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 Post subject: Royal New Zealand Ballet tour to U.K. and France (July 2011)
PostPosted: Wed Jun 22, 2011 12:14 am 
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The Royal New Zealand Ballet performs a triple bill of works by Jorma Elo, Andrew Simmons and Javier De Frutos on its tour to Cardiff, London, Nottingham and Bradford in the U.K. and Sisteron in France. A brief preview in Voxy News.

Voxy


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 Post subject: Re: Royal New Zealand Ballet tour to U.K. and France (July 2011)
PostPosted: Wed Jun 22, 2011 12:48 pm 
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The tour opens in Nottingham on July 19, according to a report in Chad.

Chad


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 Post subject: Re: Royal New Zealand Ballet tour to U.K. and France (July 2011)
PostPosted: Sat Jul 16, 2011 3:30 am 
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Location: Rugby, UK / Taipei
From Here to There
(‘Plan to A’, ‘A Song in the Dark’, ‘Banderillero’)
Royal New Zealand Ballet
Barbican Theatre, London; July 14, 2011


David Mead


With Peter Schaufuss’ Ballet and their guests Natalia Osipova and Ivan Vasiliev dancing Ashton’s “Romeo and Juliet” at the Coliseum, and the Bolshoi about to descend on Covent Garden, a trip to the Barbican to see the relatively unknown Royal New Zealand Ballet was probably not high of most London ballet-goers ‘must do’ list. But those who made their way to the City got themselves a real treat. The company, under the interim directorship of Matz Skoog prior to Ethan Steifal taking over later this year, looked most impressive in a mixed bill of three contrasting works.

Stand out work of the evening was “A Song in the Dark” by upcoming Christchurch-born choreographer and former Royal New Zealand Ballet Dancer Andrew Simmons. I’m not sure it really embodied the themes of love and missed opportunities and finding beauty in the ordinary that inspired the work. No matter, though, because even viewed as simply movement to music, this is a beautifully crafted and totally engaging work.

The ballet starts quite starkly with just a single dancer and her shadow projected on a white wall that sits at an angle stage left. The dance is grounded initially, but soon develops into a lively piece. Simmons’ lyricism and classical approach sits well with the minimalist chords of the three Philip Glass scores that comprise the music. The ballet moves along effortlessly with an easy momentum, steps and phrases flowing smoothly into each other. There is much invention and plenty of unexpected entrances and exits, groupings constantly change. The interest never wavers for a moment. Special mention too for Kate Venables’ costumes, especially the forest green and black tight leotards of the ladies that showed their beautiful lines to great effect. Simmons is presently resident in Germany, and on the basis of this piece one can only hope that more of his work is seen here, and soon.

Opening the programme was Finnish-born Jorma Elo’s “Plan to A”. Again, design was important. The dancers’ bright red costumes and Joke Visser’s giant overhead wave-like silver trellis that cast striking shadows on the stage combined to create a stark scene. Although his work is widely acclaimed in Europe and America, he has been Resident Choreographer at Boston Ballet since 2005, this is his first major piece to be seen in Britain.

Elo’s choreographic lineage is clear to see. Given that he danced with the Cullberg Ballet and NDT, it’s not too surprising that his work has clear links with that of Mats Ek and especially Jiri Kylian. Like Kylian’s later works in particular, “Plan to A” is very much about the movement and the movement alone. There are only glimpses of meaning, and even then it is very much left for the audience to interpret. The ballet is rather more classically-based that their work though. It is also typical of his energetic and quirky approach to choreography. It is full of fluid movement and effortless lifts, and any number of fast spins, sudden changes of direction and rapid swirling arms that eat up the space. The only annoyance was the way he continually paused the music (Heinrich Biber’s “Sonata No.84 in E Major”) the dance continuing in silence.

Javier de Frutos is rather better known to British audiences, albeit for his contemporary dance work. Danced to Chinese percussion score of Yim Hok-Man “Banderillero” takes its title from the bullfighter who teases the bull. The action all takes place in a square lit almost entirely from above on an otherwise dark stage. The opening emphasises ritual, although the dance becomes increasingly intense as it reflects the irregular and unpredictable nature of the fight. De Frutos draws on a range of styles as the dancers take turns in the arena, the women in particular being aggressive as they tease and attempt to provoke each other. De Frutos incorporates a range of influences, I’m sure I caught glimpses of Spanish, African and Chinese motifs, while never losing sight of the meaning and theme. And the dancers carry it off wonderfully.

Royal New Zealand Ballet continues on tour to Nottingham Playhouse (July 19); Bradford Alhambra (July 20); and Sisteron, France (July 22).

This review will appear in the magazine in due course.


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 Post subject: Re: Royal New Zealand Ballet tour to U.K. and France (July 2011)
PostPosted: Sat Jul 16, 2011 12:40 pm 
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Sarah Frater reviews the Royal New Zealand Ballet at the Barbican in London for The Evening Standard.

Evening Standard

Judith Mackrell in The Guardian.

The Guardian


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 Post subject: Re: Royal New Zealand Ballet tour to U.K. and France (July 2011)
PostPosted: Fri Jul 22, 2011 12:52 pm 
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Location: Seattle, WA, USA
Ismene Brown reviews RNZB's performance at London's Barbican for The Arts Desk.

The Arts Desk


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 Post subject: Re: Royal New Zealand Ballet tour to U.K. and France (July 2011)
PostPosted: Sat Jul 23, 2011 1:09 pm 
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Posts: 12646
Location: Seattle, WA, USA
Clement Crisp reviews RNZB's performance at the Barbican in the Financial Times.

Financial Times

Jann Parry in The Telegraph.

The Telegraph

Neil Norman in the Daily Express.

Daily Express


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