Having recently finished Gillian Lynne’s atmospheric autobiography, A Dancer in Wartime, it seemed apt timing as last week I immersed myself in Northern Ballet’s A Midsummer Night’s Dream – set around a 1940s touring production of Romeo and Juliet. This ‘ballet within a ballet’ also seems a fitting plot device for a company so committed to touring frequently and as widely as possible.
Lynne writes in her autobiography about the shortage of male dancers during the Second World War and the diversity of talent that this generated – dancers that weren’t technically brilliant but were consummate performers and exuded stage presence. Diversity is an ethos that Northern Ballet seems to embrace. They aren’t a cookie-cutter company, and each dancer brings something unique to their performances. The diversity of the company, and the strength of their ensemble, makes Northern Ballet productions alive with a character often lacking from companies such as the Royal Ballet.
A Midsummer Night’s Dream really allows the dancers to act – Act 1 features minimal dancing, with a strong emphasis on scene setting and storytelling (and even some dialogue). As I’ve come to expect from Northern Ballet productions, the David Nixon choreography was inventive, eloquent and witty. A rehearsal video showing the dancers improvising dialogue, establishing the emotions and intentions of their characters, perhaps explains why Northern Ballet’s choreography is so articulate and its dancers so expressive.
Kenneth Tindall and Martha Leebolt gave excellent performances as Lysander and Hermia, but Tobias Batley and Pippa Moore really stole the show as comedy double act Demetrius and Helena. Nicola Gervasi also brought a delightful mischievous energy to the role of Puck.
Unfortunately I was sat in front of the kind of elderly audience members who give a stream of consciousness commentary to their lives. Before the performance started I was treated to a range of overheard pearls of wisdom: they were very concerned about the future state of one dancer’s hips as he performed some particularly impressive stretches, and I learnt that one apparent upside of Alzheimer’s is the ability to watch old productions with a fresh perspective.
Once the performance had started it did get rather wearing. The set was indeed ingenious, but comment could probably have waited until the interval. They particularly enjoyed the Act 2 ‘dream’ sequence – finding the underwear, cross-dressing and casual bestiality hilarious. I have to agree that while the whole ballet was strong, Act 2 stood out as a sublime mini-ballet in its own right. And by the interval the ballet had obviously grabbed the imagination of one little girl as she skipped and pirouetted down the aisle.
The general atmosphere was of energetic enthusiasm, and it clearly wasn’t a staid balletomane audience – we had to be repeatedly prompted to applaud the conductor at the start of each Act (I still don’t get why the orchestra gets a special round of applause just for making it to the theatre) – but there was much whooping and cheering at the curtain call.
This is one of the strengths of Northern Ballet – its ability to attract regular loyal audiences but also to diversify away from the traditional ballet audience. Northern Ballet’s Dream is touring into 2014 and I’d highly recommend it!