‘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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