Theatre
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PREVIEW Nl ‘.'.roni< THE DOGSTONE & NASTY
BRUTISH AND SHORT Traverse Theatre, Edinburgh, Thu
6-Sat 15 Nov
this double bill. part of the jamlroree new theatre or‘. a s'iiall 52::a.e laid on the NlS and lr‘a\.re"se. :ozxs '.'erj.' 'n;;<:" a boy thing. Andi. [)11‘f‘y'5; "dash; H.’./.‘l.‘§/" and Sf‘orf deazs The rlr;termrat;r‘g relationsmr‘ between brothers 'r‘ a Glasgox'x tenement fiat. rifle Ken"; Lindsay's [he1):)r;sf.'>rre speaks rvf' 7":',- relationslrp l)(:-i‘.‘.’(:(?" a father (il‘fl ::,t," in the pleasa'”. rt'irixes of Ulnar.
'lt's a riar'ra‘.=.'e that starts Ii. i' end. but he iris: o” the ster. :5; chronologicaf ext: Dogstone. 'A'. rut. ,n:.nges;t, wk: about eight. the so" absolute». worships the ia'f'ie'. but as the Stir". goes on. .'.re see
lie adds: part of the story. a't“.:..;;rt :r-z; new,” flirt"
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blames the father ‘0' “"2 tr'om his n‘rother'. arid Imam rm; ' that. But wliefher ?‘ :; ':'=".w"’.? l
what separated them ":r' "-9- :i'
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mro'it be expertted ff 'tr“ ‘1"'." < PREVIEW 8A1 LET . “ ‘ Cordor has created works for some of the world’s finest tha' (Irina-'21: ..n aw: ' BIRMINGHAM ROYAL BALLET . , 5 ., . .. .. ballet companies and wasn t about to be phased by the other it! um I're'a; s a no '
Edinburgh Festival Theatre, Tue 4-Sat 8 Nov
challenge. ‘l’ve always had a very powerful connection mtg; newt-:6: mes. ...-:,-..::rig. ‘."-':~' George Balanchine, Kenneth MacMillan and Bronislava to Stravinsky ever since I was a child,’ says Cordor. ‘l’ve tee-"s: '.'."“;'r‘: 'r r ‘0”. t (ti '* t ' Nijinska - a heavyweight line-up of choreographers, all always loved his music and have choreographed about r .-'\ r' r. at‘Tm’iil‘, szl‘il >31. a bar'. . v of whom have created a ballet to Stravinsky’s 1928 six ballets to it, so I felt on strong ground. When I was grt’)'.'.:.'t:_; ill) for r‘t: >33? of my sax»;
lirsrtstit o: {1.5. .eti-“g litre-t: rte'.
first starting out I might have felt a bit intimidated, whereas now I should be able to hold my own against
score, Le Baiser de la fee. So when British choreographer, Michael Cordor was asked to make a
ibtexe man .er
new version of the work for Birmingham Royal Ballet, he was understandably a tad nervous.
‘My first reaction was that l was delighted to be asked to make such a substantial piece for the company,’ says Cordor. ‘But my second reaction was all these concerns
these people.’
The Stravinsky programme is part of a week-long visit by Birmingham Royal Ballet which also features a lavish full-length production of David Bintley’s Beauty and the Beast. Both Bintley and Cordor cut their teeth as
dancers and choreographers at the Royal Ballet in the 1970s. And as far as Cordor is concerned, it served them well for what lay ahead. ‘I joined the Royal Ballet when Kenneth MacMillan was director,’ says Cordor. ‘And performed in many of his world premieres. So choreographically it was the most tremendously fertile period in the Royal Ballet's history, and a great training ground for would-be choreographers like David and myself.’ (Kelly Apter)
about the history of the piece.’ Based on Hans Christian Andersen’s dark tale, The Ice Maiden, Le Baiser de la fe'e is one of three works being performed under the banner, Stravinsky! A Celebration. The other two - The Firebird and Petrushka - are both dramatic and well-loved ballets by another choreographic legend, Mikhail Fokine. So, not only did Cordor have Le Baiser de la fée’s heritage to contend with, but a ballet giant to share his triple-bill. An award-winning choreographer himself,
PREVIEW CONTEMPORARY DANCE RICHARD ALSTON DANCE COMPANY Edinburgh Festival Theatre, Tue 11 Nov
Music has always played a huge part in Richard Alston';; work. but theme- ngtj. :2 he's having fun wrth lyrics. loo. last year's Shuffle /t r’trg‘n‘ .ntr- xiur‘er; g: t'laii- audiences to the witty words of late American jazz singer, l loath Grown. tt‘
‘Hoagy was an ama/ing singer who used rhythm ll‘. a light ::;i\.::, Alston. 'lt's like listening to l- red Astaire dance. The lyrirw: are t;t).'tt(,*t;'llr>‘; nonsensical and very dry. but they're really about the 'li\tlirri and l truer: 9. ‘ ‘::r‘f..r-~ that detail in the choreography.' A bona fide (:r'owd rileaser. .‘)‘r‘:.:"r'e r’.’ i‘ ‘ in Scotland for a second outing. along with Martin l ai.‘.'r'irir:r:-':; .leeril‘, .lIT‘l. re, Body 8 Soul. set to an emotive song eyele by Seliumar‘n.
Closing the triple-bill Will be Alston's brand new diseo tingei ‘.'."<;rl\. H .l'. t For a Choreographer best known for using classical or tax “Ii/(MKS, thr- rrretwg: ' something of a departure for Alston. Set to Philip (ll; ss' Song}: f rrir" 1 :rm: 5713. featuring lyrics by Paul Simon and Sir/anne Vega. Alston rleserrbes the 'n'..:' u in ‘Studio 54 eat your heart out'.
When you've been (:horeograr)hing (lanee for over ittl years like Alston new approach can't be easy. But time and again. Alston (T()lllf?§» up ‘.‘.’itl‘ the .i. a air. — how does he manage it? ‘Well, there's no point in Just doing the :;{Ill‘ = thing." says. ‘B/ow Over is a very different preee for me. but I wouldn't do :t tor the sam- ol it. And it people say I've done something fresh then I'm absolutely .r‘eiignte i ' (Kelly Apter)
84 THE LIST 30 Oct Iii Nov 2008