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By
Victoria Roddam
Determined
to convince my sceptical companion that there is more to ballet
than tutus and Sugar Plum fairies, I towed him reluctantly into
the New Theatre, where the English National Ballet's Triple Bill
proceeded to convince us both that ballet is one of the most vibrant
and versatile art forms around.
Consisting
of Mark Morris's whimsical and upbeat 'Drink to Me Only with Thine
Eyes', Christopher Hampson's virtuoso and inventive 'Trapèze'
and Michael Corder's nostalgically jolly 'Melody on the Move', this
is a real smorgasbord of dance which will entertain all ages.
Jan-Erik
Wikström in particular conveyed the contrast between calmness
and sheer wanton physicality which characterizes Virgil Thomson's
piano etudes, in 'Drink to Me Only', a romantic yet sensuous set
piece which showcases the sheer fluid potential of dance.
Hampson's
'Trapèze' meanwhile, while somewhat gimmicky, makes the very
most of the giant trapeze centre-stage, in a faux-circus setting
which conveys both the tawdriness and the spectacle of the big top,
as well as the acrobatic skill and sheer supple flexibility of Clara
Barbera and Gary Avis.
Finally,
'Melody on the Move' is a show-stopping tribute to the Golden Era,
overflowing with joie-de-vivre, and set against the backdrop of
a giant wireless. It's guaranteed to get the feet tapping.
Simone
Clarke and Juanjo Arquès bring a delightfully elegant touch
to the proceedings with their masterful pas-de-deux, while the rest
of the company clearly delight in this colourfully costumed romp
through everything from the heyday of Montmartre to Fred Astaire
and the follies of the office girls in the typing pool.
A diverse
yet meaty evening's fare, take your ballet-resistant friend to the
next available production - they may be pleasantly surprised!
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