FEATURED: ‘Them/Us’, BalletBoyz

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Them/Us’, BalletBoyz

  This spring, the internationally acclaimed, award-winning dance company BalletBoyz will present the London premiere of their new production ‘Them/Us’, an innovative double bill asking where we see ourselves in relation to the “other”, exploring the fine balance between them and us.

  An exciting collaboration between the company’s own critically acclaimed dancers and Olivier-Award winning choreographer Christopher Wheeldon, ‘Them/Us’ is set to original scores by returning BalletBoyz composers – artist Keaton Henson and composer Charlotte Harding.

  The opening half of the show, ‘Them’, explores the individuality that resides within each dancer, and the versatility of movement which the company has always been known for.

  In a company first, ‘Them’, is the work of BalletBoyz’ very own in-house talent, marking the choreographic debut of the company dancers. Created through a unique collaborative choreographic process by the dancers, together with key collaborators, under the direction of Artistic Directors Michael Nunn and William Trevitt, the piece is an exciting culmination of the experience the company has gained after 20 years of working with leading choreographers, designers, composers and artists.

  ‘Them’ is set to an original score by emerging composer Charlotte Harding. Marking her return to the company, Harding recently composed for Craig Revel Horwood’s ‘The Indicator Line’ in BalletBoyz’ ‘Fourteen Days’. Spring 2019 sees the world premiere of her work ‘Convo’ at the Royal Albert Hall, a commission from the RAH, Royal College of Music and Triborough Music Hub. Passionate about the role of music in health and education, Harding is a regular accompanist for the BalletBoyz programme Parkinson’s Can Dance.

  The show concludes with ‘Us’, exploring the possibilities of before, during and after, with a particular focus on human connection. Featuring all BalletBoyz dancers, the piece presents the company at its powerful best.

  With an extended score by cult singer-songwriter Keaton Henson, the piece has been developed by Tony and Olivier-Award winning choreographer Christopher Wheeldon, inspired by and extended from his achingly beautiful and critically and publicly acclaimed duet which featured in the company’s last show ‘Fourteen Days’, which premiered in 2017.

  Wheeldon has created productions for all the world’s major ballet companies, and in 2007 he founded Morphoses/The Wheeldon Company, and became the first British choreographer to create a new work for the Bolshoi Ballet. His awards include the Tony Award for Best Choreography for ‘An American in Paris’, and he was made an OBE in 2016. Christopher has worked with BalletBoyz on numerous occasions in the past, including ‘Mesmerics‘.

  Keaton Henson is an English folk rock musician, visual artist and poet from London. His music video for “Charon” was shortlisted for a UK MVA Award in Best Budget Indie/Rock Category. “Small Hands” won Best Music Video at the Rushes Soho Shorts Film Festival in 2012. Henson composed the score for the multiple award-nominated film ‘Young Men’ by BalletBoyz,in association with BBC2.

  Regarding his collaboration with the company on ‘Us’, Wheeldon said, “I’m relishing the opportunity to work with BalletBoyz again to create a new work that expands on my previous work with the company. It’s a pleasure to be working with Keaton Henson once again after his music for Us inspired me to investigate a new style of movement.”

  The current BalletBoyz Company includes: Sean Flanagan, Benjamin Knapper, Harry Price, Liam Riddick, Matthew Sandiford and Bradley Waller.

  A co-production with Sadler’s Wells, the production will play at the London venue from 5th March to 9th March 2019, with an official opening night on Wednesday 6th March.

BUY TICKETS

“IT DOESN’T SEEM TO MATTER WHAT THEY DANCE. THE RESULT IS ALWAYS THE SAME – FANTASTIC.”

The Times

“DANCERS SOAR AND REBOUND OFF EACH OTHER’S BODIES, ORCHESTRATING A PARADOX OF MUSCULAR IMPACT AND WEIGHTLESS FLIGHT THAT I’VE NEVER SEEN ON STAGE.”

The Guardian

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