The Great Gatsby - Northern Ballet at Sadlers Wells

Well, it may have been the night the film of The Great Gatsby opened in Cannes, but last night at Sadlers Wells (  <http://www.sadlerswells.com> ) there was a flurry of police and paparazzi - sadly not Beyoncé and Jay-Z, but the Earl and Countess of Wessex.

By and large David Nixon's choreography sticks to the book (with some reference back to Gatsby and Daisy's earlier relationship) so it is all fairly easy to follow.  The sets are simple and understated, the costumes stylish - the overall effect does give us a look at the world of 1920s decadence.  Dance-wise it is good and stylish, rather than earth-shattering.  There are some nice touches - interesting lifts and some good pas de deux.  I think I saw one wobble in a high lift!  The characterisation was good and fitted the book.

Northern Ballet's Gatsby  ( <http://northernballet.com> ) may not have the noise and zap of the film, but judging by the audience's reaction last night it is a true crowd pleaser!

Some like it hip hop - ZooNation at the Peacock Theatre

It is years since I have been to the Peacock Theatre, the central London outpost of Sadlers Wells ( <http://www.sadlerswells.com> ) but I was there last night on the recommendation of a friend (who was with me) to see Some Like It Hip Hop by ZooNation ( <http://www.zoonation.co.uk> ).

I thoroughly enjoyed it!  Who'd have thought you could do a whole show using hip hop moves?  I wouldn't have.....but there is was, live music, story telling and wonderfully choreographed dancing!  I shall be booking for their new show in September!

Wozzeck - English National Opera

It is apparently over 20 years since ENO (<http://eno.org>) put on a production of Wozzeck, I can't remember if I saw that production or one at the Royal Opera House - I do remember a very good ending with Wozzeck's drowning body!

So what can we say about the new production directed by Carrie Cracknell?  Bloody is a good word....the ending is very Quentin Tarantino!  Is this a good thing, not really as it leads to some sniggering from the audience when Wozzeck is asking where is the knife and it is clearly in his hand!  Also, all the references to water and drowning are weakened by changing it to a puddle of blood.

That said it was sung and played with great passion.  Sara Jakubiak's Marie was good, in a very harsh role.  Leigh Melrose was an excellent, tortured Wozzeck.

Beyoncé - The Mrs Carter World Tour Show - The O2

For the second time this month I have gone to a concert where I have little or no points of reference.  Admittedly I do know a few tunes by Beyoncé and have seen the relevant videos to know some of the dance moves.

The O2 was packed, largely with adoring female fans.  The noise when 'Mrs Carter' appeared was ear splitting!  And for the next 2 hours she kept us entertained - fast, heavily choreographed dancing, songs of varying tempo, fireworks, flares and even a zip wire across the O2.  The latter was a clever move as it took the show to the other end of the arena and gave the people there a chance to get (a bit) closer to their idol.

I enjoyed the faster, up-tempo stuff more than the ballad-y bits.  She can move, she makes her dancers work hard too.  And the band was very tight.  All female, something I haven't seen since Prince, many years ago!

A Hawk & A Hacksaw at The Lexington Kings Cross

Let no-one say I don't try new things when the chance arises......my friend Val had a spare ticket recently for A Hawk & A Hacksaw at the Lexington in Kings Cross so I went along.

A duo, rather than a band - comprising Jeremy Barnes and Heather Trost.  Jeremy mainly plays the accordion and drum (as well as an intriguing Eastern European stringed instrument, you can tell I am no expert).  Heather plays violin - and a cracking violinist she is too. 

The music is very jolly and you want to clap along to most of it.  It has the feeling of party music for parts of Europe steeped in a folk tradition.  It does however become a tad repetitive.  I felt that I had had enough when they finished the set - playing amongst the crowd in front of the stage.

 <http://ahawkandahacksaw.net>

Rite of Spring & Petrushka - Fabulous Beast Dance Theatre - Sadlers Wells

To mark the 100th anniversay of the premiere of Stravinsky's The Rite of Spring, Sadlers Wells - <http://sadlerswells.com> - has commissioned a series of three events.  The first of these opened last night - 11.4.13 with The Rite of Spring and Petrushka by the Fabulous Beast Dance Theatre - <http://http://fabulousbeast.net>

I saw Michael Keegan-Dolan's Rite when it first opened in 2009 as I love the music.  At that time I was somewhat underwhelmed by the production.  I don't know what it was....was it too hard to work out?  Was it the masks?  The strange extra characters?  The dancers stripping off and putting on pretty print dresses?  I don't know, I just felt that it didn't live up to the music.

This time round Keegan-Dolan seems to have tightened it up.  Certainly the company is smaller.  The bits that irritated me before worked much better.  Perhaps I was channeling my Irish heritage more this time!

Last night was the first night of his new version of Petrushka.  I haven't seen Petrushka for years and years and years.  I remember it (vaguely) as being sad and full of emotions - the puppet with feelings.  Keegan-Dolan's version isn't as clear as that version in its narrative, but it does fall into similar sections.  Last night the 'first night gremlins' were out in force.  It was hard to tell if the lighting was playing up but the house lights would come on and the stage lights would go out, then it would be the opposite.  Technical blips or clever lighting design - not very clear!  However, it was most certainly a blip when all the dancers froze on stage and a figure jumped on stage and introduced himself as Michael Keegan-Dolan!  He said we were indeed victims of world premiere problems and that (after a quick discussion with the stage manager) could we be patient for two minutes for the problem to be resolved.  After the two minutes (or so) he came back on stage, joined one of the characters at the side, sang a snippet of a folk song and cued the dancers back in.

As it was we were almost at the end of the show, we were only waiting for a ladder to appear from above for 'Petrushka' to climb and end the show.

Petrushka has more dance than theatre when compared to The Rite.  Some of it is very good, some of it looks a bit clumpy and ugly.  But overall, I enjoyed the evening immensely.

Both pieces were expertly played by the  concert pianists by  Lidija and Sanja Bizjak.  The effect of four hands on one keyboard was wonderful!  And they even entertained us for part of the interval and whilst the technical hiatus was overcome.  What troopers!

Alice's Adventures in Wonderland - The Royal Ballet

This is the second time I have seen this full length version of Alice's Adventures in Wonderland at the Royal Opera House (<http://www.roh.org.uk>).

Last night the Royal Ballet was in fine form.  Strangely there were a lot of bits I remembered only vaguely or not at all!  This is indeed strange as it is a non-stop visual treat.  Once you enter Wonderland all Bob Crowley's designs draw you in and evoke a magical world.  Shrinking doors, falling cards, roses that won't stay one colour - fabulous!

There were many cast changes last night, but that did not detract from the dancing.  Sarah Lamb spent nearly the whole evening on stage as Alice, and showed no signs of fatigue.  Federico Bonelli had the dual role of Jack and the Knave of Hearts - stealing tarts and Alice's heart!  However, for me, the standout performance of the evening was that of Zenaida Yanowsky as the Mother/Queen of Hearts.  As the mother she told her children off, organised the servants and did some flirting with her party guests.....as the Queen of Hearts she stole the show.  Her fabulous, shiny red costume and ferocious facial expressions struck fear into all of us (would we lose our heads?).  Her reckless, badly (!) danced solos were hilarious.  Those of us old enough to remember Les Dawson and his terrible piano playing - to do that you had to be a good pianist.  As a great dancer Yanowsky was able to pull of a couple of very dodgy solos.

All in all it was a huge piece.  Not too much padding (a little here and there).  Danced beautifully and with great verve.  Christopher Wheeldon must be very happy.  He has created an enduring money-spinner for the The Royal Ballet!