Matthew Bourne's The Red Shoes

Image Source: ATG

Written By: Scott Gunnion

Format: Ballet
Genre: Drama
Date: June 27 2017
Location: Liverpool Empire Theatre

A night at the ballet. Sounds grand, doesn’t it? Opulent, even. Like a night at the opera, or a day at the races (Cheltenham, not Aintree obviously.)

If this sounds like your cup of tea or drug of choice, then prepare to be stunned and humbled in equal measure.

As healthily cynical as ever, I sat down at my seat expecting something pretentious and inaccessible.

But my reasoned apprehension melted almost instantly into smithereens.

Far from lofty and remote, it was instantly absorbing.

Though, being honest, I didn’t have a clue what was going on most of the time.

I wasn’t bored, but I was baffled. Dazzled, but baffled. Enraptured, but baffled.

It was hard not to be immensely impressed by the sheer skill and talent on display. I was almost in awe of the performers. Something about it was hypnotic.

The movements and those performing them were seamless and espoused an air of effortlessness, depending on how critical an eye is watching.

Those who opted to pay £1 for opera binoculars were missing out, for it was impossible for focus on any one point on the stage at any one time. Each performer was doing something different and unique all of the time. It is beyond doubt that the talent was of a high calibre. I wanted to fix my eyes on each and every one of them but couldn’t. What could have been messy and blundersome in the wrong shoes unfolded into what was a magnificent mesh of movement. Exceptional.

As for the Red Shoes themselves: as far as I could decipher, they were cursed, or even haunted. Though I must confess, I found it impossible to follow any coherent thread or plot based solely on my perceptions of interpretative dance, however elaborate it may have been. Perhaps that makes me uncultured or uncivilised. That might not be far from the truth.

Even if you come away from the performance with only faint praise, there is no doubt that you will step up out of your chair and give applause for the sheer intricacy and innovation of the set design which was unique from both a visual and a technical perspective.

So if you’re up for it, prepare to be impressed. You don’t even have to know what’s going on. Just sit back, sit still and watch.

Overall Rating: 6.5/10 - Okay

Sleeping Beauty

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Matthew Bourne's Sleeping Beauty

Written By: Mark Armstrong

Format: Ballet
Genre: Drama
Date: February 16 2016
Location: Liverpool Empire Theatre

Originally written several years ago by Matthew Bourne, and having been performed at the Liverpool Empire in 2013, Sleeping Beauty has returned to the home city of the Liver Bird. For those unfamiliar with the work of Bourne, this is a retelling of the classic children's fairy-tale in the form of ballet, as well as some unexpected twists and turns.

Sleeping Beauty tells the story of a young Princess, Aurora (who is initially portrayed by a baby doll puppet, whose actions are humorously realistic, and is then played later on by Ashley Shaw), who is handed a curse early in life by the wicked Carabosse (Tom Clark). Come her 16th birthday, Carabosse is dead but her son Caradoc (also played by Tom Clark) still plots evil retribution, and so that is the day when Aurora falls victim to the curse.

In the meantime, however, she has fallen in love with the royal palace gamekeeper Leo (Chris Trenfield), against the wishes of family and friends. After the curse takes effect, which puts Aurora to sleep for 100 years, it seems that Leo has lost his true love, until an unexpected vampiric twist allows him to be on hand when Aurora wakes up. There are further problems at that time, however, which makes Leo's struggle to finally live happily ever after with Aurora an even harder task.

This is very different from your typical fairy-tale presentation. The timeline begins in 1890 and concludes in the modern age, which provides old-fashioned and modern takes on how times have changed during Aurora's development and her eventual awakening. The use of Tchaikovsky's music throughout the show provides a constant soundtrack of music that is soothing yet dramatic, and perfectly matches the on-stage developments.

But it is the ballet which makes this unique; with the exception of some projector text prior to each "era" of the story, as well as explaining the finale at the very end, the entire show is told solely through dance. Even the pivotal points of the plot are handled through dance, making this an unusual production, and in actuality a very difficult manner in which to tell the occasionally complicated story - but the show does so admirably. Even those unfamiliar with Sleeping Beauty will recognise what is going on, and the ballet never becomes a distraction, and serves as a fresh take on an often-told tale. The dance manoeuvers themselves are at times dramatic, and occasionally stunning. Because of the constant emphasis on dance, it is hard to pick out star performers, although Chris Trenfield, Ashley Shaw and Tom Clark do a great job in their roles, and tell their stories in a uniquely entertaining fashion. Facial expressions are key in a show of this nature, and all involved are tremendous at emphasising the gravity of what has happened solely through their facials.

There are several elements within the content of this production. There is dance, of course, but there is humour (mainly with the baby puppet, which is a real highlight of the show), there is drama (the curse scenes), there is emotion (the reactions to Aurora being cursed) and even some mild horror when Leo is "assisted" as he ponders how to save Aurora in the future, and in the closing scenes which take us inside the evil layer of Caradoc. It's a show that will keep one's attention, telling a simple story through multiple layers and creating an air of unpredictability, despite this being a common tale, which is definitely a good thing.

Ballet fans will obviously have the most appreciation for Matthew Bourne's presentation of Sleeping Beauty, but even those who have never seen ballet before should give this a viewing; you will have a new-found respect for dance and the ability to tell a story solely through dance after watching this show.

Overall Rating: 7.5/10 - Good

Full cast announced for Matthew Bourne's Sleeping Beauty UK tour

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

New Adventures are delighted to announce the full cast and further tour dates for the first revival of Sleeping Beauty as devised, directed and choreographed by Matthew Bourne, which will play at the Liverpool Empire from Tuesday February 16-Saturday February 20 2016.

Matthew Bourne’s Sleeping Beauty is a gothic tale for all ages; the traditional tale of good vs. evil and rebirth is turned upside-down, creating a supernatural love story that even the passage of time itself cannot hinder

Bourne’s new scenario introduced several characters not seen in Petipa’s famous Ballet or Grimm’s fairy tale. This imaginary kingdom is ruled over by King Benedict and Queen Eleanor. Princess Aurora’s romantic interest is not a Prince, but the royal gamekeeper, Leo. Representing the central forces of good and evil are Count Lilac (“the King of the Fairies”) and the Dark Fairy Carabosse. Bourne has also created the character of Caradoc, the sinister but charming son of Carabosse. Princess Aurora’s Fairy Godparents are characterised by their names: Ardor, Hibernia, Autumnus, Feral and Tantrum.

Returning to the central role of Aurora in this first revival is rising star Ashley Shaw. Ashley recently played Lana in the triumphant revival of The Car Man, and has also played Kim in Edward Scissorhands, Sugar in Nutcracker! and the title role in Cinderella. Cordelia Braithwaite made her debut with New Adventures in Swan Lake in 2013 and has since featured in this year’s revival of The Car Man, covering the role of Lana. Cordelia makes her debut as Aurora this season; her first Principal role with New Adventures.

The leading role of Leo will once again be played by Dominic North and Chris Trenfield who co-created the role in 2012. Dominic holds the distinction of appearing in more New Adventures productions than any other dancer and was most recently seen as Angelo in The Car Man (Seen also in the filmed version for SkyArts). He was nominated as “Outstanding Male Dancer” at The National Dance Awards for his performance as Edward Scissorhands which he re-created to much acclaim earlier this year. Chris has this year been seen as Luca in The Car Man and played the role in the SkyArts TV broadcast in August. One of New Adventures' most versatile leading men, he has also been seen as Tony in Play Without Words, the title role in Nutcracker! and The Swan/Stranger in Bourne’s Swan Lake which he also danced at the Music Centre of Los Angeles 50th Anniversary Gala last year.

Count Lilac will be portrayed once again by one of New Adventures most accomplished performers Christopher Marney, and in his third Principal role for New Adventures this year, Liam Mower. Christopher has been seen in the highly successful Triple Bill, Early Adventures, as Cyril Vane in Dorian Gray (Created role), The Prince in Swan Lake and The Angel in Bourne’s Cinderella in 2010. Most recently, he has had a big personal success as the choreographer of the West End hit play, McQueen. Liam Mower is the Olivier award-winning original star of the West End hit Billy Elliot. Joining New Adventures in 2011 to appear in Nutcracker!, he has also appeared in Play Without Words, as The Prince in Swan Lake (a role in which he danced with the Royal Ballet’s Edward Watson at last year’s Ignite Festival) and his critically-acclaimed portrayal of Edward Scissorhands earlier this year.

The twin roles of Carabosse and Caradoc will be shared by two charismatic New Adventures performers: Adam Maskell who co-created the role in 2012 returns to the Company having previously featured in Dorian Gray, Nutcracker! (title role), Play Without Words and as The Angel in Cinderella. Tom Clark makes his debut in a Principal role with New Adventures following roles in Swan Lake, The Car Man and as Jim Upton in Edward Scissorhands.

King Benedict will be played by Will Bozier (Edward Scissorhands) Glenn Graham (Swan Lake, The Angel in Cinderella and The Car Man) and Chris Trenfield. Queen Eleanor by Pia Driver (Swan Lake, The Car Man, Edward Scissorhands), Nicole Kabera (Edward Scissorhands, Nutcracker!, The Car Man, Swan Lake) and Katie Webb (Swan Lake, The Car Man).

Completing the Sleeping Beauty Company are Daniel Collins, Jack Jones, Mari Kamata, Phil King, Dominic Lamb, Dena Lague, Katy Lowenhoff, Katrina Lyndon, Kate Lyons, Andrew Monaghan, Leon Moran and Danny Reubens.

Sleeping Beauty is directed and choreographed by Matthew Bourne, working again with three of his regular collaborators and New Adventures Associate Artists; Lez Brotherston (Set and Costumes), Paule Constable (Lighting) and Paul Groothuis (Sound Design). The 2015 Revival will be directed by Matthew Bourne, Staged by Associate Director Etta Murfitt, and the Resident Director is Neil Westmoreland.

Matthew Bourne’s Sleeping Beauty premiered in 2012, and was the fastest selling production in the company’s history. Sleeping Beauty was created for New Adventures 25th birthday celebrations and completed Matthew Bourne’s trio of re-imagined Tchaikovsky ballet masterworks that started in 1992 with Nutcracker! and, most famously, in 1995, with the international hit Swan Lake. This dazzling production has won the hearts of thousands and smashed box office records across the UK and at Sadler’s Wells. Its USA premiere in 2013 prompted Joan Acolella of The New Yorker to hail Bourne as “the most popular choreographer of theatrical dance in the Western world”, and The New York Times said: “This is Bourne at his best – a masterful storyteller.” The production also won three Los Angeles Drama Critic Awards and the Ovation Award for “Best Production”.

Perrault’s timeless fairy tale, about a young girl cursed to sleep for one hundred years, was turned into a legendary ballet by Tchaikovsky and choreographer, Marius Petipa, in 1890. Bourne takes this date as his starting point, setting the Christening of Aurora, the story’s heroine, in the year of the ballet’s first performance; the height of the Fin-de-Siecle period when fairies, vampires and decadent opulence fed the gothic imagination. As Aurora grows into a young woman, we move forwards in time to the more rigid, uptight Edwardian era; a mythical golden age of long Summer afternoons, croquet on the lawn and new dance crazes. Years later, awakening from her century long slumber, Aurora finds herself in the modern day; a world more mysterious than any Fairy story!

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