Review – Richard Alston Dance Company, Derngate, Northampton, 5th October 2017

Richard Alston Dance CompanyIt feels like I’ve been watching the Richard Alston Dance Company every year since Diaghilev was a nipper. It’s something I always actively look forward to, and it never fails to make me smile, laugh, go “wow!” or simply admire the quality and commitment of the dancers and choreography. Other contemporary dance companies seem to come and go through the years, but Richard Alston and his happy crew are as constant as the northern star.

What Happens in the SilenceThis year’s programme has one dance that premiered only a couple of weeks ago, another that’s a year old, and another that’s an old favourite, returned to the repertoire after a decade in the filing cabinet. But we started with a curtain-raiser: What Happens in the Silence, a dance specially choreographed by Ihsaan de Banya and Laura Gibson as the final part of a four-month project between Two Thirds Sky and RADC. Twenty local young dancers took to the stage to perform this incredibly exciting, physical rollercoaster of a dance, showing ability and maturity way beyond their years. It absolutely deserved its place on that stage and it was a privilege to see its world premiere! This must have been a wonderful opportunity for the young dancers and I hope that many of them go on to have great dancing futures. The dance itself should also have a life beyond these two nights, as it crackles like electricity.

Richard AlstonOur first Richard Alston dance was Carnaval, and if my maths ‘O’ level doesn’t let me down, this was just its third public performance. The setting is a party where the composer Robert Schumann, accompanied by his wife-to-be Clara, are guests. Schumann had mental health problems, and as a coping mechanism he identified that he had two separate sides to his personality; Florestan, his fierce and wild side, and Eusebius, his calm and reflective side. So in Carnaval, two dancers play the interdependent aspects of Schumann whilst Clara has to manage both of them. During the course of the dance, Eusebius has to calm the aggravated Florestan in order to soothe the atmosphere with Clara; at the end, all three dance together in harmony.

lets jumpVisually this provides a rather amusing portrayal of a menage à trois, while the graceful dancing guests at the masked ball look on at these two men vying for Clara’s attention. Do they see Clara with two lovers, or with one troubled one? That’s part of the intrigue. The music, unsurprisingly, is Schumann’s Carnaval, a tempestuous solo played with expressive attack on the grand piano by Jason Ridgway. The dancers are clad in appropriately contrasting and complementary shades of grey and the whole piece looks both elegant and stormy. Nicholas Bodych brilliantly conveys the unpredictability and passion of Florestan, whilst Liam Riddick gives a typically immaculate performance of serenity under pressure as Eusebius. Elly Braund is superb as the interconnecting Clara, reflecting the various styles of her difficult paramour. I thought it was a beautiful and powerful piece and a great new addition to the repertoire.

ChaconyNext up was Chacony. Where the protagonist in Carnaval had two parts to his personality, this dance is also divided – by two separate musical chaconnes. The first is by Purcell, reflected by Restoration red frock coats and courtly charm, the other by Britten, in post-WW2 austerity and angst; riches to rags, one might say. The first part takes a very formal and charming approach to elegant dancing; the second becomes much more contemporary in feel, full of expression and sadness, but with a hope for something better to come. It’s a fascinating piece, as two very different sets of emotion are produced from two contrasting versions of the same musical structure. All the dancers were on absolutely top form and the choreography provides plenty of opportunities for them to shine individually and also work together superbly.

Gypsy MixtureThe final piece was the resurrection of Gypsy Mixture, which we’d seen twice before back in 2004 and 2007, in the days when Jon Goddard and Martin Lawrance were the stars of the company. The Electric Gypsyland music to this dance is irresistible, and the dancers sway and gyrate to its rhythms and eccentricities with unpredictable delight. Some of those male hip actions and bottom tremblings certainly got the young female dance fans in the front rows whooping with appreciation; because of the nature of this particular dance, that response was perfectly acceptable! The combinations of the dancers worked extremely well in this piece, with Liam Riddick and Monique Jonas providing the ultimate in style, and Nicholas Bodych and Jennifer Hayes nailing it with chic cheek. Jam packed with warmth and fun, everyone created a truly feelgood end to the evening.

RADC 2017The company’s autumn tour has one more night here in Northampton before going on to Brighton, Truro, Bromley and finishing in Glasgow on 23rd November. If you’re looking for creative and eloquent choreography performed with superb technique and genuine love for their art, you can do no better than this company. Already looking forward to next year!

The Edinburgh Fringe One-Weeker 2017 – Taiwan Season: Together Alone, 22nd August 2017

Together AloneNext up is the second of our two dance productions at this year’s fringe, and it’s one of a group of five shows under the heading Taiwan Season. It’s Taiwan Season: Together Alone at Dance Base (Studio 1), at 21:45 on Tuesday 22nd. Here’s the blurb: “’Together Alone talks a lot about how to live together. We tasked ourselves to never let go of each other. That creates huge limitations. It’s just the two of us, but what we experience parallels society: how we deal with people, how we use each other, how we collaborate. Sometimes we help each other, sometimes we are against each other, sometimes we need to negotiate. The relationship is always changing. It has difficulties, it has moments of being smooth, it will change again, but nothing lasts forever’ (Chen-Wei Lee).”

This is one of those brave productions where the performers, Chen Wei and Vakulya Zoltan, are naked on stage throughout. There’s no hiding place with such a show, so I’m expecting it to be very moving and almost brutally honest. Check back around 10.45 pm to see how effective it was. By then the next preview blog should be available to read too.

There’s no doubting that Chen Wei and Vakulya are fantastic dancers and this routine covers many varied moods, not only in dance but in emotions and in the music. There’s a lively sequence when they throw themselves into a big band number and their nudity looks particularly strange – and memorable – against this incongruous musical background. The lighting also plays a very important role in explaining the movements and the contours of the dancers’ bodies. Very effective, very honest and very good indeed. 

The Edinburgh Fringe One-Weeker 2017 – Two Little Boxes, 21st August 2017

Two Little BoxesI’m very fond of contemporary dance and for some reason we’ve only got two dance shows booked this festival, and the first one Really Nice Theatre Company’s production of Two Little Boxes at Emerald Theatre @ Greenside @ Nicolson Square, at 13:50 on Monday 21st. Here’s the blurb: “A wordless blend of mime, clowning, dance and acrobatics, Two Little Boxes is a brand-new piece by Reallynice, exploring the construction of masculinities in young men. Suitable for the hearing-impaired.” Not that informative, there’s much more interesting information about the show if you check their website.

TLB danceThis looks very intense and thought-provoking, so I’m hoping for some well-executed dance and some inventive and intriguing choreography. Check back when it’s finished at around 3.00pm to see what we thought of it. By then the next preview blog should be available to read too.

That was riveting stuff. All the rules of masculinity as played out by the medium of dance. All the aggression, the rivalry, the insecurities, the bravado and the camaraderie; set to an ever changing music track that encouraged the two (brilliant) dancers to explore all their inner depths. Funny, edgy and wonderfully performed. We loved it!

The Edinburgh Fringe One-Weeker 2017 – Party Game, 20th August 2017

Party GameNext up is one of those weird looking shows that always tempt you at Edinburgh, bluemouth inc and Necessary Angel Theatre Company’s production of Party Game, at Traverse at the Wee Red Bar at 14:00 on Sunday 20th. Here’s the blurb: “You are cordially invited to a surprise party. With the guidance of your host and help from the other guests, you get ready for the big surprise – but when it arrives, it’s clear no amount of planning can prepare you for what lies ahead. Accompanied by dance, theatre and music, no two audience experiences are the same in this heartrending exploration of loss and joyful celebration of life. By the creators of Dance Marathon, Party Game is an extraordinary immersive theatrical performance about embracing the unknown.”

Even though I’ve seen the promotional video on bluemouth inc’s website, I still haven’t got a clue what to expect! It looks like we all turn up for a party and unexpected things happen. The dance looks like it’s intriguing though, and my guess is that, if it’s immersive, you’re going to get out of it as much as you want to put in to it. Well, I’m usually game to go along with things! Check back around 4.15pm to see what actually happened. By then the next preview blog should be available to read too.

Well that was… surreal. Plenty of good things – the music was superb, and the cast really worked hard to create a party vibe. If you wanted to participate, there were plenty of opportunities; if you didn’t that was no problem either. I liked the structure and the framework, and everything about the production – except the content itself. I found it a little boring to be honest, a little pretentious and it’s the kind of party I’d probably make my excuses and leave early. Despite the best efforts of the cast, it didn’t really do it for me. 

Review of the Year 2016 – The Seventh Annual Chrisparkle Awards

It’s time again for the whole Chrisparkle team to meet in secret (well, in the living room) to determine who should win the gongs in this year’s annual Chrisparkle Awards. The world of the arts is once again on tenterhooks to discover who will be the chosen few. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 15th January 2016 to 13th January 2017.

Let’s do this thing!

The first award is for Best Dance Production (Contemporary and Classical)

We saw five dance productions this year and this is the top three:

In 3rd place, the exciting return of Nederlands Dans Theater 2 with their unpredictable mixed programme at the Birmingham Hippodrome in May.
In 2nd place, the amazing story-telling and fantastic performances in Drew McOnie’s Jekyll and Hyde at the Old Vic in May.
In 1st place, for the fourth time in five years, the breathtaking programme by the literally unbeatable Richard Alston Dance Company that we saw at the Royal and Derngate, Northampton in October.

Classical Music Concert of the Year.

Of the five concerts we saw in 2016, these are the top three:

In 3rd place, the stirring eleventh Malcolm Arnold Festival, The Voice of the People Gala Concert with the BBC Concert Orchestra conducted by John Gibbons, with soloist Craig Ogden, at the Royal and Derngate, in October.
In 2nd place, Alexandra Dariescu Performs Rachmaninov, a programme of German and Russian music with the Royal Philharmonic Orchestra conducted by Fabien Gabel, at the Royal and Derngate, in May.
In 1st place, the storming Alan Buribayev conducts Sheherazade, with soloist Anna-Liisa Bezrodny, with the Royal Philharmonic Orchestra at the Royal and Derngate, in February.

Best Entertainment Show of the Year.

By which I mean anything else that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Very hotly contended this year so we’re going to have to have a top five – and last year’s winner, the annual Burlesque Show, which, whilst excellent as always, doesn’t feature in the charts this year!

In 5th place, the wacky surrealism of Spymonkey’s The Complete Deaths at the Royal in May.
In 4th place, the supremely inventive and unfailingly polite Jamie Raven at the Royal and Derngate in June.
In 3rd place, another magic act, the brilliant and funny Pete Firman in TriX, at the Royal in November.
In 2nd place, the filthy and hilarious Cinderella, at the London Palladium, in December.
In 1st place, the masterclass of hilarious mime that is The Boy with Tape on His Face at the Royal, in November.

Best Star Standup of the Year.

We saw eleven big-name stand-up comics this year, and they were all various shades of brilliant! So it’s going to be hard to whittle them down to a top five:

In 5th place, the long lasting warm glow of an evening spent in the company of Tommy Tiernan (Out of the Whirlwind Tour), at the Royal in March.
In 4th place, the ever-waspish and never unfunny Julian Clary (The Joy of Mincing Tour) at the Royal and Derngate in April.
In 3rd place, the supremely intelligent and devastatingly funny Dane Baptiste (Reasonable Doubts Tour), Underground at the Derngate, Northampton, in March.
In 2nd place, simply because he finally allowed me to laugh at the Brexit result with all my pain proudly on display, Marcus Brigstocke (Why the Long Face Tour) at the Royal in October.
In 1st place, the woman of the moment, and that’s because she just makes you laugh so much, Sarah Millican (Outsider Tour), at the Royal and Derngate in July.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

As ever, a hotly contested award; now that the JAM Comedy club shows have started at the Ark, comics appearing there are also eligible for this award. From a very very long shortlist, here are the top five:

In 5th place, the infectiously manic stupidity of Steve Best (16th September)
In 4th place, larking around where angels fear to tread, Tez Ilyas (21st October)
In 3rd place, the new prince of high camp, Stephen Bailey (4th November)
In 2nd place, turning a gig into a party, the awesome Jonny Awsum (18th March)
In 1st place, last year’s winner and still unbeatable, Ian Cognito (21st October)

Best Musical.

Like last year, this is a combination of new musicals and revivals; I only saw eight this year but they were (almost) all excellent! Here are the top five:

In 5th place, the wonderful depiction of Latino life in Washington Heights lived to the full, In The Heights, that we saw at the Kings Cross Theatre in December.
In 4th place, the captivating and satisfying revival of Sondheim’s Into The Woods, at the Menier Chocolate Factory, that we saw in September.
In 3rd place, the stunning revival of Funny Girl, at the Menier Chocolate Factory, that we saw in February.
In 2nd place, the show I hadn’t wanted to see, just caught it before it closed, and I’m so glad I did, Bend It Like Beckham, that we saw at the Phoenix Theatre, in February.
In 1st place, because it’s text book in how to stage a show and gives you such a feelgood factor, Half A Sixpence, that we saw at the Noel Coward Theatre in December.

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. An extremely difficult decision, as you have to compare such different genres; but somehow I chose a top three from the eight contenders:

In 3rd place, actually three plays, the extraordinary National Theatre of Scotland production of The James Plays, at the Royal and Derngate Theatre, Northampton in April.
In 2nd place, the brilliantly written and performed The Herbal Bed, at the Royal Theatre, in February.
In 1st place, the hauntingly unforgettable Soul, at the Royal Theatre, in May.

Best Revival of a Play.

Saw ten revivals, all of which were worthy of consideration. Here’s the top five:

In 5th place, the highly innovative and enjoyable reworking of Shakespeare’s The Tempest, co-produced by the R&D and the National Youth Theatre, at the Royal Theatre, in June.
In 4th place, breathing new life into a play that could easily be a little sterile, Harold Pinter’s No Man’s Land, at Wyndham’s Theatre in October.
In 3rd place, the hilarious and brutally honest revival of Terry Johnson’s Dead Funny, at the Vaudeville Theatre, in December.
In 2nd place, Christopher Luscombe’s electric production of Shakespeare’s Love’s Labour’s Lost and Much Ado About Nothing at the Festival Theatre, Chichester, in October.
In 1st place, the production that had me sweating with excitement and exhilaration, the late Howard Davies’ production of Christopher Hampton’s new translation of Henrik Ibsen’s An Enemy of the People, at the Festival Theatre, Chichester, in May.

As always, in the post-Christmas season, time to consider the turkey of the year – the one that stuffed us all as the biggest disappointment was the drabfest that was Breakfast at Tiffany’s at the Curve Theatre, Leicester, in March.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 16 plays in Edinburgh, and here are the top 5:

In 5th place, the elegant and moving story of post World War One England with Aulos Productions’ Lest We Forget (Bedlam Theatre)
In 4th place, the funny and unsettling Partial Nudity produced by Fandango Productions (Monkey House @ Zoo)
In 3rd place, the stunning one-man play set against Cardiff’s nightlife, Saturday Night Forever, produced by Aberystwyth Arts Centre and Joio (Underbelly Med Quad)
In 2nd place, the brilliantly stereotype-challenging Jumping The Barriers by The Courtyard Players (Space on The Mile)
In 1st place, the emotionally charged and truly creative Us/Them by Bronks/Made in Belgium (Summerhall)

Best Individual Performance in a Play – Edinburgh

This was a very difficult choice this year as most of the plays we saw were superb ensemble efforts where you couldn’t (well I couldn’t) identify one particular individual over the rest of the cast. However, I have no hesitation in recommending to you this top three:

In 3rd place, Adam J S Smith for Jumping The Barriers (Space on the Mile)
In 2nd place, Chris Daley for Jumping The Barriers (Space on the Mile)
In 1st place, Delme Thomas for Saturday Night Forever (Underbelly Med Quad)

Best stand-up comedy show – Edinburgh

Thirteen shows but a shortlist of just four gives this top three:

In 3rd place, for the honesty of his material the likeable and hilarious Dave Chawner (Cabaret Voltaire)
In 2nd place, for nailing the Zeitgeist with 10 Things I Hate About UKIP, Joe Wells (T-Bar)
In 1st place, again, the unmissable late night laughter line-up that is Spank! (Underbelly Cowgate)

Best of the rest – Edinburgh
This has been a ridiculously hard choice to make and I have to leave out at least seven brilliant shows that I would happily see again. Still, no one said life is easy. Here’s the top five: (As an aside, I was called out of the audience to participate in three of them!)

In 5th place, for brilliant impressions in a cleverly constructed show, Luke Kempner’s Judi Dench Broke My Heart (Pleasance Dome)
In 4th place, one of the best (arguably THE best) variety line-ups ever assembled and hosted brilliantly, Lili la Scala’s Another F*cking Variety Show (Pleasance Dome)
In 3rd place, the quick-fire inventive sketches that featured me but also Foil Arms and Hog – Doomdah! (Underbelly Cowgate)
In 2nd place, early morning hilarity with a beautifully written and performed subversion of A Midsummer Night’s Dream, Shakespeare for Breakfast (C Venues, Chambers Street)
In 1st place, a truly winning combination of parody, pressure and hot pan, Kev’s Komedy Kitchen (Just the Tonic at the Mash House)

This year’s Edinburgh turkey, which wasn’t as bad as all that, (although it wasn’t that great either) was the two-hander play involving night-club Mafia, The Club.

And now for a new award. This year I have seen many more local productions. They are mainly (but not exclusively) by students at the University of Northampton; but there are also the Royal and Derngate Actors’ Company, the Youth Companies, other local theatre groups and the National Theatre Connections to consider. So this is the First ever Chrisparkle award for Best Local Production – taking all aspects of the production into account.

In 5th place, from the Flash Festival, Infuse Theatre Company’s X or Y
In 4th place, by the current 3rd year students at the University, She Echoes
In 3rd place, again from the Flash Festival, La Zenna Theatre Company’s The Final Cut
In 2nd place, the Royal and Derngate’s Actors’ Company’s production of Market Boy at the Royal Theatre.
In 1st place, the University’s production of Blue Stockings at the Royal Theatre.

Best film

I only saw four last year, and, while I have to recognise the brilliance of I Daniel Blake, personal involvement (including being an extra in it) means I must award it to The Girl With All The Gifts. If you haven’t seen it – See it!!

Best Performance by an Actress in a Musical.

This is where it gets personal. Nine contenders in the shortlist, and here are the top three:

In 3rd place, Emma Williams as Helen in Half a Sixpence at the Noel Coward Theatre in December.
In 2nd place, Devon-Elise Johnson as Ann in Half a Sixpence at the Noel Coward Theatre in December.
In 1st place, Sheridan Smith as Fanny Brice in Funny Girl at the Menier Chocolate Factory, in February.

Best Performance by an Actor in a Musical.

Eight fine performances in the shortlist, producing this top three:

In 3rd place, Tony Jayawardena as Mr Bhamra in Bend it Like Beckham at the Phoenix Theatre, in February.
In 2nd place, Sam Mackay as Usnavi in In The Heights, at the Kings Cross Theatre in December.
In 1st place, Charlie Stemp as Kipps in Half a Sixpence at the Noel Coward Theatre in December.

Best Performance by an Actress in a Play.

Very tough one, this one. Thirteen in the shortlist, but here’s the top five:

In 5th place, Sophie Walter as Prosper in The Tempest at the Royal in June.
In 4th place, Adjoa Andoh as Alberta in Soul at the Royal in May.
In 3rd place, Clare Foster as Cecily in Travesties at the Menier Chocolate Factory, in October.
In 2nd place, Lisa Dillon as Rosaline in Love’s Labour’s Lost and Beatrice in Much Ado About Nothing at the Festival Theatre, Chichester in October.
In 1st place, Katherine Parkinson as Eleanor in Dead Funny at the Vaudeville Theatre in December.

Best Performance by an Actor in a Play.

The most hotly fought for award, with twenty contenders in my shortlist, and I whittled it down to this:

In 5th place, Hugh Bonneville as Dr Stockmann in An Enemy of the People, at the Festival Theatre, Chichester, in May.
In 4th place, Tom Hollander as Henry Carr in Travesties, at the Menier Chocolate Factory, in October.
In 3rd place, Nathan Ives-Moiba as Marvin Gaye Jnr in Soul at the Royal Theatre in May.
In 2nd place, Sir Ian McKellen as Spooner in No Man’s Land at Wyndham’s Theatre in October.
In 1st place, Edward Bennett as Berowne in Love’s Labour’s Lost and Benedick in Much Ado About Nothing at the Festival Theatre, Chichester in October.

Theatre of the Year.

For the second year running there’s no change in the Number one and Number two theatres! Presenting an extraordinary range of drama and entertainment, this year’s Theatre of the Year is the Royal and Derngate, Northampton, with the Festival Theatre/Minerva Theatre in Chichester as runner-up.

It’s been another fantastic year – 140 productions seen in all – and thanks to you gentle reader for continuing to read my theatre reviews. Let’s look forward to another wonderful year of theatre in 2017!

Review – Jiri Kylian, Three Dances, Ballet de l’Opera de Paris, Palais Garnier, Paris, 10th December 2016

Jiri KylianA special occasion calls for a special occasion. As Mrs Chrisparkle was celebrating her **th birthday (and they don’t come much bigger than the **th), we decided to jetset it to Paris for a long weekend of culture. And Disneyland, of course. We’ve been to the Phantom’s Own Palais Garnier a few times over the years and even though I’ve attached a few photos, they really do not do it justice. It is just the most stunning theatre in the world. You could be in Versailles. Palais GarnierIt’s so chic that it doesn’t have a bar per se, just irregularly positioned tables with someone dispensing glasses of Taittinger for 12 euros a neck. One of the splendid things about a programme of three individual ballets is that there will be two intervals, each perfectly champagne-sized. Including our pre-show drink, we got through three glasses each; that’s 72 euros spent on divinely spoiling ourselves. Well, we’re worth it.

One of the ceilingsJiri Kylian has long been a choreographer to admire. I first encountered his work when seeing Rambert and NDT2 at High Wycombe in the mid-90s; and, in fact, we saw one of the three dances in this programme, Tar and Feathers, in 2007 when NDT1 were performing it at Sadlers’ Wells. He’s always been daring, stylish, funny and unpredictable; never one to create a piece that you can predict how it will develop, One of the halls you’re always guessing where he’s going to take you next. The programme is satisfyingly structured to the tried and tested formula of Dance 1: accessible, straightforward, enjoyable; Dance 2: difficult, challenging, unpredictable; Dance 3: crowd pleasing, funny, lively. Each dance was originally created for Nederlands Dans Theater.

bella-figura-2The first dance on offer was Bella Figura, created by Kylian in 1995, and which first entered the repertoire of the Paris Opera in 2001. This is a stunning piece of work on many levels. Primarily, you get an overwhelming feeling of balance and beauty. The dancers move exquisitely, with steady control, to a tender baroque soundtrack, radiating elegance and refinement. Kylian takes you by surprise with the sequences where the dancers appear topless, both men and women, all dressed similarly in billowing red skirts, creating a surprisingly asexual and uniform tableau. The semi-nudity is a great leveller,bella-figura making all the dancers appear remarkably similar. The other surprise element in the staging is how the curtains take on a life of their own and create smaller box-like dance spaces on the stage. This gives you a feeling not only that your gaze is being drawn specifically to what Kylian wants you to see, but also that sensation that you are being deprived of seeing other activity elsewhere on the stage. Both unnerving and reassuring at the same time. Suffice to say, it was performed with immaculate class and sheer delight throughout, and Dorothée Gilbert and Alessio Carbone were simply superb.

tar-and-feathersThe second dance – Tar and Feathers – was choreographed by Kylian in 2006 to Mozart’s ninth piano concerto and is both spellbinding and unutterable nonsense at the same time. Skirts made of bubble wrap; a piano standing on stilts loftily in the air; dancers who occasionally break their silence by barking like a dog. Les Ballets Trockadero de Monte Carlo would love it. Plenty of slow, deliberate walking across the stage; and there is some significance in the fact that one side of the stage is coloured black, the other white. On the black side, dancers peer curiously under the floor covering to find – who knows what? They don’t seem to find anything, but sometimes they just like to stay there, protecting themselves from the outside world with lino. The dance ends with one of the dancers walking, tentatively, over a mountain of bubble wrap, cringing each time she steps and makes a cracking noise. All thoroughly weird and beyond comprehension. And also, there wasn’t a lot of what you’d call dance in it – a lot of posturing, a lot of silence, a lot of awkwardness, but not much actual dance. Yet again, it was performed with such style and grace that you can’t help forgive it its nonsense. Well, I forgave it. The rather grumpy man to my right refused to applaud.

Symphonie de PsaumesThe final dance was Symphonie de Psaumes, with Stravinsky’s music of the same name, composed to celebrate the Boston Symphony Orchestra’s 50th anniversary in 1930. Jiri Kylian created the dance in 1978 and it’s an absolute crowd-pleaser. Rich looking oriental and Indian carpets hug the back wall of the stage to present a warm sea of reds and oranges, whilst on the ground dancers dressed in black and grey walk and dance in formation across a square surrounded by chairs. Waves of dancers criss-cross the stage, picking others up and dropping others off in their wake, like some human knitting pattern on a huge machine as they work towards a distant inexorable goal. It’s mesmeric to watch and full of beautiful and invigorating dance moves. The audience absolutely loved it.

The production continues in repertory at the Palais Garnier until 31st December – a rewarding and most refined evening.

Production photos by Ann Ray. Theatre photos by me.

Royal and Derngate Theatres Northampton – Happy 10th Anniversary!

10th anniversary partyIt’s been ten years since our spiritual home at the Royal and Derngate Theatres re-opened after their redevelopment, and the Derngate auditorium was born. In those dark days of 2006 we were strangers to Northampton, gentle reader, so I have no recall of the impact of the new complex at the time – although I bet it was major.

FactsYesterday they had a bit of a party to celebrate ten years of achievements – artistic, educational, community-based; and to look forward to the next five years with some special projects they’ve got up their sleeves – more of which shortly. But it was really enjoyable to wallow in the memories of some of those great Made in Northampton productions that Mrs Chrisparkle and I have been privileged to see over the last seven years that we’ve lived locally: the Ayckbourn season (before I started blogging); the brilliant early Tennessee Williams and Eugene O’Neill plays Spring Storm and Beyond the Horizon; the Broadway-transferring End of the Rainbow; the haunting Duchess of Malfi; the hilarious Diary of a Nobody; the stunning Bacchae; the uproarious Mr Whatnot (so funny that we had to book to see it again the following day); the incredible impact of The Body of an American; the gripping King John; the challenging Brave New World; and dozens more besides. The associations with Spymonkey, Figuresthe Royal Philharmonic Orchestra, Richard Alston Dance Company. The annual Malcolm Arnold festival. Great musical productions like Oklahoma and Fiddler on the Roof. All the comedians. All the Screaming Blue Murders. The brash and colourful Derngate pantos and the enchanting Christmas plays in the Royal. On top of all this, there’s the creation of the Errol Flynn Filmhouse, No 1 in Northamptonshire’s Fun and Games choice on Trip Advisor. I could go on but it would be self-indulgent.

Facts and figuresAs you would expect, they’re not sitting on their laurels (although they’re continuing to accumulate them at quite a rate.) Plans for the next five years include creating a brand new cinema complex in Daventry – learning from the whole Errol Flynn experience (which is the most comfortable and grown-up cinema I’ve ever experienced; a new school for Northampton which places cultural and creative learning at its heart; and, (and this one excites me the most) being part of a consortium of greats to commission new music theatre, ranging from opera to musicals, to be presented in a festival format using a brand new portable venue called The Mix, which can seat between 200-400 and can pop up in situ in a matter of 48 hours. I’m very excited to see how that evolves. I’m reassured to know that they’re not losing sight of their core activity either and the new programme for next year’s Made in Northampton gems will be coming out in a few weeks – can’t wait.

PartyTo everyone who works at the Royal and Derngate, you play a part in creating the most welcoming and invigorating hub of artistic pursuits and pleasures. We moved into Northampton at the end of 2008 but I don’t think we’ll ever be able to move out – I just can’t imagine not having the R&D on my doorstep. You’ve spoiled us, Mr Ambassador! Royal and Derngate Theatres – so good they named it twice. Here’s to the next five years, ten years, and happy ever after.