DANCE | Previews DANCE | Previews D A N C E
86 THE LIST 5 Feb–2 Apr 2015
CLASSICAL BALLET BALLET WEST: ROMEO AND JULIET Howden Park, Livingston, Thu 5 Feb, then touring
Up a winding hill, in the remote village of Taynuilt in the west of Scotland, something magical takes place. From humble beginnings 25 years ago, a tiny dance school with two pupils has flourished into a full-time academy attracting students from all over the world. They come not just for the top-notch training and stunning
views, but because Ballet West takes them beyond the studio out into the real world. Each year, the company tours to venues across Scotland, offering trainees insights into the highs and lows of life on the road – and audiences a chance to see the stars of tomorrow.
But fresh young talent aside, the jewels in Ballet West’s crowns are its two principals, Sara-Maria and Jonathan Barton. The son and daughter of Ballet West founder Gillian Barton, both have danced with Britain’s finest ballet companies and have the technique to prove it.
Their fine acting skills will be put to the test on the current tour, however, when the siblings step into the roles of lovers Romeo and Juliet. ‘Some of the more special moments won’t really happen until we’re on stage,’ says Jonathan, ‘and then suddenly we’re not brother and sister any more – we’re playing a role and it feels completely different. In the studio, it still feels like I’m dancing with my sister. But that starts to go away with the lights and costumes – you just lose yourself in the role.’
With a nod to classic productions, this new version of Romeo and Juliet has been choreographed by Belgian-born Daniel Job, a regular at Ballet West.
‘Daniel has been inspired by some of the Russian productions, but from there he’s very much made it his own,’ says Jonathan. ‘There are things in this production I’ve never seen before, because he loves to throw in things that people aren’t expecting.’ (Kelly Apter)
DANCE FILM SEA WITHOUT SHORE Glasgow Film Theatre , Sat 28 Feb
A lot of things can happen between rehearsal studio and final performance. As Brazilian choreographer and co-director Fernanda Lippi discovered when working on her new film with André Semenza, Sea Without Shore. After creating the movement in advance of shooting, their arrival in rural Sweden prompted a rethink. ‘When we got to the location, the impact on the choreography was dramatic,’ she recalls.
‘Sweden’s breathtaking winter landscape with extremely low temperatures and fleeting daylight immediately made us forget about the comfort zone of the rehearsal room.’
Set in the 19th century, the film tells the tale of two women whose love affair is cut brutally
short. Inspired by the work of 16th-century lesbian poet Katherine Philips, among other literature, the film features a stream-of-consciousness narration.
Although for Lippi, who also stars in the film, the intense atmosphere was just as influential.
‘Being exposed to bone-chilling temperatures for ten hours a day and breathing cold air caused our bodies to go into a state of extremis,’ she says. ‘As we embraced these conditions, a new structure for the film appeared. An enigmatic
relationship between two women materialised – an exploration of love and loss.’ (Kelly Apter) ■ Sea Without Shore is screening as part of Glasgow Film Festival.
CLASSICAL BALLET NORTHERN BALLET: ROMEO AND JULIET Edinburgh Festival Theatre, Thu 26–Sat 28 Feb
For 20 years, Northern Ballet has been known for its passionate and crowd-pleasing production of Romeo and Juliet. But even a well-loved classic needs a rest. Which is why the company is temporarily setting aside the Christopher Gable / Massimo Moricone version, and bringing in a new ballet by Frenchman Jean-Christophe Maillot. ‘I wanted to have a contrasting production,’ explains artistic director David Nixon, ‘because
I think it’s interesting for an audience to see different takes on the same subject – especially something as popular as Romeo and Juliet.’ ‘And the physicality and aesthetic in Jean-Christophe’s production is totally different. The
dancers have to put a lot of energy into it, and I have a very young company now, with lots of energy.’ Although some things are still in p lace – Prokofiev’s stunning score for one thing – Maillot
approaches Shakespeare’s tragic romance from a refreshingly new angle, putting the Friar at the heart of the action. ‘In so many productions, the Friar only appears for the wedding, with the potion and sometimes
at the end,’ says Nixon. ‘But he’s quite crucial, because a lot of the things he does affect the outcome of everybody. So in Jean-Christophe’s version, the Friar threads through the whole piece, from beginning to end.’ (Kelly Apter)