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Once again this new production by Northern Ballet
Theatre continues the company鈥檚 tradition of using musical works
not normally associated with dance.
Mozart鈥檚 Requiem was actually completed by his
student composer, Sussmayer, as Mozart had died, aged only 35, without
completing the work.
However, for this production the music has been
adapted for the German choreographer, Birgit Scherzer who originated
the dance version of the Requiem - she was then invited to re-stage
her production in Britain for Northern Ballet Theatre.
Unusual production
The title gives some clue to the unusual interpretation
of this well-known and powerful choral work - it is titled Requiem!!
This production is an ambitious re-interpretation
of both music and dance. The music is not in the same order as you
would expect - the first part of the dance production does not use
the opening parts of the Requiem and the ending of the dance production
is not the ending of the Requiem - something which either seemed
to puzzle or annoy many in the audience there on the first night.
There seems to be no narrative story line as such
and many there last night said they would have welcomed more helpful
programme notes. Neither is there any interval - the entire three
parts being danced consecutively without any breaks.
Questions unanswered
The whole piece seems to pose more questions than
answers as the cast moves around the stark, clinical, grey walled
set, edged with revolving doors. They put on clothes, they take
off clothes, they throw clothes around the stage. Also the entire
cast is equipped with black shoes - but why?
At various times, these shoes are put down, picked
up, dropped noisily interrupting the melodic harmony of the music
- but why?
Then there is a stiffened black overcoat carried
around the stage and a suitcase which becomes a coffin - all most
perplexing.
Keswick Hall Choir |
I have to say that I found these aspects, together
with the gyrating, repetitive choreography not very interpretative
of the sublime music. The singing is superb both by the soloists
and by Keswick Hall Choir ably supported by the Northern Ballet
Theatre orchestra.
Fluid dancing by some soloists
For me the most fluidly graceful part was the duet
danced by Pippa More and Hironao Takahashi towards the end of the
piece.
Also Charlotte Talbot as the Mother presented
graceful lines and impressive footwork but generally the company
gets little chance to really move with the vigour, grace and power
for which they have become known.
Overall, I might have enjoyed the production more
if I had not left feeling there were a great many unanswered questions
- in common with many in the audience.
Why the shoes, why the rhythmic banging of shoes
against the set walls, and why a long section where Death bangs
out a rhythm with his hands together with cast members, providing
a syncopated accompanying beat more suited to a jazz piece?
The evening was an interesting experience but whereas
I normally am very keen to go and see NBT productions again, I may
wait some time before I go to experience this particular one again!
Requiem is on all week at the Theatre Royal,
Norwich up to an including Saturday, May 10th May The performance
starts at 8pm in the evenings at 2.30 p.m. on matinees on Saturday.
听
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