featuring two new works and an (almost) centenary performance of Bronislawa Nijinska’s legendary Les Noces, a work I’ve been wanting to see for some considerable time. The performance started with Meryl Tankard’s For Hedy, a tribute to actress/beauty/femme fatale/inventor extraordinaire Hedy Lamarr. The work began lyrically with Shelby Williams as Lamarr in a beautiful black gown dancing to a piece of piano mood music by Elena Kats-Chernin before suddenly the rest of the cast who had been sitting with their backs to the audience erupted in a cacophony of madness as the pianist changed styles abruptly to play ‘Ballet Mécanique’ by ultra-modernist Dadaist-sympathising 1940s American composer George Antheil, coincidentally a friend of Lamarr. Played with gusto by Guy Livingston at the back of the stage, this work is a maelstrom of dissonance enhanced by blocks of additional sound coming from hidden speakers, including the occasional siren much in the manor of Varèse’s ‘Amériques’. The dancing reflected the chaos, with much leaping, running, shouting and dancing in a multitude of styles from classical to Scottish dancing and (I kid you not) Morris dancing. To me the movement reflected the turbulence of the times through which Lamarr was building her career, first in German films and later in exile in Hollywood. For most of the work Lamarr simply observes the chaos passively but gradually she gets drawn in until the final scene when she approaches the front of the stage with her long black hair gone and her head shaven, surely a hint as to what her fate might have been had she, as a German with Jewish blood, stayed in Germany. A powerful work - not sure if I liked it but I liked what it was trying to say. The final two works both referenced music premiered 100 years ago. Mthuthuzeli November’s Rhapsodies was mostly set to George Gershwin’s evergreen ‘Rhapsody in Blue’ in a version for two pianos (some nice cutting down of the orchestra costs in this programme!). Anyone familiar with November’s work for Ballet Black and Northern Ballet would know what to expect, classical moves with an African sensibility, which is enhanced when, just before the finale of the Rhapsody, Gershwin’s music drops out and a solitary dancer dances to one of November’s own African-based compositions, as if going back to the ultimate roots of Gershwin’s jazz-based music. All in all an exuberant performance, enjoyed by dancers and audience alike (it got the biggest cheers of the afternoon). I have a tenuous connection to Stravinsky’s music to Les Noces, the last item on the programme, and to Switzerland, as nearly 30 years ago the choir I sing in, the Hallé Choir, came over to sing it at the Verbier Festival under Kent Nagano, and the recording was released by Deutsche Grammophon last year as part of a Verbier Festival archive series, so I feel it’s one of ‘our’ pieces! I also completely love it as a piece of music, the missing link between the full orchestra all-guns-blazing Russian-ness of his early ballets culminating in ‘Rite of Spring’ and the pared-back austerity of his later neo-classical and serial music, so much of which was an inspiration for George Balanchine. As can be seen from the attached cast sheet, the cast for this performances included many names familiar to fans of Northern Ballet, English National Ballet and Birmingham Royal Ballet, not least the very excellent Brandon Lawrence. He played the part of the Bridegroom, obviously for those of you who know the work a part with not a great deal of dancing, but since he had shone in the previous work I felt I got my Brandon money’s worth! The work had been staged by the Royal Ballet’s very own Christopher Saunders, who, judging by the programme notes which I translated using Apple’s idiosyncratic Translate app, wanted to present on stage something as close as possible to the Royal Ballet’s 1960s version. And a fantastic job he did as well, some minor spacing issues aside. This really is a work for the corps and they were very much on their mettle, dancing with an earthy vigour as they prepare the bride and bridegroom for marriage. All the iconic elements were present and correct, including the famous head pile-up in the first scene (is there a technical term for this?!), and although I’m sure no Russian wedding ever looked like this, there was still the feel of veracity, of something timeless. The music was perfectly performed, with four decent soloists, the requisite collection of pianists and percussionists and an outstanding young chamber choir, the Zurich Sing-Akademie, who sang the choral lines far better than my choir would ever have done! All the performers, dancers and musicians alike, got to receive the applause onstage at the end, which was a lovely touch. I absolutely loved it, and I left the theatre at the end wondering if and when the Royal Ballet will ever perform Les Noces again. I’m guessing the stage logistics aren’t too complicated but the pit logistics probably are, but I live in hope.

Having seen the video on YouTube of her preparing for the role I was hoping for the best, and I wasn’t disappointed. The pas de deux with Nicol was calm, assured, and very musical - I hadn’t quite realised how tall she is and they made a very good combination. Her variation was neat and precise and the coda was just magnificent. With Marianna Tsembenhoi and Isabella Gasparini excelling as Clara and the Rose Fairy it was an excellent New Year’s Day out, and an unexpected one since I only booked 3 days ago!

For me in the immediate future it would be… Hayward/Sambé in Manon Nijinska’s Les Noces in Zurich next month BRB Sleeping Beauty at the Lowry NYCB at Sadler’s Wells NB R&J (must remember to book!) Not strictly dance, but amazingly choreographed - The Nature of Forgetting by Theatre Re at Storyhouse, Chester Macmillan’s Requiem …and thanks to Friday Rush and cheap LNWR tickets, Annette Buvoli’s SPF debut in two hours’ time!