Cats the musical - Feline conquest of London Palladium

Andrew Lloyd Webber's feline cast surrounding Grizabella, Macavity and Rum Tum Tugger draws audiences into their backyard Jellicle ball at the London Palladium. With the original creative team of Lloyd Webber, Trevor Nunn and choreographer Gillian Lynne in charge, Cats the musical returned after 12 years absence to London stages.  Based on T S Eliot's Old Possum's Book of Practical Cats, the performance and its tunes have become classics in the musical world since the world premier in 1981. The cats subsequently conquered the world with translations of the text into numerous languages. Now, the felines caterwaul once again their way into hearts of London audiences with dazzling dance scenes and immaculate songs. And yes, a shoe is flung at them too.

Cats the musical received a slight update that particularly focuses on naughty boy Rum Tum Tugger. In keeping with our early 21st century music styles, the Tugger has become a rapper boy standing out from the rest of the cast in his cartoonesque performance. Antoine Murray-Straughan gives a wonderfully cheeky performance of the Tugger in his West End debut. Purists may object to the change, yet Cats is neither outdated, nor does this rendition of Rum Tum Tugger distract from the feel good factor of the performance. Other iconic characters such as Mungojerrie and Rumpleteazer stun through breathtaking feats while other felines dart across stage, climb the sides of the theatre or prowl through the auditorium. The Magical Mr Mistoffelees, of course, requires a particularly surprising entrance. The Magical Cat, garbed in glittering outfit and flashing lights, is lowered from the top of the flying tower onto stage spinning around a rope.

The speed of performance and constant twists in either narrative or location keep the audiences on the ball of yarn. Tap dance alternates with a dog fight, and iconic tunes resound through the theatre.  Best known of these is Memory performed by  Sophia Ragavelas which was sung by the leaving audience. There is no better compliment to the creative team and artists. Seats are still available for the final performances. Cats is a family performance and wonderful Easter treat for everyone.

Dancing Topiaries - Edward Scissorhands' return to UK stages

Matthew Bourne's Edward Scissorhands made its return to UK stages. The performance, originally created in 2005, follows the main plot of Tim Burton's film. With some scenes revised and the ending still offering audiences snowfall in the auditorium, Bourne offers a feel good performance for the entire family. In its setting American setting Bourne offers audiences a 1950s feel of the Rock'n'Roll area with stunning group choreographies. The performance includes wonderful dream-like scenes such as the cheerleader posters coming alive in Edward's dream and a dancing topiary to have audiences hold their breath. At large, this work of Bourne's rather remains with pedestrian movement and gestural scenes.  Especially, Edward's movement material is constraint by his scissor hands. Yet, the constant fiddling with blades and the metallic sound these created in the original film translates well onto stage where the prop similarly resounds over the music to highlight Edward's emotions and agitation. New Adventures again manages to rapture audiences with this treat that has gone on to tour the UK and bring a spell of magic to the country.  

Ready, Aim, Dance!

Janice Ross, Professor at Standford University, explores ballet as tool of political resistance in her new book Leonid Yakobson and Ballet as Resistance in Soviet Russia. Her 20 years of research on Soviet Russian choreographer Leonid Yakobson highlights the problematic dialogues between the Russian regime and artists striving to open up their art forms to new ways of expression. The records on Yakobson are scarce, as his choreographic work has been perceived to undermine the Soviet fundamentals of society, culture and state control. Having been deleted from history, Yakobson’s work is showcased in her talk in relation to aesthetic ideals of Soviet politics. Yakobson’s work only survives in few remaining films of which Michail Baryshnikov’s performance of Vestris exemplifies the choreographer’s approach to unconventional movement in relation to the traditional ballet canon. Baryshinkov’s performance incorporates elements of drama and the use of highly sophisticated facial expressions to outline seven distinct phases of human life. In merging acting and ballet, Yakobson offers the audiences a view of life that whilst true to life challenges Soviet notions of propriety. Similarly, Rodin’s Kiss inspired an erotic duet following the patterns of the statue. During his lifetime, Yakobson’s work only received little attention in relation to preservation and conservation by the Soviet establishment. Ross’ book and series of talks now showcase rarely seen images and views on a choreographic innovator who remained true to his art form and country.  

X Men: Days of Future Past

X Men: Days of Future Past

Extermination faces the X Men team in the post-apocalyptical setting of the newest instalment of the X Men series. The most current film jumps between past and present, where the socio-cultural struggle of humans and mutants reaches a new level. The aspect of reign over the other race is brought to the fore in a film heavily influenced by Terminator. Wolverine struggles to prevent the creation of Sentinel robots that will overthrow mutants and eradicate their kind. Whilst following Wolverine and displaying the unlikely alliance of Professor X and Magneto, Mystique is the centre of the narrative as her genetic code is key to the development of the Sentinels. A fast paced double narrative develops in both times highlighting fears, anxieties and the need to address pertinent undercurrents within a globalised multicultural society. The newest and darkest of the series showcases stunning visual effects and is a definite highlight of the year.

Copyright Astrid Bernkopf, 2014