Sunday 13 March 2022

BALLET REVIEW: Casanova - The Grand Theatre, Leeds.


‘Casanova’ is ballet but not as you might usually perceive. A bold blend of modern movement with classical ballet dance set against powerful, imposing backdrops with a tense, continuously flowing musical score, this show is truly a tour de force of both dance and theatre. Northern Ballet give the genre a contemporary look, sound and feel whilst remaining firmly within the ballet medium. This is ‘Casanova’’s second outing since its 2017 premiere and is the first full length work of chorographer Kenneth Tindall, continuing Northern Ballet’s tradition of interpreting time-served familiar stories into the realms of ballet.

The opulent and impressive multi-tiered Grand Theatre was an ideal setting for staging a story set in grandiose locations of 18th century Venice and Paris; the high stage shown to great effect as the curtain raised to reveal towering cathedral stone columns, creating a remarkable vision of austere church power. The dance was suitably reserved and staid as varied ecclesiastical costumes filled the stage, leaving the audience in no doubt as to the strict, authoritarian aspect of Casanova’s world. A perfect contrast was thus set up for the next scene of a masquerade ball, as the huge staging quickly transformed to create an image of palatial splendour, right down to a great chandelier replacing the incense urn in the ceiling. Stylised period clothing created an aura of passion and eroticism as the dancing now became vibrant and lively. This set the course of the show continually alternating between scenes of ostentatious grandeur and austere power, with impressive effects and lighting throughout, demonstrating wonderfully effective stagecraft.

The dancing refreshingly modern while still being essentially ballet. There is not the usual amount of pirouettes, leaping whilst performing the splits, but instead a much more intense form of movement with the performers often closely locked together, heightening the emotional intensity. There are several set-piece scenes of massed dancers in tightly choreographed lines and patterns but undertaken in a modern style that the Northern Ballet has made its hallmark.

The music by Kerry Muzzey is a very important part of this production, firmly set in modern style whilst in keeping with the settings and period. There is an edge and an intensity to the score that almost never lets up from the start. In the first act, the brass and string are almost in competition as the music alternates to each precedence and the repeated sudden sound of horns is reminiscent of a devise employed by Andrew Lloyd Webber in early works like ‘Jesus Christ Superstar’. However, with Muzzey best known for the composing of film scores, there was a definite cinematic feel to the music, evoking thoughts of historical epics. In the second half, kettle drums are extensively used to great effect and the musical finale is both powerful and moving building up to a triumphant crescendo prior to a thoroughly deserved standing ovation. Kenneth Tindall and Kerry Muzzey make a compelling combination

‘Casanova’ is a great show to take someone who has never experienced ballet, challenging norms and delivering great theatre and spectacle with sophisticated, sensual dance and an array of vibrant period costumes laced with elements of eroticism. If anyone thinks of ballet as being just lines of white tutus on tiptoes performing to music used in chocolate advertisements, bring them to see ‘Casanova’. The show never lets up, either in musical temperament or dramatic pace, keeping the audience enthralled from start to finish. A thoroughly enjoyable and exciting show, clearly placing Northern Ballet as one of the most important elements in the national inventory of culture and creativity.

Reviewer - John Waterhouse
on - 10/3/22

 


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