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

Aakash Odedra performs two temperamentally different dance pieces ‘Echoes’ and ‘I Imagine’ at the Lilian Baylis Studio. ‘Echoes’ is Kathak based and examines dancer’s relationship to his craft. ‘I Imagine’ is a contemporary piece with a socially relevant theme for today’s tumultuous world. Odedra is a raging fireball through the two solo pieces of 70 minutes.
The first piece ‘Echoes’ choreographed by famous Indian choreographer Aditi Mangal Das has an innovative take on the Ghungroo (Kathak bells). The bells that would traditionally go on the ankles of a kathak dancer are a metaphor for the dancer’s attachment to his art. It creates a resonance in the mind through a more visual and emotional experience. The distant tinkling of the bells grow louder as Odedra gradually becomes visible on stage with brightening light. He gently swings a bunch of long strings of bells across the floor side to side below waist level. He is not wearing them but moving with them, placing them, creating patterns on the floor with them. He is gathering them, holding on to them, dispersing the array and gathering them again. This is beautifully choreographed with intermittent kathak boles and movements and spins. When he moves with the bells they create a poignant hollow soundscape. Moving on through the piece you gather images from the dancer’s life where the bells are his lifeline. When he is dancing, there is a meditating quiet. The impassioned physical movement set against the echoing resonance of the bells in the mind create a transcendental moment. There is also a thick bunch of stringed bells loosely suspended at the far back end of the stage. The choreography takes Odedra to this corner to interact with the hanging strands. A stroke or a twirl with his beloved bells. He weaves a trajectory of choreographed movements through them in an intense and intimate moment. Here the bond between the bells and the dancer is projected in heaving waves, while the rest of the world is a blur.
A masked appearance of three generations by Odedra in his second piece “I Imagine” is a dark portrayal of migration. Some hopes are fulfilled, whereas others are crushed. There is disruption and relocation, but the question remains- is there emotional contentment. Immigrants are in an existential dilemma where they yearn for what they have left behind while trying to adapt to their new reality. In “I Imagine”, Odedra tackles this dilemma of immigrants through a captivating performance. Spoken words by award-winning British-Egyptian poet Sabrina Mahfouz provides a strong narrative framework. A part of the audience would have identified with the pulse of the storyline from personal experience whereas others would empathise. Odedra a virtuoso kathak dancer proves himself equally talented in contemporary dance theatre. Though he is not a trained contemporary dancer, he is equally at ease with this form.
One of the most successful artists of his generation, Odedra raises the bar for audience expectation for his future performances.
Protima Chatterjee

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Pina Bausch Mascura Fogo
February 10, 2017 In Review0 Comments 0
Tanztheater Wuppertal Pina Bausch, Masurca Fogo 9–12 Feb Sadler’s Wells.”The entire performance has a very upbeat and infectiously joyful vibe that is a welcome change from some of the more serious and sombre works that Bausch has produced…..” review by Sara Daniels
Masurca Fogo was originally the result of a 3-week trip to Portugal for Pina Bausch and her company, Tanztheatre Wuppertal, in 1997. The entire performance has a very upbeat and infectiously joyful vibe that is a welcome change from some of the more serious and sombre works that Bausch has produced.
The set designed by Peter Pabst is a striking sight. A white box that has a mound of contrasting black rocks, cascading from the back of the stage. This is used by the dancers as they exit and enter the stage, and is in keeping with Bausch’s use of elements in her work.
The audience are taken into the sights and sounds of Portugal. The strong rhythm and beats are heard in the varied and energetic sound track. This is echoed through the trance like choreography seen most in the solo work that transition each phase of the piece.
True to Bausch’s style, each dancer had their own personality that is displayed to the audience. We watched intimate relationships played out from the very small moments like sharing a drink, supplying food, sharing a kiss. To more complex moments that fed the idea of wanting, and needing to be loved.
The humour in the piece aided the joyful atmosphere. Props brought on stage tickled the audience, a live chicken eating a watermelon and a walrus shuffling on stage whilst a group of dancers created a waterslide are two of the most memorable!
Masurca Fogo has a lively and playful tone and it is a joy to spend the evening feeling enriched and uplifted. The show is running until Sunday 12th February and is the perfect escape from the gloomy world outside!
Review by Sara Daniels