public forum
home forum magazine gallery links about faq courtesy
It is currently Fri Oct 24, 2014 9:36 pm

All times are UTC - 7 hours [ DST ]




Forum locked This topic is locked, you cannot edit posts or make further replies.  [ 50 posts ]  Go to page Previous  1, 2, 3, 4  Next
Author Message
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Tue Oct 14, 2003 8:49 am 
Offline

Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
<img src="http://www.bbc.co.uk/threecounties/theatre/2003/10/images/rambert_270.jpg" alt="" />

<small>Rambert Dance Company in "Elsa Canesta"(Picture by Hugh Glendinning)</small>

The good people at Rambert have sent me this link to an interview with Mark Baldwin on the

BBC three counties radio website

The interview covers more than just the current programme and allows Mark to talk about what he looks for in dancers and choreogrphers - nice piece by Katy Lewis.

<small>[ 25 February 2004, 10:01 AM: Message edited by: Stuart Sweeney ]</small>


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Wed Oct 22, 2003 3:59 am 
Offline

Joined: Tue Oct 21, 2003 11:01 pm
Posts: 1
Location: Leighton Buzzard
I attended the MK performance on Friday 17/10 with four friends and was as always impressed by the very high standard of dance together with the versatility of the dancers. I am afraid we did not like 21 very much. We found the film of Kylie Minogue distracted attention from the dance and even though it was supposed to be the reason for the dance it did not succeed in our opinion. Also, on a practical level, the very bright light shining from the back of the stage was dazzling and off-putting. Vision Fugitives was superb, the costumes were very striking and the dancing itself very captivating. Elsa Canasta was entertaining, if perhaps a little more explicit than necessary - we got the message without the incessant crotch-groping. However, again the dancing was breathtaking and the use of the staircase was both imaginative and a perfect vehicle for the dancers' skill. The singer, Melanie Marshall, has one of the most beautiful voices I have ever heard. I hope you find these comments useful - it was a fabulous evening despite a few misgivings.

_________________
jwthomson


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Wed Oct 22, 2003 4:09 am 
Offline

Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
Many thanks for your interesting comments Mrs Thomson. You are not the first to find that there is too much going on in "21". Like you I did have to force my attention away from the mesmerising images of Kylie back to the fine dancing. However, I tend to take the view that there are plenty of dance works around with very little going on, so an over-abundance of visual material is perhaps a "good" fault.


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Sun Oct 26, 2003 3:54 am 
Offline

Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
No less than two interviews with Rafael Bonachela, featuring "21" with Kylie Minogue:

Kylie's glow gives a lift to Rambert
Britain’s top dance company and the pop diva combine to great effect, says Kelly Apter for The Sunday Times


Have you heard the one about the Rambert choreographer and the Australian pop star? It may sound like a joke — a member of Britain’s most revered dance company joining forces with pop’s most diminutive diva. But for Rafael Bonachela and Kylie Minogue it’s no laughing matter. She calls him “unique and inspiring”, he “really admires her as an artist”. And soon Edinburgh audiences will be able to judge for themselves whether their mutual appreciation is well-founded.
During its annual visit north of the border, Rambert will present three works to its loyal, and increasingly large, Scottish following.

click for more

*****************************

Rafael Bonachela
In The Sunday Herald Ellie Carr meets the choreographer who’s bringing Kylie Minogue on tour with him.


He’s the man credited with giving Kylie her famous bottom wiggle. But Rafael Bonachela, associate choreographer with Rambert Dance Company and erstwhile movement maestro to Miss Minogue, insists he did so in innocence.

“That is when high art becomes popular culture,” he says, laughing at the way her posterior has since risen to prominence. “For me, it was literally just a move that her and the rest of the dancers were doing. My move was just to wiggle the leg. But what angle is the photographer going to take? It’s going to be from behind.”

Welcome to the world of celebrity. A place where the Spanish-born rookie choreographer Bonachela unexpectedly found himself after Minogue’s producer William Baker singled out his work during a visit to Sadler’s Wells in 2001.

click for more


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Sat Nov 01, 2003 10:07 am 
Offline

Joined: Sun Jun 16, 2002 11:01 pm
Posts: 32
Location: Alton Hants UK
We saw the performance at High Wycombe last night. It was an excellent program and I would urge people to try to catch it if they can. Elsa Canasta is brilliant - very moving, witty, intelligent and above all hugely entertaining - a great addition to the repertoire. I can't wait to get to Sadlers Wells to see it again.


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Sat Nov 01, 2003 10:25 am 
Offline

Joined: Mon Oct 20, 2003 11:01 pm
Posts: 7
Location: England
I was at the Wycombe Swan last night too, avrilkaye! Elsa Canasta was very good, and Pre-sentient amazed as usual...it's sometimes difficult to believe humans can move that quickly. My friend whom I brought along with me who doesn't usually go to dance performances preferred Elsa Canasta, out of all the pieces, she particularly thought the first duet was very good. What did people think of the "Six Pack" solos?


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Sun Nov 02, 2003 11:36 pm 
Offline

Joined: Sun Jun 16, 2002 11:01 pm
Posts: 32
Location: Alton Hants UK
Shame there were so many empty seats wasn't it and our friends who are relatively new to dance also liked Elsa Canasta best and found Living Toys challenging but interesting. We all liked the two solos from Six Pack. I had seen all the six at the workshop in June and enjoyed them then and it is great to see the development of them with the lighting and costuming - look forward to further develpoments with interest.


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Mon Nov 03, 2003 6:24 am 
Offline

Joined: Sat May 24, 2003 11:01 pm
Posts: 4
Location: Oxford, England
I agree with you Avril, such a shame that there were not many of us. It was a wonderful evening and I highly recommend the programme. My husband and I were lucky enough to get a quick backstage tour before the performance. I was amazed to find how small the stage felt and how oppressive the lighting really is while the dancers are working. It gave me a much better appreciation of how terrific they all are, especially in a big piece like Living Toys. I am really looking forward to seeing the programme again at Sadlers Wells as I understand that the larger stage there gives scope for a little more action.


Top
 Profile  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Mon Nov 03, 2003 9:50 am 
Offline

Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
Some comments from the audience after the performance at the Wycombe Swan on 30th October. Many thanks to all those who took the trouble to contribute:

Sionaid: I liked “Elsa Canasta” - the one with the singer. It was clever that it showed a range of relationships, both long-term and one–night stands.

Lynn: I liked that one too as the music was more traditional and the way it moved was great. I also loved the grey costumes and the staircase. But all the programme was good and different and it’s nice to have a mix.

Rosemary: I enjoyed the programme as it was very different. I probably enjoyed the second one ["PreSentient"] the most as it was so dynamic. I was talking to my daughter in the interval about the fact that there were very few people under 35 and it would be good to see more young people and dance companies do need to think about this. The last one [“Elsa Canasta”] might have offended some people. We were lucky enough to hear the pre-performance talk, so we were au fait with everything that was going on.

Jane: I liked the more orchestral music in the last one ["Elsa Canasta"] and felt I could have got up and danced myself.

Ben: It’s the first time I’ve come to see anything like this and I found it all very enjoyable. Of the three I enjoyed the second one best [“PreSentient”], the movement seemed to go much more with the music and the costumes were very good. I also liked the way that a number of the people on stage were still and acted as focal points for the action going on around them. Yes - a very enjoyable night.

Kate: It was really, really good. They were all good in different ways, but I liked the way the first one [“Living Toys”] had more gender specific movement and ideas.

Lydia: I liked the solos [“Six-Pack”]. And in the last one [“Elsa Canasta”] the staircase was a really clever idea with the way they jumped and fell off it and the use of the banister.

Sue: I liked the middle one best ["PreSentient"] as it was very lyrical plus the music was good. The last one was also entertaining [“Elsa Canasta”]. I’m with a school group and with a couple of the sections I have to say that I am wondering what they will tell their parents when they go home. But the theme behind it and the dancing are exceptional.

<small>[ 04 November 2003, 12:35 AM: Message edited by: Stuart Sweeney ]</small>


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Mon Nov 03, 2003 10:32 am 
Offline

Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
Many thanks to all the contributers so far on the Wycombe Swan performances. Keep the comments coming!

I had a great time as well. The opening solo in punk outfit from Glenn Wilkinson's "Six Pack" was danced by Thomasin Gülgeç who has a flexible back and and a magnetism that sweeps out to the audience. Given that he only joined the Company this year, straight from the Rambert School, he is certainly one to watch.

It was my first time for Karole Armitage's "Living Toys" and although the discordant music by Thomas Adès did little for me, there was much to enjoy in the dance. I agree with Karen's point above that the small size of the Swan's stage and as a result the larger scale ensemble sections in this work look cramped there. But the solos and small groups worked well with arabesques and penchees as well as off-balance modern dance moves. Megumi Eda was impressive in her opening solo and throughout the work.

"PreSentient" is one of the strongest pieces on show in the UK currently and after a period in the rep the dancers have really got into the swing of it. My favourites include the sensual opening solo by Angela Towler, the snappy closing dance by Ana Luján Sanchez and the downright steamy duet for Ana and Rafael Bonachela in the middle.

I also enjoyed Javier de Frutos' "Elsa Canasta". The opening male love duet has interesting movement including a crab-like reverse climb up the stairs on all fours by Fabrice Serafino. A brief solo with Amy Hollingsworth weaving in and out of the banister is lovely. The mood of love and desire between a range of partners is so thick you could stand a spoon in it.

Throughout the evening Paul Liburd, who has been with the Company for 11 years, danced powerfully and precisely, underlining the great contribution he has made to Rambert's success over this period. His Bull in "Cruel Garden" from an earlier season remains one of the most memorable dance characterisations I have ever seen.

As some of our readers have pointed out this is the programme that comes to London in late November and Karen is right when she says that it should look at its best on the larger stage.

<small>[ 04 November 2003, 12:33 AM: Message edited by: Stuart Sweeney ]</small>


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Tue Nov 04, 2003 5:33 am 
Offline

Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
So pop goes the high art bubble
By MARY BRENNAN for The Herald

When Rafael met Kylie, he went straight for the upfront, honest option. The Spanish-born dancer and choreographer admitted that he had bought her latest CD – but only the night before they were due to meet.

Did the tiny Australian superstar throw a hissy fit and exit in the huff?

click for more


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Tue Nov 04, 2003 5:38 am 
Offline

Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
And still they come - does Raphael get any time for dancing and choreography with all these interviews?

The dancer who spun Kylie around
By Jackie McGlone for Scotland on Sunday

AS A boy, Rafael Bonachela used to dance in the streets of Barcelona. Blame Fame. Like many other starry-eyed youngsters in the 1980s, he saw the gritty New York-based movie about kids in leotards and leg-warmers and the heartbreak-and-success story of life at the High School for the Performing Arts. Bonachela fell for the notion.

Fast-forward 20 years and the Spanish-born dancer and Rambert Dance Company associate choreographer opened up his e-mails in January 2002 to find one that requested: "Will you choreograph Kylie Minogue’s Bafta awards appearance?"

click for more


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Tue Nov 04, 2003 2:43 pm 
Offline

Joined: Mon Oct 20, 2003 11:01 pm
Posts: 7
Location: England
It was disappointing that there were so many empty seats at the Swan, and I hadn't thought about it, but you're right, there weren't that many people under 35, though I am in my late teens (I did see a lady with 3 young girls though (maybe 10 years old?) who found Elsa Canasta particularly entertaining). The Swan stage is surprisingly small, especially once you get on it (my claim to fame - I've danced there) and I imagine it would feel quite cramped to dance Six Pack on it. Incidentally, I liked the lighting for the solos...slightly different, and fit with the style of music. Those solos did remind me of a Levi's advert for some reason though!

<small>[ 04 November 2003, 03:44 PM: Message edited by: jls ]</small>


Top
 Profile E-mail  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Thu Nov 06, 2003 6:12 am 
Offline

Joined: Mon Nov 27, 2000 12:01 am
Posts: 3377
Location: Canada
Rambert Dance Company
Edinburgh Festival Theater

November 5, 2003

Competing with the colorful explosions of Guy Faulkes Day fireworks and the last minute lead-up to the MTV-Europe Music Awards for the attention of Edinburghers, the Rambert Dance Company faced a stiff challenge. However, on Wednesday evening at the Festival Theater, the company combined impressive talent and it’s tradition of innovation to put on a performance that neither fireworks nor MTV could match. The program included Rafael Bonachela’s 21, Visions Fugitives by Hans van Manen and Javier de Frutos’ Elsa Canasta.

With Kylie Minogue actually in Edinburgh to attend the MTV Awards, Rafael Bonachela's 21 was a fitting way to open the program. 21, a collaboration between Bonachela, who has choreographed several stage routines for Ms. Minogue, and two members of her creative team, William Baker and Alan Macdonald, uses film, music and dance to “explore the meaning of celebrity and adoration”. The piece is divided into three seven-minute long sections, thus the name, 21. Benjamin Wallfisch’s score begins with a violin solo, a trio of women twisting and unfolding their limbs to the almost mournful music. Each dancer is powerful and pointed in movement, but the lack of contact isolates them despite their close proximity.
This sense of isolation continues in the second section, where images of Ms. Minogue are projected onto a thin scrim in front of the dancers. Yet while she seems serene, almost introspective, the action behind her onstage is jagged, powerful and without expression. Faces do not smile or frown and partnering, though very capably performed, seems perfunctory. Human contact in this strange world of adoration appears to elicit no feeling. It is, perhaps, an apt depiction of the raw, unpleasant flip side of celebrity...talent, energy, perfection, contact, but little real emotion. There is an emptiness to the adoration of celebrity-an adoration of a facade, not a real flesh and blood person. Baker and Macdonald’s simple costumes-flesh colored briefs and bra or tank tops, add to the neutral, expressionless feel of the piece

Taking us back to a world of emotion, Hans van Manen’s Visions Fugitives is compilation of brief dance vignettes. Set to a series of 15 miniature compositions by Sergei Prokofiev, each one lasting no longer than 60 seconds, the scenes range from the amusing to the sinister. In one vignette, a man and a woman dance a moving duet, but she rebuffs him as the leave the stage. Later, another woman, portrayed by the elegant Megumi Eda, pauses to let her fellow dancers leave the stage, then makes her own triumphant exit. In a particularly memorable scene, the dancers run one by one onto the stage, each keeling over in mock agony as the next dancer arrives. The resulting frozen collage of agonized expressions is at once humorous and disturbing.
The finely striped unitards by Keso Dekker create a sense of constant motion, but more attention to the cut and choice of color would have made the unitards more flattering on the wide variety of body shapes and sizes in the company. Though danced with polish, especially in the controlled and powerful duet by Angela Towler and Fabrice Serafino, the vignettes never quite seemed to coalesce into a coherent whole. Prokofiev’s miniatures, characterized by pizzicato notes and a minor keys, did not always seem to transition as quickly or as completely as the vignettes onstage.
The very sinister ending also asked more questions than it answered. Why after so much sly humor, do we see a woman dance with her partner until she falls in an unmoving heap on the floor, ignored by her partner and everyone else onstage. Is it merely a case of choreography matching the music, or a deeper comment about human emotion?

In Elsa Canasta, Brazilian choreographer Javier De Frutos takes something old and makes it new, with stunning results. Using music by Cole Porter, including a recently re-discovered score written for the Swedish Ballet in 1923, De Frutos brings the swinging world of Porter’s 1920s to the 21st Century. This is not the Cole Porter of “Anything Goes”, it’s a moodier, edgier, riskier and more stripped down Porter. Jean-Marc Puissant and Guiseppe Di Iorios set, costumes and lights are all in shades of grey, a curved staircase the lone piece of set. This grey-scale world places the emphasis on the dance, and makes everything very ambiguous. It’s the ambiguity in Porter’s lyrics and music that De Frutos plays up, starting with an intense, beautifully danced pas de deux to “So in Love”, sung by Melanie Marshall, a sensual pas de deux for two men. Fabrice Serafino and Robin Gladwin (?) were superb in the pas de deux, maintaining an electric, but unforced tension with Gladwin’s slow, impressively high extensions particularly noteworthy.
As the two men head up the stairs, the action picks up with a montage of other relationships played out on the stage and stairs. The mood is erotic, but playful with energy to burn. One scene, in which two men each dance with three women, hints at an Balanchinian inspiration, the dancers striking a pose much like the famous image in Apollo: three female muses, all supported in arabesque by the god Apollo, each woman’s leg at a different angle. In a series of duets, we see squabbling couples, until finally the stage erupts into playful, sensual, squabbling chaos. To the strains of “Ridin’ High”, the chaos subsides, people exiting until just the original male couple remains.
De Fruto’s choreography is powerful and original, though occasionally bordering on excessive repetition. He also makes wonderful use of the sole prop, the curving staircase. It is not only an exit and entrance, it becomes part of the action. The women leap off the stairs, caught at seemingly the last possible moment and in one duet, the woman topples backwards of the stairs into her partners arms, only to be gently pushed backed into a standing position, repeating the action on each step.
While an onstage singer can sometimes be a distraction in a dance piece, De Frutos found a perfect balance in Melanie Marshall, who had a rich and powerful voice, but never was a distraction from the actual dancing. As in Visions Fugitive, the company’s associate orchestra, London Musici, conducted by Paul Hoskins provided the live music.

Chris Davey provided the lighting for 21, and Joop Caboot for Visions Fugitives. Ben Pope did the arrangements for Elsa Canasta.


Top
 Profile  
 
 Post subject: Re: Rambert Autumn Tour 2003 - News and Feedback Forum
PostPosted: Fri Nov 07, 2003 7:18 am 
Offline

Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
Thanks a bunch for your super review Kate. I'm delighted that your introduction to dance in Scotland was such a good experience.

Did anyone else see the Edinburgh performances? If so do tell us your views.

<small>[ 07 November 2003, 08:18 AM: Message edited by: Stuart Sweeney ]</small>


Top
 Profile E-mail  
 
Display posts from previous:  Sort by  
Forum locked This topic is locked, you cannot edit posts or make further replies.  [ 50 posts ]  Go to page Previous  1, 2, 3, 4  Next

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:  
cron
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