Tag: Theatre

Spotlight On: Coppélia

ENB's 2008 Production of CoppeliaAs a choreographic work which does not end in death for the main protagonists, Coppélia is a light-hearted comedic ballet, with a narrative which delights audience with its humour, magic and a happy ending.

Our heroine Swanilda is a feisty villager who isn’t very happy when she spots her beau, Franz, making eyes at a mysterious female figure high in a window of Dr Coppelius’ workshop.

The reserved beauty later is discovered to be the mechanical doll Coppélia by Swanilda and her girlfriends, when they find themselves inside the workshop. Having found the answers to their questions, they amuse themselves at Franz’s expense, delighted that he should be declaring his love for a mere doll.

Meanwhile, Franz has also found his way into Dr Coppelius’ abode, searching for Coppélia. The intruding girls are discovered by Dr Coppelius and flee, bar Swanilda who quickly hides. Dr Coppelius, after a short outburst at discovering Franz too, rethinks his strategy and invites Franz to drink [poison] with him, tipping his away and allowing Franz to submit to unconsciousness. Dr Coppelius is seemingly alone to care for his prized doll Coppélia, who we discover is Swanilda, taking on her role in the doll’s clothes.

Chaos ensues, with Dr Coppelius believing he has brought his beloved creation to life. Following two engaging solos from Swanilda/Coppélia, Franz is finally woken, and the lovers escape. Depending on the interpretation of the production by different ballet companies, the extent of remorse felt for Dr Coppelius varies! Act 3 sees a town celebration take place, with solos by Dawn, Prayer, Morning Hours, Working Hours and the introduction of the new bell, a cause for a party. In some versions of the ballet, Dr Coppelius is reunited with the town who have rejected his odd and introverted ways; a happy ending for all.

Image courtesy of Wikimedia Commons

The Jazz Master: Jack Cole

Jack ColeJack Cole, one of the greatest yet least known jazz choreographers is thought of by some as the father of theatrical jazz dance, responsible for the jazz we know today. He was the influencer behind huge choreographic names such as Bob Fosse, with his work reaching the likes of modern dance greats Alvin Ailey and Jerome Robbins. Cole worked to create the style of jazz that is still widely received today, on Broadway, in Hollywood movie musicals and in music videos.

Cole was born in 1911 (he lived until 1974) and studied, as many did modern dance pioneers, with the Denishawn Dance Company under Ruth St Denis and Ted Shawn in the early twentieth century. Cole went on to make his professional debut in 1930, but abandoned modern dance for a more commercial style of dancing on Broadway and in movies. Jazz, at this point, was hugely popular, but did not employ any use of technique.

As a result, Cole began to create his own style of modern dance. He continued to work with modern dancers Doris Humphrey and Charles Weidman to form a signature style. This style was aided by Cole’s study of the Indian dance technique Bharatanatyam, forming the basis of his unique jazz technique and choreography through the precise isolations of the head, arms and fingers, in addition to the swift changes of direction. Cole consequently named his jazz style ‘urban folk dance’, having observed the Lindy Hoppers and their integral rhythms, incorporating this with Indian styles and creating the foundation of the theatrical jazz style.

Cole’s choreography saw him involved in various Broadway shows, such as Alive and Kicking (1950), A Funny Thing Happened on the Way to the Forum (1962) and Man of La Macha (1965), for which he was nominated for a Tony award. However, today Cole is remembered for his work with films of some 25 credited and non-credited works. In addition to working as a choreographer and performer, Cole also established dance training at Columbia Pictures, in which his programme included Humphrey/Weidman technique, Cecchetti ballet, East Indian dance and flamenco, where he worked with dancers such as Carol Haney and Gwen Verdon, who went on to become Fosse’s muse.

Matt Mattox, the iconic jazz dancer and teacher most associated with the Cole style broke the Cole lineage in America when he moved to London in 1970. It has only been recently that there has been a renewed interest in Cole’s work.

Rambert’s Animateurs

Rambert Dance Company LogoNo one can deny the sheer talent of the dancers within a dance company, be it contemporary, ballet, or a jazz-hand waving West End show. However, it is often those people behind the scenes that support the work of the dancers, promote it, administrate it, direct it, and neither the dancers nor the ‘backstage’ team can do without the other.

For example, amongst many other teams of people working for the company, Rambert Dance Company (or Rambert, as it is now known) has a team of animateurs who take the work of Rambert and deliver it far and wide. The animateurs work as part of Rambert’s Learning and Participation team, and work with those who may not have access to Rambert’s work originally.

A case in point… earlier this year the animateurs worked with adult patients from HIV oncology wards and teenage out-patients over 5 sessions to create a piece of choreography using poems as a starting point. Often the partnerships with other groups begin with an interactive dance workshop, working to translate Rambert’s works to focus groups. February 2013 saw the creation of the partnership between Rambert Dance Company and Chelsea and Westminster Health Charity, and the programme included  a fortnight-long poetry residency project, 10 week dance workshop programme for patients and out-patients aged 50+ to improve their mobility. As a result the dance sessions offered inspirational experiences through engagement with contemporary dance and the prestigious company.

In the company’s move to London’s Southbank later this year, it will consequently be placed between two of the poorest boroughs in London. As a result it is likely that the company will do more to engage with its community. Rambert, the national company for contemporary dance, already offers a year-round programme of learning and participation activity throughout the UK for people of all ages and abilities, with other projects in hospitals and care environments including work with Queen Mary’s Hospital, St George’s Trust in Roehampton and Arts 4 Dementia.

Camden’s Creative Projects

Camden Roundhouse

The Camden Roundhouse, one of the the creative centrals of North London is opening its doors to young people aged 11-25 this summer to take part in a number of creative projects. With the chance to work with music, media and performing arts professionals, young people are able to develop creative skills through the projects in the dedicated creative space of the Roundhouse Studios.

Coming up this summer is a wealth of activity for varying age groups and abilities. Below are just a few opportunities on offer, so get booked in now!

MAKE A PLAY IN A WEEK
Age 12-16
Work with professional theatre practitioners to devise, write, and produce a funny, physical piece of theatre based on a classic story, and perform your play to a live audience at the end of week.
Mon 5 – Fri 9 Aug

FREERUNNING INTENSIVE
Age 11-25
Interested in Parkour or Freerunning? Learn the basics: jumping, landing, rolling, vaulting, climbing and balancing. Learn some new moves and develop your momentum, flow and bounce, and get tips on training safely and learning to view obstacles as opportunities.
Wed 24 – Fri 26 Jul

SUMMER SHOW: PERFORMANCE
Age 14-19
Create a cutting edge performance that fuses music, performance and technology! You’ll learn to use the blueprint behind great stories as you create vibrant characters and interactive stories, and collaborate with musicians and digital makers to devise a show that draws on the ideas of game design to put the audience at the heart of the story.
Mon 12 – Fri 23 Aug

STREET CIRCUS DROP IN
Age 11-25
If you are a street dancer, popper, locker, breaker, acrobat, circus artist, or just fancy giving it a go, come and try Street Circus, led by professional artists who merge street dance with circus acrobatics to create high-energy performances.
Thu 25 Jul – Thu 29 Aug

Liza Minnelli: The Non-Stopping Show-Stopper

Liza MinelliShowbiz legend Liza Minnelli, famous not only for her singing starlet mother Judy Garland but also in her own right, proved that she is still a show-stopping success at the Royal Festival Hall on London’s Southbank earlier this year. At 66 years old, Minnelli shows no sign of stopping either, continuing to wow her audiences and exude the presence of the ultimate star of the golden age of showbiz. Minnelli is a multi-award winning artist, singer, actress and fabulous dancer, who has proven herself as a starlet who knows her ‘razzle-dazzles’ from her ‘stepping outs’.

Her one off date performance at the Royal Festival Hall earlier in 2013 marked her first performance at the concert venue since 1973. However, in recent years she has graced other iconic London venues such as the Royal Albert Hall and the Coliseum as the headline act. Minnelli’s performance at Festival Hall forms part of the Southbank Centre’s ongoing season The Rest Is Noise – inspired by Alex Ross’s acclaimed musicology book – with the focus for Minnelli’s visit being Berlin In The ’20s & ’30s. As a result, Minnelli’s sparkling set exuded her fantastic talent in its fullest form, including hits from the divine decadence of Weimar-era nightlife such as Maybe This Time and Mein Herr, in addition to her performance of some of the late Bob Fosse’s choreography from her smash hit film production Cabaret.

Forming the full programme, legendary numbers such as Cabaret, But The World Goes ‘Round and New York, New York were originally written for her and included for Minnelli’s privileged audience, with other jazz and Broadway classics added to the mix and producing a show-stopping evening of immeasurable talent and star quality.

Image courtesy of Wikimedia Commons.

An intimate evening: Ruthie Henshall and Kerry Ellis

Ruthie Henshall

Musical theatre legend Ruthie Henshall, best known for her starring roles in productions such as Chicago and Les Miserables, is performing as part of the From West End to Broadway programme at Cadogan Hall in an intimate performance in August. In addition to an audience with Ruthie, the star will also be performing alongside her special guest, musical theatre icon and Broadway star Kerry Ellis. Originally training at Laine Theatre Arts, which also presented Ruthie to the musical theatre world, Kerry Ellis then went on to carve herself out a commendable career behind the microphone, particularly as green witch Elphaba in the London cast of Wicked, which she joined in 2006.

At Cadogan Hall however, Ruthie and her band will take the audience on a musical journey through her extraordinary career, from working with Lionel Bart, playing in Chicago on Broadway and starring in many other musical theatre productions, to receiving her Olivier Award. The evening will draw from a broad range of genres, from the Great American Songbook to contemporary scores which are significant to Ruthie now: Don’t Rain On My Parade, I Dreamed A Dream, All That Jazz, Electricity, Nice Work If You Can Get It, Adelaide’s Lament, I’ve Loved These Days, Vincent (Starry Starry Night) and many more of her favourites from iconic stage productions.

This particular show for Ruthie is both new and personal, and her chance to tell her story in her own words as well as performing some of the defining songs of her life, which she has performed onstage and experienced off stage. The evening will be accompanied by Ruthie’s own musicians: Paul Schofield (piano/Music Director), Lewis Andrews (bass/guitar) and Steve Maclachlan (drums). Ruthie’s career has been both extensive and extremely impressive, so this intimate evening is a rare glimpse into the star’s glittering career and personal highlights.

Anything Goes… Again!

Anything Goes - Sondheim Theatre 2011The classic production Anything Goes is back on the musical theatre scene and is currently on tour across North America, visiting St. Louis, Washington, Schenectady, Toronto, Costa Mesa, Portland, Spokane and Seattle. This splendid new production produced by the Roundhouse Theatre Company will feature all the iconic tracks such as ‘I get a Kick out of You’, ‘It’s De-Lovely’ and ‘Anything Goes’, with the legendary Cole Porter the genius behind the music and lyrics of this sassy Broadway musical.

Anything Goes is based on the original book collaboration by Guy Bolton and P.G. Wodehouse, and tells the story behind the S.S. American heading out to sea to London from New York, with two unlikely pairs setting off on the course to true love with mad antics along the way. Destiny then receives a little help in delivering the love from a crew of singing sailors, an exotic disguise, and of course some blackmail! The protagonists’ bumpy ride is levelled out by Kathleen Marshall’s fantastic work as Tony Award winner choreographer, providing audiences with an all-round entertaining trip out. Marshall has also worked on musical productions such as The Pajama Game and Grease.

Anything Goes is the winner of three Tony Awards, including Best Revival of a Musical, having been revived several times in the United States and Great Britain. The musical has also been filmed twice and is an extremely popular choice for school and community productions since its performance debut in 1934 at the Alvin (now Neil Simon) Theatre on Broadway. Charles B. Cochran, a British theatrical manager, bought the London performance rights and brought the show to the West End’s Palace Theatre opening in 1935 and running for 261 performances. The National Theatre then revived the music and opened it at the Olivier Theatre in 2002, with the production then transferring to the West End’s Theatre Royal from 2003 for a year.

Image courtesy of Wikimedia Commons.

Do You Have To Shock To Survive?

The Book Of Mormon

With the incredible success The Book of Mormon has celebrated since it opened in March of this year, it begs the question as to whether productions of this kind, and dance too, must continually push accepted boundaries in order to draw in audiences, or similarly keep them interested.

The Book of Mormon is incredibly unsubtle but nonetheless extremely entertaining in its shallow depiction of two missionaries journeying to Uganda, frequenting the use of  expletives  and being entirely ruthless in their approach. Whilst this is a musical theatre production, light-hearted and energetic, it suggests that even the broad commerciality of musical theatre may be veering towards the shock factor and the innovatively new in order to draw in younger (and different) audiences who may then also catch the bug of showbiz.

This is mirrored, directly or indirectly, in the postmodern era of contemporary dance for example, instigated by the Judson Church Group in 1960s USA. The group worked to push the boundaries of contemporary and modern dance to break free from the ‘constraints’ of the American modern dance pioneers, namely Martha Graham, Doris Humphrey, Merce Cunningham, and so on, whose techniques shaped perceptions of dance. This resulted in the likes of Trisha Brown with her site-specific installations, Yvonne Rainer and Paul Taylor, who went from the ‘naughty boy’ of the Martha Graham Dance Company to a post-modern choreographer in his own right, rebelling against the technique and expression of previous years. However, even those such as Graham, Humphrey and Isadora Duncan, as the primary protagonist, were rebelling in one sense or another, with Duncan being the most apparent of the three by dancing barefoot and without the restricting corsets of the era in which she resided.

It is interesting therefore to note that today’s dance and musical theatre scene may not be a rebellion of the previous, but more an evolution of the current, with choreographers and performers attempting new things in order to drive the industry and keep the art-form alive.

Kids Week is back for 2013

Kids Week 2013Kids Week, organised by the company behind Official London Theatre, Society of London Theatre, is now in its 16th year and aims to encourage families to experience the magic of theatre and welcome children through the West End’s doors. For 2013, the Kids Week team has announced a huge 34 top London shows as part of the line-up, offering free tickets to children aged 16 and under with every adult ticket purchased.

As well as receiving a free child’s ticket with every adult ticket purchased for a Kids Week show, Kids Week bookers are also able to book a further two children’s tickets for half price, as well as engage with numerous workshops and activities also offered. Family favourites and exciting new shows are amongst those offered for further events, so this year kids can don their tap shoes, high kick into the theatre and wave their jazz hands in the jam-packed range. Kids will have the opportunity to perhaps try ballet, learn classic pop songs, tap their troubles away and lots more!

2012 was a record-breaking year for Kids Week, so following on from this success, the annual campaign to encourage more people to embrace Theatreland will run for the whole of the month of August, full of performances, free activities and workshops for children and their families, giving adults the chance to shimmy-shake and all that jazz!

With something for everyone, shows on offer this year include seven-time Olivier Award winner The Curious Incident Of The Dog In The Night-Time, The 39 Steps, One Man, Two Guvnors, War Horse, The Woman In Black, the classic whodunit The Mousetrap, Billy Elliot The Musical, The Bodyguard, A Chorus Line, Dirty Dancing – The Classic Story On Stage, Disney’s The Lion King, Let It Be, Mamma Mia!, Matilda The Musical, Les Misérables, Monty Python’s Spamalot, Jersey Boys, The Phantom Of The Opera, The Sound Of Music, Thriller Live, Top Hat, West Side Story, We Will Rock You and Wicked.

Dirty Dancing Set To Return!

Dirty Dancing - Aldwych TheatreThe hit West End musical that went on to tour the UK, Dirty Dancing, is set to replace Viva Forever! at the Piccadilly Theatre in the West End, depicting a story of talent shows and friendships set to the music of the iconic Spice Girls. Despite this pull, the new musical is set to close its doors later this summer and welcome Dirty Dancing, which previously played in London at the Aldwych Theatre from 2006 until 2011 and has since been touring the UK. The much-loved musical will finish touring in June at the Manchester Opera House before returning to London and opening at the Piccadilly Theatre from July.

Beginning as a hit film in 1987, the American romance hooked the world with its lead protagonists Patrick Swayze and Jennifer Grey who played Johnny Castle and Frances ‘Baby’ Houseman respectively. Dirty Dancing then became the longest running show in the history of the Aldwych Theatre, having sold out for the first six months of its run before it opened! The classic story on stage went on to break records in Germany and the UK for having the highest advance ticket sales in history.

Dirty Dancing on tour was first performed at the Theatre Royal, Sydney, Australia in November 2004. Following this, the production went on a national tour of Australia and New Zealand, visiting Melbourne, Brisbane, Perth and Auckland and the show had a sell-out season of 18 months throughout Australia and New Zealand. The show has gone on to perform across the world in Toronto, Canada; Utrecht, Holland; a North American Tour including Chicago, Boston and LA and the production continues to play to sold-out houses and recently sold its one millionth ticket. Following the reinstatement of the iconic Dirty Dancing to London’s theatreland, a new UK tour of the musical will be launched in March next year.

Image courtesy of Wikimedia Commons.