Vikki Jane Vile - Page 2

Five years since its premiere, Kenneth Tindall’s Casanova remains a distinctive and highly engaging addition to Northern Ballet’s repertoire. It’s danced with confident storytelling by its cast and Christopher Oram’s set design is glossy and slick and of course, it’s pretty hot, this is all about seduction not smut. It’s only foible remains the heft of the narrative.

With the closing months of Staatsballett Berlin’s 21/22 season turning its attention to some full length classics including Sleeping Beauty and Onegin, an alternative is offered in the form of George Balachine’s plotless ballet, Jewels. It’s a celebrated neo-classical work which can be seen in the repertoire of companies across the world. With its dazzling costumes and featuring music from Stravinsky and Tchiakovsky, both traditionalists and contemporary fans can find something to enjoy in its beauty.

Just under a year ago, English National Ballet debuted one of the first post-COVID programmes of new work entitled Reunion. It was a delight to be back in the theatre even if it was socially distanced and we were all masked up and tested within an inch of our lives, as a result it was lovely but sanitised (literally).

​Some nights at Covent Garden feel heavy with a sense of occasion and this particular performance of Swan Lake, taking place a week after opening night, was certainly one of them. Liam Scarlett’s Swan Lake is not even 4 years old as a production in the Royal Ballet’s repertoire but it already has history. Tragically, Scarlett took his own life last year after allegations of sexual misconduct that were never upheld. This run of his interpretation was on it’s second outing in March 2020 and has some particular unfinished business with a sweep of exciting debuts still to be enjoyed over the course of performances which run until May. Two of those debuts are from young Principals Anna Rose O’Sullivan and Marcelino Sambé, and what a memorable pairing they are.

The opening night for MacMillan’s Romeo and Juliet, a production much loved by the audiences of Covent Garden, saw another dubious opportunity for Artistic Director Kevin O’Hare to take to the Opera House stage and announce “significant changes” to the billed cast. Cue much sighing from the near-full auditorium as it was revealed Marianela Nunez and Federico Bonelli would be stepping in for an isolating Natalia Osipova and Reece Clarke. As replacements go, it’s not bad. 

A little over a year ago, I attended a performance of Giselle from the Staatsballett Berlin whilst in the knowledge that the next day Corona restrictions would mean a premature end to the run. Fast forward to this year and performances are going ahead under strict “2G” regulations (you must be recovered or vaccinated and wear a mask at all times). Favouring Victor Ullate’s (after Petipa) crowd pleasing Don Quixote over the Christmas tradition of Nutcracker this year, the company tackle the challenge gamely although this particular performance lacked the magical feel that going to the ballet at Christmas should give. 

Anyone who enjoys that unmistakable Singin’ in the Rain aesthetic, the razzle dazzle of Hollywood and dreamy Broadway scores will have a very happy hour watching Scottish Ballet’s Starstruck. Gene Kelly was originally asked to choreograph a work for Paris Opera Ballet in 1960, the piece, Pas de Dieux, was celebrated as a “breath of fresh air” at the time, and was widely acknowledged as bringing the “American style” to Europe. In this opulent re-imagining, new audiences can enjoy a slice of joyful nostalgia.

Celebrating their 20th anniversary this year, Black Black return to the Linbury Theatre with a double bill of new work, and in signature style you’ll be hard pressed to leave without your heart feeling a little fuller than before. Cassa Pancho’s company has always been small, at present featuring eight dancers (not including one currently on maternity leave) and over the years this has allowed audiences to become familiar with their individual faces, styles and techniques. Needless to say, there is a warm familiarity in going to see a Ballet Black show and this latest programme is no different. 

There’s a particular anticipation for this new triple bill from Birmingham Royal Ballet. In a programme that feels like the start of a new chapter, after being first trailed in Autumn of 2019, Artistic Director Carlos Acosta finally has the opportunity to share his Curated ... works to a London audience. It’s an evening that feels distinctly current and contemporary but with the added star power of Acosta himself taking to the stage once more for a fleeting pas de deux with guest ballerina, Alessandra Ferri. 

Sir Peter Wright's Giselle is one of the Royal Ballet's most recognisable productions and offers the most coveted of roles for any ballerina. But it is Natalia Osipova who treats opening night audiences to her take on the role - and what a captivating and very complete experience it is.

​Akram Khan’s third work for English National Ballet finally debuted after numerous COVID-related false starts to a vocal Sadler’s Wells audience this week.

Continuing the week that dance returned to the UK, the Royal Ballet favoured a contemporary focus with a mixed bill under the banner title, 21st Century Choreographers. As if the occasion needed further anticipation, earlier that day both immediate and upcoming promotions were announced, with First Soloists Fumi Kaneko and Mayara Magri making the step up to Principal. As at Sadler’s Wells the night before, there was giddy applause and foot-stamping as we were welcomed to the performance and a spontaneous standing ovation before anyone had danced a step: heart-swelling stuff. 

Before we get to the main business of the dancing, let’s focus on what tonight is really all about: the moment the lights go down and there is an announcement, “Welcome to this performance of Reunion by English National Ballet”, and followed by that unique sound of applause and cheering from a socially distanced audience that lasts nearly a minute. If you didn’t already have a lump in your throat from the sight of a velvet curtain and an overpriced glass of wine in a plastic cup, you will now. 

Strictly Come Dancing’s golden couple, Aljaz Skorjanec and Janette Manrara, return for a socially distanced iteration of their latest big budget production. The pair have toured every year since 2017 with homages to Fred Astaire and the silver screen before this tribute to the Oscars became a COVID casualty in 2020. Timing this year means, once again, hopes of live performances have been quashed, but never ones to sit back, Skorjanec and Manrara are offering fans an abridged version for streaming, featuring an elaborate cast of singers and dancers.

With London and the UK’s plans for a nostalgic annual revival of Nutcracker scuppered, fortunately Marquee TV is supplying audiences with access to New York City Ballet’s production, choreographed by George Balanchine, until January 3. This particular performance is from the 2019 run. 

It’s December and Royal Ballet’s Nutcracker is back on stage, it’s almost like 2020 didn’t happen, and for two magical hours, that's how it will feel. Peter Wright’s beloved production has, of course, has the COVID treatment; choreography is amended to keep distance, some of the divertissements are cut and the party scene has been pruned of additional children but the magic moments are still very much intact. With the dancers of the company, eager to thrill a live audience for the first time since March (bar one-off galas), it makes for a deeply special occasion.

This latest gala from the Royal Ballet had been planned to be performed in front of a live and appreciative audience, drinking in their first in-person, post lockdown performance. Alas, the stars did not align, but the tenacity of the Opera house team means this “all guns blazing” display is still a joy to watch online. 

I had been vividly envisioning my return to live theatre for seven months before attending Staatsballett Berlin’s performance of Giselle. However one scenario I had not accounted for was that my first show back, would also be the last for a while, as Germany is plunged into another “lockdown light” in just a few days.

Strictly Come Dancing is going to look very different to any of its previous 15 years, as producer of the annual sequinned extravaganza, Sarah James, explained when she recently addressed the media to reveal how the Coronavirus-friendly edition of the show will work.

The Royal Ballet returned to the stage for the first time in seven months on Friday night. Yes, I could contextualise about how this was bitter sweet and dampened by social distancing but, the dance was too stupendous to give any time to that so let's not and just marvel about how wonderful it was to see them again.