Class

I regularly blog about performances and special classes, however perhaps I have overlooked the beauty of a regular class. To dancers, a daily class is vital; to keep our bodies supple and agile, but also for the joy of dance. I do find it frustrating that at least five hours a day during the week I am expected to attend academic school; I walk to school listening to ballet music, visualising the enchainements, and as such, feel very stifled when I have to endure a lesson on poetry, when I just want to dance! But in the evening, when I take class, it feels as if my day is just beginning.

 I particularly enjoy Thursdays; I have an hour and a half of pointework, followed by an hour of Intermediate ballet, and a further hour and a half, of Advanced 2 ballet. I love how, in the space of four hours, I explore every aspect of classical technique, from the simple beauty of single pirouettes en pointe, to the new, challenging steps such as gargouillades and double pirouettes in attitude or arabesque. Even though a full day of school followed by 4 hours of ballet can be tiring, being in class is the time at which I feel most alive; I have done the Intermediate class for a few years so I know every intricate detail of the syllabus, yet the class is far from boring, there is always a new nuance to find in the music, or a different dynamic to the steps. In contrast, the Advanced 2 syllabus is still quite unfamiliar, yet it feels amazing to dance.

One of my other classes, is the Classical Award 2 IDTA syllabus. In my private lesson on Tuesday, my teacher spoke to me about that class; she said that since I joined, the other girls have paid more attention, she thinks they envy me, they are working harder because they admire my dedication and ability in dance. I felt surprised yet completely honoured to hear that, it is the most incredible thing to know that I have inspired people, that they watch my work in class and it makes them want to work harder.

Its hard to explain to a non-dancer why we dance, why we consistently work, why every atom of our refined, graceful physique longs for that surreal moment, when we can do what makes us happy in the way that nothing else can. There’s just something incredible about how when music and movement reach their perfect fusion, and the body is challenged yet comforted by the movements. Perhaps only dancers will understand; the feeling that I am trying to describe is that of the exhilaration in double pique turns, the perfect second of poised stillness as an arabesque penche reaches its peak, even the long-awaited catharsis, the sense of relief and release to be dancing, that comes with an exercise as simple, as ritualised, as plies at the barre. I suppose that as I have grown older, I have learnt that it isn’t just performances that are special; every class is a unique phenomena, we are given the gift of knowledge and skill, to refine our art, to achieve and accomplish, and that is a gift for which I am so grateful.

Swan Lake

Having already been thoroughly inspired by the School of Ballet Theatre UK’s Open Day, I was very excited to see the company’s newest production, Swan Lake. I wasn’t expecting it to be a replica of the traditional Bolshoi version, I knew there was going to be something unique- but the intricate plot twist and creative character interpretations were more phenomenal than I ever imagined possible. The overture began, and the theatre seemed to shiver in anticipation; we knew that we were going to be treated to a stunning performance by, what I consider to be, one of the best touring companies in the world.


The curtain opened, to reveal a backdrop of silhouetted trees, glimmering with white moonlight, hinting at a serene, secluded lakeside scene that was both eerily still yet breathtakingly beautiful. Natalie Cawte, in her portrayal of Odette, displayed an incredible sensitivity and vulnerability in her first pas de deux with Prince Seigfried, played by Vincent Cabot. His sissones de cote had an extraordinary level of ballon, and his tours en l’air were immaculate, portraying a great deal of technical accomplishment as well as artistry. The choice of costume was fascinating; Natalie wore a simple white dress, showing her as a young maiden, before she was destined to live as a swan. Traditionally, Odette and Odile are portrayed by the same dancer, making it one of the most challenging roles in the classical repertoire.


However, Clair Corruble, as Odile, joined the scene, her perfect extensions in arabesque penche and grands battements giving a definite sense of authority and assurance. Clair seemed to be the perfect casting choice for Odile; the character was interpreted as sly and feisty yet not as villainous as the traditional Odile, as she was subtly, enchantingly beautiful, enticing the audience to fall in love with her precise lines and stylised movements. In the traditional version, Odile is Von Rothbart’s daughter, who willingly agrees to manipulate the Prince, so as to keep Odette traped under the curse. However, in this spectacular version, tradition was broken away from, to form a new, thought-provoking dynamic. Von Rothbart told Odile of his plan, and she was horrified. Her reluctance to comply led to Rothbart becoming intimidatingly violent- threatening to kill her, showing Rothbart’s definite status as a particularly merciless villain. This violence created a sense of ambiguity; as Von Rothbart didn’t blatantly mime ‘Kill, Swan’, but instead simply mimed death- did he mean that he wanted Odile to lure Odette to be killed? Was he threatening to kill her for not complying? Or was he implying that by Odile manipulating the Prince, she would condemn Odette to life as a swan, a fate to her worse than death? All was to be revealed later, after the interval….


Meanwhile, in the castle ballroom, Odette and Odile were present at the Villagers’ dance; Von Rothbart caught hold of Odette’s dress as she performed a flawless sequence of chaine turns en diagonal- the dress unravelled, to reveal her exquisite white Odette tutu. This intelligent costume design effortlessly showed Von Rothbart’s spell over Odette, and her transformation from innocent young woman to vulnerable swan. In the village scenes, the traditional Villagers’ pas de trois first solo was transformed into an elegant and exciting pas de trois, performed by Vincent Cabot, Julia Davies and Sarah Mortimer. Their exquisite performance sense and neat footwork made it a pleasure to watch. A clever use of set design, involving four moveable castle doors, allowed for rapid yet effective scene changes between the castle and the lake.


Returning to the lakeside scene, the Cygnets began their pas de quatre. Although the traditional music was used, with elements of the traditional choreography such as echappes and entrechats, the pas de quatre was danced by two males- in seemingly Matthew Bourne inspired swan costumes, with two females, forming a double pas de deux. David Brewer demonstrated excellent dynamics and style as he performed the pas de deux with a delightful confidence. When the performance resumed after the interval, the whole audience seemed to be captivated by the sheer beauty that the company created. Anything could happen in the final scenes; would Von Rothbart kill the Prince? Or would Rothbart be killed by the Prince? It was impossible to predict which version the Artistic Director, Christopher Moore, would choose to bring to life in his sublime choreography.


Act 2 commenced with the Brides’ solos; a scene in which the Queen presented Prince Seigfried with princesses of different nationalities, to choose his bride. But he longed only for Odette. Von Rothbart entered with Odile- who had been forced to manipulate the Prince into believing she was Odette. Odile danced a dazzling solo, but the traditional coda with fouettes had been omitted. The technical bravura of the fouettes simply wasn’t necessary, as the phenomenal choreography and storyline easily rivalled the fouettes of even the most accomplished ballerinas, so that the audience had no sense at all of disappointment- in fact the omission of the fouettes seemed an intelligent artistic decision, to take the trademark features of Swan Lake and recreate it in an entirely new manner.


When Prince Seigfried came to choosing his bride, and mistakenly pledging his love to Odile, Von Rothbart asked through mime ‘You will marry her?’ and Seigfried agreed. However, even the most intricate details were adhered to; Odile barely responded, except to very subtly cross her wrists- indicating death. Perhaps this was her warning to Seigfried, she knew exactly what was happening, and wanted to prevent it. Her sense of truth, and doing what she knew was right, gave the character an incredibly thought-provoking air of inner beauty, that is never usually explored. But Seigfried didn't realise until it was too late- Odette appeared, leaving Seigfried to gasp in horror at his mistake. The hauntingly beautiful Swan theme highlighted Odette’s lamentation- however instead of sorrow, she seemed to resign herself to her fate, appearing frustrated yet not angry at Seigfried.


Duly, Seigfried arrived at the lake as Odette and her swans grieved for what could’ve been. Surely now Von Rothbart should arrive, for the moment of truth, the final battle of love versus evil…. But no! Odile reached the lake, and, with a sense of incredible remorse never usually seen in a villain, seemed to send a warning to Seigfried. She wielded a sword- and presented it sorrowfully to Seigfried. Odette cowered in terror as Von Rothbart intimidatingly swooped across the stage, to unleash the ballet’s breathtaking, genius finale. I don't think I can adequately describe in words the sensational plot twist, but it was something that easily made the ballet the most incredible thing I have ever seen. When the final curtain fell, the whole theatre seemed completely speechless- and rightly so. If the Company continue their unique, spellbinding interpretations of the classic ballets in this way, then soon enough, Hinckley will be known worldwide as the home of Ballet Theatre UK, just as Covent Garden is renowned for the Royal Ballet.