National Tour

Touring it it

Still without an artistic director, Scottish Ballet IS once again on tour ‘.Vlih a trio of small works. This time, the focus is on offering opportunities for young choreographic talent from Withllt the company, Great idea ~lrame aboot some of the Judgement on the pieces chosen A saving grace is the opportunity to see some younger dancers growuig into roles, wrth Robert Doherty and Ari Takahashi showrng y-Jelcome enthusiasm and commitment

Micaela Greganti's 'Frrst Movernent' opens the programme, and is undoubtedly the best work on show. It's a playful and perky matching of energetic dance to a Prokofiev piano concerto, and the dancers look like they're emoying it t's nice to see a young choreographer who remembers ti; choreograph arms and hands as well as legs anc feet, produc'urg a fluid oiec e With genuine energy

‘Bitter Destiny' is an attempt by Ivan Dinev tell a rather involved and dismal tale of rtiarital strife through The ,t;>rv is conveyed reasonath well, though the mime and gesture veer at times toward the excesses of Sowet dance It's all ur‘idernandingly iic'c,»—c!ass:cal, ‘.‘.’lill z'ic;~rnerits of wafting ti pad it out, but

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CLASSICAL BALLET Swan Lake E’Iifibtl'glt L‘estxa: Theatre, Eton 28

See-Sat 3 Oct

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Playful and perky: Yi-Lei Cai and Ari Talcahashi in First Movement

to Britten. Instead, it becomes a mish- mash of depressingly forgettable little numbers, somehow managing to be neither a cohesive whole nor a tasty smorgasbord of movement

The costumes are overwhelmingly unflattering and the b0uncy rnUSIc is buried under an unending sequence of short dances consistently lacking in musicality One trio choreographed by Catarina Lappin briefly captures the playful atmosohere that the piano pieces demand, but generally it's a messy, often sloppin danced finale to a programme that leaves lingering doubts about the company's artistic health (Don Morris) For tour dates, see page 62

anything to offer, it should be their sense of that tradition, but many companies seem to flounder at a halfway house Not so With St Petersburg Bailet Theatre's production, which does as much to challenge perceptions as Boorne's version Stylish, riveting and utterly traditional, it has the flavour, spirit and enchantment of a lost era And maybe this 'sn't so surprising, since St Petersburg is not only the birthplace of Russian Classical Ballet, but also Tchaikovsky

At the centre of Swan Lake rs a potent love story and as ‘.'-Jlill all good love stories there is a barrier to that iove lvlar_,ar'ta Kouyllik and Vladimir Kirn's portrayal of the lovers is not only beautifully danced, but also sincerely acted Kouyllik's swan-like are subtle and the dancer disappears and the enchanted swan takes over The transformation into Odrlle 57‘, AN. Th'ee ‘s also handled w th great 'rc'"‘,"_:‘."ty behind the v:rtuos'ty arrr: “our-sh, there sc-nse of both

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“3””; curttntmy pet'oa- nan/n iho'er_>';rat;hy is simply aid 'i'acefully :resentwl There are he but a subtle -i:tc-<:rrty that of‘c-rs a stimulating 't".'|‘)i’-.'l, rvitr‘ of ‘le ballet and of tie Tradition rRohin Iarnesi

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reviews THEATRE



Autumn 1998 Men Should Weep

by Ena Lamont Stewart 25 Sept - 17 Oct

The Fall or The House

Of Usher . by Edgar Allan Poe 24 Sept - 17 Oct

Rameau’s Nephew by Denis Diderot 23 Sept - 17 Oct

The Homecoming by Harold Pinter 30 Oct - 14 Nov

Medea by Seneca 29 Oct - 21 Nov

Oleanna by David Mamet 28 Oct - 21 Nov

Merlin the Magnificent by Stuart Paterson 24 Nov - 26 Dec '

The Killing of Sister George ' by Frank Marcus 3 - 23 Dec'

Summit Conference by Robert David MacDonald 2 - 23 Dec '

. £81£2 0141 4290022

t x i “R THELIST59