Ballet Lorent: Rumpelstiltskin- The Lowry, Salford

Writer: Carol Ann Duffy

Director and choreographer: Liv Lorent

Composer : Murray Gold

Reviewer: Dave Cunningham

Carol Ann Duffy’s re-telling of the well-known fairy taleRumpelstiltskin establishes the motivation of a character who, until now, has simply been a two-dimensional villain and skilfully moves the story away from revenge towards a theme of redemption.

A King (John Kendall) slides into depression after the death of his wife in childbirth. He becomes obsessed with gold and cannot tolerate his son who he exiles and mockingly names ‘Rumpelstiltskin’. Although popular with local children Rumpelstiltskin (Gavin Coward) is ostracised by the adults in the community except for the daughter of a shepherd (Natalie Trewinnard) who is the only person to treat him with affection. The spirit of his late mother empowers Rumpelstiltskin to turn base materials into gold which gives him the chance to re-claim his birthright when the Shepherd attracts the attention of the king by foolishly boasting that his daughter has the power to spin straw into gold.

The revisions to the source material are so extensive that the first Act amounts to little more than setting the scene. When the second Act gets going, however, it is apparent that the revised approach ensures a charming and moving interpretation of a story which many in the audience might feel they know by heart.

In addition to the eight members of the cast director and choreographer Liv Lorent makes great use of members of the local community to fill out the scenes. It works extremely well allowing the director to exploit the ‘awww’ factor with cute scenes of children playing merrily and some very well realised sheep gamboling away.

Lorent removes much of the mystery from the art of dance. She seems determined to demonstrate to the young target audience that they too could, with dedication and training, become dancers. The choreographytakes inspiration from the playing of children and is full of joyful bouncing rather than technically demanding movements or dramatic leaps. There are elements of acrobatics with somersaults and John Kendall’s tormented king hanging suspended upside down.

There is a rural, even Pagan, background for the story with sheep running free and the community celebrating by dancing around maypoles. The main storyline of spinning straw into gold is foreshadowed with frequent use of ribbons in the dances and the more elderly members of the community knitting compulsively. The sequences of Rumpelstiltskin creating gold have subdued lighting setting an eerie atmosphere as if dark magic is at work.

Fairy tales often have dark even scary elements which are not ignored by the production. But in this case the tension comes from more realistic sources, such as mental illness, than from deep woods or wicked witches. Yet the storytelling is sympathetic and avoids cliché; there is the sense that the traumatised king exiles his son as he fears that otherwise he may give in to violence. Murray Gold’s bright score is a tremendous aid to the storytelling with ominous tones warning of encroaching danger and more lively tunes letting the audience know when it is safe to cheerfully dance.

Gavin Coward brings pathos to the title role showing Rumpelstiltskin as a lonely figure desperate to fit in and terribly hurt by the rejection he has known all his life. Natalie Trewinnard shows how opposites can attract and it is easy to believe that her spirited approach to life can helpRumpelstiltskin achieve redemption.

Reviewed on 20April 2018 | Image: Contributed