Rating: 4 out of 5 stars
Emotional, contemporarily balletic and deeply European.
Richard Alston has been at the forefront of contemporary ballet for decades and this, his final tour, serves as a reminder of the choreographer’s opus and reach. His training with Merce Cunningham and subsequent work as director of world-renowned Ballet Rambert has had an immeasurable effect on the contemporary dance scene and environment. The evening’s programme presented four competent, moving, complex and beautiful pieces.
We were treated first to Voices and Light Footsteps, which finds images of flowing line and courtship in Monteverdi’s madrigals. The emulation of Italian renaissance dances brings the music to life, though the focus on moves which ground the dancers, with only a few lifts and leaps, makes for a slow and heavy feeling start to the proceedings. Continue reading Review: Richard Alston Dance Company @ Exeter Northcott
Farce is “a particular sense of humour”, Tessa Peake-Jones admits as we sit down to chat in Bang Bang!’s rehearsal space at Exeter’s Maketank. It’s less than a week before their opening night at Exeter Northcott and for Peake-Jones, known for her roles in Only Fools and Horses and Granchester, this is her first experience acting what she refers to as “proper farce, traditional farce.” It is also the stage writing debut of British comedy legend, John Cleese, who has previously achieved global success with works such as Monty Python and Fawlty Towers. Continue reading Interview: Tessa Peake-Jones, Actor in Bang Bang!
Footlights tackles the musical version of the 1990 film Ghost at the Northcott Theatre. Due to stellar performances and innovative technological choices, the production warrants its four stars. Continue reading Review: Footlights’ Ghost the Musical @ Northcott Theatre
Gatsby: the name is synonymous with glamour, the roaring ‘20s, extravagant excess, wealth, parties, hedonism, flowing alcohol, the power to turn dreams into reality, and the sense of a lost time. It also signifies a story of dashed ambition and tragedy. EUTCO’s production of The Great Gatsby at the Northcott, adapted from F. Scott Fitzgerald’s American classic, drew out these tensions thoughtfully and impressively. Published in 1925, Fitzgerald’s novel has undergone a whole new revival with the onset of the 2020s. Mimi Templar Gay’s direction produced a play which encouraged its audience to reflect on its relevance to our present time, particularly in light of its pervasive concerns with money, success and what it means to be fortunate. Continue reading Review: EUTCO’s The Great Gatsby
Sustainability means eco-friendly, right? Lately, it seems that those words have become interchangeable. So, when thinking about sustainability in the theatre world we know that if theatre bars stop using plastic cups and advertisers make recyclable programmes, the industry is sustainable enough to stay afloat. In reality, sustainability in theatre is not limited to greenifying its spaces. It needs to achieve what the Theatre Trust calls ‘the triple bottom line’, meaning environmental, social, and economic sustainability. However, recently the theatre spotlight has illuminated a significant problem; that this art form no longer has a sustainable audience. Continue reading Is the Face of Theatre Truly Changing?
Ballet Cymru, led by artistic director Darius James (OBE), claims to do things a bit differently. If we are to judge by this revival tour of their 2013 ballet Romeo a Juliet, choreographed by him and assistant artistic director Amy Doughty, that statement is indeed true. I applaud the moves towards inclusivity, which feel genuine and never tokenistic. To have a female dancer portraying Benvolio and Friar Lawrence, as well as a wheelchair-using dancer (Joe Powell-Main) in ballet are mention-worthy. It would have been wonderful to see Powell-Main featured even more prominently, but this inclusion is definitely the move in the right direction for ballet and dance in general. Continue reading Romeo A Juliet @ Exeter Northcott
Disclaimer: The views expressed in this review do not represent those of the Magazine as a whole, they are an individual’s interpretation.
Undeniably it is extremely important to have diverse representation. I applaud any and all work by emerging artists from marginalised communities. Their experiences and perspectives are eye-opening and have to be a part of our theatre scene. With that in mind, however, in my opinion this production unfortunately misses the mark on representing these complex ideas which it desperately wants to put on stage. Continue reading Review: Black Men Walking @ Exeter Northcott