World Theatre Day 2016: Looking Back at The Globe Theatre

You know you’re a theatre nerd when you – somehow - don’t cry during your wedding vows, but you cry at the Globe Theatre in London four days later on your honeymoon.

True story.

A full house on July 31, 2013. A Midsummer's Dream come true!

Maybe it was partly the jet-lag, but when my husband and I sat down in the upper gallery of Shakespeare's Globe, on July 31 2013, to see a performance of A Midsummer Night’s Dream, one of my theatre dreams came true and I can’t deny being very “moved”.

To say it was wonderful would be a huge understatement.

Before we took our seats, we saw the stones engraved with names of donors to the theatre and prominent actors who regularly perform in plays by The Bard; seeing Sir Patrick Stewart’s was a very special thrill for many nerd-related reasons.

Excited Theatre Nerd or Trekkie? You decide.

Fast-forward a few years into the future and now we’re living in Europe, only 3 hours by Eurostar away from London and I’ve had the opportunity to not only take dance class in London (and make some of my dance dreams come true), but I’ve been able to see some incredible shows on the West End stage AND revisit my beloved Globe for a special tour.

No performances were taking place on that day last spring, so we got to tour the galleries and the ‘pit’ where the ‘groundlings’ stood, and still stand, to watch shows today. Prior to meeting the rest of the group in the lobby area, we also took in a detailed exhibit of the history of the Globe, as well as some of the beautiful costumes and props from recent productions.

View from the approach.

Alas, no nerdy tears were shed during this excursion. 

But it was still exciting to be in the theatre with only 60 other people when it can hold up to 1,600 when it’s sold out. I was with my friend Laura, who was finishing up her PhD at Oxford so I was in good, nerdy company with someone who not only understood, but appreciated my special brand of theatre fangirl-ism. She took some fantastic photos of me and the two of us together right by the stage and we both enjoyed our tour guide’s dry sense of humor and knowledgeable quips.

#GlobeTheatreSelfie
Photo Credit: Dr. Laura Ludtke

Fun facts I learned from the tour:

*The Globe as it currently stands, is not where the original theatre was but it’s very close – only 750 feet from the original site.

 *Back in Shakespeare’s day, plays weren’t actually published. The theatres owned the plays they produced so there would only be one production of said play at any given time. However, piracy existed even back then…

*A group of actors from a rival theatre went to every performance of Hamlet, memorized as much of it as they could, wrote it down and performed it later in their theatre. Since this would be the Elizabethan era’s version of recording a film on your cellphone and uploading it to YouTube, can you take a guess at the quality level? That version, apparently published as the ‘Bad Quarto’, is according to our guide, “laughably terrible”.  

*There are also Bad Quartos of other Shakespeare plays, such as Romeo and Juliet, Henry V, and The Merry Wives of Windsor, as well as another play attributed to Shakespeare called The Merry Devil of Edmonton.

(Please – someone back in my hometown of Edmonton, AB, produce this play! Think of the marketing potential!)

*The theatre district of Bankside back then was the equivalent of a rocking red-light district, full of seedy taverns and pubs, bear-baiting, brothels and other general debauchery. Sounds a lot like the Fringe…

*The original Globe burned down in 1613 when the actors performing Henry VIII “thought it would be a cool idea to fire a canon inside a wooden building with a thatched roof”. This is a near-direct quote from our guide. The theatre was, however, rebuilt only a year later.

I genuinely enjoyed the tour, especially getting to be so close to where the magic happens. But I couldn’t help wanting a bit more – like the chance to go onstage and then backstage and up to the balcony where the musicians perform. I understand it’s probably too difficult to do that during the performance season, but still, one can hope.

Maybe next time, I’ll get the chance to ‘tread the boards’ of the mighty Globe Theatre and say a few lines of text…but from which play? The prologue from Romeo and Juliet? Puck’s epilogue from Midsummer? The monologue of Juliet taking the sleeping potion that got me the highest mark and a standing ovation at theatre school back in 2003? Words, words, words – which ones will I dare speak?

Let’s be real though – if, no - when I get the chance to stand centre stage at the Globe, I know I will first and foremost be too overcome to speak and cry big, theatre-nerd tears before I can pull it together and deliver.

As Puck would say: What fools these mortals be!

Happy World Theatre Day 2016 and go see a play!

All the World Is A Stage...
Photo Credit: Dr. Laura Ludtke

For more information about World Theatre Day, check out: 

http://www.world-theatre-day.org/

For more about Shakespeare's Globe, including information about tours and performances, check out:

http://www.shakespearesglobe.com/

London West End Theatre: The Curious Incident of the Dog in the Nighttime

My recent London experience of The Curious Incident of the Dog in the Nighttime was one of those rare instances when I went to a show knowing virtually nothing about the story, the characters or the overall production. All I knew going in was the show is based on the book of the same name; I didn’t even know who the author was – Mark Haddon – or that it won the Tony Award for Best Play in 2015.

I was relying solely on the advice of my theatre friends back home in Canada, who swore fervently their viewing experiences of this show were nothing short of “life-changing”.

That’s an all-or-nothing kind of statement to make but since I trusted my sources, it was all I needed to be convinced.

London's beautiful Gielgud Theatre

As we sat there in our seats at the Gielgud Theatre, waiting for the show to start, my husband asked me what the show was about. All I could do was answer truthfully: “I don’t know, but it’s supposed to change our lives.” And when the lights finally dimmed, I felt my excitement reach a whole new level because I honestly had no idea what to expect.

I certainly wasn’t anticipating the show to start at full-tilt, with a loud, booming electronic musical score that jolted me out of my comfortable, spectator zone. The bright lights snapped up on a nearly bare stage, painted black and white in a precise grid pattern on the floor and walls, with a motionless dog and a boy poised in the center. Such a beginning demanded my full attention before taking off at break-neck speed into the story of Christopher, an eccentric, 15 year-old mathematical genius/detective investigating the titular curious incident of the death of a neighbor’s dog in the nighttime.

Along the way, through the narration of Christopher’s teacher, who reads from his personal notebook, and other scenes and monologues of the supporting cast of characters, more and more is revealed about the life of the unforgettable protagonist. The mysteries surrounding Christopher’s relationships with those around him, his hopes and dreams of becoming a scientist and the secrets and complexities of his family, are unraveled. Through a vivid, innovative light and sound design and brilliant, truthful performances from all the actors, we were invited to experience the world through Christopher’s beautiful, yet complex mind. The extremes of the technical elements highlight his perception of the world: sounds are jarring and a little too loud, the lights on the grid are a little too bright, and Christopher himself is a little too honest in his interactions.

These extremes are tempered somewhat in the second act, as Christopher makes choices and takes chances that give him more insight and understanding of the world. His journey and the creative way in which it’s told reminded me the quest of another eccentric, yet brilliant child protagonist seeking the truth, Oskar Schell, from Jonathan Safran Foer’s novel Extremely Loud and Incredibly Close.

Without giving too much away, as I believe this production should be experienced as presently and as in-the-moment as possible, two stand-out scenes deserve mention: Christopher’s monologue about space and being an astronaut, and his adventure in navigating the twists and turns of the London Underground for the first time. Both scenes deftly combine the virtuosity of the young actor playing Christopher (the incredible Siôn Daniel Young), the commitment of the ensemble cast, and the brilliant design elements into beautifully choreographed movement sequences emphasizing Christopher’s wonder, excitement and confusion.

The Curious Incident of the Dog in the Nighttime is a superbly acted, exquisitely designed and boldly executed production about family, discovery, courage and love. Seeing it with my husband was a special experience as he found himself captivated by the story and the spectacle and deeply affected by the characters. He wasn’t expecting that kind of theatrical experience either and we both couldn’t stop thinking about it and discussing it for the rest of our weekend in London.

I’m so glad I took it on faith and went into this show as blind as I did because it was such a pure viewing experience, free of predispositions and expectations and it also reaffirmed what I love most about theatre: the creative possibilities of storytelling are limitless, as are the ways one can be affected by a compelling story.

Life-changing indeed.

A ticket bought on the faith of friends' recommendations

For more about The Curious Incident of the Dog in the Nighttime in London, including ticket and tour information, check out http://www.curiousonstage.com/

For information about the Broadway production of The Curious Incident of the Dog in the Nighttime, check out http://www.curiousonbroadway.com/

For audiences in Edmonton, Alberta, Canada, you will have the opportunity to witness this spectacular production as part of The Citadel Theatre’s 2016-2017 Season. 

All the World's a Stage

“All the world's a stage, And all the men and women merely players.”

William Shakespeare wrote these timeless words for his comedy As You Like It. It’s a beautiful speech about the ages of Man and how each stage of life can be thought of as acts in a play: infancy, childhood, adolescence, adulthood, old age, etc. These words and that show hold a special place in my heart as the Shakespeare production the Red Deer College Theatre Program’s class of 2004 – my class – performed.

However, I like to think of it in a slightly different, more literal, way.

I think of how theatre plays a part in all cultures around the world and the actual physical buildings that house this important cultural work. After over a year of living in Europe, I’ve been fortunate to see many great, grand, beautiful theatres and I’ve been even luckier to have been able to see some of the performances they harbour.  Each theatre is unique and impressive in its own way, whether it be for its history, architecture or both, and they all have one big thing in common: they are all works of arts in and of themselves that present other works of art.

As my gift to you on this beautiful New Year’s Eve, here are some of my favorite photos of the some of the many different theatres I’ve seen and visited throughout Europe this year. I can't wait to go back to some of them to see more dance and theatre and to celebrate more stories of people around the world.

All the world truly is a stage. 

Palais Garnier, Paris, France.

Opera Bastille, Paris. France.

Royal Puppet Theatre, Toone Bar in Brussels, Belgium.

Royal Opera House, London, England.

Victoria Palace Theatre, London, England.

The Globe Theatre, London, England.

Grand Théâtre de Genève, Geneva, Switzerland

Opéra Comédie, Montpellier, France

Strasbourg Opera House, Strasbourg, France

Moulin Rouge, Paris, France.

Paris Opéra Ballet: Rudolph Nureyev’s La Bayadère

With its gorgeous sets and lavish, jewel toned costumes, Opéra Bastille became a portal to an exotic and mysterious new world in Rudolph Nureyev’s La Bayadère.

Opéra Bastille, home of La Bayadère

The sweeping dance, intriguing characters and grand score by Ludwig Minkus all combined with the talents of the Paris Opéra Ballet to tell the tragic tale of love between temple dancer (la bayadère) Nikiya and the warrior Solor.

When Gamzatti, the daughter of the Rajah, who is also betrothed to Solor, discovers her future husband loves another, she swears vengeance and plots the death of Nikiya. At their extravagant engagement celebration, Nikiya must dance for all their invited guests. She is given a basket of flowers, which she believes is from Solor, but unbeknownst to her, Gamzatti put a poisonous snake amongst the blossoms. When Nikiya is fatally bitten, she dies helplessly in Solor’s arms.

Solor then has an apparition of Nikya’s spirit in the ballet’s most famous act, The Kingdom of Shades. In this vision, the two lovers are able to be happy together for a brief moment before the dream ends and Solor is alone.

This production is truly a full company affair as it features many students from the Ballet School of the Opéra National de Paris in supporting roles at the betrothal celebration. No doubt it is an exciting opportunity for the students to perform alongside seasoned company members and I’m sure emotions and nerves were high as they took to the stage. They rose to the occasion and grew more and more confidant with each variation; the small slips in timing, stiff arms and heavy landings will sort themselves out in time and it’s safe to say the future of the company is in good hands.

There’s a reason The Kingdom of Shades is the most famous act of this ballet – it is an absolutely exquisite piece of ensemble ballet. One by one, the spirits file onstage - with their legs and arms for days - descending from a ramp in simple walks, graceful port de bras, and beautiful, sustained arabesques. As more and more dancers enter, the dancers form crisscrossing lines by changing directions and the effect of controlled extensions in perfect unison is utterly mesmerizing. This continues for several minutes until the entire corps de ballet is onstage and then they perform a pristine center adage, beginning with a gorgeous, sky-high developée in second position. It’s interesting to note The Kingdom of Shades act was traditionally performed independently as its own one-act ballet, dating back to its premiere performance in 1903 at Peterhof Palace in Russia.

Rudolph Nureyev’s La Bayadère is a special production for the Paris Opéra Ballet since it was created especially for the company when Nureyev was the Artistic Director in the early 1990s. Its 1992 production was even critically acclaimed and won many awards, which makes it even more bittersweet since it was Nureyev’s last ballet before his death three months after it premiered.

Going to this performance on November 20^th was the first time my husband and I had been back into Paris since the November 13 attacks. It’s worth mentioning extra security measures have been added to both Palais Garnier and Opéra Bastille and they provide the necessary reassurance to patrons to be able to enjoy the performances.  

But beyond the extra metal detectors and security guards, the biggest reassurance for me was to see the theatre packed with an excited and appreciative audience and to feel the dancers and musicians feed on their energy. Great art and beauty are always being celebrated in this incredible city, no matter what else occurs, be it the death of a beloved ballet master or an attack on Paris itself. It was very moving to witness the dancers and musicians performing with such passion and I can’t think of a better way to than that to honor the unconquerable spirit of the French.

The curtain will rise again in 2016 and I can’t wait to see what new joys will be presented in this magnificent city of dance, art and culture.

May there be peace and happiness in the New Year for all. Joyeux Fêtes!

The curtain will always rise again

Rudolph Nureyev's La Bayadère runs at Opéra Bastille until December 31, 2015. For more information, visit the Paris Opéra Ballet's website. 

For other posts on the Paris Opéra Ballet 2015-2016 season, check out:

Anne-Teresa De Keersemaeker from November 2015

Paris Opéra Ballet: Anne-Teresa De Keersmaeker

Welcome back to the 2015-2016 season of the Paris Opéra Ballet!

The stage at Palais Garnier is set for another season
of incredible dance.

At the end of October, we were treated to a performance of new works by Belgian contemporary dance choreographer Anne-Teresa De Keersmaeker. Featuring music by Béla Bartók, Ludwig van Beethoven and Arnold Schönberg, the coproduction between the Paris Opéra Ballet and Idéal Audience and Arte, who recorded it for television, was a very unique and diverse evening of contemporary dance.

Quatuor N. 4

The first piece of the evening showcased a four piece string ensemble directly onstage behind the dancers, who were also a quartet. Dressed in simple, yet slightly different black dresses and short ankle boots, the dancers began to shift positions and walk in silence before the music. Silence is such a powerful choice in dance, especially at the beginning of a piece. With nothing else to focus on, the audience is completely drawn into the movement, however big or small, and the experience of that kind of focused energy in a theatre is very exciting.

The music then began without warning or introduction and the dancers launched themselves into the movement with similar abandon and spontaneity. Béla Bartók’s composition has a tense, high-strung quality to it that seeped into the dancers’ movement vocabulary. The music doesn’t build – it starts already at an 8 or 9. The musician’s bows flew furiously as the dancers turned and jumped in succession; their unkempt hair got in their faces as they made their way to the floor and got back up again just as quickly. Their boots gave the piece an interesting percussive quality that was very blatantly unballet-like, as was their sometimes audible exhales. The movement was together but never completely in unison as the dancers each took turns being the one either slightly ahead or behind the others at any given moment. This gave the piece a raw, unpolished impression, as well as a sense of angst and frustration, which in my opinion, are unusual feelings to experience during a performance at Palais Garnier. But I think that was the intention of the piece – it wasn’t what I expected and because of that, it was very interesting choreography to watch.

Die Grosse Fuge

The unexpected kept coming with the next piece, Die Grosse Fuge by Beethoven. More musicians joined the large ensemble of men and one woman, dressed in black suits and dress shoes, onstage. This piece of music was lighter, yet still had an underlying current of melancholy to it, similar to the first piece.

The choreography was very light and flowing – it had a Jerome Robbins flavour to it, with lots of big gallops and tucked jumps; I was at times reminded of the opening scene of West Side Story. The energy was buoyant, yet ‘business-like’, which I saw reflected in the costume design. However, as the dynamics of the music shifted during the 20 minute piece, the number of dancers onstage during the variations changed, and the suit jackets came off to reveal flowing white dress shirts or plain white tees.

I liked the flow of this piece and how the dancers moved so seamlessly from jumping to rolling on the floor. The dancers’ strength was evident in their jumps but nothing felt forced or bigger than it needed to be and their arms had that relaxed, ‘jazzy’ quality to them with no set positions, just used effortlessly. It was a very intriguing piece.

Verklärte Nacht

The final piece, which translates to Transfigured Night, was the most visually unique and stunning of the evening.

Huge tree trunks hung from the ceiling around the back and sides of the stage, which was covered by red leaves or rose petals. The piece was lit entiredly from the sides, which cast dark and mysterious shadows across the stage and the dancers’ themselves as they moved through the light and darkness of the ‘forest’.

The women each wore different styles of dresses, in different fabrics and colours and the men wore a version of a suit/shirt and slacks. The costume design was distinctly ‘uncostume-y’ and gave each dancer a sense of visual individuality, which complimented their individual interpretations of the choreography.

There was a hint of a narrative quality to Verklärte Nacht, but with no set characters or conflict. Thematically, it felt to me to be about a tumultuous love experience. The dancers were brilliant in their solo, partner or group variations and it was wonderful to see the entire ensemble together for what was a beautiful, striking and emotional final piece from this innovative choreographer.

The audience seemed to love it by the number of curtain calls it demanded of the performers and it was a special thrill to see the dancers welcome Anne-Teresa De Keersmaeker herself to the stage to have her moment.

In an art form that holds so much respect and reverence for the pioneers of the past, it felt very special to celebrate new work and to know that bold and exciting choreographers are right here in the present, creating new repertoire to inspire and challenge dancers and audiences alike.

The 2015-2016 Paris Opéra Ballet season is off to great start and I can’t wait to see what’s next. I hope you'll join me again on this year's exciting journey.

Paris Opera Ballet ensemble and choreographer Anne-Teresa De Keersmaeker take their bows together.

For more information about the 2015-2016 season of the Paris Opéra Ballet, go to their website: 

https://www.operadeparis.fr/en/season-15-16/ballet

In Hamlet’s Footsteps: A Theatrical Tour of Denmark’s Kronborg Castle

The Scene: a blustery day in August.

The Place: Kronborg Castle, Helsignør, Denmark.

The Player stood at the ready in the courtyard, in period costume.

The Crowd gathered in anticipation...

Kronborg Castle, Helsignør, Denmark

And thus began our guided tour of Kronborg Castle, led by none other than Horatio, friend of Hamlet, Prince of Denmark.

Our guide, Horatio, friend to Hamlet, Prince of Denmark

Horatio introduced himself to the group humbly as Hamlet’s servant, though he told us the Prince considered him to be a most trusted friend. He led us out of the courtyard to overlook the Swedish sea. The row of heavy canons stood in their defensive position while the Danish flag flapped proudly in the salty wind behind us.

It was there, Horatio told us while pointing to the flag, that he first heard of a ghost appearing late at night. The grey weather was indeed a strong supporting player in this performance as it added a sense of foreboding around the castle grounds; it wasn’t at all difficult to picture a ghost appearing nearby.

Horatio went on to explain the odd circumstances of the ghost’s appearance: the King is newly dead, the Queen recently remarried her deceased husband’s brother and “something is rotten in the state of Denmark.”

The ghost of Hamlet's father appeared not far from the flag

Our guide then beckoned us to follow him underneath the castle, to a dark, dank, chilly corridor lit by real lanterns. There, among the old piles of stones and the flickering light, Horatio told us how Hamlet insisted those who’d seen the ghost and heard its lament swear not to reveal its tragic secret. His sudden shout of “SWEAR!” shattered the hushed calm and sent a loud echo that clanged off the stone walls, making us all jump and shiver from the sudden goosebumps that spread across our necks. It was a great moment that pulled us even further into the intrigue of the story.

As we wound ourselves through the castle’s dimly lit underbelly, Horatio explained how Ophelia, Hamlet’s love, had tried to follow them through these very passages and eavesdrop on their urgent discussions. Hamlet already had doubts at this point over who he could trust and angrily dismissed Ophelia, telling her to ‘get thee to a nunnery’.

We suddenly found ourselves blinking in the daylight outside the castle once again. Near the gates, Horatio pointed out the place where he and Hamlet greeted the troupe of players and briefed them on his plan: “The play’s the thing, wherein I’ll catch the conscience of the King”.

He ushered us into the castle’s beautiful, ornate chapel, where Claudius, deeply shaken from the play’s performance, prayed to God. Horatio indicated the large stone pillars where Hamlet hid and watched his uncle confess but upon hearing his admission of guilt, he could not bring himself to kill him there, in God’s house, for he would surely be damned for all eternity.

The Chapel, where Claudius prayed

He then brought us to the chambers of the Queen.

This was the place, he told us gravely, that Hamlet confronted his mother. As we peered through the narrow doorway into the chamber, our attention was drawn to the large hanging tapestry…it was behind there Hamlet noticed a figure lurking and eavesdropping...surely it was Claudius, the murderer! However, the figure was revealed to be Polonius, who tragically met his end there, stabbed through his hiding place by his daughter’s lover. This moment was one of my favorite of the tour as there was a brilliantly timed thud from within the room, like that of a lifeless body hitting the floor. It brought a terrific feeling of being inside the story as it was unfolding.

We followed Horatio to another small chamber where he had the unfortunate duty of helping Hamlet stash Polonius’ body. We paused in the hallway, next to some tall gilded windows where Horatio told us of a strange conversation they had with some gravediggers about a skull…but there was little time to dwell on this, as word came that Laertes, Ophelia’s brother, had challenged Hamlet to a duel over his sister’s recent suicide following their father’s death. I was reminded again at this point just how many bodies this play leaves in its wake.

The musician's box, where Polonius' body was stashed

Finally, we reached the Great Hall, were the climactic duel between Hamlet and Laertes took place. It was a grand room, with a smooth, polished stone floor, tall windows, and dangling chandeliers. Horatio’s tale picked up speed as he relayed the highlights of the duel: the unexpected points Hamlet scored, the poisoned foils and the King and Queen both dying from poisoned drink. His voice was full of emotion as he told us how as Hamlet lay dying and Horatio himself was prepared to follow his friend into the afterlife, the Prince made him take one more vow – to share the tale of what really happened here at Helsignør, to dispel the rumours and to keep his memory alive – hence his reason for taking us on the tour.

The Great Hall, setting of the final duel and body pile-up

The In Hamlet’s Footsteps Tour was a fascinating theatrical experience. The Horatio character makes the story quite accessible to those who aren’t familiar with Shakespeare’s play - it’s basically an ‘essential plot-points’ version. For those who have studied or seen Hamlet before (as I have – three different times), it was exciting to experience the story in its inspired setting and to anticipate where in the castle we’d go next.

In only 45 minutes, we got to experience all the spookiness, lies, deceit, intrigue, murder and bloodiness of one of Shakespeare’s most popular tragedies in one of UNESCO’s World Heritage Sites. It couldn’t have been set in a more beautiful and interesting place, fitting, considering Shakespeare himself once said: “All the world’s a stage…”

My pal Will Shakespeare

Les Étés de la Danse: Alvin Ailey American Dance Theatre

The mandate of Paris' annual dance festival, Les Étés de la Danse, is “[to] offer… to French and foreign audiences an appointment with the largest dance companies worldwide”. This summer’s guest company was the incomparable Alvin Ailey American Dance Theatre.

Since dancer Alvin Ailey created his own company in 1958, it has become one of the most prolific modern dance companies in the world, “[going] on to perform for an estimated 25 million people at theaters in 48 states and 71 countries on six continents”. When I saw the billboards for their show in the metro and around Paris, I knew dance audiences in Paris were in for a very special treat.

Good advertising!
My friend Sheila emailed me this beauty

AAADT graced the stage at Paris’ Théâtre Châtelet from July 7 to August 1. Throughout the past month, audiences were treated to a different performance each night, culled from the company’s rich repertoire of Ailey classics and guest commissioned choreography. I was lucky enough to witness one of these performances of four stunning and diverse pieces and with my friend Sheila as my date, it was a terrific way to spend a hot July evening in Paris.

Outside the beautiful Theatre Chatelet

Four Corners (2013)

This was the Paris premier of choreographer Ronald K. Brown’s piece. Dynamic and fast-paced, the dancer’s didn’t stop moving for the entire 24 minute-length of this opening piece. The choreography was inspired by traditional African dance, as well as the beautiful head wraps and flowing dresses of the costume design. The dancers’ knees were soft and the only time they stood up straight was for a split-second before the lights cut to blackout. Even the jumps were incredibly grounded - they traveled more horizontally than vertically, which increased their power and impressiveness. This piece was an effective introduction to the company’s diverse style and talented dancers.

After the Rain Pas de Deux (2005)

Christopher Wheeldon’s stunning pas de deux was another Paris premier by AAADT, beautifully danced by Akua Noni Parker and Jamar Roberts. It was a blend of strength, vulnerability and grace; the haunting piano score by Arvo Pärt and the dancer’s fluid and controlled extensions brought a hush over the audience. The lifts were effortlessly executed, as was the simple and precise contemporary ballet technique. It was a gorgeous piece of dance and a thrill to see Wheeldon’s work live.

Bad Blood (1984)

Act Two premiered Ulysses Dove’s 1984 piece of powerhouse modern dance. It was sharp and commanding, “merg[ing] the influences of [Dove’s] choreographic mentors, Alvin Ailey and Merce Cunningham”. Through three different male-female duets and one male solo, it explored feelings of tension, confrontation, and “emotional passion”.  It was modern dance at its most athletic and physically demanding. The lifts were intricate and showcased the strength of both partners, especially when they sometimes turned into tosses. The industrial, pop-flavoured score by Laurie Anderson and Peter Gabriel was a new and welcome direction for the show to take and once again highlighted the company’s exciting stylistic range.

Home (2011)

Rennie Harris’ Home brought a satisfying conclusion to an arc that began with the traditionally-inspired Four Corners and finished in a modern, urban, hip-hop world. The dancers were tough and bold, breaking away from unison and conformity by wearing everyday street-clothes and by putting their own individual stamps on the movement. There was a rawness and an intensity to this piece that was different than Bad Blood. It could be felt through the crisp isolations, head movements, “intricate footwork and rapidly-evolving patterns”, as well as through the “pulsing gospel house music score by Dennis Ferrer and Raphael Xavier”. Home was my favorite piece of the evening because the dancers felt so loose and free. It was hard not to groove along with them from my seat and it was great to end the evening on a courageous, hip-hop note.

I feel so fortunate to have seen this amazing company perform live at Théâtre Châtelet. Though the beautiful old theatre offered little relief from the outside summer heat, it was a great venue to showcase a talented company to a very excited and appreciative audience.

The next stop of Alvin Ailey American Dance Theatre's international tour is South Africa and I have no doubt they will be as warmly welcomed there as they were here in Paris.

To check out gorgeous photos and video clips of their many dances, check out Alvin Ailey American Dance Theatre’s website:

http://www.alvinailey.org

Beautiful photos of beautiful dancers