Jun 4, 2013 0
Corps de ballet dancer Michael Breeden tells all about his trip to London and Liam Scarlett’s newest creation as part of our ‘MCB Summer’ series.
After the rigors and ecstasies of a season at Miami City Ballet have ended, it has become something of a tradition for me to take a trip to Europe to decompress and soak in the art that we don’t often get a chance to see while we are kept busy dancing. I chose London as my destination this year, having become close to the immensely talented choreographer Liam Scarlett during the creation of his ballets Viscera and Euphotic. I would be arriving just in time for the Royal Ballet’s world premiere of his first full-length Hansel and Gretel.
Attending with my fellow MCB dancer Ezra Hurwitz (my partner Neil Marshall was unfortunately unable to come), we did not know what to expect. I knew the ballet was to be performed in the round (which is highly unusual), in a black box theater to an original score by a man used to working in film and television. Liam’s works for MCB have been highly classical in structure and dance vocabulary, so I was impressed and surprised when Hansel and Gretel turned out to be completely outside the the range of what I’d seen Liam do and, indeed, what I’ve seen most anyone do in the realm of ballet.
Set in the 1950′s, Liam explored a dark, seedy world where the protagonists are left to fend for themselves when their alcoholic father and indifferent sexpot stepmother prove to be inept to care for them. Gretel, the older sister, has grown up quickly and protects Hansel whenever necessary. The Witch, rather than being comically ugly or cruel, is a fully fleshed out character, a nightmarish result of child abuse and psychosis, but with a childish demeanor that appeals to Hansel and Gretel and lures them into his lair. Liam also introduces the Sandman as a second villain, goading the Witch to be more cruel, more exacting in his torture.
The second act proves to be as suspenseful and squirm-inducing as a well-constructed Hollywood thriller (think ‘Silence of the Lambs’ or ‘Seven’). Particularly grotesque is the sexual tension that arises between the Witch and Hansel. The seemingly cynical ending implies that Hansel and Gretel are perhaps doomed to end up as dissatisfied with life as their parents, leaving one uneasy. This is a production for adults, through and through.
Seeing Liam expand his range and challenge my own ideas about what is or isn’t appropriate for the ballet stage proved to be a valuable experience. Its the kind I relish having while on break, so I have time to digest it and ruminate about what it means to me about my own approach to art and my own thoughts and opinions on ballet, specifically. It was a perfect way to kick off the summer layoff.
Ezra and I also made our way to see a West End production and spent time looking at the Turners at the Tate Britain. Being the consumer of art rather than the producer stimulated my brain in a way that made me ready to return to this season with a fresh approach and new perspective. The upcoming season is a full of new challenges, ranging from the thorny, difficult-to-count score in Episodes to the completely foreign dance vocabulary of Nacho Duato in Jardí Tancat.
Though they may seem a world apart from the art I experienced these past few weeks, expanding one’s ideas and preconceived notions about art is always relatable from one piece of art to the next in a way that will hopefully enhance my own work as I prepare for another exciting year at MCB.