December 15, 2006 |
CHOREOGRAPHER Matthew Bourne is best known for flipping his sources: taking a ballet, an opera, a feature film and switching period, location, character-gender until it yields a powerful, newly engaging dance drama. But Tim Burton's 1990 film "Edward Scissorhands" seemed to need no radical reinterpretation.
September 17, 2001 |
Beyond its steamy fusion of dance drama, grand opera and film noir, Matthew Bourne's "The Car Man" is a sardonic fantasy of 20th century mid-America--a place where stud males are as abundant as auto parts, where social dances are one part bare-knuckled aggression to two parts hip-pumping foreplay, and where any kind of softness, sensitivity or vulnerability is doomed to extinction.
March 28, 1999 |
Matthew Bourne has been to Broadway and back, and he can't wait to get to L.A. "It's nice coming to a place where people are very caring and welcoming," says the choreographer by phone from London. It has been two years since the U.S. premiere--at the Music Center's Ahmanson Theatre--of Bourne's irreverent version of "Swan Lake," in which he made male beasts of the sacred swans and brought dance theater to the masses. "The audiences were incredibly warm.
April 20, 1997 |
It's an unusually fine spring morning, and Matthew Bourne is in what passes for supreme commander mode. Assembled in front of him, on the floor of a rehearsal studio at the London Theatre Centre, are his troops: the members of his own Adventures in Motion Pictures dance company. Bourne and AMP have already established one beachhead--they've managed to turn their update of the 100-year-old "Swan Lake" into a six-month phenomenon in London's dog-eat-dog West End theater district.