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Glasgow Theatre Blog
The best place for news, interviews and reviews of theatre in Glasgow and beyond.
Tag Archives: Luciana Ravizzi
REVIEW: Hansel and Gretel – Theatre Royal, Glasgow
Posted on December 16, 2013 by glasgowtheatreblog	One comment
Andrew Peasgood and Bethany Kingsley-Garner as Hansel & Gretel by Christina Riley. © Scottish Ballet used with permission Scottish Ballet do not copy, alter or reproduce.
In Hansel and Gretel, Christopher Hampson's premier ballet since joining the company in 2012, Scottish Ballet has their first new work in six years. A sparkling little jewel of a show, even if it is, at times, a little too sanitized a version of the original Grimm fairy tale; there's no wicked stepmother here, just two mischievous kids (Andrew Peasgood & Bethany Kingsley-Garner) with a sense of adventure, loved by their boozy, chain-smoking, slightly neglectful parents (the always stunning Eve Mutso and Erik Cavallari).
Erik Cavallari and Eve Mutso as Mother and Father. Photo by Christina Reilly © Scottish Ballet used with permission Scottish Ballet do not copy, alter or reproduce.
Set in an un-named town sometime in the 50's/60's, there are beehives, headscarves, winged specs and even a black leather-clad biker gang The Ravens, beautifully danced with precision by Daniel Davidson, Rimbaud Patron and Thomas Edwards. There's also a glamorous dream sequence with mother and father transformed into Grace Kelly and Cary Grant à la To Catch a Thief. The piece also abounds with wonderful witty touches like the Scottish Mother's Pride loaf used to create the famous breadcrumb trail.
© Scottish Ballet used with permission Scottish Ballet do not copy, alter or reproduce.
Kingsley-Garner and Peasgood achieve the not easy feat of convincingly portraying the childish pair and do so with ease. Mutso, is as usual graceful and eye-catching (in the role of mother in this cast), Luciana Ravizzi as the Witch is amusing when transformed from ethereal being to old crone but somewhat expressionless (or rather fixed faced) in the earlier sequences and Victor Zarallo is suitably sinister as the sinuous Sandman.
Victor Zarallo as the Sandman by Christina Riley. © Scottish Ballet used with permission Scottish Ballet do not copy, alter or reproduce.
Humperdinck's music is easy on the ear in this cut and paste version from his opera of the same name, it is mixed in with snippets from his version of Sleeping Beauty, added to retain the flow of the narrative. The sets are enchantingly designed too with some nice Tim Burton-esque details. Hampson's choreography is varied, original and highly watchable and showcases his company well. If any criticism were to be levelled at the whole endeavor then, for a Christmas ballet, it is a little lacking in the all-out glitz ensemble pieces, usually worked in to enchant the younger members of the audience, that said, there is plenty of sparkle, a lot of laughs and there's no more enjoyable or magical way to spend the pre-Christmas period. Beg, borrow or steal a ticket while you can.
This Wednesday (18th December) Scottish Ballet are broadcasting a live webcast.
Broadcasting live from Theatre Royal Glasgow where the dancers will be warming up on stage for a performance of Hansel & Gretel. You will be taken into the wings and behind the curtain to take a look at the extensive and eccentric props used and hear artistic director and choreographer of the work, Christopher Hampson and the dancers talk about what the creation of this world premiere has been like.
The webcast will stream at 4.30pm on Wed 18 Dec and as always, you'll be able to send in your questions for Christopher and the team to be answered during the webcast. Email them to christina.riley@scottishballet.co.uk or tweet them to us @scottishballet with the hashtag #SB_Webcast.
Keep updated on Facebook and Twitter and subscribe to the newsletter for more updates.
http://www.scottishballet.co.uk/hansel-gretel/live-webcast-hansel-a-gretel.html
Runs until 28 December at the Theatre Royal, Glasgow then touring throughout Scotland and visiting Newcastle and Belfast.
For more information on Scottish Ballet visit:
http://www.scottishballet.co.uk
*Look out for the next article featuring Scottish Ballet, The Blythswood Hotel and Spa and their wonderful Hansel and Gretel themed afternoon tea and cocktails available now.
http://www.townhousecompany.com/blythswoodsquare/
REVIEW: The Rite of Spring – Theatre Royal, Glasgow
Posted on October 1, 2013 by glasgowtheatreblog
Choreographer: Christopher Hampson
Music: Igor Stravinsky
The Public Reviews Rating:
An evening of stark contrast marks the start of Scottish Ballet's Autumn/Winter season. Opening the bill The Rite of Spring, Christopher Hampton's attempt to breathe new life into the now infamous ballet set to Igor Stravinsky's ground-breaking score. Vaslav Nijinsky and Stravinsky's work, now regarded as one of the most important works in the history of ballet, was a revolutionary work created in a revolutionary artistic time. Its tale of ritual sacrifice met with a critical mauling resulting in the now legendary 'Riot at The Rite' at its notorious premier in Paris 100 years ago.
Hampson pares the work down to just three dancers, two male and one female. The curtain opening on stark, white, high-sided, semi-circular walls, which claustrophobically enclose the dancers, we then bear witness to scenes of ritual violence, dominance and devotion played out between two brothers (Christopher Harrison and Constant Vigier) culminating in the curtain falling on the younger sibling broken, both physically and mentally, crumpled on the floor.
The curtain rises again as the elder brother enters, clad in army fatigues, clutching the tools of interrogation, a stool and a black hood. The white walls now most definitely the walls of a prison cell, the domination begins again, this time more intense, more brutal. The female dancer, in the first half a taunting presence, appears more menacing in the second, offering the younger brother his only escape from this unbearable torment – death. Vigier dances exhileratingly with power and passion bringing this short, sharp work to it's savage and shocking end.
Though still gripping and intense and retaining some of the primal energy of the original, it is hard to say whether time or this particular staging have robbed the piece of its brutal power. The quality of the dancers is in no doubt, particularly Vigier and Harrison, and Hampson is a choreographer of sublime quality, the audience too remain intrigued throughout, but the decision to set the piece in no particular time or specific location somehow robs the narrative of clarity and one can't help feeling that it is not the dance but Stravinsky's exhilarating score that has always been the real star of The Rite of Spring.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Pelike er en antik græsk vasetype, som minder om en amfora og blev brugt til at opbevaring af forskellige madvarer og væsker.

En pelike har to åbne, lodrette hanke som følger linjen fra kroppen. Halsen er smal, munden vid, og kroppen er sammensunket og ofte næsten kugleformet. Mens en amfora ofte var end spids bund, har en pelike en flad, vid base som gør den stabil. Formen opstod i Athen omkring 1000 f.Kr.

Græske vasetyper

redpajama_set_name: RedPajamaWikipedia


text:
Inner and Outer Landscapes
Ecological Feminism
by James Murray-White
Cover: Landmannalaugar, Iceland ©Zack Seckler/Corbis www.zackseckler.com
James Murray-White discovers a book rooted in the place it was inspired by – Dartmoor. The Burning Ground by Roselle Angwin. Indigo Dreams Publishing, 201. ISBN: 9781909357310.
Cover image: The Burning Ground
"But this moment is what we have, and love is deepened at the most implausible times".
Here is that rare type of novel: a story really rooted in place, and equally deeply embedded in each moment as it passes. This may sound an odd opening line of a review, but Angwin's novel The Burning Ground, moves through sudden loss, deep grief, emotional turmoil and further loss by being so rooted in the landscape and the situation she has planted her central character Tamar in, that this sense of perspective becomes clear as the story develops.
Angwin is also a poet and a creative writing facilitator, running the highly successful and respected Fire In The Head programme, and this thirst to live and communicate deeply, shown in other work, including her first novel, Imago, breathes through The Burning Ground. Tamar is ablaze with an aliveness that sears from the page into the imagination.
Elsewhere, Angwin has written that she explores the terrain of "inner and outer landscapes", and of her belief in human potential and our power to renew. This is abundantly evident within this 304-page exploration of circumstance.
Despite dealing with these weighty themes, and a large part of the novel describes the terrible impact of the foot and mouth disease upon one farming household and the wider farming community within Devon and Cornwall, it is not a gloomy read. There is an uplifting sense here.
Angwin is alive to the possibilities of life, and Tamar learns from her passing experience, through an observation and reflection:
"Despite the rain the sweet smell of the silage that Bob had opened for the cattle from the baled stack in the home meadow caught my nostrils and for a moment lifted my spirits. I'd become a true farmer's wife: as long as the hay was in and there were logs in the woodshed I could feel secure."
The arc of The Burning Ground takes the reader on a physical journey with Tamar from Dartmoor to Brittany and back, but it is the exquisite story hewn from stone, heath, tree, and bone that root it in place.
I particularly liked the al fresco lovemaking in the French woods with Tamar's paramour – the writing cements her characters within their emotional and physical situation, as well as locking them within the reader's mind and shunting the passage of the novel forward:
"…I still live, or rather, live again – in the only place where I have always wanted to live, on Dartmoor: those 365 square miles of relative wilderness: granite tors, galloping amber peaty rivers, hawks, bones, ponies, bog-cotton, the ghosts of Stone Age hunters, Bronze Age agriculturalists, mediaeval farmers, rabbitmen and tinners.
I can't imagine ever tiring of this place: it's spaciousness, it's skies, it's changing faces under sun and cloud and storm and ice…"
Tamar lives her life much like the river that wends along the Devon/Cornwall border. She is pulled by forces, resting in the eddies, and occasionally struggling to survive within the white water of energy and actions, such as the foot and mouth crisis, and the attraction for a man that rips open her life still further and takes her onto new ground, and she hopes, higher territory:
"I've accepted that to live life fully means accepting that loss and pain are inevitable. Finally, now, I have. I didn't then. But what alternative do we have? Life isn't safe, and it's not possible to love safely, either. Saying yes to love, or to life, means saying yes to loss and death too. The only way we can insulate ourselves at all is to live smaller lives…"
James Murray-White is a writer & filmmaker. www.sky-larking.com


text:
#ifndef GEOS_INDEX_SWEEPLINE_SWEEPLINEEVENT_H
#define GEOS_INDEX_SWEEPLINE_SWEEPLINEEVENT_H

#include <geos/export.h>

// Forward declarations
namespace geos {
	namespace index {
		namespace sweepline {
			class SweepLineInterval;
		}
	}
}

namespace geos {
namespace index { // geos.index
namespace sweepline { // geos:index:sweepline

class GEOS_DLL SweepLineEvent {

public:

	enum {
		INSERT_EVENT = 1,
		DELETE_EVENT
	};

	SweepLineEvent(double x, SweepLineEvent *newInsertEvent,
			SweepLineInterval *newSweepInt);

	bool isInsert();

	bool isDelete();

	SweepLineEvent* getInsertEvent();

	int getDeleteEventIndex();

	void setDeleteEventIndex(int newDeleteEventIndex);

	SweepLineInterval* getInterval();

	/**
	 * ProjectionEvents are ordered first by their x-value, and then by their eventType.
	 * It is important that Insert events are sorted before Delete events, so that
	 * items whose Insert and Delete events occur at the same x-value will be
	 * correctly handled.
	 */
	int compareTo(const SweepLineEvent *pe) const;

	//int compareTo(void *o) const;

private:

	double xValue;

	int eventType;

	/// null if this is an INSERT_EVENT event
	SweepLineEvent *insertEvent;

	int deleteEventIndex;

	SweepLineInterval *sweepInt;

};

// temp typedefs for backward compatibility
//typedef SweepLineEvent indexSweepLineEvent;

struct GEOS_DLL  SweepLineEventLessThen {
	bool operator() (const SweepLineEvent* first, const SweepLineEvent* second) const;
};

//bool isleLessThen(SweepLineEvent *first, SweepLineEvent *second);

} // namespace geos:index:sweepline
} // namespace geos:index
} // namespace geos

#endif // GEOS_INDEX_SWEEPLINE_SWEEPLINEEVENT_H

redpajama_set_name: RedPajamaGithub


text:
TJFF IN THE MEDIA
Welcome to the official website of The Justin Fashanu Foundation.
We were founded by Justin's niece, Amal, in memory of his courage and pioneering spirit as Britain's first openly gay footballer who tragically took his own life after a career blighted by prejudice. Whilst football continues to go from strength to strength in terms of popularity and benefits from incredible media coverage, we feel that issues surrounding homophobia, racism and how prejudice can lead to mental health issues need more of a voice. We encourage more positive dialogue around these subjects and challenge how people think. This will hopefully lead to greater confidence amongst all participants such that they feel accepted and comfortable to be an individual and that they have a solid support network. This will in turn lead to better access to the supposedly beautiful game for all at every level.
About Justin
For all his talent Justin is still chiefly remembered for being the Britain's first openly gay professional footballer and for taking his own life. It is largely forgotten that he was football's first million pound black player and that his playing career spanned 19 years with spells at prominent clubs including Norwich City and Nottingham Forest not to mention representing the England U21 team.
Despite 'making it' as a professional footballer and achieving high praise, particularly in the early years of his top flight football career, Justin wrestled with a number of personal demons and looking back, it seems clear that a lifetime of prejudice, most notably around his sexuality were at the heart of his struggles. It was considered taboo to 'come out' at that time but Justin bucked that trend during his playing days. A feat that does not appear to have been repeated since. The stigma attached with being openly gay during one's playing career has not changed more than twenty years after Justin's death and thirty years since his daring admission. We feel that it is a sad reflection of the prejudice that still exists in professional football today and an attitude that we intend to challenge
Office 6 : 206 New Road Croxley Green WD3 3HH