When the Ballet Gods were handing out talent and organizational acumen, Mara Galeazzi caught them on a good day. This is the fourth Italian tour she has arranged during the mid-season break, and each has been a delight. This year took in Brescia, Cremona and then Lucca.

A 2 hour flight from London to Pisa and a short train ride took us to Lucca, a delightful walled city of medieval origins which was bathed in warm sunshine. Lucca is a picture postcard labyrinth of piazzas and narrow streets, including a cathedral, numerous churches, museums, Puccini’s birthplace and plenty of restaurants and shops to occupy the wallet. The Teatro del Giglio is a small, horseshoe-shaped 19th century theatre with a tight 20 row stalls, and 4 tiers of boxes adorned by cherubs and phoenixes. The stage here was only marginally raked, compared to the North face of the Eiger in Brescia.

The performance commenced with the ‘Spartacus’ pas de deux with new choreography by Lucy Park, especially made for and danced by an ardent Martin Harvey and Sarah Lamb. The composition was Spartacus Adagio by Aram Khachaturian (Theme from 'The Onedin Line' for TV buffs). The piece opens with Phrygia draped in a diaphanous scarf, overwhelmed by despair. Spartacus, in a deep crimson one-shouldered unitard, received the pirouetting Phrygia, drawing her in by her scarf. An impressive overhead lift with her in a deep backbend caught both the bond of love and the sorrow of imminent parting.

The ‘Come Neve al Sole’ romp for two was danced by Mara and Alexander Zaitsev (principal guest from the Stuttgart Ballet) wearing strange stretchy pink T-shirts and black shorts. This quirky piece had the audience smiling at their ‘cheek-to-cheek’ tango and lolloping simian stroll. There was a young jaunty feel as Mara was suspended and air-walked in the stretch Lycra like a marionette. The tops expanded to fit them both at once and the whole tone was playful.

La Sylphide PDD followed with Yuhui Choe as La Sylphide and James Wilkie as James. As the alluring sprite, Yuhui’s graceful arms and sweet smile ensured that the kilted jilter was smitten. James admirably mastered the Bourneville ballon, with good elevation and light landings.

‘Sans Reponse’ by Patrick Delcroix opened with 4 empty water cooler flagons, and two more men in skirts – sarongs to be precise. Johannes Stepanek and Ernst Meisner were in dispute, with Johannes calling out ‘Oui!’ and Ernst replying ‘Non!’ vehemently. A small child in the front stalls started giggling which encouraged the audience to laugh at the Gallic feud. Both dancers sat astride their flagons, berating each other, beating and scratching the plastic containers in a juvenile manner. Then the colourful Malian blues of Grammy winner Ali Farka Toure began. The confrontation evolved from a verbal exchange to a more physical mix of dance, martial arts and lifts with choreography that had a similar quality to some pieces by Russell Maliphant. Eventually the two combatants resolved their disagreement in a very comical style.

Lauren Cuthbertson danced Tuckett’s Nisi Dominus in a crinoline framework skirt and lots of blusher to Monteverdi’s Vespers. Lauren looked like a doll caught in a headlight, and the dance had a strange quality with scurrying and odd movements to the ethereal chords. Quirky, but very enjoyable.

Part I closed with perennial gala favourite, the Balcony scene from ‘Romeo and Juliet’, danced by Mara Galeazzi and Edward Watson. As ever the first flush of love and the excitement of youth were caught by these two glorious dancers, much to the audience’s delight. Perhaps, one day soon, we’ll see this partnership on the Royal Opera House stage.

Following a short break, Part II began with Mara and Martin Harvey dancing a pdd from MacMillan’s Winter Dreams, with music by Tchaikovsky. The lyrical duet was danced with tremendous passion from the first wild toss of Vershinin’s hat into the wings to the last sigh of despair from the bereft Masha. Harvey’s skillful partnering and strong stage presence were very well suited to the soldier’s role whilst Mara gave her character an air of delicate vulnerability.

Alexander Zaitsev danced an extensive solo called Notations I- IV created by Uwe Scholz to music by Pierre Boulez. This abstract work was varied with some passages being very energetic and powerful while others were quiet and contained. Zaitsev has great stamina and charisma as we have seen in his performances of Pierrot Lunaire on the Covent Garden stage.

By popular demand the evening closed with the effervescent ‘Elite Syncopations’ by Sir Kenneth MacMillan, danced to Scott Joplin’s’ jazzy rags. This piece makes an excellent feel good finale, and the gala posters of Mara Galeazzi and Edward Watson in their costumes in many local shops and cafes had clearly whetted local’s appetites. The opening number danced by Mara Galeazzi and Edward Watson set the mood. The sweethearts were danced by Yuhui Choe and Ernst Meisner. The highlight for the men was undoubtedly Sarah Lamb dancing the Calliope Rag. It is quite a feat to look sexy in a pom-pom hat and legs in blue lycra, but with every little wiggle of her dainty derrière she was a joy to behold. Next, Lauren Cuthbertson and James Wilkie danced the tall woman/short man pas de deux (The Alaskan Rag). James Wilkie was excellent as the geek in glasses, daring to ask Lauren to join him on the dance floor. Full of clumsy passion, he tried to woo the girl. James had to crouch a bit to make Lauren seem taller, and she was determined to make it work. The final lift where James picked up Lauren and allows her legs to dangle, before she landed on him, was very funny. The finale was the brief Cataract Rag, followed by a generous ovation for the whole company.

Dancers: Choe, Cuthbertson, Galeazzi, Harvey, Lamb, Meisner, Stepanek, Watson, Wilkie, Zaitsev

Anthony Kent (with assistance from HerInDoors)

Many, many thanks for that detailed write-up of Mara's gala. For those of us not lucky enough to have been there, it is the next best thing! Actually, with all due respect, the next best thing would be to see them do it here in the UK, if not in London then in smaller theatres elsewhere. People often comment about the RB not touring in the UK, and how they used to split into smaller groups to do so...what with this, and Carlos' upcoming performances at the Coli, and Johan Kobborg's Out of Denmark in 2003, and the performances at Deptford...they are all examples of successful small off-shoots from the main Company doing eminently tourable things, but they were all performed in London. Wouldn't it be good if they could do it around the rest of the country too?

In the meantime, we will have to look forward to lovely reviews like this keeping us in the picture. Thanks again.

After your reviews last year I had hoped to go but BRB in Belfast was an even stronger lure for me. Maybe next year!

... Or even Dartford ... . But yes, Sim, how much I agree with you. (And thanks to Mr & Mrs Indoors)

Dartford, Deptford...for a North Londoner, they are one and the same thing!! Just kidding, and thanks for the correction, Alison!

Jamila Mendes