sat 20/04/2024

On Their Toes!, Birmingham Royal Ballet, Birmingham Hippodrome | reviews, news & interviews

On Their Toes!, Birmingham Royal Ballet, Birmingham Hippodrome

On Their Toes!, Birmingham Royal Ballet, Birmingham Hippodrome

A slice of sex, a slice of glitter, and a slice of Broadway ham in a night for all tastes

Dusty Button and César Morales in 'Grosse Fuge': the choreographer Hans van Manen does basic instincts in ballet better than anyone aliveAndrew Ross/BRB

Hans van Manen does basic instincts in ballet better than anyone alive. The Dutch choreographer, nearly 78 and far too little exposed in Britain, is a near-contemporary of Kenneth MacMillan, another specialist in sexual relations, but where MacMillan is fascinatingly drenched in guilt, Van Manen takes a bold, guilt-free stand. Grosse Fuge, which Birmingham Royal Ballet revived in the Hippodrome last night in a smart triple bill to entertain all tastes, is all about mating display - four men in black oriental skirts and big-buckled belts, four women in beige Playtex-type corsets that give them mumsy boobs and look unusually sexy.

Hans van Manen does basic instincts in ballet better than anyone alive. The Dutch choreographer, nearly 78 and far too little exposed in Britain, is a near-contemporary of Kenneth MacMillan, another specialist in sexual relations, but where MacMillan is fascinatingly drenched in guilt, Van Manen takes a bold, guilt-free stand. Grosse Fuge, which Birmingham Royal Ballet revived in the Hippodrome last night in a smart triple bill to entertain all tastes, is all about mating display - four men in black oriental skirts and big-buckled belts, four women in beige Playtex-type corsets that give them mumsy boobs and look unusually sexy.

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About Grosse Fuge: in 2003 I interviewed Philip Ellis for Dance Now (sadly no longer published). The context was a piece I was writing on conducting for dance. Several conductors complained of ballets rigidly structured by a choreographer to one recording of a score. For Philip Ellis the worst case was Hans Van Manen’s Grosse Fuge. "We are asked to imitate a recording", he told me, "which is not only wayward – and so arbitrary in some cases - and made when the standard of quartet playing was not as high as it is today. We try and get as close as we can to that tape, because the copyright holders insist. There is no discretion"’

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