Low DownNew ballet from the Northern Ballet Theatre whose narrative work is legendary. Based on Charles Dickens' classic novel A Tale of Two Cities choreographed by Catherine Marston with a new score by David Maric. ReviewA Tale of Two Cities is a story tale: a wonderful uplifting tale of love, courage and self-sacrifice, of arrogance and privilege, of hatred and violence, set against the imminent storm of revenge and bloodshed of the looming French Revolution. A tale told as only Dickens could tell it – in words: the Northern Ballet Theatre, masters of narrative ballet, grasp the baton and retell this classic tale through movement and music in their own accomplished way. One of the proudest jewels of the North of England, NBT have been story-tellers par excellence since their founding, 40 years ago by Christopher Gable., and their new offering, A Tale of Two Cities, adds another jewel to their crown. This latest production, under the artistic direction of David Nixon, is choreographed by Cathy Marston with the collaboration of Edward Kemp (dramaturge/scenario). It is a superb piece of work and clocks up yet another little masterpiece for NBT. Cathy Marston’s choreography is detailed, imaginative and expressive. Much work must have been done in rehearsal on characterisation, for we see truly motivated and convincing performances not just from the leading protagonists but from every member of the corps, to the last citizen, sailor or lawyers’ clerk. Everyone in this Company gives 100% of their focus and energy, not just to their own performance but to the wider ensemble of which they are a part. The pure technical quality of this Company is second to none in the Country and places NBT as not just the ‘jewel of the North’, but a National treasure as well.
Of course the reduction and compression of such a long novel means the loss of some of the subplots of the original, but this is a new creative work in its own right and to have retained the essence of the original so successfully – is an achievement in itself. The story is presented with clarity, with nice touches of humour, and trenchant social comment. The detail is telling – a loaf of bread illuminates the social conscience of Gabelle ( Hironao Takahashi); one gesture behind the back of the Marquis St Evremonde (Steven Wheeler) with her sharp knitting needles is all we need to know about the murderous hatred of Madame Defarge (Martha Leebolt); the disrespectful ‘ hands in pockets ‘ of Sydney Carton( David Ward) rebuked by his colleague Mr Lorry (Michael Berkin) gives Ward the journey he needs to travel from irresponsible hedonism to self-denying self sacrifice in favour of his friend, Charles Darnay (John Hull).
From the moment when the Curtain first rises and we encounter Dr Manette (Darren Goldsmith) in his prison cell, it is clear this is going to be a special production: Goldsmith tells his story with every fibre of his body in the most economic and sensitive way. At first he is nailing his message into the heel of his shoe: a simple action but the tension in his body tells us so much more: his is a masterly performance throughout. Soon we are introduced to the sharply angular aggression of the Citizens, and the needle knitting ‘tricoteuses’ send a chill down the spine. This is contrasted with the arrogant aristocratic elegance of the Marquis St Evremonde immaculately played by Steven Wheeler (as indeed Wheeler’s performances are always the epitome of precision) in a costume exuding well-cut luxury. The costumes designed by Jon Bausor are totally character-apt, of superb quality and obey and enhance the demands of Cathy Marston’s fluent and challenging choreography. This is an uncannily smooth and silent production – trucks slide in and out with noiseless ease and it is possible to concentrate on movement, music and picture without the distraction of thumping effort from an over-burdened stage management. It is like watching a film with the sound turned off. Jon Bauson is also responsible for the settings which are minimalist, evocative and spacious.
A cheeky and witty picnic scene (cheeky as it is a non- Dickens creation; witty because no sooner has a blanket been laid on the ground, a basket been placed on it and a blossoming tree branch been flown in and ‘picnic ‘ been instantly materialised, than it is rained off by a typical English shower! Lucie Manette (and what a very special performance here from Georgina May) is thus deftly left alone to share an umbrella with Charles Darnay (John Hull). In the pas de deux which follow as naturally as the shower which washed away the picnic May is well partnered by Hull, and with envy (and without hope) by the charismatic David Ward (Sydney Carton). A great opportunity is created naturally by the English weather and May brings the love story to life with passion and warmth and grace. Ward - who from the outset is magnetic in his stillness and confirms, as each scene unfolds, his considerable acting ability - reveals with subtlety that he will never ultimately win her favour. He thus skilfully sets up for himself his reformation and ultimate self-sacrificial generosity. What greater love is there than this – to lay down one’s life for a friend’s happiness? His route to the guillotine is the sweetest short-cut ever and makes total sense.
Not only is the guillotine sharp: the scythe- like movements of Leebolt’s Madame Defarge almost made the guillotine unnecessary! A very strong performance and one had pity for any aristocrat crossing her path: her revengeful hatred of aristocrats was in her every move. A sequence of subtly staged flash-back to childhood of her own personal reasons for hating the aristocracy gives added depth to her motivation.
Tellson’s Chambers allowed England to mother a memorable, neatly performed and amusing ensemble scene in which desk lids and ledgers provide entertaining percussive punctuation to a fast moving and intricately choreographed interaction of dancers and desks. To turn the saying that “there are no small parts only small actors” on its head, “with NBT there are no small dancers only longer roles”
In a programme note an interesting point is made about the individuality of our finger and palm prints: while this was a valid and meaningful point, probably helpful at the rehearsal stage and visually effective in its application as a movement motif, I think without the help of the programme note I might have been forgiven for not fully appreciating is significance.
The original score by David Maric is very good indeed: atmospheric and varied in style - at one moment sweetly easy on the ear, at another starkly ominous and atonal as the Revolution approaches. The aristos perform impertinent courtly dances in satin ignoring the fact that they dance in shadow of the guillotine; the Marquis St Evremonde is lynched to the discordant chords of revolution.
Sydney Carter’s final moment of self-realisation on the guillotine as he regards his hands is movingly described by Ward. A little like Dorian Gray in reverse - the irresponsible and selfish lines of youth have disappeared and the innocent hands of the Saviour have replaced them. Even if not fully clear throughout, the hand-motif is very touching here and provides a moving end to an exciting well told tale.
Reviewed by RF OCTOBER 3RD 2008 Website :n/a |
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