Hansel and Gretel, The Royal Ballet (choreographed by Liam Scarlett)

Walking down in to the Linbury Studio the audience was transported to the 1950s. The stage sitting in the middle of the seats, some of us practically walked across the set to get to our seats. This was one of the great things about this production – being so close to the dancers, walking around the props, it all contributed to making this a truly immersive experience.

Leanne Cope and James Hay brought a real sense of innocence to the roles of Hansel and Gretel. Particularly with Hay the naivety of the character really poured out. They had some very sweet pas de deux, and some very convincing acting made the drama all the more intense. The utter terror portrayed later in the evening was palpable. Laura Morera made a wonderful, confident step-mother, oozing anger, sexuality, and dominance. Donald Thom as the Sandman was probably the most disturbing of the characters. Brilliantly danced, I’ll be having flashbacks of his performance for quite some time.

This is probably one of the darkest, most disturbing ballets I’ve seen. The set design, music (which was reminiscent of scores from Hitchcock films), and lighting all worked together perfectly to create a claustrophobic atmosphere where you really felt Hansel and Gretel were trapped. As they descended in to the witch’s house, hoping for safety, it was horrifying to see how very wrong it went for them. Ryoichi Hirano can’t be faulted for his portrayal of the disturbed witch. It felt like the most developed, psychologically complex role. He reduced Hansel and Gretel to nervous wrecks, and his assault on them was difficult to watch. Tipping a bin full of soft toys over Hansel a grim allusion to previous victims. A moment of brilliance of set design was evident when Hansel and Gretel were trapped downstairs, desperately trying to escape, to get the attention of their father and step-mother who were on the upper level with the Sandman and Witch. 

Surely the most captivating ballet I’ve seen since Sweet Violets (which just so happens to be choreographed by the same very talented Liam Scarlett). I can’t praise this enough. All the dancers were on top form, and it was a real treat to see them performing up close. Stripped back music with rests to emphasise the fast breathing of the dancers, eerie lighting, a technically impressive set, and some really brilliantly thought out choreography, this is a real treat (if you’re feeling brave). I want to see this again and again.

Inconvenient people and how to find them: tales from the Victorian lunacy panics (Archives for London seminar, December 2013)

For the December Archives for London seminar, Sarah Wise gave a talk on Victorian lunacy, and the people who were wrongly incarcerated.  She seemed keen to dispel the myth that it was mainly women who suffered this – in fact, it was men who were most vulnerable to being wrongly incarcerated by greedy relatives wanting to get hold of their wealth, because it was men who were more likely to be in control of the finances.

It’s hardly surprising that people took advantage of the lax criteria for being put in asylums. There was no change to the process between 1828 and 1890. Any two medical men or apothecaries had to decide the patient was of unsound mind. No psychiatric qualifications were required. It could be quite a malicious act – Rosina Bulwer-Lytton was victim to this when her husband Edward wanted rid of her. It’s possible to see the plotting develop reading letters between Edward Bulwer-Lytton, Lord Shaftesbury, and John Forster. It’s hardly surprising that there was much distrust of the ‘mad doctors’. However, in some instances, women used the laws to their advantage as a way of getting rid of drunk or violent husbands. There was much more privacy with such issues than with attempting to get a divorce, and so it was a lot less damaging to their reputation to have their husbands sent to an asylum.

In researching her book Inconvenient People: Lunacy, Liberty and the Mad-Doctors in Victorian England, Wise says she wanted the mix of men and women in the case studies to be roughly even, and it quickly became apparent that this was a fair reflection of events. Why then, is it so often assumed that women were the more common victim of false incarceration? She suggests that it has a lot to do with the press at the time, and the novels that are still read today. The most famous obviously being Bertha Mason in Jane Eyre. Wise points out, however, that it would have been read differently at the time of publication. Whereas now it seems cruel to have Bertha locked up at Thornfield Hall, in actuality, it was probably the kindest treatment. Mr Rochester employed an experienced, compassionate carer for her - much preferable to the treatment in many of the asylums.

Wise closed with a few words about the way in which she’d conducted her research for the book, and brought up issues around digitization, a topic very relevant in archiving at the moment. Although digitization makes a lot more sources readily available, she did point out that not reading the documents in their original context can pose problems, as well as the potential to miss important items because you’re not there physically going through a box of documents.

I am fascinated by the treatment of the mentally ill in the nineteenth century, and the ways in which the laws were used for corrupt uses, and this seminar was enlightening and thought provoking. I plan to pick up a copy of Inconvenient People, as I’ve no doubt it will be a great read.

The Victorian City: Everyday Life in Dickens' London by Judith Flanders

Dickens, the quintessential Victorian whose writings have shaped our views of Victorian London was, as Flanders points out early on, not just a Victorian. He was in his 30s by the time Victoria came to the throne, and died far before the end of her reign. This is therefore, a book not just about London during the reign of Victoria, but about the time Dickens lived and worked there, the title being something of a misnomer.  

With an enthusiasm that shines out from every page, Flanders takes you on a journey through the streets of nineteenth century London, revealing a busy, enterprising age. She has obviously read widely and gives you the 'facts' from primary sources with a critical edge. Everything is covered from birth to death, and a whole lot of toil in between. This is an easy to read, informative book with an author who clearly has great enthusiasm for her subject. She picks out details from the minutiae of life that reveal a much more complex world than you get fed in many a period drama. I was struck by just how hard working the Victorians were - the modern world seems slovenly and lazy by comparison. This is a world so starkly different from out own, yet one in which much familiarity can be found. 

Dickens is the starting point, and the heart of the book - references to his novels abound with explanations of how accurate his portrayals were (as well as pointing out when he may have exaggerated or transplanted events to an earlier date). I closed this book with a great respect for Dickens (and London's nineteenth century inhabitants as a whole), and a desire to read more of his work. Even if you are not particularly interested in the novelist there is still a lot to be gained in reading this. 

Flanders' enthusiasm is infectious, and the London of the nineteenth century comes alive in her capable hands. You can happily read the book cover to cover but each chapters could be read independently and still be perfectly comprehensible. A great addition to any Dickens of Victorian enthusiast's bookshelf.

Art Under Attack: Histories of British Iconoclasm – Tate Britain

I went to this exhibition not really knowing what to expect. I don’t claim any great knowledge of British iconoclasm, and the only thing I’d heard about it was that the different sections were interesting, but quite disparate. I was intrigued by the subject matter, but did wonder how they would manage to cover such a broad period while keeping it fluid and relevant to the exhibition as a whole.

The first section was the one I was expecting to be most at home in – iconoclasm due to Henry VIII’s break with Rome, beautiful religious objects defaced, I knew where I stood with this. The lighting and layout created a serene feeling in these rooms, and it was a treat to see the objects up close and personal. It was interesting to see the different levels of destruction – some obviously felt far more passionately about it, others were merely following the law. Either way, it was sad to see so many items ruined. I liked the progression to art that was far less visual with the 16^th and 17^th century Protestants having a far less elaborate form of religious art.

The next section led to the politics aspect of the exhibition. There was no great time leap, and it all seemed very fitting. What better footing to lead in to it than Civil War destruction? I found this section probably the most thought provoking – the destruction of statues of high profile figures (something which is still common today), and probably my favourite objects – defaced coins. The suffragette attacks on art really got me thinking about if it’s ever OK to damage art. At least this was destruction with a cause rather than merely for the sake of repression. It also brought home the importance of art, that throughout history it’s been under attack precisely because it is so important (a fact that is actually very heartening, even if the destruction of it is deeply unsettling). I also feel it would be wrong to talk about this section without taking a moment to acknowledge the incredible conservation work done to some of the damaged portraits – you wouldn’t know they had been attacked to look at them!

The final section based around aesthetics was not one I was planning on spending that long in. I have nothing against modern art but I had thought I would be least interested in this section. I was wrong. The progression to iconoclasm as art was enthralling, and I became completely entranced by some of the pieces. I was particularly interested in the final portraits, a series entitled One Day You Will No Longer Be Loved by Jake and Dinos Chapman where they take historic portraits of unknown people and change them, showing decay. Although the archivist in my baulks at the idea of this, I really did like them a lot, and, if they hadn’t breathed new life in to them, chances are they would have remained forgotten.

Overall, this is a fantastic, thought provoking exhibition. It’s clearly been well thought out, and leads you through the history of British iconoclasm, showing the different forms it can take. I’d only ever thought of iconoclasm as destructive, but the exhibition made me see that iconoclasm can in itself create art. There’s some really great pieces on show, and with such a variety of subjects and mediums, there’s bound to be something that everybody will enjoy. It’s only on until 5^th January, so if you haven’t been yet, you haven’t got long. Go, you won’t regret it.

Rambert Moves events – 4th and 6th December 2013

As Rambert Dance Company settles in to its new home on London’s Southbank it opened its doors to the public for a taste of what they do.

First up was a performance of The Rite of Spring by the students of the Rambert School of Ballet and Contemporary Dance. It’s incredible how some great choreography, well thought-out lighting, and talented dancers can completely entrance you. I thoroughly enjoyed his somewhat unsettling, ritualistic piece that showcased some dancers who will clearly be ones to watch in the coming years.

Next up was a panel discussion with Mark Baldwin (Rambert’s Artistic Director), Amanda Britton (Rambert School), Sara Matthews (Central School of Ballet), Mikaela Polley (Rambert), Janet Smith (Northern School of Contemporary Dance), and Jessica Ward (Elmhurst School) looking at preparing the next generation of dancers for the professional world of dance. Starting with a discussion of what companies and schools look for, and then on to the types of training the schools provide it’s clear that a lot is expected of the dancers, but that every member of the panel was genuinely passionate about helping talented dancers develop, and preparing them for careers to span beyond the short time they’ll be at their physical peak. What became apparent is that the dance world has changed, that it’s no longer a case of training, joining a company, and retraining at the end of that part of the dancer’s career for the next stage. The emphasis seems very much on exploring the dancers’ interests, developing relationships with choreographers, and understanding all the different roles that go in to producing dance shows. This enables them to create opportunities for themselves and develop their careers in a way that is right for them. There was also a discussion of what can be learned from the way sport psychology has been used to increase performance, and how dance psychology can be used to similar effect.

I was also lucky enough to sit in on a company class and rehearsal. Having only ever watched and taken part in classical ballet classes it was interesting to see something a bit different, and even in class the individual styles of the dancers were apparent. During the rehearsal it was interesting to see the dancers working together to try and get to grips with the timing of a piece. In every session I left with a real sense of how much they love what they do, and the importance of collaboration and teamwork.

The final event of the week was the highlight for me. Unpacking choreography with Mark Baldwin was a chance to see choreography in action, and what a privilege it was.  He spoke to the audience at the beginning and end about his choreographic techniques, where inspiration comes from, and the importance of collaboration. He had seven dancers with him who he got to choreograph short solos based on a snippet of music and movements that he demonstrated. The results were quite remarkable, and he showed how much difference positioning and tempo can make, as well as combining solos to make a group piece. It became clear what a delicate art choreography is, and how important it is to work with the dancers and musicians until you get something that feels right.

Orange and cranberry cookies

Makes approx. 15

Ingredients:

• 112g/4oz unsalted butter, softened
• 70g/ 2 1/2oz caster sugar
• 1 egg yolk, lightly beaten
• finely grated zest of 1 orange
• 140g/5oz plain flour
• pinch of salt
• 75g/ 2 2/2oz dried cranberries

Method:

• Beat the butter and sugar together in a large mixing bowl until light and fluffy.
• Beat in the egg yolk and zest.
• Sift the flour and salt in to the mixture and stir until beginning to come together. 
• Add the cranberries and continue to mix until just combined.
• Lightly knead the dough to bring it together, wrap it in cling film and chill for 30 - 60 mins.
• Pre-heat the oven to 190C/375F/gas mark 5 and line a large baking sheet with baking paper.
• Unwrap the dough and roll out on a lightly floured surface until about 5mm thick. 
• Cut out rounds with a 6cm cookie cutter and place on the prepared baking sheet, allowing space for them to spread.
• Bake in the oven for 10-15 minutes until golden brown. 
• Leave to cool on the baking sheet for 5-10 minutes and then transfer to a wire rack to cool completely. 

'The Secret History' by Donna Tartt

The Secret History  has a powerful opening - you know which character is going to die before you know anything about any of them, and you know the narrator was involved in the murder. This affects the way the reader sees the characters - throwing a sense of apprehension and anticipation over the rest of the action, and making you wonder what happened to the group of friends to make them kill one of their own.

Our narrator, Richard Papen, has just arrived at Hampden, a small college in Vermont, at the start of the novel. He soon joins the small and incredibly select set of Classics students. Already a sense of isolation begins to seep in - this small cluster of students are very much separate from the other students and teachers. They form something of a cult around their teacher, Julian Morrow, who they hold on a pedestal. This sense of isolation is increased greatly when Richard stays in Vermont over winter, almost killing himself with exposure to the cold. When everything starts to go wrong there is nobody to turn to, and yet it's not until quite late in the novel that he seems to realise quite how cut off from the rest of the college they are, and begins to question his somewhat rash decision to join the Classics class.

There's a real sense of innocence when he first joins Hampden - as you'd expect, he wants to be accepted by his fellow students. Many young readers will sympathise with his worries about friends moving away and getting married after college - acts he considers 'treacherous' (why can't life stay exactly as it is?). It is sad to see the innocence stripped away as he despairs later at the thought of being stuck with them forever, their terrible secret providing an everlasting bond.

I got slightly fed up half way through - their nonchalance at the first murder seemed unrealistic and made the characters feel one dimensional. None of them are particularly likeable, meaning their impending doom didn't come with much of an emotional punch. However, their gradual disintegration in the latter part of the novel is very well written, and you do feel sorry for Richard as he is drawn in to their dangerous game, and manipulated in to a precarious position.

Well written and intelligent, albeit perhaps a little unnecessarily long, this is certainly an impressive debut, but not, for me, life changing.