Words: Paul Szabo
You might think that a ballet about the life of Casanova would focus on the sumptuous and decadent lifestyle of the legendary lothario, but there is so much more to the man than his personal indulgences. Casanova’s life as a scholar, mathematician, musician, priest and prisoner are all explored in Northern Ballet’s luxurious production which comes to the Sheffield Lyceum in March. The ballet’s award-winning creator and choreographer, Kenneth Tindall, took time out from rehearsals to talk to Exposed about bringing back his first full-length ballet, how the arts have had to adapt following the pandemic and introducing modern life into centuries-old art forms.
How do you feel about getting the powdered wigs and corsets out of storage for a second tour of Casanova?
It has been an absolute pleasure going back to my first full-length ballet, and it certainly feels like it is the right time for Casanova to come back. If I am honest, I thought it would have come sooner, as it has been five years since it premiered, which seems an incredible length of time. But the pandemic has placed the theatre industry on hold for the best part of two years and decimated huge parts of the arts, so given that it is set at a time when creativity was at a peak, and there was incredible artistry coming out of Venice at that period, it seems right that there should be a production which both features incredible artistry in its performance and also supports artists in getting back on stage to remind audiences of what theatre and dance is all about. The production itself is a very hard ballet to perform; it requires a lot of technical expertise, a lot of knowledge and fitness and requires every performer to be at the top of their game, and it felt like a real re-emergence of creativity after what has been a very difficult two years for the arts generally.
Photo: Emma Kauldhar
What was it that sparked the imagination for a ballet based on Casanova’s life?
The starting point for me was the period of time that Casanova lived – the look, the style, the decadence. It is a visually beautiful period and a time which is very rich in creativity and new discoveries, both scientifically and artistically. This was a point in history that was a morally loose time, but contained within a very policed state; there was a real conflict emerging between science and religion and this created a tension that I felt would translate well to the stage. You had brilliant minds like Voltaire and Franklin starting to challenge religion through science and it was a turning point in academia. As for Casanova himself, once I had found out what he had achieved in his life, it provided a completely different perspective of him. His image of a lothario is embedded in the public consciousness, but there was so much more to him than that. He was a scholar, a musician, a mathematician and a priest. There is so much about Casanova which is unknown, and that is one of the things that I hoped to redress in this production.
What can audiences new to the ballet expect from this production?
The whole reason I took on Casanova was that it is really interesting how we remember history or how we are prescribed history, and so we only know him as a womaniser or a libertine. When I read his biography, which was written by Ian Kelly who co-wrote the ballet, I was both surprised and shocked by just how brilliant he was. I was shocked to find out just how varied his life was – the people he knew, the places he visited, the things he achieved – and that, coupled with my favourite period of history for art and style, along with the creative team who all shared a similar fascination with Casanova, it all seemed to fit into place. The alchemy came together at the right time and forged into a piece that has so many levels to it.
And what can audiences who have seen it before expect?
This time around, we have expanded the score to include additional pieces mainly around the Casanova character. His story is quite episodic which is why it has translated so well to this piece, but the additional scenes allow the audience to spend more time between episodes with the main character and offer a little reflection on stages of his life. I have changed the pas de deux (duet), and I have adapted some of the core pieces with the ensemble cast. There is the addition of some digital projection and whilst there have been some changes; they are changes which will enhance the experience rather than detract from the original piece. It was interesting how the ballet mirrored the period in which it is set, as the company has used new ideas, new music and new technology to inject modern-day achievements into a centuries-old art form, and from what I have seen in the studio, you can expect a sumptuous production with a company at the top of their game
“the company has used new ideas, new music and new technology to inject modern-day achievements into a centuries-old art form” Photo: Emma Kauldhar
You originally worked incredibly closely with Giuliano Contadini in the lead role when the ballet first premiered. How has it been working with a new cast? Has it brought a feeling of freshness and re-invigoration into the project?
There is something really special about re-staging a work when you are the original choreographer. I originally created this piece five years ago; I have developed both professionally and personally since, and to look back from where you are now with hindsight is a wonderful opportunity. We have a brand new cast of Casanova’s, all of whom were in the previous productions; and they have also developed both personally, professionally and technically, so the show is also drenched in their knowledge, their DNA and their identity. Bringing a new cast to a production will result inevitably in an organic change: they work themselves from the core dancers to the top of the company and I have been lucky enough to have worked with a number of the cast for over a decade, and so that richness and that ability to collaborate has resulted in a phenomenal production.
Giuliano (Contadini) who originated the role of Casanova really transformed himself and gave every ounce of himself into that character, so they are big shoes to fill, but this new cast is on a par – if not exceeding – what he brought. Throughout the creative process of re-staging Casanova, Giuliano has been in the studio with us and has been incredibly supportive of the new cast, sharing his experience and knowledge with them. It is as if he was generously passing the baton to them.
Personally, it has been a strange thing for me in some ways. I have done a lot of work since Casanova and so it was strange to go back and view it again through that lens of experience and change in myself. But it was also incredibly fulfilling to have the opportunity to go back and enrich the show through that same lens.
Northern Ballet choreographer Kenneth Tindall. Photo: Justin Slee
Do you think that theatre is bouncing back following on from the pandemic, and do you think that there are any positive practices that have come from working through the pandemic that the theatre industry will learn from or take forward?
Sadly I don’t think that theatre is bouncing back. I think it is trying desperately, but with the bigger cultural picture – increasing bills, financial pressures on families, events currently taking place on the world stage and, with the likelihood of more ramifications coming, people are understandably worried and are financially pressed. I think that if productions do keep coming, they will be somewhat at shorter notice than we are used to, as audiences need certainty and are reluctant to book tickets given that so many events have been postponed, cancelled or rearranged over the last two years. There are some things that the industry has learnt as a whole which I expect will continue. One of those things is the use of digital entertainment which was always coming and which companies have had no choice but to grasp. There have been a lot of productions made available for people to watch at home which in some ways has allowed the arts to connect with a wider range of people. The use of digital technology has also allowed for a global collaboration of artists which many companies have embraced, so having artists in the USA collaborate and choreograph with companies here using Zoom has been a creative use of technology. It has also demonstrated that more time in the studios practicing has a real positive impact on what is subsequently performed on stage. The use of reduced casts has also tried to ensure continuity of performances. Northern Ballet recently toured with a version of Dangerous Liaisons which was more character-driven and had the ensemble pieces taken out, thereby allowing them to utilise a smaller cast. This allowed for bubbles of cast members to be formed and meant that Northern Ballet did not have to cancel one performance of that tour. It has been incredibly tough on the artists, who have had to go the extra mile in keeping themselves fit and maintaining their skillset during the pandemic, but it has also given then a real drive and passion to get back out on the stage and to give their all for the audiences. Performance is where the artists thrive, and so audiences are really going to see that passion on stage when they next visit the theatre.
What is next for Northern Ballet this year?
There is a new tour of The Great Gatsby, which is perhaps one of David Nixon’s best pieces of work. It is a really uplifting piece and involves the entire company. Northern Ballet is really putting the dancers front and centre, not only in terms of their welfare and careers but also in allowing productions to reach audiences. Later in the year, there is a tour of The Little Mermaid, and The Nutcracker makes a return at Christmas. David Nixon, our artistic director has recently retired and we have the new artistic director starting with the company shortly, so his new vision and style will start to be seen throughout the company in the not too distant future.
And what is next for you?
I am currently focused on Casanova, but then I am working in Tulsa to create a new a new full-length ballet of Bizet’s Carman with the Tulsa Ballet. I am really excited to combine two of the most classic art forms, ballet and opera, together, and I am genuinely excited about working in America. I am then re-staging a work in Cape Town and also creating a new piece there. I am also committed to continuing to work with Northern Ballet.
Do you miss dancing professionally?
I was recently asked to come out of retirement for a piece. I am giving it some very careful consideration. It’s been ten years since I retired, but you never know. Watch this space….
Northern Ballet’s Casanova is at Sheffield Lyceum Theatre from 22nd to 26th March 2022. You can book tickets here.
