The Royal Ballet’s Artist in Residence Liam Scarlett has become known for ballets that marry highly expressive movement, sophisticated musical response and dark psychological depth – in such works for The Royal Ballet as Asphodel Meadows, Sweet Violets and The Age of Anxiety on the main stage, and Hansel and Gretel in the Linbury Studio Theatre. Now he creates his first full-length work for the main stage with Frankenstein, a period adaptation of Mary Shelley’s Gothic tale of morality and our craving for love, companionship and understanding.  Wednesday 18th May’s performance will be relayed live from the Royal Opera House to national and international cinemas, including Phoenix Picturehouse and Odeon Magdalen Street in Oxford.

For this new work Scarlett has assembled a number of regular collaborators. American composer Lowell Liebermann, whose First Piano Concerto provides the music for Scarlett’s Viscera, composes a new score.  John Macfarlane (Asphodel Meadows, Sweet Violets, The Age of Anxiety) creates the designs, while David Finn provides lighting design.  Dancers include Federico Bonelli, Laura Morera and Steven McRae.

Performance:  Wednesday 18th May 2016, 7.15pm

Phoenix Picturehouse, 57 Walton Street, Oxford OX2 6AE:   Tickets £8-£20  bookable online here

Odeon, Magdalen St, Oxford OX1 3AE:  Tickets £12.50-£15  bookable online here

Find out more about the production here

 

 

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Photographer Rick Guest‘s latest publication What Lies Beneath accompanies the exhibition of the same name to be held at the Hospital Club Gallery in January 2016.  Featuring an incredible range of companies such as The Royal Ballet, The English National Ballet, The Richard Alston Dance Company, The Dresden Semperoper, The Royal Danish Ballet and Wayne McGregor Random Dance, it includes images of dancers such as Alban Lendorf, Tamara Rojo, Sergei Polunin, Sarah Lamb, Steven McRae, Zenaida Yanowsky, Edward Watson, Olivia Cowley, Nehemiah Kish, Hikaru Kobayashi, Federico Bonelli, and Yuhui Choe.  With a foreword by Tamara Rojo, Director and Lead Principal of the English National Ballet and an incisive essay by Sarah Crompton, this book is in a limited first run of 1000 copies, exquisitely printed by PUSH Print, and is in a large format, 300mm x 370mm.

Rick Guest writes:

“I wanted to make a series of portraits of the dancers themselves, as opposed to dancers dancing, to show the character that underpins their performance, to see the determination and sacrifice that it takes to succeed at such a high level.  In an art form that deliberately conceals the enormity of effort that goes into its creation, we are not meant to see behind the curtain, but I think that this does a great disservice to the dancers, and that having a sense of what lies beneath both enhances our experience of the performance and leads to a more profound appreciation of the dancer’s essential being.  These portraits are at once beautiful and brutal.”

What Lies Beneath is available from 15th December 2105 from rg-books.com
Further work can be viewed at rg-dance.com

Check out information about Rick Guest’s previous book of photographs The Language of the Soul here

Exhibition What Lies Beneath

Dates:  22nd-31st January 2016

Venue:  The Hospital Club Gallery, 24 Endell Street, London WC2H 9HQ

The Hospital Club Gallery

 

The Language of the Soul by photographer Rick Guest features images from his 2014 Exhibition at The Hospital Club Gallery, as well as many more in the series.  Working in collaboration with stylist Olivia Pomp, and featuring such luminary dancers as Edward Watson, Tamara Rojo, Marianela Nuñez, Steven McRae, Sarah Lamb, Sergei Polunin, Zenaida Yanowsky, Nehemiah Kish and Melissa Hamilton, it also includes portraits of Wayne McGregor, Kevin O’Hare, Liam Scarlett and Christopher Wheeldon.  With a foreword by Kevin O’Hare, Director of The Royal Ballet, this book is in a limited first run of 1000 copies, exquisitely printed by PUSH Print, and is in a large format, 300mm x 370mm.

Rick Guest writes:

“Ballet as an art form has always been a collaborative medium, whereby composers, orchestras, choreographers, dancers, artists and impresarios have come together to create something new, something greater than the individual elements. With this in mind, I have deliberately turned away from using photography to document dance as it’s staged for the audience, as important as that is. Instead, I have concentrated on the bringing together of three separate disciplines, that of photography, fashion and dance, in an attempt to create something new and singular.
Away from the constraints of stage, role and costume, the dancers are able to demonstrate their breathtaking capabilities in an uninhibited atmosphere, one that ultimately leads to a purer portrait of the dancers themselves. These images aim to illustrate the key tenets of balletic technique; balance, strength and poise. They are lit and photographed to enhance each dancers’ power and beauty, both physical and emotional, and the images are infused with a fashion edge that is at the same time evocative and playful.”

The Language of the Soul is available from the 15th December 2015 from rg-books.com

Further work can be viewed at rg-dance.com

It is a great privilege to see one of the great ballets of the 21st century so early in its history. I did not witness the original production of Tchaikovsky’s Swan Lake, nor of The Rite of Spring; but I have seen the very first production of Christopher Wheeldon’s The Winter’s Tale and that is a truly special thing.

To explain why this particular ballet is so special is very difficult. It was danced beautifully of course, to a standard of excellence which we have come to expect from the Royal Ballet, and the costuming and scenery were meticulous, as they so often are. And yet, I have struggled immensely to write this review. In desperate times I draw on my old friend, cliché: words cannot begin to describe the exquisite nature of this ballet; it has to be seen to be believed! (more…)

First staged in St Petersburg in 1890, The Sleeping Beauty is regarded as the pinnacle of classical ballet: a perfect marriage of Petipa’s choreography and Tchaikovsky’s music, and a glorious challenge for every dancer on stage. It is also the Royal Ballet’s signature work.  To mark the company’s 75th birthday in 2006, Monica Mason and Christopher Newton revitalised its landmark 1946 production, which re-established Petipa’s choreography as recorded by Imperial Ballet régisseur Nicholas Sergeyev, to a scenario and staging developed by Ninette de Valois, founder of the Royal Ballet.  With Oliver Messel’s gorgeous original designs wonderfully reimagined by Peter Farmer, and additional choreography by Anthony Dowell, Christopher Wheeldon and Frederick Ashton, today’s The Sleeping Beauty not only captures the mood of the original but shows that this is very much a living work for the Royal Ballet, growing and changing with the company while celebrating its past. (more…)

In life, Sarah Lamb’s Giselle is swift and airborne with a restrained diffidence; in death, those qualities transform her into a ghostly and ethereal apparition.  As a Wili, her cool manner enhances the otherworldly feel of her dancing, although in the first act last night she did not completely convince me that she was a peasant girl driven mad by the shock of betrayal and I wasn’t quite sure that she had actually killed herself, rather than dying of a broken heart. (more…)

Oxford’s Phoenix Picturehouse is offering some holiday dance viewing in a recorded transmission from the Royal Opera House.  “Fille is a treasure,” says Monica Mason, former Director of the Royal Ballet, and anyone who has seen this sunniest of ballets will certainly agree. With its origins in a work first seen in 1789, La Fille mal gardée was staged by several choreographers in the 19th century before Frederick Ashton brought it into the 20th century and created an instant classic which has never left the Royal Ballet’s repertory. (more…)