Showing posts with label dance. Show all posts
Showing posts with label dance. Show all posts

Tuesday, 31 August 2010

Music Monday: Crush Special

There's not been a lot of talk of David Tennant round these parts of late. Fear not, I would still leap onto him like a kitten up curtains given even the slightest hint of a chance, but in terms of crush maintenance it has been tricky. David has been doing a lot of resting since his stint as Doctor Who, and when he hasn't been resting, he has been doing voiceovers for Tesco and filming BBC1 dramas for which advance stills look like this -



A BBC1 drama about a widowed dad, set at a farm show with people dressed in battle reenactment costumes, carrying fishing rods and in mid-1990s indie clobber in the background? It's just as well I love you David. Love is ever forgiving. Ever forgiving. Even so, I'd really prefer it if you didn't turn into the male Sarah Lancashire.

And then there's Michael Cera. Now I've had a Michael Cera thing since Superbad, and I have to be very careful around underage-era Arrested Development DVDs, but last week I went to see Scott Pilgrim - which is fabulous, incidentally, in an I-wish-I-was-still-a-teenager-and-could-dye-my-hair-blue-without-looking-like-an-eejit way - but for Michael Cera I felt nothing, in the trouser department anyway. Nada. In fact my affections were far more taken by Kieran Culkin as his flatmate Wallace. That's Kieran Culkin, brother of Macauley, as his gay flatmate, Wallace. Au revoir Michael, I guess all good things come to an end.

Just as well I have backup, really. Here's Benedict "Sherlock" Cumberbatch doing his best to make me fancy the suit off both him and DT (taking one for the team, Ben - nice, very nice):



And then there's new arrival Joseph Gordon-Levitt. JGL is 29 and has been hovering on the brink of cute for quite some time, being hilarious but underage and bad of hair in Third Rock from the Sun, and then dorky-cute and standing too close to Heath Ledger in 10 Things I Hate About You, and then intense-cute in I-didn't-like-it-as-much-as-I-was-told to Brick. But THEN I saw him in Inception with his hair sorted out, stealing a kiss off Ellen Page and doing exceedingly cool things in zero gravity. And THEN THEN there was this in (500) Days of Summer - aha - did you wonder when the music was going to kick in?



OK so full disclosure: that was Hall & Oates, and actually I wanted the bit when he sings 'Here Comes Your Man' in the karaoke bar, but Youtube didn't have it, and I started this out as a musical post, and that's an incredibly cute dance sequence even if the fringe was an error, but the clothes were just right, and also did I mention cuteness, and SIGH, and I should do some work now.

This was just a public service announcement to let you know my hormones are in full working order. There may be more coherent posts later in the week.

Monday, 5 October 2009

In Which I Join Fortuna's Fantastics*

So, to Brian and Kristina's salsa class.

The evening did not begin promisingly. Owing to our ignorance of traffic on Chelsea FC match nights, we got stuck in gridlock on Chelsea embankment for almost half an hour, immobile behind a car containing the most grotesque couple you can imagine. She was wearing a red and white knitted beret-style hat, he was in a black fedora, and they were eating each other's faces. And just when the snogging could not get more repulsive, she disappeared down into his lap... NO. NO. NO.

Finally we arrived, half an hour late - that very half hour spent watching the milliners dogging - and were greeted by the following sign at the entrance to the club:



Classy joint.

Went inside, full of trepidation. I was expecting a huge venue filled with hundreds of avid Strictly fans practising their cross body leads while Brian and Kristina demonstrated, ant-like on a faraway stage.

Not a bit of it. It was a smallish nightclub, with a few dozen people inside, maybe three times as many women as men, the guys all lined up along one side of the room and the girls taking turns to dance with them. In between the two lines were Brian and Kristina explaining what to do, and when we stumbled into the room, baffled and late, Brian took hold of my friend and showed her the turn himself.

First squee of the night.

So we joined in, and it was easy to catch up, with Brian giving clear and amiable instructions, and Kristina helping out demonstrate the moves. And I got a turn dancing with Kristina! Second squee of the night! She said that I was "very good", but then she is used to dancing with John Sergeant and Joe Calzaghe.

Brian, I'm sure you'll be keen to know, is taller and more handsome than he comes across on TV and in photos, with an extraordinarily sexy body. It is not shallow to notice this or point it out if the person in question is a dancer. Kristina is absolutely tiny and beautiful. They are both lovely. Brian's patter is more studied, a sort of relentless but harmless flirtatiousness (I got flirted with - third squee of the night) heavily leavened with cheese, but all delivered so good naturedly that you can't possibly object. Kristina is quieter, shy and demure until she gets dancing, and incredibly sweet and charming. I can see why their dance partners have a habit of falling for them. I'd definitely shag Brian if he was my dance partner and I could get away with it, and I'd probably shag Kristina too. Like I say, it is not shallow to point this out. I know that my readers demand rigorous research into these matters.

After the dance class, Brian and Kristina sat on the stage and did a Q&A about various aspects of Strictly and their careers.



The Q&A was diverting - it was enjoyable hearing them speak for longer than the few seconds you get on TV, getting some idea of what kind of people they are, and fun to get an insight into how the programme works - though nothing they said was particularly surprising (it's a good show to work on, all the dancers get on well, only moment of controversy being that Brian wishes the dancers got credited for their choreography on the pro dances). Someone was cheeky enough to ask Brian about whether he and Ali were a couple, and he was both suggestive and cagey. Actually, having seen how much his flirtiness is part of his act, I wouldn't be that surprised if there was nothing going on at all bar a very effective publicity stunt, or even if Brian was gay, but I'd also say that his appeal was very clear and I could also believe that Ali would go for it. So I can't help out with the gossip, sadly. The most revealing moment was when someone asked the apparently quite dull question of what the dancers eat to stay in shape, and Kristina said "Nothing". She elaborated to clarify that she basically doesn't eat. It's very sad to think that a woman who is essentially an athlete is under such pressure to be thin that she can't even nourish herself properly.

If you are thinking "hang on now Phillips, 'essentially an athlete?'" that's because you were not there last night and therefore didn't get to sit and watch Brian and Kristina perform their show dances. They did four dances: a salsa, a foxtrot, a rumba and a mambo, all in different costumes and not on stage but in the middle of the dancefloor with everyone sitting around the edge. That means they were dancing only a few feet away from me, with nobody between me and them. The intimacy of the setting meant that during the dances they could look at the audience members directly in the eye. (Losing count of the squees now.)

The dancing was incredible. Kristina, in particular, is an international dance champion and is one of the most amazing movers I have ever seen. I wish I had a photographic memory and could recall everything they did, but there was one move in the rumba which is unforgettable: Kristina drops to the ground in the splits, and Brian picks her one of her feet and lifts her, without her bending her legs, so that eventually she is standing doing the splits vertically. I watched the dances with my mouth wide open in pure jaw-dropped awe. This wasn't cheesy, look-at-the-sequins, ironic appreciation, this was the real thing. The skill they have is unbelievable.

Then, final squee of the night, we got to have our picture taken with them. We were second from front of the queue but even so there was a little wait, during which a couple, who were audience members like we were, insisted on doing a long and elaborate and massively inferior dance in the hope of attracting the attention of Brian and Kristina, but which only succeeded of reminding me of the amorous hat people in front of us in the traffic jam. It was excruciating, rather as if I rocked up to hear Haruki Murakami do a reading and then decided to read from my own novel to the people waiting to get their books signed. Please, no.

When we got to the front of the queue I totally lost my cool. I took a terrible, out-of-focus picture of my friend with her camera phone because my hand was shaking so much, and then when it was my turn I couldn't stop gushing about how amazing they were and what a privilege it was to see them dance in such a small space, and wishing them best of luck in the competition, and and and and and. God knows what else. It's a bit embarrassing really. I don't think you're actually supposed to squee out loud. Here is the photo, I managed to shut my mouth for long enough:


(Kristina's outfit is, in fact, a harem-panted jumpsuit which nobody but she could wear without looking like a tropical heffalump).

And so off we went. Completely brilliant night. As I can't support Joe and Kristina no matter how lovely Kristina is (he is just too lumpen), it's now team Ali & Brian for the win. I can't help it. They were just too lovely.

*I'm not sure if I need a badge or something.

Tuesday, 11 November 2008

Mark Morris: Romeo & Juliet

I like stories. And I like dance. So you'd think I'd be all over narrative ballet. It's storytelling in dance form! All boxes ticked, right? But watching Mark Morris's Romeo & Juliet at the Barbican over the weekend I felt a stealthy malaise come over me. What on earth, I kept thinking, is the point of this?

To rewind a little, I don't know much about ballet, though I've seen three or four, and I do enjoy contemporary dance. Mark Morris is a key contemporary choreographer - one I've never seen before - and I was excited to read he's be staging Prokoviev's R&J, as I love the score. To add to my interest, Morris had chosen to direct Prokoviev's never-heard original version of the score, in which the friar does reach Romeo in time and saves the day, and the lovers don't die. This radical version was instantly suppressed by Stalin who took a dim view of pro-Christian propaganda (either that or he had surprisingly purist feelings about Shakespeare.) So I thought it would be eclectic and unusual and quite different from traditional classical ballet. And entertaining, naturally.

Well, to begin with I have to say that I didn't notice anything particularly different in Mark Morris's choreography than I would expect from any classical ballet. There was some nudity and a bit of simulated sex at the opening of the third act (big disappointment for the people in front of us who went home after the first two), and two of the main male roles (Mercutio and Tybalt) were played by women - an inspired decision which allowed for an excess of swagger and playfulness around sexuality which wouldn't have been possible with male dancers - think the exaggerated femininity of a drag queen in reverse.

But aside from that it was disappointingly predictable. I'd even go so far as to say that it was a distressingly literal reading of the work, with lots of crowd scenes where people come in and mime saying oh hello, nice to see you, is that the time and so on. It actually reminded me of watching Playschool. The bits with the Friar were particularly cringe-inducing, poor chap - lots of miming around the poison "if you DRINK this you will SLEEP and then you'll appear DEAD but when the SUN COMES UP you will WAKE" - imagine miming that, and you're pretty much there. Maybe it's not Morris's fault - there is a lot of story in Romeo and Juliet, and I suppose you've got to make sure the audience is following the drift. But it was the very adherence to narrative that I found so off-putting. I was hoping for something oblique, an emotional reading, deboned of story, but suffused with a deeper truth. They call Mark Morris an iconoclast after all. What I got was exposition through gesture, and lots of it.

Thankfully there was a saving grace - quite literally - in the form of Rita Donahue as Juliet. It was as if she was in a completely different ballet. Every time she appeared on stage everything changed, the entire work lifted, and suddenly I felt as if I were seeing into someone's soul. I forgot all the intellectual buzzing in my head (I'm sure you're not actually supposed to be sitting there silently debating with yourself whether ballet is a dated art form or whether it has always looked this bloody stupid) and became lost in the elegance and dramatic subtleties of her performance. Suddenly it all made sense, she was the embodiment of all the narrative potential of dance, the way in which, like music, it can give you insights into the personal, emotional spaces which ordinary words and gesture can't. She was glorious, she was beautiful. And then her scene would be over and off she'd go, and on would gallumph a bunch of Renaissance peasants doing a drama school version of "now we are brawling in the streets!"

File under disappointing work by allegedly great masters that I have wasted time and money on at the Barbican.