Review | Cirque Eloize CIRKOPOLIS (UK Tour) March 2015

Cirque Éloize bring their circus to town this week, far from clowns throwing buckets of water, the most intricately trained team present a show that combines the worlds of circus, dance and theatre. In  this, Cirkopolis we find ourselves trapped n the heart of a stern and imposing city in appearance, giant gears and dark portals symbolise a mechanism that crushes individuality.

We begin somewhere between imagination and reality. The day to day and the mundane life of city workers makes for a stark and repetitive opening ... it's like work life. The joy is in finding the little things that make a difference and offer something fresh. A little puppet presses a bell and provides momentary humour before the stage is flooded with rushing commuters. 

It is when a female emerges from the crowd in a red dress that colour interrupts the monochromatic madness. A solitary moment she (Léa Toran Jenner) forlornly takes to the Cyr wheel and gives a heartfelt, emotional routine as she manipulates the wheel. It's incredibly lonely and suggests she wants to explore beyond  the confines of her ring but even central hero, Ashley (Ashley Carr), is happy is happy to suppress his individuality in order to fit in. 

It's easy to spectate and draw comparisons with your own life, but importantly, waiting in the wings are more colourful characters who along the way show Ashley and remind you that there is fun to be had. With a fearless ensemble, the evening is full of stunning aerial acts, the danse trapeze, juggling, the German wheel, teeterboard and Chinese pole - the foundations of circus skills are all there but this is far more sophisticated. 

There's an impressive use of projection that depicts the industrialised floating city and through an increased intensity of light and the addition of colour, a vibrant finale ends these people's journey  that thoroughly and most entertainingly progresses from the monochrome to a more elaborate, thrilling, high energy climax. With moments of pure tenderness and others of hilarity, Cirkopolis is  both frantic and fantastically fascinating.

View the trailer

See Cirkopolis at Birmingham Hippodrome until Saturday 28 March. Tickets here. 

Preview | WELSH NATIONAL OPERA Spring Season at Birmingham Hippodrome

A season of enchantment and delight is on offer from Welsh National Opera this spring with a trio of spellbinding productions which will come to Birmingham Hippodrome between 4-7 March 2015.

Spellbound is the theme for Spring 2015, which will highlight the natural affinity between music and magic with revivals of Hansel & Gretel and The Magic Flute alongside a new production: Chorus!

Chorus! opens the opera company's Spring 2015 Season. This new version, also under the creative vision and direction of David Pountney, celebrates one of WNO’s greatest assets, the Chorus. Chorus! will feature soprano Lesley Garrett CBE performing alongside the WNO Chorus, and will be an enchanting, witty and spectacular journey through the rich repertoire of choral music and a chance to experience some of opera’s best-loved moments.

The production will include opera classics such as the ‘Humming Chorus’ from Puccini’s Madama Butterfly and ‘Va Pensiero’ from Verdi’s Nabucco alongside the Epigraph from Prokofiev’s War and Peace and ‘Alabama Song’ from Weill’s Rise and Fall of the City of Mahagonny. Two pieces from Gilbert and Sullivan’s The Pirates of Penzance will also feature: ‘A Policeman’s Lot’ and ‘With Cat-like Tread’. Chorus! will be conducted by WNO Chorus Master, Alexander Martin.

View the trailer for Chorus!

Classic revivals of The Magic Flute and Hansel & Gretel will transport the audience into a world of magic, make-believe and delight, but are also ultimately about the power of rationalism over magic. WNO Music Director Lothar Koenigs will conduct both Hansel & Gretel and The Magic Flute.

Mozart’s much-loved The Magic Flute returns to WNO in this Magritte-inspired production – originally directed by Dominic Cooke – which features an angry lobster, a newspaper-reading lion and a fish that is transformed into a bicycle. The roles of the three boys will be sung by female students from the Royal Welsh College of Music and Drama as part of WNO’s partnership with the college to provide mentoring and support for its Opera Performance students.

View the trailer for The Magic Flute

The revival of Humperdinck’s Hansel & Gretel – originally directed by Richard Jones – is a dark re-telling of the well-known fairytale. Ailish Tynan will sing Gretel and Jurgita Adamonyté will sing Hansel. Adrian Thompson, who returns to WNO following his performances in Boulevard Solitude in Spring 2013, will sing the role of The Witch.

Listen to a sample from Hansel & Gretel

Describing the Spring season, WNO Chief Executive and Artistic Director David Pountney says: “Enchantment is a feeling that awakens the child in all of us, and The Magic Flute and Hansel and Gretel offer plenty of such moments of naive delight. Both operas too, like all good fairy tales, have a serious point to make, and show a young couple learning how to read and understand the good and the bad that is in the world, emerging stronger and ready for a better future. Our production of Chorus! too is like one of those walks in the woods that are the common fare of fairy tales: where will it lead - is there a happy ending, or indeed an ending at all? It is in fact a kind of mystery tour in the company of 40 of our best and finest singers - so whatever the ending means, you can be sure it will be a rousing one!”

PERFORMANCE DATES AND BOOKING LINKS

CHORUS | Wed 4 March Book Here

THE MAGIC FLUTE | Thurs 5 & Fri 6 March Book Here

HANSEL & GRETEL | Sat 7 March Book Here

Image from Hansel & Gretel

Review | CARMEN (Welsh National Opera) November 2014

Carmen, the opera was first performed at the Opéra-Comique in Paris, on 3 March 1875, and at first was not particularly successful. Judging by attendance numbers this evening, things have since changed as a packed-out theatre eagerly awaited the passionate piece.

At the front of it all is Don José, a naïve soldier who is seduced by the fiery Gypsy, Carmen. José abandons his childhood sweetheart but yet loses Carmen's love to the glamorous toreador Escamillo, after which comes a much foreboded killing.

This revival of Welsh National Opera's 1997 production has everything going in terms of talent. An immense cast make up an impressive ensemble and lead performers with Alessandra Volpe as Carmen are quite obviously world class.

Entirely sung in French the production, like many operas can be hard to follow. Surtitles in English are at the top of of the proscenium but  you find yourself deciding on whether to look up and miss the action or try and follow the story without understanding. For a first time opera-goer it can be a little overwhelming but by the end of a much faster paced second half, the climax does manage to leave the heart aching.

The set uses Goya inspired backdrops to suggest the intensity of 19 Century Spain. It's hardly elaborate and doesn't change throughout - there are no concerns that focus won't be on the performers, there's little else to look at. The biggest delights are the young boys, in perfect harmony as street urchins and the fine orchestra, conducted by a young James Southall. The famous tunes impress, such as Toreador which is a welcome, more upbeat moment also Habanera.

It's a dark tale but one with enough to make your evening enjoyable. A night of raw passion, played out by a stellar cast. At Birmingham Hippodrome until 20 November. For a full list of WNO performances, click here. 

Review | GRUPO CORPO (UK Tour) October 2014

Making a welcome return to the UK after almost ten years, Brazil’s internationally acclaimed dance company Grupo Corpo are renowned for their combination of classical ballet with the sensuality and passion of Latin dance rhythms.

The company, founded back in 1975 by Paulo Pederneiras with choreographer brother Rodrigo first present Sem Mim, a recent piece from 2011 that translated means 'without me'. Danced on an empty stage it is the cloth that hangs above them that is perhaps most interesting. One minute it is a large cloud but soon descends to become more of a mountain. The beauty throughout is within the simplicity. Choreographically there is little in the way of obvious plot, for it at first appears to be a lot of hip wiggling. A narrative does develop, aided largely by lighting for suggestion of mood but the piece itself is very repetitive. On the surface it can seem like spontaneous distortion but the perfect timing reassures you it is indeed finely choreographed and with interludes of strong, recognisable ballet technique the versatility of the company is obvious.

Attention to detail is second to none. Skin-tight costumes are dyed to match the skin tone of the performer and then covered in tattoos - a stunning visual that represents one of the most archaic signs of maritime imagination.

The second piece, Parabelo introduces the nature of Brazilian culture, one that is continually changing. Traveling from popular art to the erudite. Of the two, this is clearly the showcase, the finale. A breathtaking energy, although joyful, is as exhausting to watch as it must be to perform. Every ounce of strength is thrown in to what ends as a powerful, exciting, colourful carnival.

Follow the conversation with #BHGrupo and see it in Birmingham at the Hippodrome until Wednesday 29 October. Book here.

Review | SHADOWS OF WAR (Birmingham Royal Ballet) October 2014

It's time for another triple-bill from Birmingham Royal Ballet this week and almost timely to the centenary of the First World War, the three ballets presented here are each touched in their own way by the shadow of war. 

The first, La Fin du jour is at first a delightful piece, also titled, The End Of The Day it does on the surface tell the story of bright young people, amusing themselves with parties and the latest fashions. It is simplistic in set, but bursting with vibrantly coloured costumes. We se relationships blossom, it's romantic and reminiscent of BRB's Elite Syncopations - a celebration. Shadowed of course, it's ending although not unpleasant is somewhat hinting at the sombre as their country is on the brink of war. 

 La Fin du jour 

The second of the three is most special, this was the world premiere of the revived production of Miracle In The Gorbals - reconstructed from memory by renowned choreographer of Cats - Dame Gillian Lynne. 

Set in a run-down and dangerous Glasgow suburb, it dispensed with all the frippery of traditional ballets, replacing it with a gritty realism that proved an enormous success. After the shock of a girl's suicide, the arrival of a mysterious stranger who is able to bring her back to life creates waves among the violent inhabitants of the tenements. 

The original production of 1944 was danced by a 17 year old Lynne, choreographed by Robert Helpmann and is gloriously reproduced for an audience 70 years on. Lynne herself is a miracle at 88 to still be rolling around the floor in full splits with the ballet dancers but has completely thrown herself into the rehearsals and production whole heartedly - and it shows. Whilst the piece isn't the most cheerful of stories, or the most captivating it is a rare opportunity to see this particular ballet that is masterfully translated. To see Lynne take her bow with the dancers was a moment of pure joy and an overwhelming sense of achievement. 

Dame Gillian Lynne in rehearsals with the company.

The final ballet, Flowers Of The Forest is in two parts, both Scottish dances. 'Four Scottish Dances' is the more lighthearted of the two, there are charming moments of real humour in the nostalgic, 'picture postcard' view of Scotland. Scottish Ballad' strikes a more serious note, and is danced to a folk-inspired score by the young Benjamin Britten. The composer's pacifist views found voice in this piece and it is grittier - an energised performance and constant contrasts keep an exciting pace making this final piece perhaps the strongest of the three. 

See Birmingham Royal Ballet present Shadows Of War at Birmingham Hippodrome until Saturder 11 October. Book online here. 

Dame Gillian Lynne begins work on Miracle In The Gorbals

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Review | Beauty And The Beast (Birmingham Royal Ballet) September 2014

There are no singing teapots... this is Beauty And The Beast at it's boldest and it's best - Birmingham Royal ballet are back with a brand new season and an eleven-year-old favourite production from David Bintley. 

From the initial curtain-up this deliciously dark ballet has you in awe. From Belle's vast library, towered high with books, we are seamlessly transported into the forrest and to the Beast's castle. With a grand, golden set design and exciting illusions you are easily lost in the magical world, before any dancing is even considered. 

The story is of a price, as cruel as he was handsome who is turned into a Beast. The Beast encounters a merchant and spares him his life in exchange for his youngest daughter - Belle. The tale of choice dictated by love ends romantically, as always, and is a perfect excuse for a magical transformation scene. 

Elisha Willis is an endearing Belle. Beauty by name and beautiful in nature, this is a subtle performance, from the heart to the hearts of the audience as you fall in love with Belle as she does with Beast. The narrative choreography ensures she has plenty of stage time with Tyrone Singleton who is in every way a commanding Beast. Dominating the stage, Singleton has an athletic approach to a character who is at first strong but manages to show a more tender Beast, mastering the creature's demise and is earning of sympathy. 

The rest of the excellent company make up other animals. A charming bunch, it is pure delight to watch them leap in unison, spinning in all directions, it's sometimes chaotic but it's visually stunning. The story is lost only slightly in parts but a timeless classic such as this has more than enough to please on all levels.

Backstage on the production is even more fascinating as the magic unfolds. As always with Birmingham Royal Ballet, corners are certainly not cut... Despite it's grander, what is surprising is the simplicity of the set. Quite obviously impressive in scale but a team of dancers push the giant castle walls around to suggest change in setting, it's entirely traditional in method yet continues to offer the audience a spectacular treat. It is perhaps a shame that the exquisite detail in the set design just can't be seen clearly enough from the auditorium. In a rare opportunity to see the sets so closely we discovered first hand delights such as the hundreds of individual flowers, made from foam, covering the walls. 

The costumes are exquisite. Considering the amount of dancing and the height in which they manager to leap, particularly for the Beast it's interesting to discover how heavy they actually are. Costumes line the corridors, multiple dresses for each Belle, 5 of whom will play the role during one week of performances. There are also multiple Beasts - each performer is rehearsed before going on, so that's a lot of rehearsing! 

The doors to the Beast's castle are incredibly detailed with animalistic carvings. Just as detailed is the decoration on his chair and table. Both chair and table are created especially to allow magical illusions. The chair moves onto stage by itself, spinning around and the table is full of delights - such as plates that move and drinks that pour themselves. 

See below for a selection of photographs from our tour behind the scenes. Click on the images to view them larger. 

See this spectacular production of Beauty And The Beast by one of the world's greatest companies. Birmingham Royal Ballet present the opening of their autumn season at Birmingham Hippodrome until Saturday 4th October (book here) with another production, Shadows Of War next week, which includes Miracle in the Gorbals - specially re-created for the company by Dame Gillian Lynne, from Robert Helpmann’s original work set in 1940s Glasgow and danced to music by Sir Arthur Bliss. From 8 - 11 October (book here).

Dame Gillian Lynne begins work on Miracle In The Gorbals

Review | CATS (UK Tour) September 2014

Concluding the UK leg of an almost 2-year tour, Cats - the musical based on T.S. Lewis' poems arrives in Birmingham this week. Despite the 33 years since it's original premiere, audiences continue to delight in the wonderfully wacky world of the Jellicle Cats. 

The story is woven out of numerous poems about several kinds of cat and by the end one is chosen to go to the Heavyside Layer and come back to a different Jellicle life... Some say there isn't a story but  listen carefully and you'll learn in just under three hours of pure entertainment. 

Story aside, it is Lloyd Webber's music that is most captivating, a fine orchestra led by Anthony Gabriele provides both an eerie yet strangely welcoming sound. The Phantom Of The Opera probably goes down as Webber's most impressive score, but there are beautiful moments found here, notably in the music of Old Deuteronomy, of course Memory and the climax to act 1 - the incredibly exciting Jellicle Ball which flits between every tempo possible.

In the narrating role is the excellent Callum Train, the strapping Munkustrap, protector and second in command. Train is in fine voice as a solid and strong grey tabby and impresses throughout despite what is clearly a demanding role. Also leading the males is Filippo Strochhi as Rum Tum Tugger - a clear audience favourite alongside Joseph Poulton, Rambert graduate as Mister Mistoffelees. Poulton's irresistible charm, expression and perfected dance solo ensure all eyes are on him.

Zizi Strallen as Demeter

Even as a cat, you can spot a Strallen a mile off, here Zizi (one of four sisters all in show business) is an impressive addition as Demeter, who gives a powerful vocal performance of Macavity along with Charlene Ford as Bombalurina.

There is energy aplenty but cheeky kitties Mungojerrie (Benjamin Yates/Barnaby Thompson) and Rumpleteazer (Dawn Williams) treat us to an acrobatic, tumbling tale of how they delightfully deceive. Sophia Ragavelas belts out a powerful rendition of Memory as the forlorn ex-glamour cat Grizabella.

Dawn Williams as Rumpleteazer and Benjamin Yates as Mungojerrie

Gillian Lynne's iconic choreography is executed with the highest precision. The show's entire choreography utilises every chance to show off what a phenomenal cast this is. If they aren't tap dancing cockroaches, they're siamese sailors - a wonderfully inventive and outlandishly imaginative production.

Nicholas Pound as Old Deuteronomy and Sophia Ragavelas as Grizabella

As theatre cat Gus puts it, "modern productions are all very well, but there's nothing to equal from what I hear tell". Cats remains that favourite show it always was, there's a magic that ensures this timeless classic doesn't need anything overcomplicated and it's success is in pure talent. Don't pass up your invitation to the Jellicle Ball, it's fearless feline fun. Introduce a young one to what is undoubtably a magical and mesmerising spectacular - they're certain to cherish the memory forever. Catch it at the final UK venue of it's tour, Birmingham Hippodrome until Sat 27 September. Tickets here. 

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How to become a Cat with former cast member Richard Astbury. Click here.

Cast List: Adam Lake, Adam Salter, Charlene Ford, Paul F Monaghan, Joel Morris, Cassie Clare, Benjamin Mundy, Zizi Strallen, Sophia Ragavelas, Clare Rickard, Natasha Mould, Abigail Jaye, Cameron Ball, Callum Train, Benjamin Yates, Barnaby Thompson, Nicholas Pound, Joseph Poulton, Dawn Williams, Filippo Strocchi, Ross Finnie, Kathryn Barnes, Hannah Kenna Thomas, Ryan Gover, Barry haywood, Alice Jane, Grace McKee, Dane Quixall, Libby Watts. 

Review | WICKED (UK Tour) July 2014

The Wicked Witch of the West End is now soaring around the UK and Ireland as part of the hit Broadway musical's first UK tour. For 9 weeks this summer Birmingham Hippodrome is the merry old Land Of Oz, at least you'd think... for Wicked is not so much merry but the darker back-story of Elphaba - the Wicked Witch Of The West and her unlikely friendship with Glinda - The Good. Things are not as they may seem as the musical journeys through familiar territory and then flips it on it's head... and throws a house on it. 

First we meet Glinda, she's the people's favourite, bubbly (literally) beautiful and blonde.... she's the Holly Willoughby of Oz. Played here by Emily Tierney, she masters impressive operatic vocals and is the queen of comic-timing. Her character is able to steal attention from her emerald counterpart Elphaba - played by standby Jemma Alexander at the indisposition of future West End Elphaba, Nikki Davis-Jones. Alexander's Elphaba is promising and shows a clear progression through the evening, coming into her own at the witches climax of evil No Good Deed. The leading ladies final duet, For Good, is a beautiful end to their story.

Liam Doyle is an excellent Fiyero - the perfect casting for a role which has been previously 'celebrity cast', is left to dwindle in the shadow of the two witches - not here. The 23-year-old from Coventry impresses the home crowd with great vocals and a high-energy performance of Dancing Through Life - the perfect prince. Marylin Cutts revels in the role of evil, her Madam Morrible is both cartoonish yet credible as the vociferous villain. Dale Rapley gives a contrasting performance as both Dr Dillamond and the Wizard of Oz. Tragically beautiful, Carina Gillespie is Nessarose, the wheelchair bound, 'normal' sister of Elphaba - her strong performance is matched in charm by George Ure's Boq. 

American accents are lost for what feels a more British version of the show. Wicked has but a few minor alterations from the West End production but you musn't worry about seeing a lesser version of the show, this is essentially the entire West End production and you'd be mad to miss whilst in your local city. An alternative view of Oz that certainly leaves you spellbound! A triumphant touring production that ensures the West Midlands is as good a home for the West End as any. Book tickets for Birmingham dates here. 

Cast List: Emily Tierney, Nikki Davis Jones, Carina Gillespie, George Ure, Marilyn Cutts, Dale Rapley, Liam Doyle, Jemma Alexander, Lee Bridgman, Chrissy Brooke, Richard Carson, Harrison Clark, Jeanine Dinger, Tim Edwards, Howard Ellis, Natasha Ferguson, Zoë George, Lia Given, Katie Kerr, Will Knights, Oliver Metzler, Wendy Lee Purdy, Julienne Schembri, Grant Thresh, Helen Woolf

Review | SHOW BOAT (Cape Town Opera) July 2014

Following the success of Porgy & Bess, Cape Town Opera return to Birmingham Hippodrome this week with their adaptation of the 1927 Broadway musical Show Boat, this incredible production received it's UK premiere tonight.

Set in America’s Deep South, the story begins in 1887 on the Cotton Blossom show boat as it sets sail on the Mississippi River and follows the lives of the performers, dock workers, musicians and stagehands over a period of forty years.

The piece has survived for over 80 years and another revival production is perhaps not what audiences are crying out for - but it should be. It's quite rare to see a musical of this scale - a cast of over 50, orchestra exceeding 30 combining to create a rather special, unique theatrical experience. For this is Cape Town Opera with an incredible South African cast.

This is a lavish production that looks beautiful, a stunning set design by Johan Engles is just the backdrop for an equally as impressive performance.  Graham Hopkins - one of South Africa's best-known actors stars as Captain Andy and is paired well with Anthea Thompson as Parthy. There is a beautiful bond between Magdalene Minnaar as Magnolia and Blake Fischer as Gaylord. Together they exude an uttermost joy. Fun is to be had aplenty whenever Catherine Daymond takes to the stage as Ellie who's Life Upon The Wicked Stage is a distinct highlight. Mention must also go to Nobuntu Mpahlaza who delights in every way as Queenie, also Angela Kerrison who is in fine voice as Julie.

The reason to remember your evening however has to be the many powerful renditions of Ol' Man River that bring the house down in the incredible hands of Otto Maidi. Even after hearing it twice and then three times, Maidi commands every ounce of attention as he bellows out that famous tune.

The whole evening is thoroughly enjoyable and you leave feeling warmed and welcomed, the overriding family themes and expressing of love is unavoidably infectious. This is a pure celebration of traditional vaudeville styles; a colourful explosion of jazz, opera, Charleston and the Black Bottom dance of the 1920's. It is joyous affair that entertains whilst being the first of it's kind to distinctly approach themes of racism against African-Americans, the homogenous opposition to inter-racial marriage. A triumphant transfer from native South Africa to selected cities in the UK, one that you must try to jump on board before it departs us.

See Show Boat at Birmingham Hippodrome until 5th July, book online here.

Watch a short film on the production here:

Review | BUDDY - THE BUDDY HOLLY STORY (UK Tour) June 2014

"Three young rock 'n' roll stars have been killed in a plane crash in the United States. Buddy Holly, 22, Jiles P Richardson - known as the Big Bopper - 28, and Ritchie Valens, 17, died in a crash shortly after take-off from Clear Lake, Iowa at 0100 local time. The pilot of the single-engined Beechcraft Bonanza plane was also killed. Early reports from the scene suggest the aircraft spun out of control during a light snowstorm" ... It was the career that was over almost as quickly as it started. 

Throughout it's 25 year history, this, the original juke box musical has been seen by over 22 million people worldwide. Following the short career of the music legend, we start at the humble beginnings at the Grand Bowl, Lubback Texas with a fresh-faced enthusiastic Buddy played by the excellent Glen Joseph. Throughout Buddy's struggles with the music industry, turning his back on country and creating his own rock 'n' roll sound, Joseph has great charisma, endless energy and has us in the palm of his hand as he masters some of the most iconic hits including That'll Be The Day, Peggy Sue, Why Do Fools Fall In Love, Heartbeat and Johnny B Goode. 

Joseph is joined on stage by Roger Rowley who plays Buddy at certain performances with the excellent duo Adam Flynn and Scott Haining as The Crickets. All music is played and sung live, which is the huge draw of this musical. Without the music, you'd have under 20 minutes of content. This is certainly the show for Buddy fans with little in the way of significant set changes or engaging dialogue but there is more than enough to make up for that by way of talent and incredible effort. 

Surprisingly, some of the show's most exciting moments come from other members of the cast, including Lydia Fraser's hilarious, scene-stealing Apollo Performer - joined by Miguel Angel in an impressive rendition of Shout. Will Pearce rouses the crowd as Ritchie Valens with his hip swinging La Bamba. 

The death of Holly, Valens and the Big Bopper interrupts what was an enjoyable finale of what was  to become their final gig. It's a particularly effective halt that reenforces the shock and sudden devastation that followed the plane crash on 3 February 1959. The moment could have lasted longer but seemed rushed over to return to the high-energy finale. We are, after all, there for a good time and that's why the joy resumes so quickly. If you're not of a reminiscent age and struggle to recognise the music, it can feel a little exclusive but you can't help but appreciate the sheer talent on that stage. 

This is the original jukebox musical that spawned all others of it's kind, many try but aren't nearly as successful at raising the roof in the ultimate celebration of some of the finest singers of all time. Click here and book now to see Buddy at Birmingham Hippodrome until Saturday 28 June. 

Review | LA FILLE MAL GARDÉE (Birmingham Royal Ballet) June 2014

It might not seem it with recent weather but summer has arrived, particularly upon the stage of Birmingham Hippodrome this week as Birmingham Royal Ballet present La Fille mal gardée, the oldest ballet in existence, having premiered in 1789. Despite the French title and principal names, there can be no more English a ballet as the picturesque countryside of late spring blossoms into summer in choreographer Frederick Ashton's idea of splendid Suffolk.

When country beauty Lise falls in love with farm lad Colas, she’s about to upset the apple cart. Her mother, Widow Simone, has her own ideas about who her daughter should marry. Enter Thomas, a pompous and wealthy vineyard owner. And Alain, his rich son – attractive as a potato, smart as a turnip and the proud possessor of two left feet. It's like a summer pantomime of the ballet world, a lighthearted tale with predictably hilarious results.

Michael O'Hare is rich farmer Widow Simone, the 'dame' is at the heart of the piece, plays for laughs as the dame would do but delights with an impressive clog dance. The widow's daughter Lise is danced impeccably by Nao Sakuma, who after joining the company in 1995 was promoted to principal in 2002 and her experience shows. It is most difficult to turn attention from her to other delightful distractions such as a brood of chickens.

The colourful production is perhaps at it's best when all artists of the Birmingham Royal Ballet dance as one. At one point there is an impressive dance around a maypole and a cute flute dance lead by Lewis Turner who always manages to light the stage with a charming smile. Equally as a charming is César Morales who is a strong lead as Colas. 

An exciting edition to the cast is a beautiful Shetland Pony who appears one more than one occasion, provoking prolonged bouts of "awww"s.

This is a thoroughly entertaining ballet with a plethora of delights. A perfect introduction to summer at Birmingham Hippodrome until Saturday 14 June - click here to book tickets. Also at Nottingham Theatre Royal 25 - 28 June, click here to book. 

Review | DARKNESS & LIGHT (Birmingham Royal Ballet) June 2014

There is little more that excites my theatrical mind than the idea of Birmingham Royal Ballet triple bill. What you can always expect is a varied yet relevant collection of works. Here, three ballets by Frederick Ashton contrast in themes of darkness and light - hence the collectively named trilogy. 

The first, Les Rendezvous is a delightful dance to the backdrop of Anthony Ward's simplistic park setting. Friends meet, and it has no serious portent at all. It's pleasant, charming and the portrayal of idyllic life. This is one that is so easy to lose yourself in - the fusion of colour and of energy - it's like Disneyland. A fantasy land that is introduced, enjoyed and over within 24 minutes. 

As with all of the three ballets, they're finished within little over 20 minutes each. They're perfect,  concentrated little pieces that don't leave you looking at your watch, or fidgeting to find a different position for your feet! These would make a perfect introduction to ballet. 

The second piece, Dante Sonata is quite obviously the 'darkness' ... it is a battle between the Children of Light and the Children of Darkness and is of much harsher tone. First performed in 1940 at the Sadler's Wells Ballet, this wartime creation explores torment and shame and is clearly the ballet of real power. 

The third ballet lightens the mood once more - Façade, a joyous celebration. It felt almost as if it was happening in a Mary Poppins film, it was random, colourful and cute. Ruth Brill is brilliant as The Milkmaid, it was like Coppélia. Humour was provided by the excellent Lewis Turner and partner Kit Holder who perform Popular Song in a perfectly synchronised act. 

See a rehearsal video for Façade.

Darkness and Light is the perfect blend of ballets, varying styles, paces and themes - all three ballets within a succinct 2 hours. Don't miss them at Birmingham Hippodrome until Sat 7 June. Book tickets here. 

Review | LORD OF THE FLIES (UK Tour/IDFB) May 2014

Three years on from the original project developed by New Adventures, Lord Of The Flies is reborn... or maybe that should be Re:Bourne. The emerging talent programme from Matthew Bourne's New Adventures aims to nurture and support young people with a passion for movement. The idea is to break down possible perceptions that dance is often seen as unfathomable, elitist, over technical and intimidating, all whilst creating an inspiring piece of theatre, of course.

Choreographed by Olivier Award-nominated long-term company member Scott Ambler, this rework of William Golding's Lord of the Flies features professional dancers and 24 local boys. No longer set in the desert island, this appears to be some mystical world within the theatre itself. You come to expect with any Bourne production that the obvious is disregarded. 

The lights crash out as a mass ensemble of smartly-dressed schoolboys enter. At first it's perhaps a little overwhelming, there's a lot going on and so much to look at but that's particularly important to the projects aims. Throughout the piece a 24-strong ensemble are featured just as much of the smaller cast of professional dancers. They're not support or backing just to fill out the space, they're very much involved and expertly take on Ambler's thrilling choreography. At first they're great at the synchronised movement but as the plot twists and darkens these boys that had first enjoyed freedom turn savage and it's especially interesting once given the opportunity for greater experimentation of movement.

The freedom and opportunity for creativity is perfect here, for it's there within the story. It's one that is relevant to young boys and they are much more likely to identify with this than some fluffy fairytale. The whole piece is cleverly conceived - it becomes difficult to distinguish between professional and local dancers, it's edgy, it's rough, it's nothing like you've seen before, but it works and music by Terry Davies is compelling - almost hypnotic. The original story is excitingly reimagined in a style that's most unique, a blend of ballet, contemporary and an imagination native to this company. The excellent local ensemble are lead by professionals Jack Hazelton as Maurice and Danny Reubens as Jack who, with extreme strength and skilful storytelling ability command the stage and on many occasions leave you transfixed. 

60 years since the original publication of the novel, it's perfect timing for a celebration. Not only a celebration of the classic tale but of the boys, all of whom will be the minority in their dance classes  and here they're given their time to shine and what better stage than at Birmingham Hippodrome. By the curtain call, it was most clear that this was something very special to both the cast and the audience of almost full capacity. It's madness, it's genius and a difficult experience to sum up. Go and see it and you'll understand. See Lord Of The Flies at Birmingham Hippodrome until Saturday 17 May, book here. 

Cast List: Jack Hazelton, Sam Archer, Leon Moran, Luke Murphy, Dominic North, Sam Plant, Danny Reubens, Layton Williams, Dan Wright, Will Cornish, Khalid Daley, Ethan Daly, Jack Dologhan, Joel Fossard-Jones, Jacob Goodchild, Brad Guest, Tom Hammond, Dereece Leigh-Gayle, Declan Lewis, Fenton Lockley, Alexander Love, Enrique Ngbokota, Harry Ondrak-Wright, Callum Osbourne, Zach Parkin, Harvey Powell, Ben Powney, Nat Sweeney, Hugo Von Fragstein, Louis Williams, Chris Wilson.

EVITA (UK Tour) Review April 2014

The second leg of a UK tour for Evita sees the production visit Birmingham for two weeks, where the breathtaking musical is set to stun audiences most certainly. 

Tim Rice and Andrew Lloyd Webber's musical adaptation of Eva Perón's life story is once again fronted by Portuguese singing sensation Madalena Alberto. From flirtatious, brunette latino girl, to the blonde high-flying woman of business, Alberto completely encapsulates each moment of the brutal, tragically short life of Eva Perón - spiritual leader of the nation. 

Cynically assessing the immediate mourning of Evita's death is Che Guevara - the Argentine Marxist revolutionary, Wet Wet Wet singer Marti Pellow. Che is a demanding sing and Pellow ploughs through the score with ease and holds a mightily impressive last note in 'And The Money Keeps Rolling In'.  Whilst he may not be the most obvious choice for the role, Pellow's less angry, more subtle tones accompany the sarcasm of his words and create a character that is not only narrating but forewarning. Mark Heenehan remains a strong addition as Perón and Nic Gibney's impressive vocal range is evident in his few outbursts as the less-often featured but crucial character, Magaldi. One of the productions stand-out moments comes from Sarah McNicholas as Perón's Mistress and her beautiful version of 'Another Suitcase In Another Hall'.

A strong ensemble play a variety of roles - with ample time to showcase their versatility. In particular, Perón's Latest Flame is a strong group effort - regimented choreography executed with the tightest of timing. I wouldn't say Evita was a dance musical, but this dynamic, energetic and enthusiastic ensemble make sure it's worthy competition.

Madalena Alberto proves to be the ultimate Eva Perón and makes her way through the powerful and demanding score with effortless conviction. From the steamy and fast paced partying in Buenos Aires to the tender, fragile final moments upon her deathbed you'd be forgiven for thinking you saw two different people - the contrast is almost unbelievable.

The score is most beautiful and played by a fine orchestra - combine with an incredibly talented cast such as this and the audience are well and truly drawn in. You cannot help but fall in love and have your heart broken by Evita. Do not miss the musical masterpiece at Birmingham Hippodrome until 19 April. Get tickets here.

Cast List: Marti Pellow, Madalena Alberto, Mark Heenehan, Sarah McNicholas, Nic Gibney, Michelle Pentecost, David Brewis, Verity Burgess, Errol Clayton, Joel Elferink, Callum Fitzgerald, Alyn Hawke, Ryan Limb, Joe McCourt, Anna McGarahan, Stuart Maciver, Ceili O'Connor, Lizzie Ottley, Olive Robinson, Chris Stoddart