Apr 172013
 

DSC4510 332x500 National Ballet of Canada brings Ratmansky’s Romeo and Juliet to LondonThe will per­form Alexei Ratmansky’s new pro­duc­tion of Romeo and Juliet from tonight, 17 April, until 21 April at London’s Sadler’s Wells Theatre.

The bal­let has obvi­ously been an audi­ence favour­ite ever since it came to the National Bal­let in 1964, but the company’s new ver­sion, by Rus­sian cho­reo­grapher Alexei Rat­mansky, which premiered in 2011 to ecstatic acclaim, only enhances its pos­i­tion in the rep­er­toire. Ratmansky’s work is known for its mas­tery of the clas­sical vocab­u­lary, yet he is equally adept at employ­ing that vocab­u­lary for fresh, mod­ern effects.

The Globe and Mail said,

In terms of cho­reo­graphy, Ratmansky’s great­ness lies in his abil­ity to mir­ror music in dance. There is abso­lutely no mime. The emo­tional arc of the char­ac­ters is cun­ningly shown in move­ment. In fact, the music and the dance seem insep­ar­able… Ratmansky’s vis­ion for Romeo and Juliet works on every level.

The Toronto Star agreed that it’s a winner,

Rat­mansky has given them a Romeo and Juliet that puts the ecstasy and anguish of young love front and centre, a Romeo and Juliet with soul.

Now the Lon­don press can have their say.

Greta Hodgkin­son, who has just com­pleted a Gram­il­ano Ques­tion­naire, will dance Juliet on 19 April, with  as her Romeo. The Sun commented,

Greta Hodgkinson’s mag­ni­fi­cently youth­ful and inno­cent Juliet… man­ages to cap­ture both the tent­at­ive awk­ward­ness of a colt and the sleek lines of a thor­ough­bred in every magical turn.

More inform­a­tion on the National Ballet’s cast­ing and book­ing inform­a­tion can be found on the Sadler’s Wells site.

Photo: Greta Hodgkin­son and Aleksandar Ant­on­ijevic in Romeo and Juliet — photo by Sian Richards

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  • wp socializer sprite mask 16px National Ballet of Canada brings Ratmansky’s Romeo and Juliet to London
  • wp socializer sprite mask 16px National Ballet of Canada brings Ratmansky’s Romeo and Juliet to London
  • wp socializer sprite mask 16px National Ballet of Canada brings Ratmansky’s Romeo and Juliet to London
  • wp socializer sprite mask 16px National Ballet of Canada brings Ratmansky’s Romeo and Juliet to London
  • wp socializer sprite mask 16px National Ballet of Canada brings Ratmansky’s Romeo and Juliet to London
  • wp socializer sprite mask 16px National Ballet of Canada brings Ratmansky’s Romeo and Juliet to London
  • wp socializer sprite mask 16px National Ballet of Canada brings Ratmansky’s Romeo and Juliet to London
Dec 062012
 

Evan McKie Albrecht Evan McKie answers the Gramilano Questionnaire… Dancers’ EditionQ&A

When did you start dan­cing?
In the womb.

Why did you start dan­cing?
I will prob­ably never know the answer to that. I just know why I keep doing it.

Which dan­cer inspired you most as a child?
Rudolph, Pina, Kazuo Ohno, Gregory Hines, Erik Bruhn , Karen Kain, Evelyn Hart, Robert Tews­ley, Lynn Sey­mour, Roberto Bolle, Shir­ley Maclaine, Uly­ana Lopatk­ina, , Anthony Dow­ell, Sylvie, Carla, Eva Evdokimova, Douglas Lee, Galina Mezent­seva, Farukh Ruz­i­matov, Wil­liam For­sythe, Dana Casper­son, John Neumeier, Mar­cia, Wendy Whelan, Tina Turner, the cast of the Chorus Line movie, Mickey Mouse on that Steamboat…

Which dan­cer do you most admire?
I admire any­one who dances in this world.

What’s your favour­ite role?
One­gin, the Fool in Lady and the Fool, Lensky, Ham­let, Albrecht, Offer­torium in MacMillan’s Requiem… I’ll give you more when I retire one day.… [con­tinue reading]

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Jan 142012
 

Q&A

Rebecca Caine Rebecca Caine answers the Gramilano Questionnaire… Singers’ EditionWhen did you start singing?
As a pro­fes­sional at 19 thanks to being chucked out of the Guild­hall. I always sang as a child.

Why did you start singing?
I simply loved it. I grew up with no tv and only clas­sical music played at home. My par­ents were won­der­ful at tak­ing us to opera. I saw Suth­er­land, Price, Gobbi and so on at a very young age. I decided to be a singer at age 6 after see­ing Tur­an­dot at the Met star­ring Nilson, Corelli and Freni.

Which singer inspired you most when you were young?
I heard a lot of Suth­er­land as my father was Aus­tralian, and of course I was entranced by Cal­las. I also adored Björling and Fischer-Dieskau.

[con­tinue reading]

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Nov 012011
 

In a pre­cise, fair and sens­it­ive sum­ming up of ’s latest gig in Canada, The Globe and Mail wrote,

At 65, she under­stands enough about the ges­tural aspects of per­form­ance — the rhet­oric of body move­ment and stance, the nuances of phras­ing and emphasis — that she can make a song work even when her voice doesn’t.

It helps, of course, to have the right mater­ial. When handed some­thing that func­tions as dra­matic mono­logue, such as Charles Aznavour’s rights soli­lo­quy What Makes a Man a Man, the notes become sec­ond­ary to the story and her sense of char­ac­ter. There were times — My Own Best Friend, for instance, in which she reprised her role as Roxie Hart from 30 years ago in the musical Chicago — when Min­nelli was so sub­sumed by the role that she dis­ap­peared into her prot­ag­on­ist, mak­ing it seem more like a theatre piece than a con­cert number…

… Given that she was pant­ing at the end of her opener, it wasn’t too sur­pris­ing that Min­nelli sang her last encore, a lovely a cap­pella ren­der­ing of I’ll Be See­ing You, a scant 80 minutes after the start of her show.… [con­tinue reading]

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Apr 062011
 

nude audience 500x390 Nudity on stage too passé? Then what about a nude audience?You’ve prob­ably heard this piece of advice dished out to a nervous per­former before: to relax, pic­ture the audi­ence naked. Last week, how­ever, act­ors Maev Beaty and Erin Shields went one step fur­ther – and actu­ally per­formed in front of a naked audi­ence. In what may be a the­at­rical first, they held a spe­cial clothing-optional per­form­ance of their play Mont­parnasse at ’s Theatre Passé Muraille.

“I would say the advice should prob­ably be rewrit­ten,” Beaty joked to me over the week­end, con­fess­ing that, rather than relax­ing her, all the naked flesh reflect­ing the foot­lights briefly made her self-conscious. “It was like a whitey-pink wall facing us. It was incred­ible.” Since the end of the 1960s, nud­ity has been a fairly com­mon sight on stage, from Hair to Ian McKellen’s King Lear.… [con­tinue reading]

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Feb 222011
 

In a large stu­dio space filled with pro­duc­tion assist­ants, stage man­agers, dance instruct­ors, squawk­ing walkie-talkies (and, yes, par­ents), the four boys who play in the pro­duc­tion of the hit musical are tak­ing a well deserved break to eat a lunch of tur­key sand­wiches and potato chips.

All the boys recog­nize that Billy is the role of a lifetime.

“I’ve always wanted to become a pro­fes­sional bal­let dan­cer. I always want to per­form for people,” Erlick says.

Viernes, who star­ted to take bal­let when he was seven years old after watch­ing his older sister’s recit­als, audi­tioned for Billy for the chance to try some­thing new.

“I like the role of Billy Elliot because, first of all, it’s a very good role to dance.… [con­tinue reading]

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