No beastly performances were present at this beautiful production of Beauty and the Beast. Northern Ballet, and particularly, David Nixon have outdone themselves with this visually spectacular interpretation of a well-known fairy-tale. The two-hour performance was seemingly faultless, thanks to the well-oiled machine behind the incredibly emotive and highly exceptional dancers.
Beauty and the Beast tells the tale of egotistical Prince Orian (Giuliano Contadini), who through his own self-centred nature causes the wrath of the evil fairy, La Fee Magnifique (Victoria Sibson), to punish him by taking away the one thing he truly adores in his life – his attractive appearance, by transforming him to match his unpleasant personality. The arrival of Beauty (Dreda Blow) to his castle due to her Father’s financial misfortunes allows for one last chance at redemption. By seeing through his terrifying exterior and loving him for who he truly is, they both end up happily together.
”There was a 1950’s essence to the female costumes, which despite seeming unusual seeing as the story is set in 18th century France, seemed appropriate’’
What originally captivates you in this performance is the elaborate, colourful costumes that are used to convey each individual’s personality. The delicate simplicity of Beauty’s attire when contrasted with the eccentricity and frivolous wealth of her sister’s, Isabelle (Rachel Gillespie) and Chantelle (Dominique Larose), highlights the pure and likeable character of Beauty. There was a 1950’s essence to the female costumes, which despite seeming unusual seeing as the story is set in 18th century France, seemed appropriate. However, the male outfits were far more futuristic and I question whether they matched both the set and the narrative.
”Without these exceptional choices of props, I doubt the story of the ballet would have been conveyed to the audience as seamlessly’’
An important feature of the production was the use of props and lighting to invoke a certain dramatic tone to the piece. Tim Mitchell and Duncan Hayler should be commended on their abilities to transform the stage, and to allow the audience to feel apprehensive in the woods and ecstatic at the final scene. An impressive feature of the design was the heart shaped door, which, when opened, exposed the impressive rose bed in which Beauty slept. Without these exceptional choices of props, I doubt the story of the ballet would have been conveyed to the audience as seamlessly.
Undeniably, the level of ability and the beauty of which the dancers all performed was clear to all. Dreda Blow was mesmerising as Beauty. She embodied everything you would expect from the role, with her delicate movements and flawless lines contrasting perfectly to the animalistic characterisation of the Beast (Ashley Dixon). The most astounding performance has to be the combined efforts of the two male leads played by Ashley Dixon and Giuliano Contadini. Both captured their character’s personality, and used their body to portray emotions effortlessly. Furthermore, the transformation of the Beast in Act Two from a resentful monster into a compassionate man, was fantastically portrayed by the changed posture and body movements of Dixon. Recognition also needs to be given to Beauty’s sisters, whose comedic touch made the ballet all the more enjoyable.
As a dancer myself, I was blown away by this production from the outset. This mystical adaptation is one that can be admired by all, from dance fanatics to those who are less experienced with ballet. A must see that will have you falling in love with the fairy tales of your youth again.
9/10 – Unmissable, almost perfect
Katie Cash
Image courtesy of the Theatre Royal.
‘Northern Ballet: Beauty and the Beast’ runs at the Theatre Royal until Saturday 5th of November. For more information and to book tickets, see here.
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