Breakfast at Tiffany’s | UK Tour

Breakfast at Tiffany’s (UK Tour 2016)

Directed by Nikolai Foster

Grand Theatre, Leeds – 09 Apr 16

More than fifty years on from Audrey Hepburn’s iconic performance in the 1961 film, Breakfast at Tiffany’s has hit the UK’s theatres in a brand new stage adaptation by award-winning playwright Richard Greenberg. Based on the novella by Truman Capote, the story of Holly Golightly is rekindled for a new audience in this ‘stage play with music’, touring the country before settling in at London’s Theatre Royal Haymarket at the end of June.

Set in 1940s New York City, depicted through large prints of the city skyline and the Brooklyn Bridge, the play’s narrative is delivered by Fred (played by Matt Barber), who serves as both a character within the story and the narrator looking back on past happenings. Between addressing the audience directly and a subtle use of lighting by designer Ben Cracknell, the constant shift from past to present does not become jarring but instead retains a level of intrigue and a desire to follow the story though to its conclusion. This is impressive in itself, as in all honesty Breakfast at Tiffany’s does not have a strong plot and rather is simply a following of the escapades of Holly Golightly (played by Pixie Lott).

To follow in the footsteps of Hepburn was always going to be an immense challenge for any actress, but Lott’s performance should most definitely be applauded. It is always a great sign when it becomes difficult to spot the actor behind the character, and Lott’s characterisation is extremely convincing. From Capote’s style of language to the considerable number of costume changes it truly is a demanding role, and for her theatrical debut the result is really quite impressive.

One star of the show who must also receive a mention is Bob … the cat. Playing the small role of Holly’s feline companion, Bob induces the most audible reaction from the audience on each stage appearance. Admittedly, these ‘appearances’ generally consist of the actors carrying him about the stage, nevertheless his presence within the production provide fleeting moments of tenderness amongst a rush of exuberance and intensity.

To call this production ‘a stage play with music’ might be a bit of a push, as the musical moments are both rare and fleeting. With Pixie Lott in the leading role and the famous ‘Moon River’ scene from the film to provide inspiration it would have been strange for there to be no music at all, but whilst enjoyable in both their performance and in providing a change of pace these melodic interludes do not particularly add anything to the story itself. However, whilst Breakfast at Tiffany’s may not be the easiest play to follow with its slightly undefined plotline, it certainly ticks the boxes for a couple of hours of escapism which, after all, is why many of us go to the theatre in the first place.

Wendy and Peter Pan | RSC

Wendy and Peter Pan (Royal Shakespeare Company)

Directed by Jonathan Munby

Royal Shakespeare Theatre, Stratford-upon-Avon – 16 Jan 16

Pure escapism for both adults and children alike, the Royal Shakespeare Company’s recent production of Wendy and Peter Pan is both comfortingly familiar and wonderfully refreshing at the same time. Adapted by Ella Hickson, this version of J. M. Barrie’s legendary tale takes the story as most people know it, pulls it apart, and puts it back together again with a new emphasis. As the title would suggest, Wendy (played by Mariah Gale) gets more of a leading role than in previous adaptations, and Hickson’s variation tells the story through her eyes as much as through Peter Pan’s (Rhys Rusbatch). Rather than playing a side role in a boys’ adventure story Wendy gets her own drive and her own journey, qualities her character has long been denied.

The fuel behind Wendy’s character is provided by the inclusion of a fourth Darling child, Tom (played by Sam Clemmett), who brings a number of new aspects to the traditional story. Tom’s death early on in the play allows for a different insight into the concept of “lost boys” as well as bringing to light another side of the figure of Peter Pan. Wendy believes that her dead brother is lost and needs finding, and it is this belief that drives her desire to go to Neverland. Her search for her “lost boy” powers all of her actions throughout the play, making her a far more relatable character than the girl who merely plays at being “mother”. Peter meanwhile comes to the Darlings’ window not to hear stories but to take Tom away when he dies, a nod to J. M. Barrie’s novel and the legend of Peter as a companion for dead children on their way to heaven.

As a rather prominent feature of the Peter Pan story, how the characters would fly was always going to be an intriguing aspect of the production. Whilst some of the flying is indeed fashioned by suspending the actors on ropes and wires, much of it is also created by Peter’s Shadow. A character in itself, and played by six identically dressed actors, the Shadow lifts, tosses and twirls Peter through the air in meticulously choreographed acrobatic sequences. It is amazing how quickly you start to look past the crush of people and just see the one flying figure. In a theatrical space such as the Royal Shakespeare Theatre it is practically impossible to conceal deceptions from the audience, so the “trick” of hiding the flying support in full view is really rather ingenious.

The set design for the production has a rather hybrid feel throughout, from the shabby chic and homey setting of the Darlings’ house to the more chaotic junk yard of the Lost Boys’ underground den (that literally rises up from underneath the stage). However, the more traditional Edwardian setting at the start of the play remains connected to the miscellany of Neverland by the means of a giant mobile-like structure above the stage. Utilised as a flying device for the actors, the mobile is also a prominent feature in the Darlings’ nursery, sporting recognisable objects from the story including a clock, a house and a crocodile.

Speaking of the crocodile, this minor but notable character played by Arthur Kyeyune becomes a dual figure in the play, appearing as the silent, mysterious doctor at Tom’s bedside as well as the creature that haunts Captain Hook (Darrell D’Silva). Despite his small role this was the characterisation that really stood out for me. Dressed as an Edwardian gentleman complete with top hat, scarf and a long scaly overcoat, Kyeyune brings the crocodile to life through movement alone, steadily pursuing Hook with an unnerving concentration. Alongside Kyeyune, actress Charlotte Mills’ portrayal as the flawed but lovable Tink was another stand-performance. Cranky, outspoken and vivacious, Tink “gets big when she’s full of feeling”, and in conjunction with Wendy and Tiger Lily (Mimi Ndiweni) helps to bring the focus of the play more onto the female characters and their outlook on the story.

Different perspectives and characterisations aside, Wendy and Peter Pan is a production ideal for theatre-lovers of all ages. With liberal sprinklings of fairy dust alongside a peppering of adult humour – there’s definitely a mention of fairy orgies – this play has taken a timeless story and made it ageless. It is often a rarity in theatre to find this quality, when productions are usually either too juvenile for adults or too complex for children. This idea is even delicately noted in the play itself, for the relationship between Wendy and Peter often mirrors that between Mr and Mrs Darling, highlighting the subtle crossover between children and adults. This is, therefore, a play perfect for both.

‘The show must go on’ – Queen

Following an unintentional two month break from the blogosphere, it seems only fitting to try and round off the year with a short update on my theatrical goings-on … or rather lack of them. In my own defense, this absence has only been due to a new job and a new life in a new city, so I do have a good excuse. Even better, I have in fact worked my way into a full-time career in arts marketing, so I haven’t really abandoned the arts at all! My life for the last two months has consisted of either working or sleeping, hence the silence on the blog front, but as 2015 starts drawing to a close I feel there’s no better time for looking ahead to the New Year for a fresh start. In the wonderful words of Queen, “the show must go on”.

Whilst theatre trips may have to become slightly less frequent in the future (sob), I can already look ahead to 2016 with great anticipation for what will hopefully be some truly fantastic shows. January will see a trip to Stratford-upon-Avon for the RSC’s production of Wendy and Peter Pan, and I am particularly excited for this show as I was devastated to miss it when it originally premièred back in 2013. In March, it’ll be the new musical version of Mrs Henderson Presents as well as The Painkiller, starring Rob Brydon, from Kenneth Branagh’s run at The Garrick. I shall also be catching the tour of the new stage play of Breakfast at Tiffany’s in April – although I must remember to watch the original 1961 film first!

That’s more than enough for now, but if I can I’ll also try and make it to the brand new adaptation of Great Expectations at the West Yorkshire Playhouse, as well as the live screening of Frankenstein, a new co-production between The Royal Ballet and San Francisco Ballet. And of course, whilst it might be a shameless plug, I have to mention Northern Ballet’s world première of Jane Eyre in May. So potentially, it could become a season of classic literature on stage – how could I ask for more?

Well, that’s how 2016 is currently looking (not too shabby!). 2015 may have dwindled out a bit towards the end, but I shall definitely be making a return in the New Year. Happy Christmas!

How To … Go to the Opera

I do not profess to know anything about the art form of opera, nor have I ever felt the need to change this, but having recently realised that I have now worked at an opera venue for over a year, I felt that the time had finally come to take the plunge and actually see an opera performance. It is one thing to enjoy both theatre and music, but opera is without a doubt a whole new world entirely. Opera companies are constantly working to engage with new audiences and make it a more accessible art form (a fantastic goal in any of the arts), so as a complete opera novice myself I decided to use my recent experience of Mozart’s Cosi fan tutte to compile a ‘How To’ guide for anyone else who may potentially dip their toe in operatic waters.

1. Accept the questionable plotlines …

Love at first sight, sudden marriages, dubious characters, ridiculous bets, prolonged deaths and miraculous recoveries. Opera plots are often made up of the implausible and nonsensical, and it would be worth getting over this before even taking your seat. At the end of the day, a lot of theatrical works seem to follow this strain (after all, Shakespeare’s plots aren’t exactly known for their pragmatism), but if you acknowledge and concede to this early on you will save straining yourself from continual eye rolling.

2. Stick to your own style …

You don’t have to dress in black tie and ball-gowns to go to the opera if you don’t want to (unless you come across an actual dress code, of course). In this day and age we have the luxury of a reasonably laid-back approach when it comes to theatre attire, and opera doesn’t have to mean full-on evening wear. However, if you prefer to take a more casual approach you should also be prepared for the loyal traditionalists. Some people may prefer to dress up for the opera and this is equally acceptable. Go with the option that suits you.

3. Choose carefully …

With the amount of opera productions and companies on offer, it can be difficult to know which opera may best ease you in. There are lots of different opinions on the best opera for first timers, but perhaps help yourself a bit by selecting a production performed in English or with the inclusion of spoken dialogue. It may also help to choose an opera that relates to other works or stories that you already know, for example La Bohème (the inspiration for the musical Rent), Madama Butterfly (similar to Miss Saigon), or La Cenerentola (basically the story of Cinderella).

4. But try not to compare to musical theatre …

If you are a fan of musical theatre like myself, you must be prepared to leave all you know from this world behind when watching an opera. Everything is different, and as a separate art form, so it should be. You would not compare a ballet with a concert and be disappointed by the lack of pirouettes, so try and view opera in its own right, not as a comparison to what you already know.

5. If it’s still not for you …

At the end of the day opera is not going to be everyone’s cup of tea, but it is worth remembering that it is a remarkable musical style achieved by normal human voices. It may not be to your taste, but it is nevertheless an amazing talent and if nothing else about it works for you, maybe just appreciate that.

Magnificent Movie Music

I have not done one of these posts for a while, and wanting to turn my attention to the music world seemed like the opportune time to resurrect a Top 5 post (see previous Memorable Musical Moments and Best Ballet Bits). Conductor Leopold Stokowski once said “a painter paints pictures on canvas, but musicians paint their pictures on silence”, and I think movie music in particular exemplifies this idea. There are so many fantastic scores out there to choose from, and I am sure there are plenty that should be considered as the top few, but I have narrowed it down here to my personal favourites.

 

The Man in the Iron Mask – Surrounded (Nick Glennie-Smith)

The theme from The Man in the Iron Mask (it kicks in here at around 1:34) is just so wonderfully epic in its grandeur and heroic quality that I cannot help but love it. Combined with a tale of valiant musketeers and a corrupt king it is the perfect example of a soundtrack for a classic action-adventure film, and this excerpt from the climax of the story is the best in a wholly memorable score.

The Hobbit: An Unexpected Journey – Song of the Lonely Mountain (Neil Finn/Janet Roddick/David Donaldson/Stephen Roche/David Long)

I am a fan of the credit music from all three of The Hobbit films (it was a tough call between this and ‘I See Fire’ from the second film), but I had to settle for ‘Song of the Lonely Mountain’ in the end. I chose this over the similar song that is actually used within the film, as I prefer this full and complete version. The strings that come in at 2:41 are a particularly beautiful addition, and the repetition of the main melody means it is an easy song to get stuck in your head (in a good way!).

The Other Boleyn Girl – The Execution (Paul Cantelon)

It was this piece of music that was the only thing I remembered vividly after seeing The Other Boleyn Girl for the first time. Whilst the film scene that accompanies this piece of music is rife with historical inaccuracies, the music itself is nevertheless incredibly haunting. The moment of sudden silence at 5:35 in the middle of a moving phrase creates a rather unsettling feeling, an appropriate sensation given the subject matter.

The Great Gatsby – Young and Beautiful (Lana Del Rey/Rick Nowels)

Prior to seeing Baz Luhrmann’s The Great Gatsby I was aware that the choice of contemporary music throughout the film could be a maker or breaker, but I have to say I believe it worked. This piece, which I suppose is the “love song” of the film, shares a morose yet entrancing quality with Gatsby and Daisy’s story, which helps to capture their relationship perfectly.

Pirates of the Caribbean – He’s a Pirate (Klaus Badelt)

I do not care if this is an obvious choice, the Pirates of the Caribbean theme is and always will be an all-time favourite for me. I have mentally choreographed many a dramatic dance number to this piece of music over the years, and so I heartily salute Mr Badelt for composing such an intense and exhilarating piece of music.

The Importance of Being Earnest | The West End

The Importance of Being Earnest (The West End)

Directed by Adrian Noble

Vaudeville Theatre, London – 10 Jul 15

Think Downton Abbey with a generous helping of wit, hilarity and even a bit of drag, and you’ve got yourself the current West End production of The Importance of Being Earnest. Starring David Suchet as the domineering matriarch Lady Bracknell, this play is a terrific demonstration of the brilliance of English theatre. Overflowing with classic Wildean wit Earnest has more one-liners than a modern day comedian can dream of, whilst at the same time portraying a bygone world of feathered hats and cucumber sandwiches. The play is set in the Decadent period and follows the escapades of John ‘Jack’ Worthing (Michael Benz) and Algernon Moncrieff (Philip Cumbus), two friends who both pretend to be the disreputable Ernest … who is in fact non-existent. Kept simple with three acts and three scenes this is a play to satisfy all audiences, and only those lacking a rational sense of humour will fail to see the sparkle of this production.

The ultimate ideal night out at the theatre has got to be one of two options: the performance is of a quality that simply blows you away, or has you rolling around in hysterical laughter. If you go to see this play, you will experience both. Oscar Wilde’s style of playwriting is so recognisable, and like anything else in life, is not necessarily everyone’s cup of tea, but it cannot be denied that he knew how to tickle an audience. The characters in this production are almost ‘overplayed’, but rather than becoming a negative aspect it is more as if they are making a point and ridiculing their own characterisations. Cecily Cardew (Imogen Doel) is, for example, the naive young girl complete with breathy sighs and an over-romanticised view of life – so over-romanticised that she considers herself formally engaged to a man she has heard of but never actually met. Even the concept of ‘Englishness’ does not escape the clever mockery of this play. An altercation between Jack and Algernon in Act II turns into a full-blown argument over muffins, and an affronted stand-off between Cecily and the Hon. Gwendolen Fairfax (Emily Barber) cannot quite overcome the importance of afternoon tea.

The character of Lady Augusta Bracknell, a part that has previously been portrayed by the likes of Dame Judi Dench and Dame Maggie Smith, is brought to life in a whole new way through David Suchet’s wonderful versatility as an actor. In a massive leap from the quiet genius of Hercule Poirot, Suchet’s Lady Bracknell could possible top even Downton Abbey’s Dowager Countess of Grantham as the ultimate female vessel of upper-class power and arrogance. A character that you both love and despise, Lady Bracknell is unfortunately absent during Act II, but the quirks that Suchet brings to the portrayal will stay with you until well after the curtain calls have ended. Never has the simple act of opening a notebook raised such a reaction from an audience, but it is the small looks and gestures that make Suchet’s performance in Earnest so particularly superb.

It is difficult to beat truly classic English theatre, and Oscar Wilde’s plays definitely fall into this category. Aside from being rather ahead of his time with his use of epigrammatic wit and his views on society, Wilde also seems to pay tribute to one of his predecessors in classic theatrical work. With a plot full of mistaken identities, mixed lovers and a final scene that brings all of the characters together, Earnest could very well be a Shakespearean play. This may not be the most sophisticated of plotlines in the current theatrical world but nothing could be more fitting for a play so full of satiric wit and social commentary. On the whole, this production milks everything it can from Wilde’s virtuoso as a playwright and the result is, without a doubt, English theatre the way it ought to be.

NB: There will be a live cinema broadcast of this production on 8^th October – I highly recommend that you get that in the diary!

La Fille mal gardée | Paris Opera Ballet

La Fille mal gardée (Paris Opera Ballet)

Choreographed by Frederick Ashton

Palais Garnier, Paris – 06 Jul 15

To see La Fille mal gardée, Frederick Ashton’s comically light-hearted ballet, performed by the Paris Opera Ballet at their home venue of the Palais Garnier was a genuinely rare treat this summer. Normally relying on touring productions to get a theatre-fix, it was a welcome change to experience this ballet in the glorious environs of the Opéra national de Paris. With its country setting, simple storyline and lovable characters Fille has always been a popular ballet – after all, who wouldn’t want to see professional dancers dress up in giant chicken suits? – and having seen a previous performance by the Royal Ballet earlier this year it was far too tempting to see it again by a different ballet company.

For any readers who do not know, the story follows Lise (danced by Myriam Ould-Braham) and Colas (Josua Hoffalt), a young couple in love who are constantly separated by the attempts of Lise’s mother Simone (traditionally performed by a male dancer, in this case by Aurélien Houette) who would prefer to see her daughter marry Alain (Simon Valastro), the son of a wealthy farmer. As one might guess, the young couple find plenty of ways to be together and out-wit Simone, and of course the ballet concludes with a happy ending. The plotline may be pleasantly predictable, but this allows for a greater appreciation of the quality of the dancing. Ould-Braham’s footwork and Hoffalt’s elevation were both stand-out elements, and Houette’s commitment to his character’s comedic appeal never faltered, even during the curtain calls.

Despite being a ballet of a cheerful and comic nature, this performance of Fille was in fact rather dramatic. Following an injury, étoile dancer Myriam Ould-Braham was unable to continue in the role of Lise in the ballet’s second act. It was impossible to tell exactly when she suffered the injury however it must have been of a serious degree if she could no longer perform, but I hope that it was not too severe and I wish her a speedy recovery. The character of Lise was taken over in Act II by Éléonore Guérineau, who matched Ould-Braham’s performance so beautifully it was difficult to tell it was a different dancer. Both ballerinas had feet to die for, making me wonder how many pairs of pointe shoes they can get through in one performance.

The Palais Garnier itself is a venue of such extraordinary splendour that it deserves its own particular mention in this review. From the towering pillars that adorn the front of the building to the ornate golden décor throughout one cannot help but adore such ostentatious grandeur, the intensity of which feels so perfectly fitting for an opera house. Further enhanced by its location, in the centre of a square in Paris with the grand Avenue de l’Opéra stretching out before it, it is impossible not to look twice at this display of sumptuous architectural design (created by Charles Garnier in the 19^th century). The interior is all red and gold, with sweeping staircases and elegant balconettes dominating the foyer and a stunningly beautiful ceiling design inside the auditorium. The chandelier, famous for its part in the legend of the Phantom of the Opera (initially in Gaston Leroux’s 1911 novel Le Fantôme de l’Opéra), more than lives up to expectations. Indeed, only the start of the ballet could distract from the opulent surroundings – although the extra fold-out seats in the aisles would probably cause a health and safety riot in a theatre here!

Palais Garnier

The chandelier

Having now experienced a performance not only by a new company (new to me at least!) but in an exquisitely unique venue and in a foreign country, the element that struck me the most was how fantastic it is that dance and music exist as means of universal communication. To sit in a theatre surrounded by people who do not even speak the same language as each other, and yet all be swept away by the same performance and laugh at the same humour is quite an extraordinary experience. This performance of La Fille mal gardée will therefore remain particularly memorable for me for its state of universality, and I would love to encounter that again in future theatre trips.

The Car Man | New Adventures

The Car Man (New Adventures)

Choreographed and Directed by Matthew Bourne

The Lowry, Salford – 30 May 15

Exploding with theatricality, sex-appeal and sheer ingenuity, Matthew Bourne’s The Car Man quite literally has it all. Described as both an “auto-erotic thriller” and “dance noir”, Bourne’s radical and enthralling adaptation of Georges Bizet’s Carmen pushes the boundaries, turns up the heat and takes narrative dance to a whole new level. Combining inspiration from the 1934 crime novel The Postman Always Rings Twice by James M. Cain as well as Bizet’s opera, The Car Man is certainly a unique example of an adaptation that has become original in its own right.

Set in the ironically named town of Harmony, a fictional 1960s Italian-American community, the residents are shaken up by the arrival of Luca (danced in this performance by Christopher Trenfield), a disturbingly charismatic drifter who enters into an adulterous tryst with the beautiful and manipulative Lana (Zizi Strallen). Bored by her older husband Dino (Alan Vincent – the original Luca from 2000), Lana is a femme fatale figure whilst her younger sister Rita (Katy Lowenhoff) embodies emotion and sensitivity, especially in her relationship with the shy and bullied Angelo (Dominic North). Cue secret affairs, violent murders, the perversion of justice and an excess of carnal expression … to sum up, this is not a dance show to bring the kids to!

With the music of The Car Man existing as a collaboration between Bizet’s powerfully dramatic score, Rodion Shchedrin’s forty minute orchestration and further composition by Terry Davies, the resulting musically-driven narrative takes on a strong filmic quality that really draws the watcher in. It is possible to recognise an element of West Side Story in this show, particularly in the Act II “Fight Night” amongst the gang of mechanics that quickly spirals into full-blown and fatal violence. Bourne’s works have often been described as “dansicals”, and it has to be said that this is a truly fitting description for The Car Man – unlike West Side Story, no words are required in order to fully convey the plot twists and turns and emotional journey that the show portrays.

Of course, no Matthew Bourne production is complete without truly top-quality dancing and his recognisable choreographic genius. The Car Man utilises dance to explore the themes of a gritty and earthy emphasis, but a couple of stand-out numbers have to include Angelo’s heart-wrenching handcuff dance and his following disconcerting duet with Rita. The audience can only watch in horrified fascination as the events of the plot push Angelo from timidity and submission to unnerving unpredictability, a conversion that showcased Dominic North’s astounding performance ability. Angelo’s shift of character is also mirrored by Luca’s own descent from confident charisma to guilt-ridden torment, and what better way is there to express such emotional carnage than through dance and music!

A dance thriller such as The Car Man is a rare experience in contrast to the many family-friendly productions in the dance world, so it is worth grasping the opportunity before this tour ends at Sadler’s Wells in August. It is a show guaranteed to set your pulse racing, from the never-ending suspense of the plotline to the fervour and intensity of both the dancing and acting. Whilst watching with an open mind should be recommended, I defy anyone not to be blown away by this show.

Dance ‘Til Dawn | UK Tour

Dance ‘Til Dawn (UK Tour 2015)

Choreographed by Karen Bruce, Vincent Simone and Flavia Cacace

The Lowry, Salford – 25 Apr 15

It is a crying shame that this weekend will see the final performance of the Dance ‘Til Dawn UK tour, for it is a show that would have undoubtedly pulled in a wildly enthusiastic returning audience. Combining the outstanding talents of renowned dancing couple Vincent Simone and Flavia Cacace with the world of musical theatre, Dance ‘Til Dawn is a production quite unlike any other. True, any stage appearance by UK Ten Dance and World Argentine Tango champions is guaranteed to receive dropping jaws and resounding applause, but this show has taken the plunge with an amalgamation of performance styles that enhance and complement each other in a truly unique way.

Dance ‘Til Dawn is set in the Golden Age of Hollywood and tells the story of Tony DeLuca, a little-known actor, and Sadie Strauss, star of the big screen. Tony and Sadie (Simone and Cacace) are thrown together when Sadie’s cheating boyfriend Bobby Burns is shot by the manipulative Lana Clemenza (played by Abbie Osmon), setting in motion a tale of romance, adventure and – of course – an unjust accusation of murder. Whilst the plotline may be rather predictable in no way does it feel humdrum or tedious, thanks to style of the story-telling. Guided through the plot by Private Investigator Tommy Dubrowski (played in this performance by Ben Harris) the story is told mainly by narration, with all of Tony and Sadie’s acting performed through dance alone. This lack of dialogue from the leading characters is rather ingenious and creates the feel of a silent movie, allowing Simone and Cacace’s acting abilities to be showcased alongside their dancing.

On that topic, Dance ‘Til Dawn is – as the title would suggest – abundant with top-class dancing (and not just from Simone and Cacace, but the supporting cast as well). Utilising a huge variety of Ballroom and Latin dance styles to cover every emotional turn of the show’s plot, director and co-choreographer Karen Bruce has successfully created a means of satisfying both Strictly Come Dancing and musical theatre fans alike. Waltz, quickstep, rumba, salsa, Charleston, jive and Paso Doble all tell a separate part of the story, highlighting Simone and Cacace’s vast repertoire as dancers, but it is the closing Argentine Tango that is the ultimate star of the show. Danced to the thrilling ‘Tango de los Exilados’ it is everything you want from a tango – fluidity, sensuality, electricity, passion – and whilst it may take two to tango Simone and Cacace practically merge into one to give an effortlessly slick and quite literally breath-taking performance. (Watch the video below to see them in action).

Evocative of the era in which it is set, the music of Dance ‘Til Dawn is as important an element as the dance itself. The films of Hollywood’s ‘Golden Age’ celebrated the use of music and dance as a means of emotional expression, and Dance ‘Til Dawn brings this to a modern audience by interspersing classics such as ‘That’s Life’, ‘Stand By Me’ and ‘Moon River’ with contemporary song choices such as ‘Rumour Has It’, ‘Runaway Baby’ and ‘Pencil Full of Lead’. All beautifully performed by Oliver Darley, whose versatility as a singer is astounding, the variety of music ensures that no emotion remains untouched throughout the entire show. The music even helps to enhance the production’s comedy aspect, with slapstick humour and extreme dry wit that often jokes at the expense of the show itself (“Tony and Sadie were easy to find. I just stood in the centre of the stage whilst the set was pushed on around me”).

To successfully unite Ballroom and Latin dance with elements of theatricality and comedy is no small feat, but Dance ‘Til Dawn is a superb example of how it can be done. Cleverly, the programme for this production contains no synopsis so the audience has no idea of where the show will take them, which makes the pleasure in watching all the more exhilarating. Dance ‘Til Dawn is unfortunately now at its end, but Vincent and Flavia will be returning in September for their farewell tour in The Last Tango.

(Check out my fellow bloggers ‘G Views …’ and ‘West End Musings’ for some more Dance ‘Til Dawn reviews).

Vincent and Flavia dancing the Argentine Tango:

The Importance of the Arts

‘When times are tough, art is salve for the ache’. In the great debate into the importance of the arts, these words by writer and humourist Randy Cohen truly emphasise the role that the arts play in human life. Whilst they, of course, have to be considered secondary to physiological needs such as food and shelter, the arts contribute to other elements including social belonging, education and passion to provide a certain quality of life. Peter Bazalgette, Chair of Arts Council England, reinforced this idea in The Observer in December 2014, stating that whilst ‘medicine attends to the body … the arts cares for the person’.

The arts are particularly unique in their development of key social values, including greater co-operation, diversity and fortitude. In a time of funding cuts and reductions both the presence of and access to the arts are suffering tremendously, therefore it can be certain that it will be society’s wellbeing bearing the consequences. Without music to move us, theatre to divert us or books to enlighten us the prospective future of our emotional health looks increasingly bleak, and for that reason it is more important than ever to focus attention on the preservation of the arts sector.

The importance of smaller arts organisations can often become overlooked in comparison to the larger issues at hand in the arts industry, and yet these are the places that provide for the artistic and cultural needs of their local communities – communities that deserve the same artistic fulfilment as those more conveniently located in city centres. It is also these organisations that create an essential bridge between amateur and professional, between learning and experience, and between groundwork and achievement.

Even the great economist John Maynard Keynes identified that the arts were not just some ‘dinky thing’ to be enjoyed when you could afford it, but were ‘as important as GDP’ (Today, BBC Radio 4, 9 February 2015). As chairman of the Council for the Encouragement of Music and the Arts (CEMA), later the Arts Council, Keynes played a vital role in establishing the place of the arts as a national social service. His influential contribution to society’s economic well-being instigated recognition of the arts as an important and central part of life.

Whilst we may not need the arts in order to survive, it can be argued that we do need them in order to live. Furthermore the arts are not only an indication of societal development; they are a sign of a successful civilisation. Focusing on the arts signifies progression beyond fundamental survival and demonstrates a higher quality of life – surely an ultimate goal that we all collectively share.

This piece was written as part of my work for Clonter Opera Theatre, and published within an article in The Chronicle Series (The Chronicle, Thursday 23rd April 2015, www.chronicleseries.co.uk).