Blood, Sweat and Tears - Grand Theatre, Blackpool
RICH in symbolism, the best way to fully enjoy this ballet was with a deep discussion over a glass of wine in the bar afterwards.
However simple it might have first appeared with a small ballet corps of seven dancers, minimal set and subtle lighting, it was more thought provoking than a lot of dances I’ve seen.
As the leading couple took the audience on a journey of new parenthood, their chemistry proved both beautiful and powerful.
During their sensual, opening 30-minute duet, their intimacy emanated through playful, tender movements and affectionate embraces. But as the strain of a newborn baby on their carefree life began to take its toll, the couple literally wrestled for each other’s affection with acrobatics across the floor.
Creative lighting in the second part transformed the joyful memories of their wedding day into a frenzied whirlpool as they struggled to cope with the demands of their new addition.
The third act took a more peculiar path when the bare stage became over-run with red cuddly toys which piled high to depict an overwhelming reminder of parental responsibility.
But, thankfully for any of us yet to experience parenthood, the final image brought reassurance as the new family finally found peace together.
Anyone looking for ballet with an abundance of pirouettes would have left feeling unfulfilled.
But Lorent’s choreography was compelling to watch as she weaved countless symbols into the dancers’ moves while the music – sometimes playful, often haunting – added to the atmosphere.
And the disappointingly small audience made sure the performers received the warm applause they deserved.