Here’s Becca’s views on Matthew Bourne’s The Red Shoes, performed at Canterbury’s The Marlowe Theatre.

The adaptation of the 1948 film was very well  choreographed.  From the opening scene right to the end kept the audience enthralled and captivated.

As the mum of a young dancer I looked not only at the story but the whole production itself, from the costume, to the set designs, lighting and choreography . There was smooth transitions through all the different scenes, and the way that the spinning curtain was used to assist in the scene changes was particularly effective.  At times it was like you were at the back of the stage looking out to the audience.  The transitions to and from the white background to the darker scenes was well planned and executed. It was easy to see the differences in scenes as they were danced.

The dancers all players their roles as if they were actually in a film themselves, with charisma and charm, and showed great acting skills as well as the vast variety of dance genres they had to master. All twenty were talented and played each role with aplomb.

The costumes clearly put the show in the right era of the 1920s and ‘30’s and clearly demonstrated the social class. The dancers obviously were used to quick costume changes, some of which were made in the wings, knowing the layout of the dressing rooms at the Marlowe.

The dances ranged from traditional ballet with very little Pointe work, to sections of jazz, Argentine tango and the  occasional showgirl repertoire and Egyptian comedic dances. There was even a beach scene whereby the dancers had large beach balls to control. We were waiting at times to see the balls run off the stage but they were controlled admirably. There were times when you forgot you were watching a show within a show. This was especially true when the Red Shoes ballet sequence was danced. You really felt the emotions of both the dances and dancers.

The second half of the show was more relaxed. Here unfolded the love story between the pianist and the lead dancer along with the producer’s jealousy towards them. The dramatic end and astounding train visuals was totally unexpected from where I was sitting. I found the show truly amazing in lots of ways, particularly the demonstration of the skills and artistry of all the dancers. It was inspiring and would recommend it to others to watch, whether you ‘know’ ballet or not.

As always the tunes are revealing and cathartic for Taylor, and somehow as their style has become more potent and rocky and less whimsical indie folk, they’ve also become more personal to Taylor, but no less powerful to an audience. It’s been twelve years since they started out, and in that time they’ve grown up in the limelight but not lost any of the vivacity of their early days. Just as energetic and radiant, but with more grit and steel, the new songs have notes of heartbreak, depression, and tension, and in this stripped back setting there’s something very intimate about hearing them.

Confident in their identity, at least as a musical duo, the show is compelling. They eschew perfection in favour of personality, and bring the audience along with them. Witty asides never detract from brilliant songs, and the new ones are just as captivating as those more well known. As one of my favourite bands ever I always slightly fear that they might let me down – play a shit show or come across as arrogant twits. They do neither. They continue to win me over. Finally, a trio of old favourites is ushered in with a sing-a-long Tears of Joy, almost heart melting, before closing with a vibrant Two Cousins. Slow Club are back, and at the top of their game.

In the craft beer hub Brewhouse sophisticated electropop from New Zealand quartet Yumi Zouma has elements of rolling melodies, whilst jangle pop was there in all glory at arts studio Oval Space, with guaranteed good time Veronica Falls and Mollie Rankin’s from Toronto’s Alvvays  connective clamour.

Eleanor Friedberger persevered through a chatty crowd in the New Empowering Church, and playing with warm heart and soul endeared the crowd, as the delicate vocals of Swedish sweetheart Alice Boman had earlier.

The Laundry is certainly the heavy house, with the Cheetahs early set leaning to loud grunge rather than melodic shoegaze. It gets heavier for Leeds’ Eagulls, and shocktastic for Perfume Pussy. Andrew WK’s audience are there to party hard. Violent dancing, destroyed amplifiers, stage invasions and crowdsurfing, only ending as W.K’s microphone and piano were unplugged. Crazed carnage.

As frustrating as it us, when nearly all day major band clashes are on, it’s a sign of a stellar line-up is a good one. Whilst Perfume Genius played what I heard to be a deep, atmospheric and beautiful set Policia were haunting and slick as usual, there was the feeling that they may have been a bit weary after their string of festival performances.

Visions – I see a good future ahead.

https://www.youtube.com/watch?v=qgeLb4QAC6M

Opener and bull running story teller, Bill Hillman’s set is dense and colourful with words, but less easily eloquent than other speakers, which is not to take anything away from the quality of his prose.

ImALondoner.com » Book Slam, Bethnal Green.

Here’s a taster of what the night has in store…

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