Photo credit: Supplied by the production
Ballet Theatre UK was founded in 2008 by its Artistic Director Christopher Moore and tours fresh versions of traditional ballet stories without Arts Council support and relies on its ticket and programme sales to support its work, but it does provide opportunities for students from its School of Ballet Theatre UK to gain experience in their final year of their BA (Hons) Ballet performance.
The latest tour is of the ballet The Snow Queen, with music arrangements and original compositions by Simon Patterson, and ensemble dance corps of 7 males and 26 females listed with 6 males and 12 females appearing each night. None of the leads are credited as Moore explains they have an ethos of career development and care of their well-being so operate a rotational system allowing each member to share the lead roles.
The Snow Queen is based on the Hans Christian Andersen fairytale, but its simple narrative resonates in other stories. The prologue sees the Queen horrified at what she sees in a mirror, just like the Queen in Snow White. There is a touch of The Lion, The Witch and the Wardrobe when the Queen bewitches Kay and transports him away in her sleigh. When Gerda follows, she meets and is accompanied by a Raven and a Reindeer like Dorothy in The Wizard of Oz meeting the lion and the scarecrow. When she arrives at the Snow Palace, Gerda saves Kay with a tear spilled through love just like Anna and Elsa in Frozen. Yet all those stories have more depth and interest than the simple tale in The Snow Queen, which uses the narrative to link a series of attractive, well executed ballet routines. Yet, of course, it appeals to the legions of young women brought up on ballet classes.
Moore’s Snow Queen choreography is direct and uncomplicated. There is plenty of excellent pointe work, the occasional developpe (leg unfolding into the air), lots of port de bras (arm movement), and well executed pirouettes, by the ballerinas. The men are usually in a supporting role, assisting some lovely lifts, although Kay, the Raven and The Reindeer do get their moments to strut the stage with dynamic steps and impressive leaps. You simply have to admire their technique and control. The ensemble behind the leads are animated observers with plenty of armography (as the Strictly judges might say) miming their conversations and observations. When the duets go on a little long, you can’t help scanning the background and imagining the conversations.
This is a production designed to tour quickly with a set up in the morning allowing classes, rehearsals and warm up in the afternoon. A floor cloth and wintery Lapland backcloth sets the scene for each location. Simple cut outs of a broken mirror, a house, a throne and a sleigh are practical elements that fit easily in the back of a Luton van. But the costumes by Hayley Turner and Val Plant are excellent, especially those of the Raven, Reindeer and Wolves which simply define the creatures in contrast to the white leggings of the rest of the cast. The ballerina costumes as villagers, gypsies and ice maidens are bright and attractive, and flare out wonderfully in the dance. We have to imagine a shard of glass hitting Kay and a golden comb enchanting Gerda, but the programme synopsis helpfully explains the mimed actions.
For those who appreciate the subtlety and technique of the genre, there is plenty to admire. The troupe move with elegance and fluency and reveal the narrative in a gentle flowing performance. The Snow Queen herself in contrast adds some drama, malice and a sharper edge to the movement assisted by an impressive headdress, cold blue lighting for her scenes and the wolves. It makes ballet accessible and easy to follow but for the occasional viewer, we wanted more drama, more passion, and more jeopardy to sustain our interest. Yet for parents and children who enjoy their ballet classes, it will be a lovely outing to the theatre with an obvious appeal as a Christmas offering.
*** Three stars
Reviewed by: Nick Wayne