Paper_Hanger’s Weblog
Performances, movies and book reviews …Archive for Review
A Midsummer Night’s Dream
The other night I went to Toi Whakaari’s – New Zealand Drama School – production of Shakespeare’s A Midsummer Night’s Dream. Previous productions that I have seen did not really hold my attention, but I was intrigued by the billing around “circus and burlesque”. so off I went.
There was an air of expectiaon in the lobby, and when we were allowed in the theatre space, there was more promise – circular seating: theatre in the round with just a hint of a circus tent.
The plot is quite convoluted: Hermia has two suitors – Lysander and Demetrius; Helena her friend has none – Demetrius having transfered his affection to Hermia; Lysander and Hermia run away, because Egeus (Hermia’s brother) favours Demetrius; in the woods Lysander and Demetrius are bewitched into loving Helena; and by the time it is all sorted out out Lysander is back with Hermia and Demetrius is back with Helena; oh, someone else is turned into a donkey; and there is a play within a play.
The directing team – Josette Bushell-Mingo and her assistant Julian Pellizzaro – are to be thoroughly congratulated. The circus and burlesque techniques fit perfectly into the story; they are not a clever contrivance that stands out. Of course fairies waft through the air on tissu. Of course mischeivous sprites are nasty clowns. Burlesque makes the lovers and attractions a little earthy, but its what happens in the darkly enchanted forrest at night! Bottom and Titanias’ attraction to each other is a physical attraction – it is not the plutonic attraction more often seen in BBC-type productions – the burlesque approach removes all doubt as to what they are really getting up to.
Deborah Pope is to congratulated for teaching the drama students circus skills and polishing them to a performance standard, and not doubt working the circus into the wider play. The drama students are to be congratulated for mastering circus techniques and employing these in the play. Particularly: the tissu performers; Moana Ete’s suspened hoop work, as Titania; Jonathan Kenyon’s juggling as Lysander; and Tola Newbery’s stilt walking and bullwhip work, as Oberon.
I was so engaged that I took in the final play-within-a-play segment, which seemed like of a teaser for Romeo and Juliet. The casting of Tom Snout, the wall, played by Esmee Myers, as a mime artist was brilliant; as was the casting of Francis Flute, Thisbe, played by Sam Wang, as a kabuki player.
Three characters really stood out: Helena (played by Chelsea Bognuda), (Nick) Bottom (played by James Tito) and Puck (played by Micheal Leota). I found Puck a little too tragic; I prefer my Pucks more on the micheivous side. Bottom was just perfect. And Helena was how I imagined she would be.
Definitely worth going to; the theatre in the round combined with the earthy circus/burlesque approach, made for a ‘as Shakespeare probably staged it’ feel. I felt like I should have thrown money at the end!!
0.3
La Sylphide: revenge of the witch
I went to a performance of La Sylphide put on by the Royal New Zealand Ballet. Warning: plot revealed.
Having read about the Danish style of ballet, I looked forward to seeing a quitissential Danish ballet work. (Actually, the Royal New Zealand Ballet was founded by a proponent of the Danish style, so I should have noticed the jumps and active male partnering long before this!)
The programme:
- Dances from Napoli
- Pas de Six
- Flower Festival
- Tarantella
- La Sylphide
- originally choreographed by August Bournonville.
I was struck by Flower Festival – Michael Braun brought lift and a sense of (his) enjoyment.
Then it was onto the main fare: a man – James – about to get married falls in love with a Sylph (a spirit). Who said the Scots were a dour lot! So off he goes – following his heart – leaving his own wedding celebration. It all ends badly: not the least because he humiliates the village hag (‘Madge’ – played by Sir Jon Trimmer, with a real feeling for the part). Michael Braun is James, and the Sylph is danced by Antonia Hewitt. Braun is powerful and controlled, and yet able to project the emotions going through the James character.
I liked the wedding – people enjoying themselves – with the Sylph fluttering in and out when only James could see her. The Sylph is very much the marriage wrecker – James trys to resist her, but he is just a foolish man. The wedding is made much more 3-dimensional by the prescence Effie’s little sister – danced wonderfully in character by Emma Brown. The Company is precise as ever, but a ‘little’ girl has shorter legs, so must occassionally run to keep up with the dancers in the reel – wonderfull.
Rory Fairweather-Neylan, as Gurn, was at times quite funny: “I saw a fairy – right there!”. In fact there is quite a bit of humour in the ballet; it is a pity that it turns out to be more along the lines of a Greek tragedy.
Antonia Hewitt and the other sylphs are light and ethereal. It cannot be easy dancing the sylphs, as Marie Taglioni was considered by Bournonville as the quitessential sylph, and it cannot be easy living up to such a legendary ideal. Effie the jilted bride is ably danced by Adriana Harper; the plot does not have very much for her to do, which is a pity.
The two sets – castle and woods – were very good.
I found the two intervals – one after Dances from Naploli, and the second between the two acts from La Sylphide – had the effect of making the evening very ‘bitty’. The very traditional choreography also added to the sense that this was a series of dances – unlike ‘newer’ ballets which have smoother transitions between dances. It seemed a little 2-dimensional.
But I did get to see an example of the Danish style. There were a many jumps – particularly by the men – and in the pas de deux’s the women were unsupported and their male partners had equal time.
Being a softy, I wish James and the sylph had not died. But he was a most ungenerous soul on his wedding day – casting out the village hag into the cold. And he did break his oath, so he certainly got his come uppance.
0.3
I did not like the fact that the cast list is no longer handed out. The cast list from the web site differed from the cast list shown on the monitors in the foyer spaces.
Roll on the Company’s Peter Pan in October!
Ballet Dancers in Career Transition
Another book review … !
This book tells the stories of 16 ballet dancers, concentrating on their successful transition from being a professional dancer into another role. Of course it is not possible to discuss transition without summarising the dancer’s careers, and how they got into ballet. From that perspective it is a quick way to acess a large slice of ballet ‘history’ – all be it from a North America point of view. There is also some handy resources for anyone transitioning, or considering transitioning, out of being a profession dancer, in the appendices.
The dancers are:
- Edward Villella
- Violette Verdy
- Jean-Pierre Bonnefoux and Patricia McBride
- Ben Stevenson
- Nancy Raffa
- Michael Byars
- Jeff Plourde
- Erin Stiefel Inch
- Max Fuqua
- Amanda Ose
- Linda Hamilton
- Joysanne Sidimus
- Robin Hoffman
- Christopher Nelson
All of the dancers have things in common: they trained very hard to become dancers, and when they were performing they probably trained even harder. Generally, their bodies could no longer take the physical stresses of classical technique. Some arrived in ballet indirectly – a doctor advised them to take it up, it would improve their gymnastics; for others it was what they always wanted to do. The book examines how they coped when they thing they had worked so hard for, made so many sacrifices for, had attained for a relatively short amount of time, was nolonger available to them. I found myself admiring their dancer achievements and their transition – particularly the transition. For while the training and professional life is hard – there is always a teacher or parent or role model; but the transition is often done – alone, with little support.
There were a number of instances recounted in the book that reall stuck in my mine: Nancy Raffa who was the first women to win the gold medal at the Prix de Lusanne was actually rejected by the School of American Ballet three years previously! Erin Stiefel Inch’s brother is Ethan Stiefel of Center Stage and ABT. Amanda Ose actually never became a ‘full professional’: she danced with the Pacific Northwest Ballet during her training, but got accepted at Stanford, and decided after much self examination turned her back on what would probably have been a dance career to go to an presdigious university.
I found the book extended my knowledge of ballet and of the human condition.
0.3
Nutcracker Nation
Finally, a book review … !
This book examines how The Nutcracker came from its native Russia and took root in America. It treats the ballet as an immigrant and examines how being in america has changed it; and like many immigrants, how it changed its adopted country. It is more a work of socialogy, rather than of dance.
The book takes from the Ballet’s inception in 1892, at the Maryinski Theater, St Petersburg, under the choreography of Lev Ivanov (who stepped in for Marius Petipa). Through to George Balanchine’s productions for television, danced by the New York City Ballet, broadcast by CBS in 1957 & 1958. Through to Viji Prakesh’s bharata natyam Nutcracker and Donald Byrd’s Harlem Nutcracker.
Nation’s premise is that the Ballet has elements that easily allow an entire community involvement to become involved: there are roles for children and adults, of varying dance training, plus backstage and front-office roles. Apparently, in many towns and city the Christmas/Holiday season is ushered in by the local ballet(s) putting on their variation of The Nutcracker. And what variations there are; generally, Clara, the Mouse King, the Nutcracker/Prince, the Sugar Plum Fairy, and (uncle) Drosselmeier – or some suitable substitute – appear. The author, herself, danced as a snowflake in Fernaud Nault’ Nutcracker in Louvisille Ballet in 1963.
Clearly, the author has done a large amount of research, including following two ballet companies: Loudoun Ballet – Leesburg, Virgina, USA – and the National Ballet of Canada – Toronto. Fisher, uses the amateur and professional companies to illustrate contrasts and similarities.
It gets a little cerebral at times, but Nutcracker Nation needs to be treated as a serious book about socialogical aspect of American life, rather than a book about a ballet or how amateur and professional ballet companies operate. I found it a little dry, and would have liked to see more of the human side of the Loudoun Ballet and the National Ballet of Canada. Having said that, Fisher does give a very good summary of the evolution of The Nutcracker from its Russian origins to its current status as an America ‘citizen’, and of those who had a hand in the change. George Balanchine, a Russian emigre himself, through his willingness to stage the Ballet, and arranging it for TV, seems to have played a major role.
The book is probably a must for those with a deep interest in ballet or for whom The Nutcracker is a favourite ballet – as it goes in to the motivations behind the characters and what the characters have come to represent in America.
0.3
WOW 2008
I went to the dress rehearsal of this year’s World Of Wearableart (WOW) Award Show.
This is not a dress pagent; it is not a pure fashion show; and it is not a pure dance show. A better description would be Cirque de Soleil without the high intensity acrobatics.
A memorable 20th Anniversary show.
The highlights for me were:
- The South Pacific Section
- The UV Section
- The Inspired by Architecture Section
The South Pacific Section was set amongst – what appeared to be – full sized nikau palms! They looked like WOW had transplanted some from the Civic Square. This year there two wahine singing and the section was finished with a memorable dance – where the dancers were dressed and moved as Tuis.
The UV – officially known as the Illuminated – section was spectacular. I hope the garment that had a fat Charlie Chaplin like character teamed with a thin black character against a UV white disc wins.
The Inspired by Architecture Section was very original. Dancers clad in silver unitards came out of the floor, onto a dimly lit stage, carrying handheld spotlights which they used to illuminate the first two or three models. Then as more and more garments came on, a ’silver person’ built a tower! Then the ’silver people’ ‘danced’ inside the tower. Brilliant!
I did find the music a little loud – but hopefully they will turn the volume down 5-10 percent for the shows.
0.3
Cinderella on Ice
I wasn’t sure what to expect, I had heard that it was not the classical story, but I enjoyed Swan Lake on Ice, so I thought that I would give the Imperial Ice Stars another go.
Warning: this review has plot details!
The Cinderella story has definitely been upgraded. The opening sequence introduces Cinderella beside her dead mother and also introduces her father. The rest of first 15 minutes were a little bit confusing, still I worked my way through it.
Cinderalla instead of being reduced to being a scullery maid in the family kitchen is actually in the corp de ballet of a company of which her stepsisters are principal dancers – not very good ones at that. So, when on opening night of Swan Lake, one of them falls and hurts herself, Cinderella’s talent is finally recognised and she thrust into the main part! This brings her to the attention of the ‘Prince’ character – who has to organise a ball to meet her. Cinderella is so mobbed by well wishers at the post performance party that her doesn’t actually get to meet her!! The rest of the story is pretty much as the classic version, even though the setting is more Regency than Queen Anne. The stepmother ended up as a mixture of ballet-mum and Mrs Collins (as in Pride and Prejudice).
The production went out of its way to emphasis the importance of midnight. I thought that this was the most innovative aspect of the production. Cast members dressed up as the numbers in a clock face – this allowed the use modern-dance choreography and costumes without it being out of place with the Regency period. Full marks for using a tissu performer to be the clock hands in one of these sequences.
The stepsisters lost some of their significance in the re-worked story, they are just there to give smore credence to the step-mother character – if cinderella is to be discriminated against, there must be someone(s) who are favoured unfairly ahead of her . The ‘prince’ character is slightly diminished – he is now the Lord Mayor’s son (Andrei Penkine). By not making him royalty, some of the shine goes off the character. The contribution to the story made by the fairy godmother character increases; there is almost a sense of a dual between the fairy godmother and the step-mother.
There are three main charaters: Cinderella (Olga Sharutenko), her father (Vadim Yarkov) and her stepmother (Olena Pyatash). There is a bit of a love triangle: the father for both of them, each for him, and Cinderella also seeks acceptance from her stepmother.
The ice skating is brilliant: energetic, but precise. The stage/ice is quite crowded with skaters and props – there is no room for error. There are one handed carries – with the female partner held above the man’s head with a straight arm !
The Ice Stars have a managed curtain call: at the end of the performance, two of the cast gets the crowd clapping madly and then cast members take turns doing tricks. This slightly artifical segment is well worth it, as the cast does spectacular tricks without having to worry about the story telling ! Just natural joy in having mastered difficult tricks.
0.3
Nim’s Island
Breslin plays Nim Ruscoe – a girl who lives on an island in the South Pacific with her marine biologist father, Jack; the the film takes its title from her. The father is played by Gerard Butler. The location of the island is secret, and dad and daughter secluded themselves there ever since Nim’s mother was lost at sea – when Nim was four years old.
Butler also plays author Alexandra Rover’s fictional action alter-ego Alex Rover: an Indian Jones type of adventurer. Alexandra, played by Jodie Foster, is in ‘real life’ agrophobic and automysophobic and kinetophobic and lots of other obics! Nim loves the Alex Rover books – some kind of Electra complex no doubt! – and Alex lets Alexandra roam the world (‘in the company of her ideal man’), without every going outside her apartment. which she has not set foot out of in 16 years!!
Against this improbable background Jack sails off – in search of plankton – leaving Nim alone on her island to look after the hatchlings from her ‘pet’ turtle. Alexandra/Alex makes contact with Nim, thinking it is Jake, regarding the volcano on the island. Inevitably, storms and other crises arise to challenge Nim. The growing connection that Alexandra feels for Nim forces her to leave her apartment and travel to the south seas to save Nim.
Alexandra’s journey is just great! It gently pokes fun at all sorts of things, including travel and phobias. Eventually: Alexandra arrives, doesn’t exactly saving Nim, but having grown as a person; the crises are seen off; and goodness, Alexandra even starts to forms bonds with Jack.
All a little far fetched, but entertaining enough for the price of admission. If anything, this film is an example of the power of the Internet – Nim and Alexandra email each other throughout the movie!
0.3
The Golden Compass
An Alethiometer – it tells the truth. This review contains spoilers.
The film is based on Northern Lights – the first book in Philip Pulman’s His Dark Materials trilogy. I have not read the books, but I might be tempted – just to see how much they changed. Chris Weitz was the director.
The first chunk of the film sets up the story for the first book/film and the sequels. It got a little tedious. It was fascinating to consider a world where people (a) have souls, and (b) these souls have their own physical manifestations, and act more like a close companion.
Inspired decision to cast Nicole Kidman in the role of “Mrs Coulter” – the trouble shooter for Magisterium. The Magisterium is an example of the kind of government you can end up with when there is no separation between religion and civic government; they are not the good guys! Consequently, Mrs Coutler is at best a grey character – all the more fitting that she is played as pale skinned blonde haired woman who wear pale/light colours. Mrs Coulter is bright in a grey world; she is an assertive woman in a man’s world; she is ruthless. For me, she stole the movie !
The heroine is actually Lyra Belacqua – played by newcomer Dakota Blue Richards. She has to rescue some children that the nasty Magisterium is conducting experiments on.
Between them, these two are the movie. Yes, there are lots of other characters – most notable, is somekind of polar bear. But they are just there to move the plot along and give Lyra and Mrs Coulter points to engage with. One of the reasons they engage so well, is that Lyra is not an orphan living with her uncle after all; she is actually living with her father, and Mrs Coulter, is actually Lyra’s mother. Presumably the parents split up when ‘uncle’ Lord Asriel (Daniel Craig) had a falling out over scientific and polictical philosophy with Mrs Coulter. In many subtle ways, mother and daughter are alike – they are both: fearless, manipulative, willing to be frugal with truth, not unwilling to do what needs to be done, and resourceful. Daniel Craig is hopelessly under utilised – maybe he has a bigger role in the sequels.
The alethiometer – golden compass – is the major plot device for moving Lyra around and getting her into and out of trouble. It turns out that not everyone can use it.
The last part of the movie was really disappointing. There is a long segment after the climax that has no entertainment value – it just seems to set you up for the sequel. It had the effect of making the film seem like half a film; you just know that there is more story to come. It really pulls the rug out from under the film.
An interesting question that popped into my head, as I watched Mrs Coulter and Lyrac lie and manipulate: when is it, if ever, alright to do such things?
0.3
WOW 2007
I went to the dress rehearsal of this year’s World Of Wearableart (WOW) Award Show.
It was great! Year after year, WOW manages to surpass itself.
The highlights for me were:
- The Children’s Section
- The Guy’s Suite Section
- The ‘Raining Men’ Section
- The UV Section
The Children’s Section was based on “Where the Wild Things Are” picture book; with a large cast of monsters and the stuff of children’s nightmares. The children’s energy – WOW use child performers – was very infectious.
There was lots of energy in the ‘Raining Men’ Section: the audience, of mainly young women, gave all of the guys lots of cheers. It got pretty hot – the audience got very excited when the topless guys moved right up to the edge of the stage (stage right).
The UV Section was the best I have seen. Well composed and used all three dimensions – incorporating a static trapeze and other five suspended performers.
0.3
