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.
December 10, 2006 |
LEZ BROTHERSTON loves a challenge. That's one reason he's the perfect match for Matthew Bourne, the choreographer-provcateur whose wide-ranging imagination might daunt a less creative collaborator. Bourne has become a pop icon famous for spinning fresh tales out of well-trodden classics.
September 10, 2006 |
ENDANGERED outsiders are central to the acclaimed full-evening dance dramas of Matthew Bourne, whether they're an alienated prince ("Swan Lake"), a shellshocked pilot ("Cinderella"), a reckless bisexual drifter ("The Car Man") or a waif trapped in a dismal orphanage ("Nutcracker!"). However, the most helpless outsider in Bourne's body of work just might be the childlike title character in "Edward Scissorhands," coming to the Ahmanson Theatre for a three-week run starting Dec. 12.
March 8, 2006 |
Alan Vincent is a man's man. Tall and virile-looking in a Clive Owen kind of way, with a disarming smile, this 30-year-old Briton relishes any opportunity to knock back a single-malt whiskey. But these days, in his non-imbibing hours, he projects a somewhat less macho image -- that of the sexy, insinuating lead swan in Matthew Bourne's singular interpretation of "Swan Lake."
April 17, 2005
I read with genuine excitement Matthew Bourne's excellent commentary on his fine production "Play Without Words" ("What More Is There to Say?," April 10). As a ballet choreographer who has been crafting original narrative ballets for most of my career, it was a very welcome sign that concert dance may finally be returning to dramatic story. My ballet company, De'Ath Ballet, has been quietly producing narrative ballet for some 20 years. . I have often felt that I am operating in an absolute vacuum, and, as Bourne so correctly points out, almost no choreographers attempt it. Production costs are so high in these tough economic times that ballet companies steer away from new narratives in fear of poor box office.
April 13, 2005 |
Rigid class structures and the fantasies they inspire make for potent melodrama and equally exciting movement theater. From August Strindberg's "Miss Julie" to Jean Genet's "The Maids," intense parables of forbidden love and social revolt have not only become stage classics but also staples of the international ballet repertory.