Choreographer: Kenneth Tindall
Original Scenario: Kenneth Tindall & Ian Kelly
Reviewer: Dominic Corr
Decadence and debauchery: terms that readily come to mind when thoughts turn to Giacomo Casanova. For many, this image is synonymous with adultery, womanising and sexual deviance. Instead, Kenneth Tindall’s adaptation for the Northern Ballet company’s production of Casanova offers a look at the passion, pain and grandiose lifestyle behind the name.
From the ensuing prologue until the closing grand ballabile, the strength, ferocity and talent of Northern Ballet is monumental. The memoirs of Casanova are often documented as one of the most insightful references into social practices of 18th century Europe. To condense twelve volumes into two hours is commendable, it charts Casanova’s ‘fall from grace’ during his early priesthood, through Venetian court to the birth of Casanova as the entertainer, gambler, adventurer and author.
Unlike more traditional ballets, there is no female lead. Instead, the company comprises ballerinas who play pivotal roles such as the Savorgnan sisters, who have the initial hand(s) in Casanova’s corruption. Rather, Tindall and Kelly have been clever in their use of the ballerinas, Bellino and Henriette, Casanova’s two major lovers, both masquerade as men, one out of necessity, the other fear.
The success of the story of Casanova is down, primarily, to Giuliano Contadini. From the entrée, Contadini makes an impression. His physical strength and delicacy are enviable. Commendable too is Contadini’s acting ability. Following an emotive and personal pas de deux with Hannah Bateman as Henriette, in which her affair is revealed to her husband, we witness Contadini’s visceral explosion of rage. From conventional light pieces with the sisters and Henriette to a more modern influence of heavily stylised symbolism with the monks, the range of movement is expansive, Contadini and the company rising to all challenges.
This precise movement only reaches such elevated visual heights with the help of complementary lighting, score and design. Indeed, to say that Christopher Oram’s work is awe inspiring, borders on simplistic. Combined with Alastair West’s lighting, what is generated is an ever-evolving atmosphere. Skeletal gowns of all shades, drape the dancers. Oram’s costumes, used in tandem with the lighting, further instil a sense of wonder and depth. Penetrating bursts of red assault, quite suddenly, the darkness from the Head Inquisitor, then suddenly vanish into the blackness. Madame de Pompadour’s lavishness contrasts heavily with the bound chest of Bellino. What is achieved with these dissected costumes is a paradoxical balance between the majesty of 18th Century glamour stripped back to expose the technique and artistry of the ballet beneath.
Casanova is a production devoid of fault. It is a piece of sublime art, accessible to all and one that should be re-lived and shared.
Runs until 25 March 2017 | Image: Caroline Holden