Snow Spider

Just heading home from Snow Spider at the Oval House in Vauxhall. Joey Hickman was fab in the role of Gwyn, a nine year old boy who was at the centre of the show with his yellow back pack. For me though the show was carried by Anne-Marie Piazza playing Nain, Gwyn's grandmother.

Based in a children's story this show asked you to suspend belief. For a start Piazza is no grandmother and Hickman not a nine year old boy. But what I really loved about this show was the feeling of a secret Edinburgh find. You know, the one you see on the first weekend, then you see the Guardian review, then it wins an award and you know you saw it before it was big. What a shame the same accolades are not available for these shows all year round.

The cast were not just talented actors but also musicians. I've never seen one violin in so many hands and the folk music element brought the story to life.

I particularly loved the simplicity of set and costume. Everything was knocked back with just a flash of colour bringing families together. I think this approach leaves the audience with a blank canvas to paint their own picture on.

So it might have been a children's play with a predictable story line but I got caught up in the magic and even cried at the end. At the time of writing you have just 2 days to buy tickets, I recommend you do., especially if you miss that edgy fringe theatre you often only watch in Edinburgh!

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Viscera, Infra and a Fool's Paradise

Blogging on the tube home from the Royal Opera House, which is a new experience. Tonight was another big step in my journey towards loving the more abstract and modern pieces.

Part one: Liam Scarlett's Viscera
First off I think the leotards were my favourite, I just wish they'd look as good on me! However the costumes were just a small piece of this artwork. I loved the crisp lines and crystal shapes formed by the dancers, both individually and as an ensemble. Lowell Liebermann's music was lovely and Scarlett's choreography and costume design illustrated the piece perfectly. Two small gripes, occasionally a few dancers were a beat out and in a piece this sharp it jarred. I'm sorry to say that although I love Dawid Trzensimiech's dancing in this piece his extra sparkle meant he didn't blend completely with the group. But all in all a great start to the evening.

Part two: Wayne McGregor's Infra
This was my unexpected highlight for the evening. I didn't think Viscera could be topped, but this piece was emotionally overwhelming. The dancing was fantastic and in this piece Trzensimiech came into his own. But what stood out for me was the feeling of isolation. It felt like each couple were in their own bubble alone, and yet complementing those around. But then it felt as though the individuals themselves had no connection to their partners and were dancing out a need for support. The lighting and LED display of city workers going about their day blended in and out of the dancing enhancing the emotion. I'm embarrassed to admit that I welled up during this piece and the final piece had a lot to live up to.

Part three: Christopher Wheeldon's Fool's Paradise
A lovely piece, however after the sharp shapes of Viscera and raw emotion of Infra I felt that something was missing. Although beautifully danced and without the synchronisation issues of Viscera this piece was just too abstract for me. However the animation on the backdrop was stunning it took me a while to realise there were no real petals being dropped. With all this in mind, I still look forward to Wheeldon's next offering as this is the first time I've felt flat from his work and I think more because of the programme it was in than the work itself.

The evening reminded me how much I love the ballet and inspired me to dig out my leotard and tights, get back to class and actually book my Onegin tickets.

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