public forum
home forum magazine gallery links about faq courtesy
It is currently Thu Oct 30, 2014 9:57 am

All times are UTC - 7 hours [ DST ]




Post new topic Reply to topic  [ 4 posts ] 
Author Message
 Post subject: George Piper Dances (The Ballet Boyz): "Encore"
PostPosted: Mon Sep 25, 2006 1:17 am 
Offline

Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
Boys will be the Boyz
by DEBRA CRAINE for the Times
published: September 25, 2006

“Encore is almost like a canned history of where we are and where we are going,” says Nunn. This means going back to the pair’s ballet roots, represented by Will Tuckett’s On Classicism, set to Bach’s Goldberg Variations. It was performed in 1987 by Darcey Bussell and Trevitt at the Royal Ballet School’s annual performance. “We managed to find some old footage courtesy of Billy’s mother and brought the piece back in its original form,” says Nunn.Charles Linehan’s Jjanke, a duet for Nunn and Trevitt set to music by the Slovenian accordionist Bratko Bibic, represents the folk element in a ballet dancer’s career.
more...


Top
 Profile E-mail  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 5:02 am 
Offline

Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
Ballet Boyz
by JUDITH MACKRELL for the Guardian
published: September 27, 2006

Confessional film snippets offering insights into their own odd-couple relationship; into their dysfunctional encounters with outside choreographers and critics provide a wry comic frame on their professional lives, while the four works offer unexpected views of the art form. One of the least expected is the revival of Will Tuckett's student piece, On Classicism, which he choreographed for Trevitt and Darcey Bussell when they were both still at the Royal Ballet School.
more...


***

Quote:
Birthday Boyz tread a well-worn path
by SARAH CROMPTON for the Daily Telegraph
published: September 28, 2006

The discussion is fun, but the spectres of obscurity and elitism it raises are not laid to rest by the works unfolding on stage.

The best of the lot is Liv Lorent's Propeller, in which Nunn and Panchenko stand entwined, their bodies apparently joined lengthways, before twisting and turning through an intricate series of manoeuvres where they can never absolutely let go.
more...


***

Quote:
Ballet Boyz
by DEBRA CRAINE for the Times
published: September 28, 2006

Rafael Bonachela’s Mandox Bandox is designed to highlight the strength and agility of all three dancers, although its changing dynamic — solos, duets, a trio — works against full impact.
more...


Top
 Profile E-mail  
 
 Post subject:
PostPosted: Tue Oct 03, 2006 1:41 am 
Offline

Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
Two blokes walk into a barre...
by JENNY GILBERT for the Independent
published: October 1, 2006

So, the bloke-ish credentials are established, but now what? Their latest show, Ballet Boyz Encore, finds them at a crossroads. They can't give up chatting to camera because that's become a trademark, but there's a limit to how interested we can still be in the quantities of bunion plasters/cigarettes/expletives dancers get through in a day. Their solution is to talk about each other, like the Big Brother inmates.
more...


***

Quote:
Ballet Boyz, Sadler's Wells, London
Dance To Music By Steve Reich, Barbican, London

by ZOE ANDERSON for the Independent
published: October 3, 2006

As a title, Encore is misleading: the new show by the Ballet Boyz is a celebration rather than a repeat.
more...


Top
 Profile E-mail  
 
 Post subject:
PostPosted: Mon Oct 09, 2006 8:10 am 
Offline

Joined: Wed Nov 03, 2004 12:01 am
Posts: 142
Location: London
George Piper Dances
“Encore”
Sadler’s Wells Theatre, London
Tuesday 4 October 2006



George Piper Dances opened their new programme “Encore” at Sadler’s Wells before taking it around the country. The present company presents three dancers, Michael Nunn, William Trevitt and Oxana Panchenko and together they have put on a show that is varied, entertaining and, most importantly, that dares to challenge the viewer with new works of high artistic standards.

The first piece of the evening was “On Classicism” by William Tuckett. Created for William Trevitt and Darcey Bussell when they were students at the Royal Ballet, the short piece with music by Bach won the Ursula Moreton Choreographic Competition of its year and deserved very warm comments by the late Dame Ninette de Valois. Though the piece does not stand as a masterpiece in its own right, it does show how talented Tuckett was as a student and makes one wonder what happened during his years at the Royal Ballet that prevented him from developing that obvious talent. While the Royal Ballet seemed to concentrate in the choreographic work of Ashley Page with annual offerings that hardly ever managed to make a lasting impression, it seems a pity to think that other choreographers were unable to make more work for the company. “On Classicism” was a student’s exploration on the classical language of dance, but with a twist. Most importantly, it was a very musical piece, managing to capture the music's nuances without trying to be clever about it. It was simple and far from pretentious and it provided a very good opening for the evening.

Each piece was preceded by a commentary on film by the dancers. Though some people may disagree, I found the comments helpful and, most times, highly entertaining. For the second ballet of the evening, “Propeller” by Liv Lorent, the three dancers stressed the difficulty of working with the choreographer. However, the result made it obvious that sometimes artistic creation depends not little on constant personal challenges. The duet performed by Nunn and Panchenko was simply breathtakingly beautiful. The dancers seemed to float in space and time for the duration of the piece. There was a mesmerising quality in the dance that gave it a rare depth in its interpretation. Like in the preceding piece, though in a much more elaborate and mature way, its lack of pretentiousness in terms of vocabulary and form made it so direct and yet so remote in its meaning that it was a hypnotic experience from beginning to end.

The third piece, "Jjanke" by Charles Linehan, was based on character dance. In my opinion, this piece was the least rewarding of the whole programme. Character dance has an emphasis on dynamics and sense of momentum that this piece lacked. It just did not seem to get started and moving. The vocabulary used tended to be repetitive and without any sense of coherent form and pattern and without the crescendo dynamics that tend to characterise character dance, it seemed to move a bit aimlessly on the stage. Both Trevitt and Nunn tried their best and the musician on stage Bratko Bibc was wonderful. However, the piece did not manage to take off right after its opening.

The last piece of the evening was Rafael Bonachela’s “Mandox, Bandox”. The ballet was preceded by a hilarious take of both Trevitt and Nunn trying to argue the case of why dance should be properly funded by the government. It takes courage to do this in front of the audience and I think the public appreciated the humour and the truth in their comments. The ballet itself was one of the best pieces I have seen choreographed by Bonachela. It had the potent dynamics and acrobaticism that are associated to the choreographer, but, especially in the choreography for the three dancers on the stage, he managed to create some interesting patterns and to offer intelligent choreographic resolutions.

It was a very well designed programme, with very varied works that managed to engage the audience from the start… And, of course, there was an encore, when the three dancers appeared on stage (is this what they meant by making dance “popular”?) to sing and play the Arctic Monkeys’s song “I bet you look good on the dance floor”. The company got a wave of ovations for this and, to be honest, it was well deserved as it is not often that one goes to see an evening of good new choreographic work and leaves the theatre with the feeling of having been entertained too! Maybe there is food for thought in the idea of how to turn that encore into choreographic language that is popular, engaging and yet true to the spirit of the evening, but I leave that to the company…


Top
 Profile  
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 4 posts ] 

All times are UTC - 7 hours [ DST ]


Who is online

Users browsing this forum: No registered users and 2 guests


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot post attachments in this forum

Search for:
Jump to:  
The messages in this forum are posted by members of the general public and do not reflect the opinions or beliefs of CriticalDance or its staff.
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group