![]() ![]() ![]() Next up for the Cougars, now Bi-District Champs is the Area game against Austin Bowie. With a 64-48 lead starting the 4th, the Cougars kept up the scoring and shut down the Hornet defense for the victory. The second half was all Cougars as they scored the first 7 points on their way to a 21 point quarter, holding East Central to just 7 points in the 3rd. The Cougars put their own run together and tied the game 18-18 before East Central closed the quarter with a 3 point shot to make it 21-18 Hornets at the end of the 1st.Ĭlark regained its composure in the 2nd quarter, outscoring the Hornets 25-18 and went up 43-39 into halftime. The Cougars jumped ahead early but the Hornets shooters heated up and they took a 15-7 lead with three and a half minutes in the 1st quarter. Jason Brickman posted 25 and Ansley Benjamin added another 18. Mary’s University on the court he might call his college home, Emerllahu had his way with an over-matched Hornet team. Not forgetting the Northern Ballet Sinfonia under the baton of Daniel Parkinson, the audience erupted at the end of the show, applauding vociferously – a very well deserved triumph.Behind senior Elhad Emerllahu’s 37 points, the Clark Cougars blew out the East Central Hornets in the first round of the 2010 basketball playoffs 91-66. Not only a dancer and partner of immeasurable strength and stamina, Taylor managed to get the audience on board. On stage for almost the entire performance (think Prince Rudolf in Mayerling), dancing with multiple partners in very strenuous pas de deux, he still managed to fly through the air in all manner of gravity-defying leaps throughout. However, the evening belonged to Joseph Taylor in the title role. Hannah Bateman was suitably imperious as Madame de Pompadour and the Musicians of Filippo Di Vilio, Riku Ito and Kevin Poeung would be hard to better. Bellino (Minju Kang) and Henriette (Saeka Shirai) manage to win Casanova’s heart and both danced their multi-layered roles convincingly. Abigail Prudames was sensational as the nun, M.M., who seduces Casanova towards the end of the first act. Of the many characters, Javier Torres as Senator Bragadin and Sean Bates as Voltaire were delicious in their cameo roles. It is helpful to read the programme but not necessary in order to find it compelling viewing. But more than this, his characters have real depth. He is adept at using inanimate objects to express emotions and relay the plot (tables, church pews). While he has clearly absorbed much from the great Kenneth MacMillan and his former director, David Nixon, his innovation and fearless attack with complicated lifts, the sensuality that leaps across the footlights, is very much in his own voice. Group scenes are masterfully filled with challenging steps, all executed with military precision but, it is the numerous pas de deux that display Tindall’s originality. Over the course of the evening there is a great deal of seduction and debauchery, artfully depicted, masked balls, plenty of moments of disgrace, gambling and tragedy and it goes at a pace. Casanova’s life is as equally plagued by misadventure as it is by good fortune. The production starts in Venice and finishes in Paris. Photo Caroline Holden Joseph Taylor in Casanova. Joseph Taylor and Abigail Prudames in Casanova. He couldn’t, of course, have done it without such a supreme cast of dancers. How to do all this as a classical ballet with a large cast of characters whose exploits have to be followed in various locations within a two hour performance, is a task an a half. Normally synonymous with promiscuity, philandering and being irresistible to women (and the name frequently used to describe men of that ilk), he was an author, a priest, a musician, spent time in prison, was hugely witty and yes, he developed a voracious sexual appetite. In collaboration with Ian Kelly, whose biography of Casanova the ballet is based on, Tindall has managed to make us rethink our perception of Casanova. Tindall, whilst he has created some memorable abstract ballets, is one of a handful of 21st century choreographers who has the ability to translate narrative into classical ballet and make the steps do the talking. Alistair West’s lighting tells a story all of its own with magical consequences and Kerry Muzzey’s filmic, functional score does the job in an inclusive way. Set and costume designs by Christopher Oram are sumptuous, opulent and atmospheric, as are the wig and make up designs by Richard Mawbey. Its success is due to each of the components working well together. Kenneth Tindall’s Casanova, which he created for Northern Ballet in 2017, has had a welcome revival this year and returned to Sadler’s Wells in glorious style. ![]()
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