F. Scott Fitzgerald’s novel is awakened by the euphoric dancers of the Northern Ballet, joined with the cinematic score by Sir Richard Rodney Bennett CBE creating a paragon harmony on the stage of the Mayflower, Southampton. With the beautiful addition of the Chanel-inspired costumes, this production is a work of brilliance, reflecting every aspect of a life of lust, promiscuity and money through the advancement of the roaring twenties.
The set, at is core, was striking. Made up of 6 staggering panels, the space was easily adapted allowing the ease with the shift of location. This is particularly significant in the creation of atmosphere in the opening scene, making us aware of Gatsby’s criminal interest. The use of strong side lights in casting shadow perfectly creates Scott Fitzgerald’s desired sense of mystery. His language and imagery is beautifully depicted through movement, and the power of his words remains.
Once again, I was struck by the weightlessness of the movement and the conviction of each dancer. The first dancer cast a spell over the audience holding us in suspension as they absorbed us with grace and symmetry. the moments of Charleston added lightness to the performance and created the intended party atmosphere. The chorus numbers were particularly magical, enhanced by the flawless timing and positioning of each cast member.
I was in awe of the costumes; giving the story life. the combination of feathered and sequined flapper girls aligned with suited gentlemen was the construction of beauty. Flashes of gold ran throughout the show but this was topped off by the entry of Gatsby in the final scene, in his compelling gold glittered 3 piece. Saying this, it had to be Daisy’s beautiful flowing night dress, acting as a device to elongate her limbs, which stole the show for me. As she spun in and out of the hanging chiffon drapes, with her own dress following behind her I was taken in by her hypnotic beauty.
The use of lighting in the show was immense; allowing the movement of location and time to flow seamlessly. The use of blue gobos to create a dream like state of reverie in the garden party was a work of art. the dancing shapes followed the dancing people and the combination was utterly incarcerating. In all moments the lighting choices enhanced the tension and drama and for me, Tim Mitchell’s simple but highly effect design became the most encapsulating element of the show.
The magic of Sir Richard Rodney Bennett’s symphony was undoubtedly a work of genius. For me, the orchestra of a ballet is the glue, bringing all the elements together in unison and become a vessel for the storytelling. His compilation of jazz and classical music was a performance in itself. Intricate, dynamic and powerful.
The story was, in parts, difficult to follow, lacking a clear line of narrative. With many group numbers, changes of scene, and repetitions the story lost depth and became less the story of Gatsby and more a creation of 1920's America. However, the creation of specific themes and relationships was perfect. The romantic duet of Tom and his lover, Myrtle is clear and their passion creates a story and gives understanding and depth. Moreover, the nature and the essence of the “roaring twenties” was also depicted well and easy to understand. For these reasons I would advise reading a synopsis, or the book of course which is a wonderful read entirely, to aid your understanding and prevent confusion.
I will continue to live in envy of the immense talent and power of ballet and the ballerinas of the Northern Ballet, this really is a superb show.
Reviewer - Grace McNicholas
on - 15/5/19
No comments:
Post a Comment