A Typical Friday?

(Originally posted 8 March 2013)

Life as a PhD student can be unpredictable. Of course there’s a certain amount of reading and note-taking that forms the basis of daily life, but not having to go to class and a distinct lack of deadlines (except for that big one looming in the distance) means that I can structure my research time around whatever events I want to attend.

Last Friday is a great example of just how diverse a day in the life of a PhD student can be. It began with my first trip into LSE for their ‘Branching Out’ Literature Festival and a talk by leading historian Professor David Abulafia based on his book The Great Sea: A human history of the Mediterranean. Professor Abulafia presented a history of the Mediterranean from 22000BC to 2010 that focuses on the sea itself: naval conflicts, trade, and migration. “I like people getting on ships” he joked. I particularly appreciated Professor Abulafia’s dedication to bringing history to a popular audience:

“Historians should try to reach a wider audience.There is too much pressure from the REF (the dreaded measure of research output) to publish monographs for half a dozen people”.

After a free lunch from the Hari Krishnas outside LSE (top tip for students on a budget), I headed to Chancery Lane to spend several hours power-reading (like power-walking) in the Maughan Library café – I find it easier to concentrate there than in the main body of the library where everyone is stressing. Just when I was craving chocolate but determined not to move until I finished my book, a very kind gentlemen who works in the café gave me a free Kit Kat on his way out to “reward me for studying so hard”. Made my day!

Book finished, it was back to LSE for The Art of Parodies, where biographer, critic and novelist D.J. Taylor, political cartoonist Martin Rowson and author Ewan Morrison had a passionate debate about what parodies are, whether they matter, and how we should judge them. I particularly enjoyed Ewan’s presentation about how parody has become obsolete in a “world of domestic parodists”, featuring some terrible YouTube clips. You can read all about it on my personal blog.

Amused and enlightened, I ran back to King’s Student Union for the Brazilian Dance Carnival Marathon where members and friends of King’s Brazilian and Portuguese Society danced for 8 hours through the night to raise money for the ABC Trust.

Picture from the Brazilian and Portuguese Society.

From learning about the Mediterranean to dancing the Macarena – just a normal day in PhD life!

A Chorus Line - London Revival

For a long time now, my friend Zoe and I have been saying we should make the most of living in London by going to the West End one night and just asking for day tickets at every theatre we come across until we succeed. On Wednesday, we finally took up the challenge.

The quiet before the storm of tourists at The Book of Mormon

First stop was The Book of Mormon, for their ticket lottery. Two and a half hours before the show starts, you can enter a ballot for up to two front of stalls tickets for £20 each. Unfortunately, at least 100 other people had the same idea (it helps that the Prince of Wales theatre is directly between Piccadilly Circus and Leicester Square and - just like real Mormons - they send Elders out to recruit people). Undeterred, I ran down Regent St to the London Palladium where A Chorus Line is having its first major London revival since it opened here in 1976. I'd been meaning to see the show since it opened in February, and was extremely happy to find front of stalls day tickets for just £19.50 each.

As regular readers will know, I'm fascinated by dance, which is one of the major draws of A Chorus Line. As you would expect from a show about dancers, the dancing is spectacular, so intensely physical it left me in awe of the performers strength and stamina. It was a real joy to see these iconic dance pieces performed by some of the most talented performers in the West End at the moment, including John Partridge (who despite being more commonly known as an Eastenders heart-throb has been staring in musicals since he was just 16) as director-choreographer Zach, Scarlett Strallen as down-on-her-luck but still desperate to dance Cassie, and Leigh Zimmerman, Olivier nominated for her role as the ageing but brazen Sheila.

However, A Chorus Line is more than just dance. Directed by original choreographer Bob Avian, the revival stays true to the unique genius of Michael Bennett's original production. A character piece inspired by interviews with real-life chorus members, the show introduces each of the auditionees for a spot in the chorus of an unnamed musical through a skilful weaving together of speech, song, dance, movement and lighting that results in 15 minute long pieces like 'Hello Twelve, Hello Thirteen, Hello Love' which revolutionised the shape of Broadway productions back in the 70s. The result is a frenetic and constantly engaging show, which slows only for the musically stand out number What I Did For Love, beautifully sung by Victoria Hamilton-Barritt as Diana, before culminating in the show-stopping, and incredibly sparkly, One (Singular Senstation). I left with a huge smile on my face and the urge to dance my way back down Regent St.

A Chorus Line is currently booking at the London Palladium until January 2014. Find out more at http://www.achoruslinelondon.com/

Matthew Bourne's Sleeping Beauty @ Sadler's Wells

Regular readers will know that I'm a huge fan of Matthew Bourne, so I've been eagerly anticipating his  new Sleeping Beauty ever since he told me about it in our interview just over a year ago. When I learnt Matthew was taking a modern, vampirey twist on classic fairytale, I was even more excited. I'm pleased to say Sleeping Beauty certainly lived up to expectations.

Sleeping Beauty completes Matthew's reimagining of Tchaikovsky's trilogy of classic ballets, having begun with Nutcracker! in 1992, and the infamous all-male Swan Lake in 1996. He says that he has obviously thought many times before about completing the trilogy, but could never think of a way to make the story (a little insipid in his eyes) work for modern audiences. Then a visit to Tchaikovsky's home gave him the inspiration he needed just in time for Sleeping Beauty to be ready to celebrate the silver jubilee of his company, New Adventures. The brainwave: VAMPIRES! 

I don't want to ruin the story too much for anyone who doesn't like spoilers (although Matthew himself talks about it all on the recent episode of Imagine that followed the creation of the production), but basically this version embraces the dark side of the fairy tales with a truly Gothic vision and some quite brutal scenes. Like most of Matthew's work, this Sleeping Beauty proves once again that ballet doesn't necessarily mean light and fluffy.

Some critics were wary about Matthew taking on Sleeping Beauty, as for many it represents the pinnacle of classic ballet and, arguably, no modern choreography can rival its beauty. However, for Matthew, it's never been about perfect technique or beautiful lines - in his productions, dance comes second to story-telling, and that's why I love him. We might not be stunned by Aurora's pointe work, but we actually get to know her feisty character instead. The dancing, the acting, the sumptuous costumes, the sets and the lighting all come together with Tchaikovsky's magnificent music to really bring the story to life. It's unusual to laugh in ballet, or to be genuinely horrified, but this new production of Sleeping Beauty is so much fuller than a traditional ballet and offers much more to keep audiences interested. It's a testament to Matthew's skill as a writer and director that even someone I was with who said they hate dance still thoroughly enjoyed the show. Like Nutcracker! and Swan Lake, this Sleeping Beauty will surely become another modern classic.

Sleeping Beauty is at Sadler's Wells until 26th January but is completely sold out (although you can ring for returns on the day). Then it sets out on a national tour: full details here.

Matthew Bourne's Early Adventures: Review

As Matthew Bourne celebrates the 25th anniversary of his company New Adventures, he has revived three of the earliest works to win him acclaim: Spitfire, Town and Country and The Infernal Galop, creating the triple-bill Early Adventures. This a rare chance to experience the birth of Bourne's iconic style which for a quarter of a century now has been redefining the possibilities of dance. At the heart of all three pieces is a drive to turn the unexpected into dance. Bourne has a unique talent for spotting and building upon the choreography in unlikely actions, such as being washed, dried and dressed by a servant. When I interviewed Matthew Bourne (listen to the whole conversation here) I asked if he was reacting against the common perception of dance as sweet and fluffy. He agreed, explaining that there's nothing wrong with sweet and fluffy but dance can be so much more. Early Adventures is at turns erotic, playful and deeply comic, proving just how versatile dance can be.

Spitfire (1988), subtitled "An advertisement divertissement", transfers a traditional ballet soundtrack to a male underwear advert,  full of posturing and bravado. Bourne's appreciation of the male form is nowhere more evident, but Spitfire is also an extremely funny piece. Bourne insists that he makes theatre, not dance, and so the facial expressions of the characters tell just as much of a story as their bodies, with each model desperate to be the most desired. 

Town & Country (1991) was the first piece for which New Adventures were nominated for an Olivier Award, and my favourite of the three. A series of vignettes, often bursting with irony, present typical scenes from the contrasting areas. Town ranges from a homage to Brief Encounter to a stunning scooter number (I was amazed they could balance so well at such a pace). Country, on the other hand, encompasses clog dancing, cow milking, fox hunting and some incredibly cute, scene-stealing puppets. While most of the pieces are incredibly funny, the tone suddenly changes to beautiful, moving pieces, which prove that from the beginning Bourne was an all-round talent.

The Infernal Galop (1989), "A French dance with English subtitles", features French icons from La Marseillaise and the Can-Can to Edith Piaf. Mocking French stereotypes, especially passionate romance, the choreography always tells a story and often makes you laugh out loud.  

"The productions and cast numbers might have got bigger over the years, but I'd like to think that desire to make people laugh and cry and to give audiences a great night out was there right from the very beginning" - Matthew Bourne, programme notes.

Watching Early Adventures, you have to agree with Bourne. From this highly entertaining piece, the origins of his iconic style are very clear, yet Early Adventures does not pale in comparison with his latter enormous successes. While they are older than me, these early pieces still seem so fresh and original - like all of Bourne's ground-breaking work, they retain a timeless quality. Bourne's undeniable talent as a choreographer and director is only enhanced by the supremely talented cast, who can not only dance with enviable skill, but also bring so much energy and character to their performance. If you've ever been put off dance because you think it's staid and dull, let Matthew Bourne and his Early Adventures prove you wrong.

Early Adventures is at Sherman Cymru until 6 June, then continues touring. Full details at http://www.new-adventures.net/productions/early_adventures or @early_adventures on Twitter.

Matthew Bourne's Early Adventures

Back in November, Matthew Bourne brought his ground-breaking Nutcracker! to the Wales Millennium Centre, where I was lucky enough to meet and interview him. At the time he told me he would be bringing his Early Adventures to Sherman Cymru in June, and I've been looking forward to it ever since. Now it's almost here!

Matthew is, in my opinion at least, the greatest living choreographer. For the last 25 years, he has been redefining dance, breaking boundaries between ballet and contemporary, and creating iconic pieces that are full of energy, style and humour. His all-male Swan Lake is instantly recognisable and revolutionised the way dance is conceived. When I met Matthew I was actually shaking, I was so nervous to meet such a legend. He was absolutely lovely though, extremely down-to-earth and welcoming, which just makes me admire him even more.

In our conversation, we obviously discussed Nutcracker!, which was celebrating its twentieth anniversary (but remains as fresh as ever!), but we also spoke about Early Adventures and Matthew's style in general. Early Adventures brings together three of his earliest, critically acclaimed pieces, which launched his career: Spitfire, Town & Country and The Infernal Galop. Matthew says that he has built on these early pieces, keeping a similar style, throughout his work, so this is a great opportunity to experience the foundations of his incredible career.

To get an idea of Matthew's style, if you're not already familiar with it, watch this trailer.

Matthew Bourne's Early Adventures is on at Sherman Cymru, Cardiff 5-6 June. Tickets are available here. More information about the show and the other tour dates is available here.

Je Kiffe Elektro Kif @ Sherman Cymru

If kif means love, then je kiffe this high-octane dance piece which brings the exuberance of Paris' latest craze to British stages.

So what is Elektro Kif? It's a brand new dance-theatre production directed and choreographed by Blanca Li, celebrating the vibrant and eclectic electro style of dance that sprung up in the clubs and on the streets of Paris over the last few years. It's a style that's still evolving, blending together breaking, disco, popping & locking and even some classical dance moves. The incredibly talented troupe of eight dancers, brought together by Blanca as the winners of various dance competitions, all come from very different backgrounds and bring this to their performance. Blanca says she witnessed the birth of the dance in Paris and knew she had to bring it to the stage.

However, Elektro Kif is more than just some very impressive dancing. Telling the story of one day at a college, the show displayed a real theatricality, turning mundane activities like eating lunch or a trigonometry class into spectacular entertainment. The boys' characters really shone through, and mixed with the energy of the performance and the extremely colourful costumes, the result was the most fun I've had at the theatre in a very long time. I couldn't help smiling through the whole thing! In the post-show talk, the boys all agreed that they really love performing in the show and their enthusiasm is what makes Elektro Kif so special.

It was wonderful to see such a mixed audience at Sherman Cymru for Elektro Kif last night, including lots of teenagers. Dynamic performances like this are so important for getting a new generation into the theatre. Everyone in the audience seemed blown away by the skill and energy of the boys, as well as the positions they could get their bodies into, and many women were seen still swooning long after the show finished.

During the post-show talk, someone asked if they'd been watching Got To Dance, but as company manager Glyslein Lefever responded, as the prize is to perform in a professional show, they've already won. They're performing around the country and wowing audiences with their incredible skill. The tour continues for another month, so don't miss out!

Some holiday viewing (UK only)

With all the holiday madness, I haven't had much time for blogging, and won't for a few more days yet, sorry. I hope you're all having relaxing, enjoyable holidays!

In the meantime, here's some wonderful dance to entertain you for a few hours over the holidays.

Firstly, Matthew Bourne's Christmas, a spectacular review of Bourne's 25 year career, from well-known blockbusters like Swan Like and Nutcracker! to his earliest work. If you think dance is just stuffy nonsense, watch this and be proved wrong.

Dorian Grey

Edward Scissorhands

Then moving behind the scenes, Balletboyz: Next Generation is a fascinating glimpse into the lives of an elite troupe of  male dancers put together by Michael Nunn and William Trevit, culminating in a trip to Ethopia for a history-making collaboration with local dancers. It reminded me very much of the Performance In Place of War work, as regards the power of the arts to bring people together and overcome adversity. Find out more about them and the project at www.balletboyz.com

Matthew Bourne In Conversation

Having just listened to the Matthew Bourne interview on Radio 2's Art Show from Friday night, I thought I should share my own interview here. It was a real honour to meet Matthew, as I whole heartedly agree that he is the greatest living choreographer, and a pleasure to discover that he is genuinely down-to-earth and so friendly.

We spoke about Nutcracker and how, 20 years on, it still seems so fresh, as well as the dark side of his work, what it's like choreographing musicals, the New Adventures Choreographer Award and much more.

 Matthew Bourne interview by Never A Frown

Nutcracker! will be running at Sadler's Wells in London until 22 January, while Oliver is at the Wales Millennium Centre until 21 Jan.

What is Culture?

It's a good question and one that I've encountered again and again in class and on the radio. An anthropologist would say that culture is everything that makes us human, that isn't the result of science. Different groups - tribes, nations, social classes, generations - can be said to have a different 'culture', encompassing ways of expressing themselves, rituals, beliefs. However, in every day parlance, culture is often taken to mean 'high culture': classical painting, sculpture, opera, ballet, auteur cinema. What I'm interested is somewhere in between: all kinds of artistic expression, including that high culture, but also popular culture, comedy, rom-coms, pulp fiction, musicals, graffiti - things that are often written off by the self-proclaimed defenders of 'culture' (although graffiti for one seems to be becoming rather establishment these days...).

'Culture' is such a loaded term that I have been criticised for being elitist in calling my radio show The Culture Show. Yet as much as I tried to avoid the perils of the word culture (and also the stealing from BBC2 implied in the name), there was no other word that conveyed the huge range of things I want to talk about: literature, music, theatre, dance, art and films of all kinds. So culture it is.

But as I've established, culture is a scarily vast term. So what exactly do I want to do? Well, as I'm forced to narrow my interests into some form of coherent PhD proposal, I'm not ready to let the others go just yet, so this is a place for me to consider cultural things that interest me. Sometimes that might just be 'This play/exhibition/film is awesome, go see/watch!', sometimes it might be an interview with someone that I've been lucky enough to meet through the radio. But what really gets me going is cultural analysis, so there will mainly be musings on what can be learnt from the book/film/musical/picture in question. I've always had incredibly multi-disciplinary interests (which is why I've always taken the broadest academic path, nothing can be vaguer than 'European Studies' which doesn't even know where the limits of 'Europe' are), and what I'm learning in class will undoubtedly prompt reflections here, so expect the following to appear somewhere:
-Questioning 'identity' in all its forms
-Nationalism, national identity and foundational myths
-Psychoanalysis
-Cultural mobility/intertextuality
-Translation and the politics thereof
-Foulcault and discursive techniques
-Orientalism and post-colonialism
...and probably a whole lot more! As for the source of materials, Spanish and French speaking countries will feature heavily, but I have spent the last 5 years studying 'Europe' so those influences will certainly crop up too, and as I currently live in Cardiff, how could I not be fascinated by Welsh culture?

I hope this will be not just interdisciplinary but multi-media. As well written ramblings, I will be putting my finely honed talking into a microphone skills to good use making podcasts, especially when visuals aren't essential. And when I eventually learn to use my camera, I hope to post videos too. And finally, I hope that all this inspires you to check out some of the things I talk about. My passion for languages, for travel, for research, for cultural analysis, was inspired by the films, books, music, theatre and art which I discovered one way or another and never cease to fascinate me. I hope some of them will fascinate you too.