Blood, sweat and fears

NBT have lost director Christopher Gable but, finds Don Morris, his inventive style can still be savoured in Dracula and Carmen A dance company in transition can be an uncomfortable place, as anyone involved with Scottish Ballet in recent years will tell you. But transition can also provide opportunity for change, something Northern Ballet Theatre will prove when they return to Scotland with two radically different programmes in the next fortnight.

The loss of director Christopher Gable last autumn may have ended an era in the company, but audiences have the chance to savour some of the late flowering of his inventiveness with Dracula, which he directed and co-choreographed, and Carmen, for which he wrote the dramatically-revised scenario.

The UK's foremost dramatic dance company, NBT has built a group of versatile dancers who attract boundary-crossing audiences with their energy and commitment. Among them are principals Charlotte Broom and Daniel de Andrade, taking lead roles in both productions. Each acknowledges the challenge of performing in such different works, one contemporary and barefoot, the other gothic and classically based. There has also been the novelty of working with Didy Veldman, choreographer for Carmen, on her first full-length work after the established Gable-led team of previous productions. "I particularly like the versatility in the repertoire," says Broom, "but barefoot seems to fit for the character of Carmen because she's earthy and a free spirit. It makes you dance in a completely different way, much more sensual." The importance of the sense of continuity from Gable is clear when Broom compares the two works: "We had Pat Doyle (drama consultant) to direct us again in the rehearsal period, to make sure we knew why we were there at each moment. It's such a link to Christopher; we always went through this process so we know who we are when we come to stand on stage. My aim is to take what Christopher taught me and never forget it - we all feel we want to continue his vision." De Andrade echoes her comments, citing the ability to change dance style quickly as crucial: "Working with Didy has been completely different, but you approach each story with the choreography and you can't go wrong. This company is about expressing yourself 100% and I think it was nice for Didy to work with a group who are experts in telling stories in dance." He speaks with quiet enthusiasm, reflecting on his experience of the two works. "Dracula for us is such a powerful piece because you know people will be screaming by the end. It's such a buzz to be involved and we try to live it as we do it. With Carmen you have the passion instead of fear - everything is extreme, which is good." The publicity material for both works is certainly eye-catching, all part of the integrated approach to the performances and their promotion. "The images for Carmen are sexy" says de Andrade. "But Christopher definitely felt you had to get the essence of the staging right - you need that striking edge, and here it's very true to what's on stage. Carmen is as close to a vicious prostitute as possible, so it's not the romantic naive look you expect from Romeo and Juliet." For Broom, part of the delight in playing Lucy in Dracula is the transformation. "I have to start off young and sweet and then change totally into this horrible creature", whilst as Carmen the style demands "putting so much energy into the ground for your character. The challenge keeps you alert in your body and mind when you're dancing". De Andrade feels the updated Carmen, set in 1990s Rio de Janeiro, invites a different audience response. "You could put the story anywhere, because such a brilliant love story applies everywhere. But it's nice to have the energetic atmosphere of a different audience with younger people watching, with rock concerts and Mafia types on stage." As for the future, both are keen to see what new company directory Stefano Giannetti comes up with. "Stefano wants to go forward in a different way to have a more European taste to the company, but still based on dancers who are willing to act 100%," says De Andrade. And with NBT's record for packing out houses with its dramatic dance programmes, Gianetti's first work in 2000 seems somehow appropriate. The title? Great Expectations. Northern Ballet Theatre - Dracula is on at the Theatre Royal, Glasgow, Tue-Sat. Tel: 0141-332 9000 for details. l Ticket offer: Page 14

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