Once again this new production by Northern Ballet Theatre continues the company’s tradition of using musical works not normally associated with dance. Mozart’s Requiem was actually completed by his student composer, Sussmayer, as Mozart had died, aged only 35, without completing the work. However, for this production the music has been adapted for the German choreographer, Birgit Scherzer who originated the dance version of the Requiem - she was then invited to re-stage her production in Britain for Northern Ballet Theatre. Unusual production The title gives some clue to the unusual interpretation of this well-known and powerful choral work - it is titled Requiem!! This production is an ambitious re-interpretation of both music and dance. The music is not in the same order as you would expect - the first part of the dance production does not use the opening parts of the Requiem and the ending of the dance production is not the ending of the Requiem - something which either seemed to puzzle or annoy many in the audience there on the first night. There seems to be no narrative story line as such and many there last night said they would have welcomed more helpful programme notes. Neither is there any interval - the entire three parts being danced consecutively without any breaks. Questions unanswered The whole piece seems to pose more questions than answers as the cast moves around the stark, clinical, grey walled set, edged with revolving doors. They put on clothes, they take off clothes, they throw clothes around the stage. Also the entire cast is equipped with black shoes - but why? At various times, these shoes are put down, picked up, dropped noisily interrupting the melodic harmony of the music - but why? Then there is a stiffened black overcoat carried around the stage and a suitcase which becomes a coffin - all most perplexing.
Keswick Hall Choir |
I have to say that I found these aspects, together with the gyrating, repetitive choreography not very interpretative of the sublime music. The singing is superb both by the soloists and by Keswick Hall Choir ably supported by the Northern Ballet Theatre orchestra. Fluid dancing by some soloists For me the most fluidly graceful part was the duet danced by Pippa More and Hironao Takahashi towards the end of the piece. Also Charlotte Talbot as the Mother presented graceful lines and impressive footwork but generally the company gets little chance to really move with the vigour, grace and power for which they have become known. Overall, I might have enjoyed the production more if I had not left feeling there were a great many unanswered questions - in common with many in the audience. Why the shoes, why the rhythmic banging of shoes against the set walls, and why a long section where Death bangs out a rhythm with his hands together with cast members, providing a syncopated accompanying beat more suited to a jazz piece? The evening was an interesting experience but whereas I normally am very keen to go and see NBT productions again, I may wait some time before I go to experience this particular one again! Requiem is on all week at the Theatre Royal, Norwich up to an including Saturday, May 10th May The performance starts at 8pm in the evenings at 2.30 p.m. on matinees on Saturday. | 
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