Black Swan White Swan (2019, RNZB)
June 8, 2019 at 4:05 am | Posted in Ballet Review | Leave a commentTags: Ballet, Black Swan White Swan, Katherine Minor, Mario Radacovsky, Massimo Marigaria, Nadia Yanowsky, Paul Mathews, Royal New Zealand Ballet
I went to see this modern classic – the origins of Mario Radacovsky’s re-imaging of Swan Lake – last weekend at the Wellington Opera House. I was not sure what to expect, and was surprised by the modern take.
Warning: plot elements extensively discussed.
Firstly, the whole story revolves around Rothbart and Siegfried; Odette/Odile are almost secondary characters. Rothbart instead of bewitching Odette, he bewitches Siegfried! The shorten two Acts, as opposed to the traditional, four Acts, is all about the battle of wills between the two. Rothbart is a doctor; and there are no princesses.
Secondly, there is no pointe work; it is a contemporary dance work executed by classically trained dancers.
Thirdly, there are no fouettes. This is not surprising, since no one is wearing point shoes.
And, two dancers split the roles of Odette and Odile. At my performance, the white swan, Siegfried’s wife is danced by Katherine Minor, while the black swan, is danced by Nadia Yanowsky.
Finally, there are no tutus; they wear white leotards; except of course, the black swan character wears a black leotard.
Paul Mathews did a really good job of Siegfried. Massimo Marigaria is dark brooding Rothbart.
At times, the production feels like a symphonic ballet.
Even though the swans are imaginary – part of Siegfried’s tortured mindscape – this production had the best human’s emulating swans that I have seen. When freed of tutus and pointe a dancer can lie on her back and this frees up the legs to make the wings and whole arm becomes the long neck.
The clever projection onto the stage floor, I felt was overdone – at times the projected images hid the dancers’ feet. I also felt that the projection of a flying swan – at the finale – was unnecessary.
Avengers: Endgame (2019)
April 27, 2019 at 5:38 am | Posted in Film Review | Leave a commentTags: Action Movie, Avengers, Captain America, Endgame, Infinity Stones, Iron Man, The Black Widow
Having seen every previous Marvel film, of course I went to Avengers: Endgame. At 3 hours and 1 minute long, it is one of the longer movies this and any year; but it does not feel long – its pacing is good. However, there is no need to stay to the end of the final credits; there are no easter eggs at the end 😦
Warning: plot discussed and key outcomes given away!
This might be the ultimate ensemble movie. All of the major characters from the films that lead to this film are bought together, also bringing together the actors who played those characters. The major characters are:
- Captain America
- Iron Man
- Black Widow
- Hawkeye
- Thor
- Rocket
- Hulk
- War Machine
- Ant Man
- Thanos
- Nebula
or thereabouts. You could toss in: Spider Man, Captain Marvel and Gamora. But it is the interplay between Captain America and Iron Man that drives much of the story forwards.
At the end of Avengers: Infinity War 50% of all living life in the universe has been erased by Thanos. The opening sequence of the Endgame shows the survivors trying to deal with the loss. Then Ant Man proposes that they use time travel to go back in time and steal the six infinity stones, then use them to bring everyone back.
In order not to encounter themselves, three teams go back to three different times and places to acquire the stones, then once everyone is restored, the stones are returned – so as not to change the past. Instead of spinning another 3-4 movies, Endgame cuts backwards and forward between three ‘episodes’. Eventually, the three teams recover the stones, and there is yet another final confrontation with Thanos – on top of the other final confrontation at the beginning of the film.
The film is a study in the carefully dip feeding of new characters without seeming to be ‘going through the process’. There are signs of careful editing to not drag out the film.
Likes:
- It is a film in the Marvel Universe
- >There is time travel
- Major characters die
- Lots of nods to other movies and TV shows
Dislikes:
- No easter eggs – does this means no more Marvel movies?
- Black Widow dies – does this mean that she won’t get her own movie
- Captain Marvel appears to be all conquering – in effect, Thanos or any bad guy can only win if she is not around
Daffodils
April 27, 2019 at 4:34 am | Posted in Film Review, Musical Review | Leave a commentTags: Daffodils, Entertainment, Fen Iker, Film, George Mason, Kimbra, Music, New Zealand, New Zealand Film, Rose McIver, Steph Brown
It is not often that films are made in New Zealand, let alone a musical; So I went and saw Daffodils.
Warning: plot elements discussed.
The film is based on a stage musical, that in turn is based on true events. At its core Daffodils is a love story – albeit a tragic one. The story is told by the daughter – through some classic NZ songs. Grammy Award winner Kimbra
provides the framework of the film through her portrayal of the Maisie – the daughter – as well as singing many of the songs. The film is a series of flashbacks – from the mid-’60s to an unspecified ‘present’.
Maisie’s mother, Rose, is played by Kiwi actress – Rose McIver of iZombie fame. It was nice to hear McIver’s NZ accent – rather than her US TV accent. And she has a pleasant singing voice. McIver’s voice, while not having the power of Kimbra, provided a nice emotional thread to the movie.
Rose’s husband, Eric, is played by Kiwi actor George Mason. Mason’s singing was restrained – consistent with the emotional temperament of Kiwi men in the ’60s and ’70s – almost wooden at times. Yet, it provided an appropriate emotional void that Rose – McIver’s character – eventually gave up trying to bridge.
Likes:
- The songs – Bliss, I’ll say goodbye, There is no depression in New Zealand, Drive, and more that I forget
- LIPS – the Steph Brown and Fen Ikner colaboration responsible for the music in the film and the original stage.
- Kimbra
- Rose McIver
- the cars from that period
Dislikes:
- The sad end
- No obvious theme song
The film provides a view of New Zealand in the ’60s, ’70s, and ’80s. The sight of McIver in ’70s lycra is priceless. There is also a nice collection of New Zealand songs – that everyone in the audience recognised. It is a must see for Kiwis.
Solo: A Star Wars Story
June 4, 2018 at 5:15 am | Posted in Film Review | Leave a commentTags: Alden Ehrenreich, Beckett, Chewbacca, Dryden Vos, Emilia Clarke, Felicity Jones, Hans Solo, Joonas Suotamo, Paul Bettany, Qi'ra, Ron Howard, Solo, Star Wars, Thandie Newton, Woody Harrelson
After Rogue One – a film squeezed in between the canon of nine – I wondered if Solo would be as good: it did not disappoint. Without the need to conform to the ‘history repeats’ story arc of the canon, Solo is free to tell its own story.
Warning: plot elements discussed.
There are four main characters:
- Han: the young Han Solo is played by Alden Ehrenreich. The mnemonic of ‘Solo’ is given to him by a border official
- Chewbacca: the younger ‘Chewy’ is played by Joonas Suotamo.
- Qi’ra: Han’s childhood sweetheart is played by Emilia Clarke. Clarke she has a passing resemblance to Felicity Jones, so I kept thinking I was watching a prequel of Rogue one.
- Beckett: the outlaw that takes Han under his wing, is played by Woody Harrelson.
and two significant characters:
- Dryden Vos, played by Paul Bettany is, the villain.
- Val, played by Thandie Newton, is part of Beckett’s crew.
The initial sequences that lead up to a quite young Han being separated from Qi’ra, as the two try to get off planet, acts like an overture. Han and Chewy are two-entity team, when we see them in Episode IV, so this film has to lead to that pairing. Though it would be no real surprise if the next Solo film, if there is one, still features Qi’ra – she just wont end up with him. And why should she? She has works harder than Han, thinks more than him, is much more successful, and has many obligations. Han just wants a fast ship and a star to steer her by.
Han literally gets Chewy out of a muddy hole. Han got off planet, got accepted into the Imperial Academy, washed out of same for disciple issues, and ended up as a storm trooper (slogging through some muddy battlefield), where he encounters Chewy.
Beckett and Val reluctantly rescue Han and Chewy from being cannon fodder – Han is much more suited to the free wheeling life style of an outlaw.
We also see how Han ends up with the Millennium Falcon.
A reasonable story line, and a well crafted film by Ron Howard. Worth seeing at the movie theatre.
Dancing with Mozart
June 3, 2018 at 4:58 am | Posted in Ballet Review, Show Review | Leave a commentTags: Alexandre Ferreira, Ballet, Contemporary Dance, Corey Baker, George Balanchine, Jiri Kylian, Opera House, Royal New Zealand Ballet
I went to the Royal New Zealand Ballet’s production of Dancing with Mozart – 4 contemporary ballets, from 3 choreographers, all to music by Mozart.
The 4 works:
- George Balanchine: Divertimento No 15 danced to Divertimento No 15 in B flat major K287, is a symphonic ballet!
- Corey Baker: The Last Dance is danced to Requiem in D minor R626, is inspired by a visit to Antarctica
- Jiri Kylian: Petite Mort danced to Piano Concerto in A major K488, Adagio, and Piano Concerto in C major K467; and Sechs Tanze danced to Sechs Deutsche Tanze K571.
Alexandre Ferreira stood out in Divertimento No 15.
I really liked the Baker’s The Last Dance; it told a story. The punchy story of global warming left the audience in no doubt of the dangers. The staging was simple, yet powerful. Everything was either black, grey, or white. The opening scene featured the majority of dancers dressed from head to foot in white hooded unitards, on a white floor, and a white background. The lighting was bright, creating the feel of being out in the snow on a sunny day. Off to one side is a transparent cube with a two dancers in dark leotards. By the end of the dance, the cube is full of water, poured their by the dancers – now dressed in head to foot grey; the stage is all black.
Divertimento No 15 was choreographed in 1956. The Last Dance was choreographed this year and premiered in this production. The Kylian pieces were choreographed in 1991 and 1986. I’ve listed the chronology, because, it struck me that the pieces reflected the evolution of contemporary ballet. The production starts with Balanchine’s somewhat abstract work, showing off the classic forms, as a foil to the music. Then there was the most modern work. Baker’s choreography uses classical skills without classical forms. It tells a compelling topical story. Then we go back to Kylian’s two pieces: both use classical ballet training, but the focus is on conveying feelings – both are fun works. Sechs Tanze had the audience laughing out loud.
Definitely worth going to. The Last Dance could become a modern classic – innovative staging, powerful choreography, and a story of our times.
Red Sparrow
March 5, 2018 at 8:01 am | Posted in Dance Review, Film Review | Leave a commentTags: American Ballet Theater, Boshoi, Dominika Egorova, Film Review, Isabella Boylston, Jennifer Lawrence
A tongue-in-cheek summary would say that Jennifer Lawrence is the body double for Isabella Boylston – a principal dancer at the American Ballet Theater – who plays Boshoi prima ballerina Dominika Egorova.
After a spectacular ballet sequence, Egorova is forced to become a ‘sparrow’ – spies trained to physically and psychologically seduce their targets. Jennifer Lawrence gets most of the screen time :-).
The film is gritty: torture, beatings, assassinations, etc. Yet there is a plot with many twists and betrayals: who is telling the truth? The props and lighting is excellent – a very Gorky Park 80’s grey vibe. The sparrow training sequences are harrowing. Egorova’s operational scenes take us through parts of Europe and London.
Worth giving a go.
Black Panther
March 5, 2018 at 7:32 am | Posted in Film Review | Leave a commentTags: Black Panther, Chadwick Boseman, Film Review, Florence Kasumba, Michael B. Jordan, Throne, Wakanda
I went to see this the other day, not quite knowing what i was going to get – not having read the Black Panther comics.
Warning: plot elements discussed.
Visually it is startling to see [almost] no white people in the film; it took me a few minutes to adjust. It shows how ‘white’ mainstream films are. Hopefully they make more films like this – without a science fiction setting to make a black world ‘normal’.
At its heart, the film tells a pretty classic story: cousins fighting over a throne – played/fought by Chadwick Boseman and Michael B. Jordan. Florence Kasumba is the honourable general upholding the constitution structures of Wakanda. She leads the army – composed solely of women. Her lover leads the all male border guides. She provides the moral question; when should one do the right thing verses doing things by the rules?
The CGI makes the whole film possible – the amazing stealth planes, amazing body armour, and maglev trains; and much more.
Worth seeing at a cinema.
Summer Shakespeare 2018: The Comedy of Errors
February 17, 2018 at 11:37 pm | Posted in Play Review | Leave a commentTags: Adriana, Antipholus, Dromio, Ephesus, James Cain, Kasey Benge, Michael Hockey, Samuel Irwin, Shakespeare, Stevie Hancox, Summer Shakespeare, Syracuse, The Comedy of Errors, William Shakespeare
This year Summer Shakespeare put on The Comedy of Errors – in a car park. Like last year, this is a departure from holding it in the dell in the botanical gardens. The stage was made from industrial scaffolding – yet it was not a post-apocalyptic staging.
The Comedy of Errors is, as it name suggests it is, a comedy: centred around the chaos caused by two sets of identical twins, each set having the same names – Antipholus and his servant Dromio. They are separated at birth and raised in separate cities – Syracuse and Ephesus. One day, the Ephesus set of twins arrive in Syracuse, and confusion and mayhem ensues. Of which there is much, because Antipholus of Syracuse is married! By the time it is all resolved, people’s sanity will be questioned, new loves found, and old loves reunited.
Antipholus is played by James Cain and Michael Hockey; Dromio is played by Kasey Benge and Samuel Irwin. Adriana wife of Antipholus, of Syracuse, is played by Stevie Hancox – who has a pleasant singing voice. The play has elements of singing and Adriana has a solo. There is also a musical dance number at the end of the play – which I am told is a traditional way to end an Elizabethan play.
Worth going to: ‘original’ outdoor setting; some slapstick comedy; some great lines (it is Shakespeare after all); good performances; excellent singing; and to support an excellent local production.
The Shape of Water
January 28, 2018 at 12:58 am | Posted in Film Review | Leave a commentTags: Amphibian Man, Beauty and the Beast, Doug Jones, Elisa Esposito, Film Review, Guillermo del Toro, James Bond, Michael Shannon, Richard Strickland, Romance, Romeo and Juliet, Sally Hawkins, Shape of Water
A well crafted Guillermo del Toro movie. It is not a mainstream movie – more of a indie one. The staging, lighting, framing – cinematography (?) – and the costumes created a comic feel to the film. The good guys are ‘bright’, the bad guys are ‘black and grey’.
The plot at its most basic is a love story, that manifests itself as a ‘Romeo and Juliet’ story. Romeo is a ‘fish-man’; his ‘adoptive’ family a secretive US government agency; his home a secret US government facility – that is a huge tilt to James Bond (Dr No & You Only Live Twice). Juliet is a mute woman; but she is not a teenager; she works as a cleaner in the Base; she lives above a movie theatre that shows B-grade movies.
The film is a wonderful character study – or rather of various characters:
- Elisa Esposito, played by Sally Hawkins, is the woman who falls in love with the prisoner, and breaks him out of custody;
- Amphibian Man, played by Doug Jones, is the ‘asset’ ‘taken’ by the US government in the amazon; he is brave and noble, in the face of mistreatment and torture; he is curious and cultured; he has the mis-fortune to have lungs and gills – making him an object of interest as the space race heats up.
- Giles, played by Richard Jenkins, is Elisa’s neighbour, down on his luck, someone sidelined by changing world; but loyal; a reluctant accomplice to the ‘jail break’ – discovering a determination that he did not know he had.
- Strickland, played by Michael Shannon, is the ‘man in black’; on the surface he is a loving family man, but underneath he is ruthless and remorseless – without a heart of gold.
Elisa sees the treatment handed out to the Amphibian, and sees that it is wrong. Both are unable to speak, so she teaches him sign language. Elisa and Giles represent humanity. Strickland embodies the dangers of focusing on ‘goals’ and ‘black and white’ thinking. He suppresses all emotions to get the ‘job done’. But the biggest betrayal is reserved for Strickland: when he finds that the system doesn’t recognise his years of faithful service.
Hawkins and Shannon turn in two outstanding performances. Jones, though encumbered by a full bodysuit is able to portray nobility and tenderness.
A film with an amphibian cannot be made without CGI and special effect, and there are plenty, but they don’t get in the way.
I enjoyed it. Worth a go, but not for children.
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