Tag Archives: Blacher

RIVERDANCE

 

 

Burswood Theatre

 

 

Perth, Western Australia

reviewed by Deanna Blacher

 

Riverdance opened last night to a packed audience in anticipatory mood.

One could feel the expectation shimmering in the air, an expectation  that was, for the most part fulfilled.

 

The cast were in fine fettle , beautifully rehearsed and groomed, dancing with ebullience and an infectious joi de vivre as well as  with a  precision of footwork, par excellence , throughout the evening.

 

Backed by four musicians and a pre-recorded  orchestral score and the Riverdance Singers, this show made for  foot- tapping, thumpingly exhilarating entertainment.

 

The pre-recorded sound at times drowned out the dancers footwork and live musicians.

This would have been nothing more than an opening night glitch that will be surely be adjusted as the season progresses.

 

All four musicians, percussionist Guy Rickarby, violinist Niamh Fahy, piper Eamonn Galldubh and Toby Kelly on saxophone were in top form with Niamh Fahy’s exuberant fiddling in particular that set hearts racing and toes tapping. She strode across the stage as if to the manner born, all the while never missing a note or producing anything less than perfect intonation.

 

Tappers Kelly Isaac and Gilbert L. Bailley II added a touch of humour to the proceedings, while well schooled flamenco dancer Rocio Montoya, with beautifully controlled arm movements and machine gun footwork, added elegance, dignity and a touch of authenticity to the cross-cultural mix.

 

Lead dancers Maria Buffini, Catherine Collins, Clara McGillan, Brendan Dorris, Alan Kenefick, and Padraic Moyles lead a very closely  knit dance corps. Dance director Brendan de Gallai and Dance captain Niamh Eustace obviously run a tight ship – and the results showed splendidly.

 

Set and lighting designs worked well for the most part but I was not enamoured of the open white light , employed in the finale of the first half. All it did was wash out the costumes and faces and leave a somewhat dreary impression on what was actually a stunning dance number.

 

The most effective lighting, music, choreography and costume combo was in ‘Thunderstorm’: scene five in the first half.

On the whole, this was quality family entertainment by dedicated artists and stage crew who have worked hard to give untold numbers of people around the world a spring to their steps and a lift to their hearts.

 

Bravo .

 

 

Keyed-Up recital series

 

 

Zen Zeng (piano) and friends

reviewed by Helen Fintlean

 

This was a Keyed-Up program with a difference, very far away from the standard piano recital format that audiences have experienced over the years. Instead, we saw a host of artists who featured in a program of music and dance from Spain.

 

 

In the first half of the program, Zen Zeng drew on the keyboard repertoire of the Iberian peninsula in works by Albeniz, de Falla and Turina. It was the last mentioned’s Noche de la Feria and La Ofrenda in which Zen Zeng sounded most at home, giving point and meaning to music seldom heard here and  which, in lesser hands, might easily have sounded prosaic. And nimble fingers were a prime focus of attention in Falla’s much-loved Andaluza as they were, too,  in the villainously demanding El Puerto and Corpus Christi en Sevilla from Albeniz’ Iberia.

 

In the minds of most people, flamenco is inextricably associated with the guitar. But in recent decades, there has been a growth of interest in piano music in flamenco style – and here we heard Zen Zeng in her own Solea which fell most agreeably on the ear.

 

In a most resourcefully compiled program, we also heard ace percussionist Steve Richter in duo with Zen Zeng in Camaron de la Isla’s Rosa Maria. I admired the skill with which piano and percussion integrated. It was an offering of considerable charm. Indeed, throughout the evening, Richter’s very real understanding of percussion made his every contribution most appealing.

 

Later, Zen Zeng was joined by castanets virtuoso Deanna Blacher in arrangements for piano and castanets of two of Granados’ most popular Danzas Espanolas. These were highlights of the program which, for those who have attended numbers of Keyed-Up recitals in the past, would have been considerably off the beaten track and opening new aesthetic vistas.

 

In a collaboration between Zen Zeng and Danza Viva Spanish Dance Company, Nicola de la Rosa gave a performance of splendid technical accomplishment, controlled emotion and exceptional grasp of style in a traditional Tangos – and was later joined by an on-form Karen Henderson in a no-less spirited and lively Bulerias. And to conclude the proceedings, something quite unexpected: an arrangement for castanets and piano of Rimsky Korsakov’s much loved Flight of the Bumblebee which brought the house down.

 Zen Zeng

Complexions Contemporary Ballet

 


His Majesty’s Theatre, Perth

reviewed by Deanna Blacher

 Complexions - group shot lr

 

 

 


 

Complexions Contemporary Ballet would have been a largely unknown quantity in this part of the world before its opening night on Tuesday. But anyone coming away from its first performance at His Majesty’s Theatre is unlikely ever to forget it – and for all the best reasons.

 

Led by co-founder and principal dancer,  Desmond Richardson, (who will surely join the ranks of the great American modern dancers of the 21st century) astounded, astonished  and inspired this reviewer. Complexions reveals a strikingly different world of dance, in which hitherto unknown levels of technical accomplishment become the norm.

 

These extraordinary bodies are poetry in motion. What distinguishes them from so many other good dancers is that their technique, all encompassing as it is, remains the servant of their musicality, passion and artistry.

 

Dwight Rhoden, the company’s founder and resident choreographer, could hardly be better served by these very special dancers. Their training allows them to convey the illusion of honey in their limbs, rather than bones, especially the hips. They meet every technical and interpretative challenge head on, sailing through the most complex of  dance vocabulary with the nonchalance of mastery.

 

Highlight of the evening was Desmond Richardson’s unprogrammed solo, Moonlight, which comes across as a distillation, a summing up, as it were,,of everything the company stands for and is.

 

Superhuman control, phrasing, timing, passion, originality and an ability to draw and hold the attention of the viewer add up to memorable dance theatre  in which the whole is greater than the sum of its constituent parts.

 

The opening ballet – Moon Over Jupiter  – to music by Rachmaninoff was for me the most intriguing and satisfying of the works performed on opening night.

 

Athleticism and sheer virtuosity, especially in some very innovative solos and pas de deux , gave this work an edge that was highlighted by the exposed lighting rig in a  design by Michael Korsch.

 

Notwithstanding a view that a bigger stage was needed for the playing out – and appreciation of – the complexities of these splendid choreographies, this production succeeded at every level, especially in the manifold ways in which the music was interpreted, to highlight the various strengths and differences of the dancers. They are made to work as a tightly knit unit, but retain their individuality.

 

An exposed lighting rig featured in all the presentations and seemed to surmount the technical limitations of the theatre’s stage without difficulty, thus adding immeasurably  to the worth of each choreography .

 

In so many-splendoured an offering, it would be invidious to single out individuals for special mention – but it would be ungracious not to mention Patricia Hachey who shone in everything from Rachmaninoff to Billie Holiday and U2, displaying a versatility that was  breathtaking.

 

I noted with interest that the company has in its repertoire the works of other choreographers apart from those of its founder, Dwight Rhoden.

 

Apart from occasional lapses in timing and a sometimes too-loud and distorted sound track, this will be an evening that will be remembered long after the applause dies away.

 

Can we hope for a return visit of this very special company to give us an even broader view of their artistry?

 

Swan Lake on Ice

 

 

The Imperial Ice Stars

 

 

Burswood Theatre

reviewed by Deanna Blacher

 

Swan Lake on Ice, presented by The Imperial Ice Stars, prompted a rapturous, thoroughly deserved standing ovation on opening night at Burswood Theatre.

 

Not knowing what to expect – and a dyed-in-the-wool traditionalist balletomaine of many decades – it was with some trepidation that I took my seat in the sold out house. I need not have worried. Within minutes of curtain rise,  I was transported – and for all the best reasons.

 swan Lake

This was not a contemporary take on Swan Lake in the manner of, say, Matthew Bourne. Nor was it entirely faithful to the original, which would have been an impossibility given the very different techniques of classical ballet and ice skating

 

One was left in no doubt, though, that we were in the company of great artists and great skaters, whether in the leading roles or smaller parts. This production carried no passengers..

 

By and large, the overall story was adhered to, the story made perhaps more plausible in this version. The original 4 acts were played in two, the roles of black and white swans divided. – and von Rothbart acquired a host of attendants.

And the music for the famous, 32 fouette episode ended up as a London Palladium-type duet for Siegfried and Benno !

Swan Lake - red

Highlights were the pas de deux of Odette and Siegfried,  which was  a very beautiful,  part aerial ballet, part skating choreography. And the Pas de Quatre of the cygnets was brilliantly transposed for skaters.The finale of the first half was also a show stopper with von Rothbart left twirling in a ring of fire.

 

All principal roles were well cast with some fine mime from consummate artists.

 

Sets were reminiscent of Tolstoy’s Russia , the costumes and lighting absolutely impeccable.

 

There was the odd wobble in final poses and an occasional fluffed lift but these are small  quibbles , and due, no doubt,  to opening night nerves.

 

Despite being left with some doubts as to the viability of some of the alterations made to the story and the original Tchaikowsky music, this is, overall, a winner and should provide happy hours for everyone, young and old throughout the world. Bravo!