BRB - "Curated by Carlos" and Cinderella, June 2021

[maryrosesatonapin]

You can imagine how delighted I was to see a live ballet performance for the first time in over a year on Sunday.  The ballet itself wasn't one I would have chosen, as I am not a fan of Bintley, but the leading couple are amongst my very favourites and they did not disappoint.  Momoko Hirata was as magically light and sparkling as always, and César Morales was his usual elegant self with superb and considerate partnering, although the choreography didn't stretch him and sadly there were none of his delicious entrechats to enjoy.  

 

Birmingham Rep Theatre had a fairly small and rather shiny-looking stage (causing one poor corps member to skid to the floor, with an adroit recovery).  I was particularly impressed with Hirata's acting ability as she really did seem transformed into a different person after the fairy godmother's visit.  I had trouble with the on-line booking system so bought tickets via the telephone which I was warned would not have a good view as they were below the level of the stage, but that was the best available.  They only cost £35 and they had the best view ever!  Not below the stage at all.  So if you are ever going to that theatre, I recommend the middle of row B! The orchestra played live but from a different room, being shown on screen and presumably seeing the dancers on screen in their room.  It worked well and they sounded good.

https://maryrosedouglasuk.wixsite.com/ballet

I can't wait for my next live ballet experience, which will include my other favourite dancing partners, Núñez and Muntagirov.  Ooooh, life has become exciting again!

[CCL]

I’m looking forward to seeing Cinderella on Saturday afternoon- my first ballet since Lazuli Sky at Sadlers on October 31st! I’m excited and guessing that I will feel very emotional when the curtain goes up!

[Jan McNulty]

I'm very late writing anything about BRB's season at The Rep and I have just hung my hat on MRSOAP's post, hence the slight change in title.

 

I saw both performances on the Saturday of the "Curated by Carlos" programme and I can say that I very much enjoyed it.

 

The performance opened with City of a Thousand Trades, a BRB Dance Now commission and choreographed by Miguel Altunaga.  Miguel's background is contemporary and he was one of my favourite dancers during his time at Rambert.  It stands to reason then that this would be a contemporary piece.

 

The piece was billed touted as a celebration of the City of Birmingham and all the immigrants.  I have to say that it concentrated on immigrants coming from abroad and did not really feature the people who migrated to Birmingham from all over the UK and Ireland (as indeed happened with the bulk of cities in the UK).

 

That aside, as a piece of contemporary dance I enjoyed it.  The dancers were dressed in jeans, T-shirts and denim jackets on the whole to give an industrial feel to the piece.  They seemed to be in factory settings moving large poles and boxes around and dancing in boxes that perhaps gave the impression of living in crowded tenements.  As is fashionable these days the lighting was on the darker side of light.  The music included a lot of percussion and sometimes the percussionists would be visible above the dancers, which I found to be an interesting device.  Most of the dancers were from the newer ranks of the company but the performance also included Tyrone Singleton, Brandon Lawrence and Yijing Zhang with a guest appearance by Rambert alumna Hannah Rudd.

 

The choreography had some interesting ideas as well as the dancers moving the tools of their trades around.  The highlights were the gorgeous duets for Yijing/Brandon and Hannah/Tyrone.  I look forward to seeing more choreography from Miguel Altunaga.

 

Daniela Cardim's Dance Now commission was about climate change.  The backcloth gave the impression of being a glacier perhaps in Antarctica.  The music was very cinematic and tuneful and the simple costumes enhanced the movement.  The dancers flowed beautifully in the lyrical and fluid choreography and perhaps some of the movements were reminiscent of the swell of the ocean.  It was a lovely, gentle piece.

 

The performance ended with Chacona with the dancers wearing simple black costumes on a black background.  It was exciting to watch and sent us out happy and uplifted.

 

While I am hankering to see some of BRB's classic rep being performed in the not too distant feature I did find this an enjoyable mixed programme full of interest.

 

 

[Jan McNulty]

Last weekend I was lucky to see the first three performances of Cinderella, which Sir David Bentley had cut down to fit in The Rep.  I thought it worked particularly well.  I assume, that some of the choreography from Act 1 (notably the four seasons solos and the full transformation scene) because of bubbling considerations.  I found that I did not miss those bits at all.

 

The plot follows the story as I have always known it pretty closely.  I like the fact that the step-sisters aren't out and out horrible - they tease Cinderella and are mean to her but they are also scared of their Mum.  The duets for the Prince and Cinderella are ravishing and I just love the quiet ending as they walk off into the star-scape.  The costumes are superb and the set is dour and grey in the kitchen and light and airy in the ballroom scene.  The one thing I did miss was the giant midnight clock at the end of the ball but that is only a minor point.

 

So three performances and three casts.

 

On Friday evening the performance was led by Momoko Hirata who played Cinderella quite softly and the alway Uber-elegant perfect prince Cesar Morales.  Both were consummate artists and they were utter magic together.    I must say that Laura Day, making her debut as Stepmother was absolutely terrifying!!  Giving how tiny she is she absolutely filled the auditorium with her venom.  As ever the performance is not only about the leading dancers but everyone else on stage too.  I believe most, if not all, of the stars were students and excellent they were too.  The whole cast gave their all.

 

Saturday afternoon saw 2 debuts in the leading roles.  Again Karla Doorbar showed the softer more accepting side of Cinderella.  Her Prince was a very dashing Lachlan Monaghan.  It was a terrific performance altogether.  Laura Day was stepsister Dumpy (in a fat suit) and really showed what a versatile actress she is because she was in turn mean to Cinderella and hilariously funny at the ball.

 

On Saturday evening Beatrice Parma made her debut as Cinderella with Matthias Dingman as her impeccable Prince.  Beatrice was a more feisty Cinderella and I loved her interpretation too.  Her duets with Matthias were scintillating.

 

BRB really showed off their classical credentials in this piece.  It was a joy to watch these performances in the comparative intimacy of The Rep and I do hope this relationship will continue and grow.

 

[CCL]

My mum and I had a lovely time at Saturday’s matinee. I love to see a debut and Yu Kurihura was a thoroughly engaging and expressive Cinderella, radiating kindness and compassion in her interaction with the woman in rags by the fire, or love and longing as she looked at her treasured relics of her mother. When the oppressive kitchen scenery melted away, the stars waltzed and the fairy godmother prepared Cinderella for the ball in her coach, I had a lump in my throat for the sheer beauty of it.  In the ballroom scene I enjoyed the antics of the stepsisters (Alexandra Burman and Reina Fuchigami, both very amusing). Brandon Lawrence made a dazzling entrance and was the epitome of a handsome and charming Prince. I couldn’t take my eyes off him! His Prince was immediately smitten with Cinderella and their confident pas de deux was ravishing. The final scene as Cinderella and the Prince walked blissfully into the starry night, was gorgeous. Kudos to all for a beautiful performance! 

[northstar]

Very late but wanted to write and say I also saw BRB Cinderella live at the Birmingham Rep with Miki Mizutani and Yasuo Atsuji leading. My first live in-person, in-theatre ballet since the 'time that shall not be named' (head a musician on BBC Radio 3 call the pandemic period this!).

It's too late but just wanted to say that - like the BRB broadcast Nutcracker in Dec 2020 - this was so much more than just a ballet for me. Despite the remote and distanced orchestra relayed by video, and the abridged version - to see that exquisite and powerful quality of classical ballet performed by the artists of BRB, alive in a theatre with an audience, was momentous for me. I love the respect Bintley has for classical ballet in his choreography, the fabulous set design, the marvel of the music making of RB Sinfonia, and the grace and skill that all the dancers and particularly the leads demonstrated. I can't wait until BRB are back in Salford with - OMG! - Don Q! 

 

Edited October 21, 2021 by northstar

[Two Pigeons]

I have just wasted almost an hour and a half of my life, not to mention some hard earned money watching the relay of the triple bill from Sadler's Wells and am truly wondering why I bothered.  Chacona made me think of a group of preying mantis, much of which was pretty much invisible against the black drop.  It became a bit of a game of 'spot the dancer you actually recognise'.  It was a lesson in pseudo modern pretentiousness, even with the undoubted star power of Alessandra Ferri and Carlos Acosta.

 

The choreography was pretty undistinguished and I find it pretty incredible that so many ballet pundits and glitterati are carrying on as if the Company had no artistic achievement or merit before Acosta took it over.

 

Imminent was an improvement in that at least you could see the dancers although the plot defeated me.  Were they all auditioning for an obscure episode of Blake's 7 or Doctor Who?

 

I decided a few weeks ago to sever all links with BRB but this chance to see the company perform without having to leave my sofa and a rare chance to observe the divine Tyrone Singleton close up seemed too good to miss.  However, when I got to A City of a Thousand Trades I confirmed that decision and was so grateful I hadn't wasted the time, cost or energy travelling to see it in the theatre.  More than that I was so glad I hadn't asked my husband to take me.  He would have been bored out of his brains.  Despite being a native of Birmingham/Staffordshire through several generations I doubt very much he would have recognised the City of his heritage.

 

I have lived and worked in or around Birmingham for over 30 years but it was all pretty alien to me too.  If this is Carlos' idea of a 'love letter to the City' what on earth would be have produced for a place he didn't like?

 

I must praise the committed performance of the dancers but if this type of production is all the Company has to look forward to I wish them well but I will not be making any further contributions to it.  

[Lizbie1]

Two Pigeons, I'm sad you didn't like it but you've given me a good laugh at least!

[Two Pigeons]

Thank you Lizbie.  I am very glad I gave you a chuckle.

[FionaM]

Oh!  I really enjoyed this triple bill live at Sadlers Wells.
 

 I thought the ensemble part of Chacona was great .. the idea being to see amazing principals & soloists performing as an elite corps de ballet.  I thought the Carlos/Ferri pdd was unconnected to the rest. 

 

The City piece really got going for me in the section where the voiceovers of immigrants began.  And the imminent piece was full of hope.   
 

Lots of lovely dancing by beautiful and accomplished dancers.   Loved it.   I am looking forward to re-watching via the stream.