Vice Principal of London Contemporary Dance School, David Steele, has been recognised for his contribution to dance education with an honorary degree from Middlesex University. Continue Reading
Like Carmen too, Bourne’s Car Man explores a seething cauldron of sex, subjugation and violence with little attempt at subtlety. But it’s not quite a straightfoward plot either, twisty enough to be exciting and morally ambiguous enough to disrupt simple conclusions.
The Ardani Artists ballet gala brings together an international clutch of top-notch dancers, but instead of the usual short showpieces, it features three contemporary works emphasising choreography above virtuosity or star appeal.
Nevertheless the best has been left until last: Facada, by Arthur Pita, a priceless piece of drollery… The story is given a dark Spanish theme, as if the tale of Miss Havisham had been re-created by Pedro Almodovar, and it is superbly original.
Classical choreographers could learn a great deal from Bourne’s attention to narrative. Programmes for his productions, as often as not, have no synopsis; the story is told, sentence by sentence, paragraph by paragraph, by the dancers on the stage.
But the best performance of the evening is North’s extended sequence in prison and his subsequent escape… This is Bourne at his best.
While The Car Man doesn’t quite reach the heights of Bourne’s monumental Swan Lake, it remains a masterful piece of storytelling. Coupled with Lez Brotherston’s dynamic set design, it’s unforgettable.
The Car Man is one of Matthew Bourne’s best shows, a steamy melodrama that’s just right for sultry summer nights.
Over eight months, each dancer will meet with a high level, paid mentor to discuss and consider a future beyond or alongside their performing careers. Continue Reading