Reviews

The Sunday Business Post Sunday, April 22, 2007

BALLET - DIE FLEDERMAUS
Ballet Ireland National Concert Hall, April 15.
On nationwide tour

As a company, Ballet Ireland has progressed in leaps and bounds over the past three years. Yet, ironically, as a ballet troupe this seems to have been achieved by cutting down on leaps and bounds.

The talents of this young and dynamic team have been developed in a quiet and subtle way, embracing modern dance and movement and producing enthralling shows that keep audiences spellbound from beginning to end.

There was not a minute, not even a moment, in this superb production when the attention wavered from the farcical story, each scene of which looked like a work of art coming to life.

Graceful and imaginative choreography, delicious and colourful costuming, and exuberant and exciting dancing by a troupe eager to make its mark, provided a splendid night’s entertainment.

The main credit for this must go to artistic director Gunther Falusy and guest choreographer Margann Runacre-Temple. This is the company’s third original full-length production – Alice and A Christmas Carol were the others – and each has displayed an impressive capacity for stylish innovation.

These original productions, excellent in themselves, also serve to imbue the troupe with an individual style in which mime and humour are key components.

As an operetta, Johann Strauss’s Die Fledermaus is bubbling over with champagne and frothy waltzes and trying to unravel the storyline could bring on head staggers, but Die Fledermaus the ballet just seemed to glide effortlessly through the tangle of romantic improbabilities as if they were irrelevant (which they are).

Nineteen-year-old Jacqueline Clark as Rosalinde, the philandering wife, danced beautifully and provided authority at the very heart of the production. It was hard to believe this was the English ballerina’s first major role. Not far behind were Amy Drew (Rosalinde’s maid), a consistently impressive and elegant performer.

Stephanie Elstob who performed balletic miracles on stiletto heals as Prince Orlofsky and the petite Japanese dancer Ryoko Yguyu as the Bat also caught the eye.

The male dancers also contributed handsomely, particularly Shaw Coleman as Dr Falke and Lorien Slaughter as von Eisenstein.

The Arts Council is currently considering a review of classical ballet in Ireland by a leading British authority.

Despite limited funding, Ballet Ireland has built an impressive track record in the past few years and deserves reward for its tenacity and dedication in the most neglected of all the performing arts.

Rating *****
Reviewed by Dick O’Riordan

Irish Mail on Sunday Sunday, April 22, 2007

Die Fledermaus Ballet Ireland
Four stars

There¹s a light sparkling atmosphere created in this production that
perfectly matches the story of the wealthy, philandering Eisenstein and his coquettish, flirtatious wife Rosalinde.

A considerable amount of work has obviously gone into the choreography, which is more expansive and less repetitious than it has been in some of Ballet Ireland¹s productions over the past few years.

The sets, lighting and costumes are attractive and unobtrusive, but it¹s the imaginative choreography, keeping the action fluid, that really makes the difference. Even the simplest actions have been integrated in balletic style with the set piece dancing. It would be interesting to know if the young choreographer Morgann Runacre-Temple has been given greater scope in structuring the company¹s productions.  

There are also half a dozen newcomers in the company for this show and they are all impressive. Zeading the way is Jacqueline Clark who not only manages to be graceful, haughty and seductive as Rosalinde, but shows a fine comic talent in her dances with Eisenstein (another newcomer, Lorien Slaughter), and with her persistent, lecherous admirer Alfred, (the versatile Jonathan Moscoso.) Amy Drew is excellent as the pert, mischievous servant, Adele, who is not fooled by Rosalinde¹s haughty exterior, and another newcomer, Ryoko Yagyu , is ideal in the minor but demanding supporting role of the bat (fledermaus) of the title.

There are some very accomplished performances in the second act ballet scene, and the ensemble dancing of the Waschermadeln has an infectious joviality that leads logically to the happy ending when all deception is uncovered and forgiven.

Michael Moffatt
Irish Mail on Sunday

The Irish Times Monday, April 16, 2007

Die Fledermaus National Concert Hall

It is hard to believe the same artistic staff presented Ballet Ireland’s Die Fledermaus Saturday night as presented the dreary production of Christmas Carol last autumn.

Die Fledermaus offered the kind of swiftly moving plot and structured choreography normally crafted by artistic directors working with resources such as a full-time school and company.

The fact that artistic director Günther Falusy and guest choreography Morgann Runacre-Temple were able to create this with a largely new cast who have trained elsewhere suggests something may be going on at Ballet Ireland behind the scenes. It was a surprising improvement on the company’s previous dances.

This three-act ballet, based on Johann Strauss’s comic operetta, began with each character introducing themselves. As the spotlight shone on one after another, we quickly met each personality - from the proper Gabriel von Eisenstein, to his racy wife Rosalinde, her maid, a doctor, the prince and Die Fledermaus. (Ryoko Yagyu was ever-present as the ballet’s mischievous titular character, which translates as bat in German.)

The convoluted plot found Rosalinde flirting with an old flame Alfred, and nearly getting caught by her husband, her maid and the prison governor. At times the closely strung together steps in Act I distracted from the overall story, but Jacqueline Clark cemented the plot as a sensual Rosalinde, who changed from risque seductress to a prim and proper woman with the toss of her silky black robe.

In Act II the dancing gained momentum as individual dance variations offered the kind of clear and precise choreography that previous Ballet Ireland productions have missed. Ryoko Yagyu succeeded as a demure, polished flower girl and Jonathan Moscoso filled the stage as the jockey.

When the larger groups joined in, such as Kumiko Nakamura leading six other dancers in a light-hearted line dance, the ballet gained cohesion because the characters’ steps and interpretations were believable. It may have taken this long to see structured choreography by Ballet Ireland, but now that it is here, may the ghosts from productions such as Christmas Carol be things of the past.

- Christie Taylor
Copyright the Irish Times

At the 2005 spring season launch The Minister for Arts, Sport and Tourism John O'Donoghue, said;

"Events such as these afford me the opportunity to highlight the growing importance of dance to the artistic life of Ireland. They also give me a chance to commend the work of this remarkable company, Ballet Ireland, under its highly energetic and talented joint directors Anne Maher and Günther Falusy.  

Since its foundation in 1998, Ballet Ireland has made a very significant contribution to the art of dance here in Ireland, and it has also very successfully carried the banner of Irish dance abroad. Its two annual seasons, together with its equally valuable summer school programme, are now, and I am sure will remain, important fixtures on the Irish arts scene."

In May 2004 the Sunday Business Post said "I doubt if any show this year - in any field of the arts - will provide better value for money. This production was bursting with ideas and sparkled from start to finish"

Ballet Ireland, a company of exceptional style and quality and not to be missed. The company's first full-length production, Swan Lake, was described;

The Irish Times "a landmark for Ballet Ireland and for Irish ballet".

The Sunday Business Post "Don't miss it - it will knock the socks off everyone"

Sue Weaver - Gloucestershire Echo    "...a production worthy of any West End stage."

Ian Skidmore of the Daily Post in Wales, "The sets were elegant, the production stunning, the costumes chic, the Corps de Ballet disciplined and delicious to the point of being edible"