The art of seduction is all about knowing what is alluring to your intended, appealing to their desires and successfully winning them over. Northern Ballet appreciates that its audiences yearn to be engrossed in narrative works and brings these to the stage through energetic and expressive choreography. With Casanova, the Company has raised the barre (ballet pun intended) to deliver what may well be its most impressive production to date.
Based on a scenario created by Giacomo Casanova’s biographer Ian Kelly and choreographer Kenneth Tindall, the ballet unmasks the legendary lothario to reveal the man behind all those hedonistic sexual conquests. The plot provides a fascinating glimpse into Casanova’s sensational experiences in decadent 18th century Venice and Paris. Exhilarating episodes blend together in cinematic style to divulge how the women – and men – Casanova encountered encouraged him to experience the pleasures of life through countless sexual adventures.
Choreographer Kenneth Tindall was a premier dancer with Northern Ballet from 2003 until 2015. Artistic Director David Nixon nurtured his transition into dancemaking. Casanova is the first ever full-length ballet Tindall has devised so it is fitting that he has embarked on this major undertaking with Northern Ballet. His vision, combined with the dramatic expertise of the Company’s dancers, means Casanova boasts both stunning physicality and absorbing storytelling.
FEATURE: Unmasking Giuliano Contadini, the leading soloist currently starring in Northern Ballet’s ‘Casanova’ – April 2017
Dancer Giuliano Contadini takes on the role of history’s most notorious playboy in Northern Ballet’s latest production, Casanova.
Giacomo Casanova is remembered for his luck with the ladies but this biographical ballet, choreographed by former Northern Ballet premier dancer Kenneth Tindall, promises to reveal the complex man behind all those hedonistic conquests.
Undoubtedly a great seducer, Casanova was also a gifted scholar with big ideas, a moral conscience and depressive tendencies. This Italian adventurer lived life passionately and recorded the highs and lows of his existence in vivid detail in his memoirs. It was these memoirs that inspired Tindall to embark on his first ever full-length work and informed his realisation of Casanova as a fully-rounded character.
Leading soloist Giuliano Contadini is the dancer Kenneth Tindall chose to create the role of Casanova on. Like Casanova, Giuliano is Italian. He also has the same initials as the legendary lothario!
NEWS: Northern Ballet’s ‘Goldilocks & the Three Bears’ will be just right for young visitors – Milton Keynes Theatre, April 2017
Little ones are sure to love Northern Ballet’s Goldilocks & the Three Bears.
The classic story is the latest offering in the Company’s award-winning Short Ballets for Small People series. It follows the hugely successful tours of Ugly Duckling, Three Little Pigs, Elves & the Shoemaker and Tortoise & the Hare – all of which have been adapted for television by CBeebies.
With a running time of approximately forty minutes, these productions are especially created to introduce children and young families to the magic of live dance, music and theatre.
NEWS: Northern Ballet’s ‘Casanova’ prepares to lead audience members into temptation – Milton Keynes Theatre, April 2017
Dance fans will be seduced by the world’s greatest lover when Northern Ballet brings its sensual new production to Milton Keynes Theatre.
The much-anticipated Casanova is award-winning choreographer Kenneth Tindall’s first ever full-length ballet. Now hot property as a dancemaker, Tindall was a premier dancer with Northern Ballet for twelve years before he retired from performing in 2015. This means he completely understands the internationally-acclaimed company’s ambition to tell stories that audiences can immerse themselves in and connect with.
Giacomo Casanova’s story is so sensational that it is hard to believe it is true. History’s most notorious playboy lived a life full of sexual conquests, scandal and adventure – and he wrote about it all in vivid detail in his memoirs.
Tindall, in collaboration with Casanova’s biographer Ian Kelly, has devised a scenario for his two-act ballet that will unmask the 18th Century Italian stallion and expose Casanova’s humanity. Between them, they have condensed twelve volumes of Casanova’s memoirs into 100 minutes of narrative-driven dance theatre.
FEATURE: Being Dance Education Advocate for the ‘Meet the Student’ Social Media Campaign – Royal Academy of Dance, March 2017
Dancing. Writing. Learning.
Having graduated from the London School of Economics and Political Science; qualified as a journalist; and established myself as a dance writer, furthering my knowledge of dance by studying with a world-renowned dance education institution seemed like a natural next step.
Every time I dance, I turn into a better version of myself. Essentially, dance excites me – whether I am participating in it, watching it or writing about it. Perhaps unsurprisingly, the possibility of sharing my enthusiasm through teaching has always intrigued me.
Attaining a place as a student on the Royal Academy of Dance’s BA (Hons) Dance Education programme in 2014 marked the start of a learning experience that has equipped me with the skills and understanding to fully appreciate the complexities of dance, art and education. The syllabus covers dance in relation to the disciplines of Anatomy, Cultural Studies, Health, History, Music, Pedagogy, Philosophy, Psychology, Sociology and more. This truly rounded education in dance has enhanced my previously established skill set, ensuring my teaching practice is informed and impassioned.
Being invited to feature as a Dance Education advocate for the Royal Academy of Dance’s 2017 social media campaign ‘Meet the Student’ was a fitting way to acknowledge the learning journey I have been on.
Finding ways to continue my development in dance as a practitioner, writer and teacher is important to me. Working hard is part of my personality – a part that has undoubtedly been nurtured by my involvement in dance! I can’t wait to see where dance (and my work ethic) will take me next…
Matthew Bourne’s incredible dance production of classic ballet film The Red Shoes is the perfect fit for his New Adventures troupe.
Every female dancer knows the right pair of pointe shoes can change your life but the crimson slippers at the heart of Michael Powell and Emeric Pressburger’s seminal 1948 motion picture take this sentiment to the extreme. Those red shoes are symbolic of a devoted young ballerina’s turmoil as she is forced to choose between the career she lives for and the man she loves.
The Academy Award-winning film is the quintessential backstage melodrama. Cinema and dance collide in the most spectacular style to depict an absorbing tale of obsession, ambition and jealousy. The characters are distinctive and dedicated to their art. The screen is ablaze in every scene with their desire to dance, make music and move audiences; as well as their passion for living and loving. The extraordinary extended ballet sequence blurs the line between reality and surreal fantasy…
I love the film. And I love that Bourne’s stage version is clearly his way of showing how much he loves it too.
NEWS: Matthew Bourne’s production of ‘The Red Shoes’ is on its way – Milton Keynes Theatre, February 2017
Blockbuster choreographer Matthew Bourne’s contemporary ballet version of classic dance film The Red Shoes will enthral audiences at Milton Keynes Theatre next week.
The quintessential backstage melodrama tells an intoxicating story of obsession and possession, chronicling the tragedy of a ballerina whose intense desire to dance conflicts with her need for love.
Following a sold-out Christmas run at Sadler’s Wells, Bourne’s New Adventures company is bringing all the glamour of the 1948 British film to audiences beyond the capital on an extensive UK tour. Predictably, tickets have been selling exceptionally fast and extra dates have already been added.
Celebrated film-making duo Michael Powell and Emeric Pressburger combined glorious Technicolor wizardry with emotive and dramatic performances to create their seminal motion picture. An all-consuming love for the arts generally – and dance especially – is at the heart of The Red Shoes. Significantly, Powell and Pressburger devoted plenty of screen time to dancers, ensuring their cinematic ode to the agony and ecstasy of dancing is largely told through the medium of dance itself. No wonder Bourne decided the film was the ideal source material for his latest production.