In honour of Pina Bausch’s tremendous impact on the dance world, Dimitris Papaioannou is the choreographer for Since she; a piece where the dancers weave their surroundings into a surreal dream-like atmosphere. The dancers of Tanztheater Wuppertal Pina Bausch perform the UK premiere of Since she at Sadler’s Wells. Since Pina Bausch’s passing in 2009, Dimitris Papaioannou is the first choreographer to add to the company’s repertoire with a brand-new, full-length piece.

Papaioannou has used myths and classical paintings as inspiration. These references are played out on stage with a variety of props that create a series of striking imagery. The chairs are particularly important here and pose a familiar resemblance to Pina Bausch’s work and the set of Café Müller comes to mind. They are used to journey the dancers across the stage in the show’s beginning and make regular appearances such as the use of a single chair in a simple but impressive balancing feat performed by Scott Jennings.

Since she is accompanied by a wide musical arrangement spanning from Greek folk music to Mahler. As the women grace the stage, they appear as if they are Greek goddesses with floating gowns and an ethereal presence. The piece shows a seriousness in a beautiful standout image where the dancers are seen slowly writhing down the set in what looks like an unusual dystopian vision that one could come across in a painting or a movie. Whilst there is a purity and serenity within these moments, the piece very cleverly involves different tones and surprises much to the audience’s entertainment.

Since she also bears a more racy and comical manner that sees glimpses of nudity flash across the stage. In one of these moments, Tsai-Wei Tien is modestly concealed with cardboard and an addition of five pairs of legs and she is later seen swivelling her feet in the most delightful and flirtatious way. The comedy and flirting also make its way into a voyage where all the dancers board two make-shift boats together.

There is often a reoccurring elegance and lustre that features in the decorum of the dancers, the glamourous changes in music and the revealed streaks of gold that makes its way into the dresses and finally the set as the dancers bring the show to a heart-warming close.

With the many emotions and adventures that Since she provokes, all 16 dancers demonstrate a theatricality that is profound in the delivery of Papaioannou’s style as well as its remarkable homage to Pina Bausch.

Reviewed by Eleanor Soflet

Photo credit: Julian Mommert

The English National Ballet’s production of Nutcracker is one of its pièce de résistance presented as a festive tradition since the 1950s. After its sold-out performances over the last two years, ENB’s Nutcracker created in 2010 is back this year at the London Coliseum, a perfect Christmas treat for the entire family.

Tchaikovsky’s haunting score always provides the best reason to view any Nutcracker production. Rina Kanehara’s captivating performance as Clara on the opening night along with a huge cast of over 100 dancers and musicians from the ENB philharmonic is awe- inspiring in this magnificient production, once again, this year.

The performance starts with an incredibly excited Clara and Freddie getting ready for the Christmas party along with their family. Outside people are ice skating in the frozen Thames. A warm and welcoming festive ambience is set up on stage amidst the snowy scene of a cold wintery December afternoon, both on stage and outside the auditorium.

The following Party sequence introduces the characters in the story and the ‘Nutcracker’, when gifts are exchanged. The dances of the puppet theatre lighten the atmosphere, providing the perfect party entertainment. It transports one to a traditional festive celebration in the last century. Dr. Drosselmeyer, the guest with the mysterious character, presents Clara with the nutcracker doll, and sets off the story to unfold.

In the quiet night ensues a battle between Clara’s Nutcracker and the Mouse King. A beautifully choreographed dream sequence of an organised chaos that is fun to look at, with dramatic victory and defeat danced to perfection.

The living room magically transforms into a winter wonderland, and Clara’s adventures begin. The nutcracker turns into Dr Drosselmeyer’s nephew. Clara and the nephew (Jeffrey Cirio) present an exquisite ‘pas de deux’ in the snow. This beautiful moment is not to last, however, as the Mouse King appears and pursues Clara in the snow. With the story tantalisingly poised at this point the show breaks for interval.

The second half begins with the dramatic balloon flight with Clara, Dr Drosselmeyer and his nephew, with the Mouse King, desperately trying to cling onto the side. A perfect treat for the young audience who look up in awe and wonder, following the balloon across with abated breath. From here the performance rises in grandeur with the introduction of the dancers from around the world. Short punchy pieces pick up the spirit. They are presented with perfect technique, rich characteristic choreography, wrapped in a colourful blanket of regional authenticity.

Clara’s elegant and astonishingly detailed pas de deux as the Sugar Plum Fairy, with the nephew as the Prince, is one of the major highlights of the production. The Sugar Plum fairy’s glistening costume with 400 Swarovski elements sewn in it is a visual treat, especially when her performance blends into the adorable dance of the snowflakes performed at an impressive scale – Altogether It’s a white wonder!

Wayne Eagling’s choreography is applauded from start to finish. Peter Farmer’s set design and David Richardson’s Lighting are inventive and draws a subtle distinction between the dream narrative and real life. The party scenes happen behind a mesh screen while the dream sequences come out in the front as if questioning the arbitrary dividing line between dream and real life.

The performance ends on a rather serene and happy note- Young Clara waking up in her bedroom and running outside with her brother to say goodbye to Dr Drosselmeyer and his nephew, walking away in the snow. After journeying with Clara in her dream on a floating balloon the audience is thus safely landed on a festive Christmas evening in the real world. A thoroughly enjoyable family entertainment and aspirational for the many young dancers in the audience.

Reviewd by Protima Chatterjee

Photo Credit: ENB/Laurent Liotardo

As one of two UK premiers, Icon is performed at Sadler’s Wells in London for the very first time. Sidi Larbi Cherkaoui and Anthony Gormley’s Icon is a collaboration of richly, detailed exuberance, where the dancers sculpt three and a half tonnes of clay into a spiritual dance that both creates and destroys. Performed by the companies Eastman and GöteborgsOperans Danskompani, 18 superb dancers describe a beautifully, elaborate yet excessive world that is strikingly familiar to our own.

Icon is Sidi Larbi’s second creation on GöteborgsOperans Danskompani. The show begins with the intriguing charm of small clay statues placed across the stage. That intriguing charm doesn’t last for long as the dancers’ enthralling entrance disrupts, tumbles and quite literally stamps out all of the statues into clay remains. Sidi Larbi and Anthony Gormley have always been able to transform sculptures into choreographic brilliance. In Icon, Gormley’s clay takes all manner of shapes including instruments, masks and statues. These clay shapes are treated as if they were promises and illusions as the clay is literally broken, dropped and destroyed before our eyes. Despite this, the audience are subjected to a spiritual purity, the kind that can only be seen in Sidi Larbi’s iconic, signature style of intricate hand gestures. These hand gestures are accompanied by a re-occurring, trance-like dialogue that is excellently spoken by the dancers on stage. Some notable performances include Kazutomi Kozuki, Verdiano Cassone and Patrick Williams who display an impressive lucidity with jaw-dropping details that awe their viewers.

Whilst, there is a seriousness embedded within Icon, its tone easily shifts into a bizarre and recognisable comedy. A humour that is shown in a wildly, sexual depiction of made-on-stage clay anatomy. This humour also makes its way into an oriental rendition of Sia’s pop song, Cheap Thrills. Here the dancers mime and socialise in an alternate everyday interaction, all whilst one dancer moves so effortlessly in a manner that is moulded like clay itself.  The musicians are faintly visible and at home behind the minimal, understatement of the set. They create a unique fusion of Japanese, Korean, Arabic and medieval music. The singers of Icon eventually seize the limelight by coming onto the stage. This moment is an operatic cultural blend that so often weaves its way into Sidi Larbi’s performances.

Icon paints a rich tapestry that describes the essence of humans’ unpredictable and ritualistic worship. The energy never ceases to amaze.

Reviewed by Eleanor Sofflet

Inspired by Georges Bizet’s Carmen,  Christopher Renshaw’s adaptation “Carmen La Cubana “is a heady mix of Cuban panache, warmth and vibrance. Set in pre-revolutionary Cuba in 1958 Carmen is a story of fierce passion. It is set on the edges of an emotional rollercoaster and political unrest where Jose kills for love and Carmen embraces death. Through Cuban dance and its seductive rhythms, the story of Carmen and Jose also unfolds a parallel story, portraying the cultural and political scene of the time.

Cuban dance never fails to engage its audience with its raw energy and spirited music. The imposing set reveals a Cuban neighbourhood with its dilapidated Baroque architecture, sweltering streets bubbling with trendy dancers, transporting you to the island of the Habaneros. The performance sets off with the storyteller with her folklores and tales that have shaped Cuba’s history and tradition. She tells her story in her deep voice gradually unfolding carmen’s story in different avatars. She introduces the audience to the characters and connects the scenes leading the audience through the story. Albita Rodriguez playing this character of La Senora is the backbone of the show. She is the voice of the performers and the director bringing it all together with her fierce performance.

Luna Manzanares Nardo as Carmen has a blazing presence in every scene. Carmen is an epitome of sensuous desire and free spirit-a rebellious and fearless non-conformist. She lives life on her own terms and challenges men with her mysterious sensuality. Nardo’s voice, appearance and performance rounds it all up to give us a phenomenal Carmen. Set against Carmen’s fiery demeanour is the calmer yet resilient soldier Jose (Saeed Mohamed Valdes). She covets him and seduces him into a love relationship. However her love is transient. She shifts her favours to another and ill treats Jose. Her passion is laced with a venomous bite and  bitterness. The different layers of Carmen’s personality is captured in a mature and gripping performance by Nardo.

The entire cast of very talented dancers and musicians have brought the Cuban spirit and culture alive in a 2 hours performance. Planting Bizet’s Carmen in Cuba adds some swagger to the production. Renshaw’s reflection of his experience in Cuba, unlike most visitors, is more intimate. His deeper understanding of its culture, spirit and noise with the underlying theme of political unrest and historical facts makes this a thoroughly enjoyable Cuban cultural product.

As the doors swung shut behind me I was greeted by a completely different scene at The Peacock theatre. It was the opening night of My first ballet- Swan Lake. The place was heaving with a very young audience and their parents. This was refreshingly different from the usual weeknight evening shows. English National Ballet School and English National Ballet created this delightful children’s adaptation of Swan Lake as part of their “My first ballet” series

As our young audience excitedly settle in, the occasional “mummy when will it start” Or, “I can’t wait to see the swans flying across” could be heard above the murmur. Faces are beaming with anticipation and expectation.

As the narrator steps on stage and greets everyone in, you could see the alert little ones  craning their necks above the sea of heads ahead to get a better view. The total focus and concentration of such a young audience goes to show the mesmerising hold such classic stories can have even in the era of digital addiction. You could almost hear deep breaths taken in awe with the first appearance of Odette, Odile and Rothbart behind a mesh screen. The story starts from a flash back moment where Odette and Odile are best friends and Rothbart’s ( Odile’s brother) love for Odette is spurned.. This is a slightly different version to the story but a very catchy and accessible content for little minds. With all the drama where the wizard Rothbart casts a spell on Odette and transforms her into a swan princess the audience is totally taken in by poor Odette’s misfortune. Odette -the damsel turns into a beautiful white swan with her shimmering plummet, sequined and jewelled tiara and princess like beautiful appearance under a wash of silver light. This breath-taking first appearance of the white swan princess is that magical moment when you fall in love with this ballet as a first-time audience. This image stays within – nothing ever can beat that first love. In this production English National Ballet school has given its first timers a white swan Princess to cherish.

With progressing acts the performers serve up some beautiful Pas de deux, solos and perfect pirouettes. Antonio Castilla’s languid and elegant choreography  builds on the originals of Marius Petipa and Lev Ivanov. The dancers show promise, grace and dedication in their performance- The future English National Ballet company dancers and principals in the making. It’s a great platform for the young students to start their  professional journeys. Their performance is testament to their beautiful nurturing engendering a deep love and admiration for the art they are learning.

The beautiful pastel shades of the costumes go on to make this a dreamlike journey for the audience …. You are transferred to the  grand imagination of the master, yet inspired by the new.

Everything about the band of white swans is beautiful. Their costumes, postures and choreography with the underlying melancholy that moves you even more when cruel Rothbart sets in with his sweeping owl-like wings. The cruelty and villainy deepen when he sets up Prince Siegfried with Odile disguised as Odette behind a mask. Just when Odette is to lose her loving Prince Siegfried, her chance to break the spell and be free, Odile’s love for her friend  averts her cruel  fate. True love and friendship win and the house cracks with roaring applause.

….You snap out and get back to reality.

This is a Swan Lake for impressionable young minds and it sure leaves an enduring impression. Nothing like the power of live ballet and Tchaikovsky’s immortal music to trigger the curiosity and possible lifelong love for classics.

The   dreams and aspirations of a young and talented bunch of upcoming  artists  can be felt through this hour long  performance of The English National Ballet School. They sure inspired the next generations of fine ballerinas.

Reviewed by Protima Chatterjee

Listings Information

The Peacock, London 29 March – 07 April 2018 www.ballet.org.uk/myfirstballet 

Churchill Theatre, Bromley  14 & 15 April 2018 www.ballet.org.uk/myfirstballet

New Theatre, Oxford 21 & 22 April 2018   www.ballet.org.uk/myfirstballet

Manchester Opera House 28 & 29 April 2018 www.ballet.org.uk/myfirstballet

The Grand Theatre, Blackpool 05 & 06 May 2018 www.ballet.org.uk/myfirstballet

New Victoria Theatre, Woking 12 & 13 May 2018 www.ballet.org.uk/myfirstballet

Princess Theatre, Torquay 19 & 20 May 2018 www.ballet.org.uk/myfirstballet

Tanguera, a musical based on the Tango, playing in Sadler Wells from 19^th July to 6^th August, unfolds its magic on the audience so organically that the viewer does not anticipate being completely swept away until it is too late. The show depicts the life of young Giselle, played by Melody Celatti, caught in a love triangle between the wealthy villain Gaudencio (Dabel Zanabria), and the local laborer Lorenzo (Esteban Domenichini), as she tries to make a new life for herself as an immigrant in La Boca, the port area of Buenos Aires.

The show boasts an old world charm, with the nuanced sets, precise light direction, and elaborate costume contributing wholly to the vintage texture of each scene. Scenes like the mirrored green room and the lovers dancing on the street while others make love through dimly lit windows in flats showcases the exquisite elegance that happens when the direction of Omar Pacheco and the choreography of Mora Godoy combine to interpret the dark passion that is the backbone of the Tango. As each scene unravels Giselle’s plight settling in the docks of La Boca, from being forced into prostitution and working a night club, to her quest of finding true love with Lorenzo, the audience is transported to a cinematic world of mobs, cabaret, and unadulterated sweet lust.

The dancers are brilliant, with Celatti and Domenichini’s fluid partner work a beautiful contrast to the sharper, bolder movement of Zanabria and Carla Chimento, who plays the Madam of the brothel perfectly. The connection of the dancers to each other is evident in the larger group scenes like the mob fights and the nights at the cabaret.

It would be unfair to talk about the show without mentioning the music, which serves as the spine of the narrative, taking the tone from playful to tense to mysterious with one stroke of an instrument. Gerardo Gardelin and Lisandro Adrover are to thank for that, and singer Marianella’s soulful voice adds the right kind of pain to a story based on the underbelly of La Boca.

The only hurdle I came across as a non-Spanish speaking audience member was not understanding the lyrics of the song or knowing the nuances of the plot.

Still, Tanguera more than makes up for this with its imaginative storytelling and ethereal implementation. A show that is both enchanting and urban, evolved and primordial, Tanguera proves to be timeless and something that is definitely worth a watch.

Reviewed by Sonia Mukherjee.  Sonia is a dancer and writer currently based in London.

After the ‘Merchants of Bollywood’ the Merchant sisters bring another Bollywood extravaganza with the ‘Taj Express’. It’s all glitz, glamour and glitter, with high octane drama and zesty dance numbers. AR Rahman’s popular tracks and the use of a live band add a spicy mix of background scores.

The story line is light hearted and writer Toby Gough uses the time tested concept of a story within a story kept together by a narrator (‘Sutradhar’ from classical Indian theatre) with a penchant for parody. Deploying the Bollywood favourite ‘rags to riches’ plot it’s a story of Shankar (Mikhail Sen) -an aspiring music composer who dreams to follow in the footsteps of legendary Indian music composer- AR Rahman. Though he is a believer of originality , he is pushed into compromising his creative ideals by his boss the movie director (voice over by Denzil Smith). The subplot revolves around the making of the movie ‘Taj Express’ with Shankar as its music composer and the many travails of its heroine Kareena. It all comes together as a high energy musical- with foot tapping songs and dances and humorous comparisons from mainstream Bollywood and current politics from Corbyn to Trump. A musician from Shankar’s band Flash (Chandan Raina), playing the guitarist is the voice of a critique. He fills in loops by pointing out the run-of-the mill elements in Taj Express the film with witty asides. The script allows him to make a good rapport with the audience.

Vaibhavi Merchant’s choreography is a mix of movements from varied styles from hip hop to Salsa interspersed with semi classical Indian movements. It requires energetic dancers which the show has in plenty. Excluding some mellow numbers, the dancers are engaged in highly energetic dance sequences throughout. The male lead Arjun (Hiten Shah) lives up to the image of a Bollywood star with his handsome presence, fitness and effortless dancing. Kareena (Tanvi Patil,) his female counterpart complements as a perfect match of a Bollywood heroine.

The music is an anthology of AR Rahman’s work in Indian cinema starting with the popular ‘Jai Ho’ number from Slumdog Millionaire to the haunting songs from his Bollywood debut ‘Roja’. The flute played live by Avadooth Phadke brings in a soothing contrast to the otherwise frenetic beat.

Taj express is an entertainer with beats, thumps, splashes of colours and glittery sequins, disco lights and laugh-out-loud humour. You get to try a move of bhangra or breathe the yoga style, sway and dance to the rhythm till the end.

Reviewed by Protima Chatterjee

Samhära is a magnificent collaboration of two exquisite dance forms from India and Sri Lanka. Both all-female cast of dancers, the Nrityagram dance ensemble from India performs the graceful and sensuous Indian classical form of Odissi while Sri Lanka’s Chitrasena dance company performs the more masculine Kandyan dance style- the two dance companies collaborate beautifully in Samhära. Choreographed by Surupa Sen from Nrityagram, Samhära brings together two ancient and elegant dance forms in perfect unison. The resultant fusion is appropriate for the collaborative spirit of Alchemy- the festival that aims to bring together varied South Asian cultures to a diverse audience in the UK.

In accordance with the norms, the stage setup is that of an authentic Indian classical dance showcase. With no deviations, it has the conventional layout – the musicians, with the lead vocalist are seated to the left of the stage and dancers take to the stage after each piece is introduced by a brief narrative. But what is contained within this usual framework is unique- stunning choreography, exceptional performance and a group of 14 gorgeous dancers and talented musicians.

The opening number ‘Arpana’ unveils the traditional and devotional ambience of most Indian classical dance evenings. It is an offering to the five elements of nature and start in the Odissi form with three dancers from Nrityagram dance ensemble. Two dancers from the Chitrasena dance company join in the choreography bringing in a harmonious contrast in movements with their Kandyan style perfectly blending in the choreography. They are two distinct styles of dance with sets of techniques unique to each form. Yet there are brief moments where the visual impact creates moments of ephemeral beauty. As you snap out of these elusive moments, the two forms again stand out with their distinct movements, costumes, beats and individuality. This is the brilliance in choreographic ideas where the two styles are set together in a contrasting yet synergistic design.

‘An Ode to Lord Shiva’, is one of key pieces of the evening presented by Nrityagram dance ensemble. It conjures awe and devotion for the mighty Shiva. Through precise and elegant movements, emotive facial expressions and symbolic hand gestures Shiva is invoked-The serpent garland around his neck, the shining tiger skin around his torso, body smeared in ashes, wild matted locks. Sometimes a smile of perfect bliss adorns his face, the perfect lover to Parvati or his eyes burning in rage ready to strike with his trident. The score of the piece ends in ‘Om Namah Shivaya’ the universal soulful chant while the dancers breathe life into static postures with lights fading out. From this devotional segment, the show moves on to a lighter feel in ‘Alaap’. This is the concluding piece where the two companies challenge, welcome and embrace each other through a musical conversation. This is more of a celebration exploring different nuances of camaraderie, from mischief to solemnity, ending the evening in a happy note.

The Nrityagram dancers with their graceful movements, elegant costumes and resonating bells present an enchanting glimpse of Indian culture – a hint of sensuousness blend with devotion and spirituality. The Chitrasena dance company on the other hand are more energetic and folksier in a performance that celebrates Sri Lanka’s Kandyan dance tradition. The dancers of the company are like young princess hunters with sensuous and agile limbs. Their leaps cut through the air and they land with utmost precision. Their rippling torso movements and extended arms like engulfing wings, held out strong from the shoulders, lend the perfect structure and physicality to the choreography. A compelling portrayal of the grandeur and a distinctive aura of the Kandyan style, sure to give some in the audience a run of goose-bumps at times.

A-not-to-be-missed performance, Samhära calls for more dates in the calendar across international festivals and venues.

Reviewed by Protima Chatterjee