Wuthering Heights | Northern Ballet

Wuthering Heights (Northern Ballet)

Choreographed by David Nixon

Lyceum Theatre, Sheffield – 21 Mar 15

Hearing Wuthering Heights and “ballet” in the same sentence is sure to cause a stream of differing reactions throughout literary and dance fans alike. Whilst some sigh at the prospect of yet another adaptation of Emily Brontë’s sole novel, others – myself included – cannot help but feel that ballet is perhaps the perfect artistic medium through which to convey the powerful emotive turmoil that is Wuthering Heights. David Nixon’s ballet takes you straight to the core of Cathy and Heathcliff’s story with movement and music as the only means of expression, reflecting Emily Brontë’s storytelling in a performance of dramatic emotional exposure and beautifully agonised dancing.

Northern Ballet is a dance company with a reputation for constantly producing new work with a strong narrative focus (past works have included Cleopatra, Madame Butterfly, Dracula, and Peter Pan), and although Wuthering Heights made its première back in 2002 this current revival feels fresh, innovative and intensely exciting. Martha Leebolt and Tobias Batley are particularly thrilling in the lead roles of the self-destructive lovers, combining Leebolt’s ability to create effortlessly beautiful lines with Batley’s enticing yet slightly disturbing stage presence. Their portrayals of the characters are wholly believable; indeed both dancers’ intense performances leave an appropriately haunting impression even after the curtain has closed.

The ingenuity of Nixon’s choreographic skill is demonstrated in how the characters of this ballet come alive through just a few movements. Heathcliff’s volatility becomes evident from his first moments on stage, made animalistic through crouched positions and sudden bursts of energy. Cathy transforms depending on who she is dancing with, shifting from a wilder and more expressive style with Heathcliff – interestingly danced without pointe shoes – to a stiffer, almost doll-like character with Edgar (danced by Hironao Takahashi). It is easy to see the contrasting feelings she has regarding the two men. However, despite their wild passion Heathcliff and Cathy still manage to retain a level of tenderness in their pas de deux that showcases their genuine connection. In contrast the scenes between Heathcliff and Isabella (danced by Hannah Bateman) alter the atmosphere drastically. Their unnerving duet in Act II, whilst encompassing some fabulously dramatic tension, conveys some not so subtle tones of oppression and violence that make watching it feel quite uncomfortable.

A major element of the passion of Wuthering Heights undoubtedly comes from the score, beautifully composed by Claude-Michel Schönberg. Composer of both Les Misérables and Miss Saigon Schönberg knows how to tell a story through music, and the absence of songs and lyrics in a ballet truly demonstrates the extensive narrative power of a musical score. It is quite an extraordinary moment during the opening bars to hear the sound of the wind across the moors, only to realise that it is no sound effect but instruments alone.

Of course, like any adaptation, changes are made to the basic storyline in order to channel focus onto specific areas of the plot. The second generation of Emily Brontë’s novel – Catherine, Hareton and Linton – are completely omitted from the ballet, which instead ends following Cathy’s death. Whilst this may not appeal to the more dedicated fans of the book, it does retain an emphasis on the relationship between Cathy and Heathcliff. This is furthered by the constant reappearance of their younger selves (danced by Jeremy Curnier and Rachael Gillespie), whose presence throughout the ballet seems to remind both the characters and the audience that there was a time together unsullied by obsession and self-interest.

As a touring company the dancers of Northern Ballet are clearly highly experienced in adapting themselves and their performances to different venues, but occasionally the smaller stage at the Sheffield Lyceum did seem to hinder some of the dancing, particularly the powerful grand jetés and during travelling sequences. Nevertheless, this was a minute negative amongst a myriad of artistic delights, not the least how the dancers brought their characters and the narrative to life. The story is so well-known, and this production utilises movement and music to really tap into its emotional element. Wuthering Heights is a truly thrilling ballet, and I can’t wait for the chance to see another Northern Ballet creation.

Top Hat | UK Tour

Top Hat (UK Tour 2014/15)

Directed by Matthew White and Choreographed by Bill Deamer

Opera House, Manchester – 21 Feb 15

Stylish, slick and suave, the current UK tour of Top Hat brings a revitalised definition of “musical” back to stages across the country. In contrast to many of the currently popular musicals, where the focus is often on the belting out of an iconic song, this show deftly balances an equal combination of song, dance and theatricality to create the perfect display of showbiz. Now in the second half of its 2014 – 2015 tour Top Hat positively bursts with charm and class, delivering a production unique in its celebration of an era both long gone and longed for.

As this show is, of course, based on RKO’s Motion Picture starring the illustrious Fred Astaire and Ginger Rogers, there was always going to be the risk of turning up to the theatre and simply watching the film play out on a stage. This is not the case, as the adaptation by Matthew White and Howard Jacques ingeniously embraces the “Fred and Ginger” aspect, yet the performers themselves infuse the production with individuality and freshness. This is particularly true of the two leads Alan Burkitt and Charlotte Gooch, who play Jerry Travers and Dale Tremont respectively. To recreate the Fred and Ginger partnership is no mean feat, and Burkitt and Gooch pay homage to the legendary duo whilst remaining memorable in their own right. Indeed, Burkitt’s performance is so full of self-assured, comical charm and limitless energy it is a disappointment whenever he is off-stage.

With an abundance of tap and ballroom numbers by choreographer Bill Deamer, dance fans in particular will not be disappointed by Top Hat (especially as so much tap content is unfortunately a rarity these days). Both the opening routine to ‘Puttin’ on the Ritz’ and the close of Act I to ‘Top Hat, White Tie and Tails’ are pure tap magic, using canes to create intricately complex rhythms in conjunction with the tappers’ shuffles and pick-ups. It is definitely the attention to subtle details that makes this show’s dance aspect stand out, such as the impeccable timing of the Shadow Jerry and the mirroring between Jerry and Dale’s initial banter and their wonderfully conversational tap duet.

Act II shifts the emphasis from tap to ballroom dancing, swinging from a jazzy to an elegant ambiance. There is also much more of a focus on the storyline in this half, pushing through the narrative at a rapid pace that feels quite frantic in places compared to Act I. Nevertheless this Act does contain the much loved ‘Cheek to Cheek’, the epitome of all that is stylish and enchanting in Hollywood musicals. Burkitt and Gooch whisk each other around the stage in a flowing routine of both beauty and substance that will consequently whisk you away for a several minutes of pure, guilt-free escapism.

The icing on the delectable cake that is Top Hat is undoubtedly Jon Morrell’s stunning costume design. Bringing the glamour of the 1930s to life this show is a cat-walk of dashing tail suits and gorgeous gowns, where many of the ensemble groups are made up of individual designs, constantly dragging your attention from one eye-catching outfit to another. Dale’s array of costumes must be considered as a star collection in this production, ranging from an adorable equestrian get-up to slinky nightgowns and, naturally, the white ball gown swathed in feathers so indicative of Ginger Rogers.

With more than ten more stops before the end of the tour, there really is no reason for missing out on experiencing Top Hat. It really is a pleasure to find a musical that is both traditional and fresh, leaving you feeling, dare I say it, footloose and fancy free. If I had to narrow it down the highlights for me personally were the costumes and Alan Burkitt’s performance – I very much look forward to seeing him dance again. Although it must be said (even by the lady herself!) that Charlotte Gooch does all that Burkitt does, but backwards and in high heels!

(Click on the link to check out an earlier review of Top Hat by ‘G Views …’, my fellow arts blogger Georgina).