DANCE | Previews 90 THE LIST 18 Sep–16 Oct 2014
ADAPTATION BALLETLORENT: RAPUNZEL Edinburgh Festival Theatre, Fri 19 & Sat 20 Sep
Despite the often brutal content in the original texts, fairytales aren’t known for their adult appeal. But why restrict them to bedtime stories and Disney films, when tales such as those written by the Brothers Grimm have so much to say about life? Revisiting a book from childhood, choreographer Liv Lorent discovered that Rapunzel, in particular, had previously unexplored layers. Inspired by ‘the acute, all-encompassing desire to have a child’, which both Rapunzel’s parents and the witch feel, Lorent has created a brand new version of the fairytale classic aimed at everyone. ‘So many people come to see Rapunzel who don’t
have children and I totally get that,’ says Lorent. ‘They come because they love the story, the collaborators and want t o switch off, escape and just get enraptured in another world.’ Ah yes, the collaborators. Well, they’re none too shabby. Poet Laureate Carol Ann Duffy has written the narration, Doctor Who composer Murray Gold created the score, and double Emmy Award-winning costume designer Michele Clapton (Game of Thrones) made the outfits.
In short, balletLORENT has pulled out all the stops to create a production that speaks to both adults and children, fusing an emotive storyline with visual treats such as a high iron tower, knotty hair that keeps on growing, and a prince on a scooter. ‘I love the abundance and richness that the collaborators have given Rapunzel,’ says Lorent. ‘None of the design is just decorative – it’s there profoundly as part of the story. And it motivates the choreography as well, asking a lot of athleticism and bravery from the dancers.’ (Kelly Apter)
CONTEMPORARY DANCE RICHARD ALSTON DANCE COMPANY Edinburgh Festival Theatre, Fri 26 Sep
In the 1960s it was the Beatles, today it’s One Direction – but the idea of women getting hot and bothered about musicians is nothing new, as choreographer Martin Lawrance discovered while researching the music of Franz Liszt. ‘He was a bit of a player,’ says Lawrance of the 19th-century Hungarian pianist and composer.
‘He had an affair with Clara Schumann and lots of other famous people at the time. I’ve been reading stories about “Lisztomania” and women trying to get his cigar stub – if they could have thrown their knickers, they would have.’
At the same time, Lawrance came across Liszt’s Dante Sonata, written in 1849 and inspired by
Dante’s poem The Divine Comedy. Dante, it turns out, was also quite the romantic, influencing Lawrance yet further. ‘I found all of that really inspirational and exciting,’ he says, ‘and I thought that, on top of the music, could work really well. I don’t want to tell a story; it’s not a narrative piece – but all of that has been in my head while I’ve been choreographing it.’ When it came to naming his new piece, which will run alongside two of Alston’s works in the
company’s Edinburgh show, Lawrance once again drew on Dante and Liszt. ‘I was going to call it Inferno,’ he says, ‘but I thought no, that’s too obvious. So I’ve called it Burning, because in the music there’s this burning passion – and Liszt had a burning desire for his wife, who stood by him even though he had all those affairs. Then all of a sudden she just left him.’ (Kelly Apter)
HIP HOP COMPETITION AND SHOW MAKE OR BREAK The Studio at Festival Theatre, Edinburgh, Fri 26 Sep
Watching judges preside over dancers is a regular occurrence on TV talent shows these days – but seeing it live, and championing your favourites with some vocal appreciation, is a whole different ball game. With competitors from home and abroad squaring up at the Make or Break event in Edinburgh
this month, this is a chance to see b-boys battle it out through qualifying rounds, quarter and semi-finals and a no-doubt exciting final. So, what will the judges be looking for? ‘Each judge has their own criteria,’ explains host Tony Mills (aka Tony Thrills). ‘Often this is
about musicality, originality and execution. Then whether or not a dancer repeats some moves, if their dance is not evolving or if they crash out of a move. And then of course there is the overall style, flavour and b-boy attitude.’ With the afternoon competition duly judged, Make or Break moves on to an evening showcase
of Scottish hip hop talent – or more specifically, a Glasgow / Edinburgh derby, with crews from both cities showing what they’re made of. ‘The programme will reflect how the genre is developing but also provide some eye candy for
the audience,’ says Mills. ‘Hip hop dance by its nature is very dynamic and visually engaging, and I don’t think that aspect ought to be neglected when it comes to putting work on stage.'
As Mills says, ‘All in all, not a bad day out if you like it funky fresh.’ (Kelly Apter)
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