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Show: The Boy in the Striped Pyjamas
Society: Richmond Theatre (professional)
Venue: Richmond Theatre
Credits: Based on the novel by John Boyne. Original score by Gary Yershon. Produced by Northern Ballet
Type: Sardines
Author: Chris Abbott
Performance Date: 06/06/2017
The Boy in the Striped Pyjamas
Chris Abbott | 07 Jun 2017 09:41am
Northern Ballet have a long and impressive tradition of creating narrative ballets, many of which have introduced new audiences to the genre as well as offering opportunities for upcoming dancers and choreographers. The Boy in the Striped Pyjamas is another in this line, and an impressive production it is for the most part, danced with expression, verve and commitment.
Created by Northern Ballet Artistic Associate Daniel de Andrade, the ballet is a sombre and thoughtful piece, based on the book by John Boyne about two small boys meeting on opposite sides of the fence at Auschwitz. The book has been a worldwide best-seller and the 2008 film brought the story to a wider audience. The producers of the film, Miramax, are credited in the programme and the central fence in Mark Bailey’s effective sets echoes the poster for the film as well as providing convincing suggestions of railway wagons and gas chambers.
It is Bailey’s sets and Tim Mitchell’s lighting which contribute much of the power to the piece, the sharp edges of lit areas echoing the imprisonment in the camps, although the main fence rises and falls so often that it slightly risks losing the effect of permanent separation. Contrasting locales are well suggested, with Bruno’s home alternating with the camp, and providing lyrical interludes.
Daniel de Andrade has decided to embody the Fury, Bruno’s child-like understanding of Hitler, as an ever-present wraith, appearing suddenly and sinuously, and very well danced on the opening night by Mlindi Kulashe who must have been very relieved to remove the gas mask-inspired headgear at the end of the performance. In a strong cast, Sean Bates was also particularly effective as Kotler, conveying evil with a heartless smile.
The score for this World Premiere is by the vastly experienced Gary Yershon, and he contributes an interesting programme note about his choice of modal music rather than opting for the obvious Klezmer, and once again the Northern Ballet Sinfonia provide the live accompaniment which is central to this company’s work.
Daniel de Andrade also contributes to the programme and recognises the polarity at the centre of the story between the wider tyranny of the times and the purity of two little boys. Author John Boyne picks up on this and explains how his continuing interest is in how war destroys childhood. Bruno’s act of betrayal is well-staged as is the tragic ending to the story, although this seems a little sudden and perhaps needs a few more moments of silence before curtain fall.
With all the awareness of the centrality of the two 8 year old children to the story, it is the main flaw of the piece that these are danced by adults. Danced very well indeed at this performance, with Matthew Koon as an energetic and child-like Bruno and Filippo Di Vilio giving a detailed performance as Shmuel; but the core of the story is missing if there are no real children to be seen. The makers of the film and the recent touring stage production knew this and cast young performers, and, despite the practical difficulties, this would have been a much more powerful production with two child dancers at the centre.
The talent is out there – Koon himself was a memorable Billy Elliott a few years ago – and the practicalities can be overcome, but it is noticeable that ballet seems much more reluctant than theatre to integrate younger performers. Perhaps another barrier for Northern Ballet to overcome?
Despite this reservation about casting and concept, this is still a significant achievement, and audiences will look forward to another world premiere from Northern Ballet this Autumn with The Little Mermaid.
- : admin
- : 06/06/2017