Sadler’s Wells, Peacock Theatre, London
June 2012

By Lara Bianca Pilcher.

The theme of this British-Asian musical is “Britain meets Bollywood”. You could translate “Wah! Wah!” as how some Indian audiences express their joy at something they see or watch instead of clapping.

The musical as a whole still has a lot of development needed to be a raving West End success. The Indian classical choreography was the show’s strongest feature. The musical’s most captivating sections were when the story was looking back in time and using the traditional Indian dance styles.

The choreographers, Javed Sanadi and Gauri Sharma Tripathi have, with a team of creatives, pioneered something new for the stages of London. After the success of Bollywood films with large, colourful dance sequences, I’m sure this musical can continue to develop and be a greater success in the future. The general consensus is that it’s not quite there yet.

The storyline in summary, is that Bindi (Rina Fatania), an East Londoner, humorously sits down to watch television. On the TV (a scrim screen), a Bollywood dance begins, and the story emerges of a struggling Indian dance club run by Soraya (Sophiya Haque). Sophiya Haque was delightful to watch and clearly has dance training. She was a dancer that poured passion and fire into the choreography and was captivating as she moved seamlessly. However, the proportion in the cast of trained dancers to non-trained dancers was few and I would have liked to see more skill in the lines and shapes the company created as a whole. This is a difficult task to fulfil due to the cast needing to be Indian Asian looking, with professional singing and acting ability and the skills to dance Indian Classical and Bollywood dance styles. This is particularly difficult when the forms of dance involved in this show are deemed non-technical by western standards, but they need to please the western dance educated audience of Sadler’s Wells. I feel that Wah! Wah! Girls needs a sharper dance work as a whole that demonstrates a higher technical level within the dance styles on display by using more skilled dancers in the cast.

The story continues with the character Sita (Natasha Jayetileke) arriving from Leeds and falling in love with Soraya’s son Kabir (Tariq Jordan). 17-year-old Sita is on the run from her controlling big brother, and hides in the dancing club run by Soraya (Sophiya Haque), a former mujra dancer (traditionally a courtesan who dances for wealthy patrons). Soraya begins to battle it out with the new ways of dancing presented by Sita. This ‘dance off’ between the two was full of street dance mixed with Bollywood and Indian Classical, and although highly entertaining, could be further developed.

I would love to see this musical revive itself in future years, having implemented the constructive feedback reflected in the many reviews across London. It wouldn’t be the first British musical to not have a hugely successful first run but still go on to do hundreds of shows in its second run.

Photo source: www.sadlerswells.com/show/Wah-Wah-Girls

Sadler’s Wells- Peacock Theatre, London
November 2011

By Lara Bianca Pilcher

Some Like It Hip Hop is an original and highly entertaining dance theatre masterpiece that is fun, fun, fun! This innovative production showcases company founder Kate Prince as the director but also as lyricist, co-choreographer and co-writer.  

ZooNation attracts an audience to the theatre that is varied from long time dance lovers and children to even those who usually just watch MTV; attracted to commercial music and dance.

Many children were in the audience. It’s so refreshing that founder Kate Prince has made a family friendly show that will encourage many children to pursue the arts. The stereotypes of hip hop being violent and overly sexualised are broken and hip hop is portrayed in a way that creates a safe show for anyone to come and see.

The story hooks the audience in, continually introducing more dance characters and further evolving others. The live song and acting moves the company from a dance only company to a revue.

The number ‘Invisible Me’ was like a hip hop version of Chicago’s ‘Mr Cellophane’, showing an oppressed character.  It demonstrates how hip hop dance can be fused with music to further evolve the dance narrative and allow dance to be a much more communicative theatre language. 

I’m a big fan of clean comedy (believing that it takes more skill than reverting to toilet humor) and there are so many moments to make you smile. Natasha Gooden’s doll like face is simply delightful as the dance character ‘Oprah Okeke’. The dancers’ faces and acting skills move them beyond dancers alone into true performers.

The lighting design by Johanna Town, is intricately designed and sets by Ben Stones are well integrated. The sets are as big and transformable as any top West End musical. So often dance is executed on a rather empty and bland stage but not in this show, the sets move and are constantly changing. There is never a dull moment.

The music by DJ Walde and Josh Cohen is original, enhancing the dance communication. There is a symbiotic relationship between the movement and music, true to the foundation of hip hop in the 1970s in Bronx NYC. 

The big numbers at the end are a bonus and the whole cast, including the vocalists each have a short freestyle solo, reminding us of the spontaneous and competitive nature of street dance. Many of the performers move with explosive speed and risky air-born lifts and flips. The show is simply invigorating.

Sadler’s Wells
March 29 2011

By Lara Bianca Pilcher

Living in London has the artistic advantage of seeing a constant stream of dance shows and premieres, with the latest Sadler’s Wells debut being BalletBoyz, The TALENT. This explosion of nine male dancers was exceptional and a unique display of male strength, grace and vigour.

The BalletBoyz performance interestingly had little to no ballet in it. BalletBoyz, in its 10^th year, has developed over time into an eclectic mix of a variety of dancers from very different backgrounds. The show was very much a contemporary dance performance and we enjoyed three very different dance works.

We were shown a short DVD and I particularly enjoyed the behind the scenes look at the audition and company building process. It introduced the dancers to us, and by doing so, we saw their human side and could laugh at some of their embarrassing and less serious moments.

Balletboyz perform Alpha. Photos: Hugo Glendinning

The TALENT began with Russell Maliphant’s choreography ‘Torsion’. This was an all denim, all male, balance between grace and strength that was truly mesmerizing due to its  masculinity within very intimate physical contact choreography. The dancers were like brothers and in no way were the lifts and constant connections through touch in any way sexual.

‘Alpha’ was the second work created by Paul Roberts. The costume design by Shelina Somani was breathtaking. The men were in earthy tones and bare chested with open tops that floated like silk. Each male was so different in appearance and dance quality. Watching young Portuguese dancer, Miguel Esteves, was like watching honey trickle off a spoon. He had a way of making each movement seamless, effortless and as smooth as the silk they were wearing. Work like this certainly ensures the success of this company.

The final work choreographed by Jarek Cemerek entitled ‘Void’, was set in the London streets. The use of background film upon a large scrim with lighting by Andrew Ellis was riveting. This work had mystery and a story intertwined. What would a performance of all males onstage be without a fight scene or two? There was no void of fighting here. However, I did feel that the work could be further developed and it at times looked mainly improvised. 

BalletBoyz were fearless. I found myself guiltily thinking, ‘I’d be quite happy to only watch male dancers for the rest of my life’! It truly is a rare gift to see an all male show of this calibre. BalletBoyz obliterates any stereotypes of male dancers as being weak or feminine!

Aotea Centre at THE EDGE, Auckland
July 8^th  

By Grace Edwards.

Set to Georges Bizet’s energetic score, The RNZB’s latest production of Carmen is a contemporary adaptation of the opera, which was premiered in 1875. This version is set in the heat of Rio de Janeiro, but the plot is essentially that of the original: Carmen, a sexy and rebellious cigarette factory worker, exercises her powers of seduction upon the hapless José, whose life is forever changed for the worse. The tragic ending is played out in the seedy Bar Pastia.

Orchestrator John Longstaff compensates for the absence of singers with solo instruments that capture the vocal qualities of the operatic arias, among them the well-known Habanera and Sequidilla. Thanks to the impeccable timing of the Auckland Philharmonia Orchestra, who make light work of some tricky but crucial transitions, even love rival Escamillo’s rock star turn in this adaptation makes musical sense.

Didy Veldman’s choreography does not replicate nor ignore the score; instead it engages it in a musically intelligent and dramatically satisfying dialogue. Inventive lifts and seductive gestures are married with classical vocabulary and comic timing in a sound alliance, which the dancers embrace with admirable gusto and dramatic flair.

The pas de deux scenes between José and his forsaken fiancée Micaela are beautifully handled, and the love-making scene between Carmen and José proves the highlight of he evening. The sexualised masculinity of Escamillo’s rock persona proves an intriguing match to Carmen’s own heightened sexuality, though Carmen remains the true power-broker in their relationship. Though some of the male corps de ballet scenes, in which the men play gangsters clad in leather jackets with shades and mobile phones, are somewhat cliché, the dancers’ sense of fun partially rescues them.

Michael Braun as Jose and Pieter Symonds as Carmen

It is with regret, that due to my time constraints, it was not possible to view the opening cast, which featured dancer Abigail Boyle in the lead role. Guest artist Pieter Symonds captured Carmen’s aloofness well and there was good chemistry between the two leads, which is to be expected in a dancer of Symonds’ calibre. Referring specifically to the portrayal of Carmen, however, a greater articulation of the limbs and freedom of movement would have lifted the interpretation to an even higher level.

Overall, the RNZB’s Carmen is a production of which the company can be proud. Whilst it is not as cutting-edge as some would like, it does maintain an invigoratingly contemporary aesthetic without sacrificing the essence of the original or indeed the appeal of classicism. The RNZB should be applauded for offering its audiences the chance to experience works beyond the classical canon.

The Royal New Zealand Ballet’s Meridian season of Carmen has now finished. However, the company will be crossing the ditch in August to present Romeo and Juliet. The dates and venues are:

Canberra – Canberra Theatre Centre
Tuesday August 10^th – Saturday August 14th

Wollongong – IPAC
Tuesday August 17^th – Sunday August 22^nd.

For more information visit: www.nzballet.org.nz

London Palladium.

By Nicole Saleh.

A trip to London is incomplete without a visit to the West End theatre district. The West End is home to timeless musicals including Chicago, Oliver! and of course Les Misérables which has achieved a record breaking 21 years on the West End stage! To compete with these classics is a new wave of musical theatre. Popular movies such as Dirty Dancing and Billy Elliot have been successfully translated from screen to the stage and are designed to appeal to mainstream audiences. The latest of these musicals is the fun spirited Sister Act that had its world premiere at London’s Palladium Theatre in June 2009.

Sister Act is a divine musical comedy about the power of sisterhood. It follows lounge singer Deloris Van Cartier, who by accident witnesses a murder and is put into a police protection program. To keep her from harm, she is relocated to a place where nobody will think to look for her… a convent! Assuming the alias of Sister Mary Clarence, the fun begins in seeing Deloris embrace this foreign and new way of life, slowly forming friendships with the nuns. Not only does she nearly blow her cover when she transforms the choir with her unique musical style, but she also discovers the real power of sisterhood.

If you ask me, what I remember most about the movie Sister Act, which first screened 16 years ago, it would have to be Hollywood superstar Whoopi Goldberg dressed as a nun on the run. Whoopi was the key ingredient that made Sister Act a blockbuster hit. I wondered how the creative team would be able to replicate the magic of Whoopi on stage? Firstly, they invited her to assume the role of producer of Sister Act The Musical, and gave her creative involvement in the show. Secondly, they found an amazing talent in American Patina Miller who brings to life on stage the character of Deloris/Sister Mary Clarence with her own unique strength and youthful vitality. Patina’s vibrant stage presence, essential comedic timing and diva gospel voice, deliver a captivating and believable performance whether as a lounge singer or a nun in disguise.

Adding to the dramatic impact of this musical are the magnificent sets designed by Klara Zieglerova. The stage morphs from a nightclub to a convent and church. The audience were in awe and amazement of the oversized floor to ceiling statue of Mother Mary surrounded by technicolour stained glass windows. This combined with the retro razzle dazzle of Anthony Van Laast’s choreography of 18 nuns in a chorus line, singing and kicking up their heels in their glitzy colourful habits is a memorable sight to behold!

Driving the storyline is the music of eight time Academy Award winning composer Alan Menken. In conjunction with lyricist Glenn Slater they have developed a collection of 70’s inspired ballads, jazz, gospel and disco songs which are performed on stage by a wonderfully talented cast.

Sister Act the Musical is a testament that blockbuster movies can have a life beyond the screen. With its West End season only in its infancy, Sister Act has the right combination of talent, musicality and creativity to attract audience praise.

For more information visit www.sisteractthemusical.com

Napier Municipal Theatre, NZ
September 2nd 2009

By Rain Francis.

The evening opened with August Bournonville’s Dances From Napoli, taken from the third Act of his 1842 ballet, Napoli. The full length ballet was choreographed after Bournonville had visited Naples and been moved by the ‘local colour and vibrancy of a city in constant movement’. This brightness and energy is certainly captured in the choreography.

In this excerpt, none of the story of the full-length is retained, and we are left with a series of sprightly divertissement. Without sets or storyline, this becomes a platform to display fine technique and virtuosity.

My calves practically burned in sympathy with the company! Bournonville is well known for his use of ballon, and this ballet is the perfect example, with its feather-light allegro. The footwork was quick and fluid, however some of the most stunning moments for me were that of stillnesses as the dancers returned to fifth position in a flash, often with barely perceptible demi-plie.

Lucy Balfour in the Tarantella best embodied the Italian spirit. Her dynamism and her conviction stole the stage! In the Pas de Six, Alayna Ng shone. Her technique was faultless and her performance warm and generous.

After the first intermission came La Sylphide itself. The sets for both acts (on loan from the Australian Ballet) were magnificent.

Jacob Chown handled the role of ‘James’ admirably. His technique is solid and his pirouettes (also standing out in Dances From Napoli) were impressively controlled and consistent. Brendan Bradshaw brought a very natural sense of comedy to his ‘Gurn’, and was technically excellent.

The Scottish reel was a high point; well-rehearsed, colourful and jubilant. Young guest Emily McLaren did a great job as ‘Fiona’, keeping up with the frantic footwork and changes of direction.

Katie Hurst-Saxton was lovely as ‘Effie’ and it was a shame we didn’t see more of her during the evening!

The third Act opened with the witch ‘Madge’ and her minions dancing around a bubbling cauldron, complete with wonderful props and special effects. Sir Jon Trimmer as ‘Madge’ was, as ever, an absolute treat. He was the highlight of my evening.

As the tabs opened on the enchanted forest scene, the audience’s delight was audible. Fraser’s décor and Jon Buswell’s lighting created the perfect Romantic mysticism.

Tonia Looker as the ‘Sylph’ ticked all the boxes; seemingly weightless, at times mischievous and finally tragic. She has a wonderfully expressive face.

La Sylphide is one of the few Romantic ballets which remains largely unaltered from its original form. It is fantastic that it is still being passed on down the generations and the RNZB (with the help of ex-Artistic Director, Matz Skoog) did a great job of continuing this legacy. I think Mr. Bournonville himself would have been proud!