Commissioned by HRH The Prince of Wales in 2010, ‘The Highgrove Suite’, will see its ballet premiere as the ‘Hail Britannia’ centrepiece of MurleyDance’s 2014 exploration of Britishness and multi-cultural Britain.
Highgrove Suite (choreographed by Artistic Director, David Murley)
The ballet-premiere of ‘The Highgrove Suite’, which was commissioned by HRH The Prince of Wales to celebrate the gardens at his home Highgrove House in Gloucestershire, is an absorbing story that captures the refined, organic beauty of the Royal gardens. Composed by renowned British composer, Patrick Hawes, the gardens are depicted through one girl’s journey into womanhood, following her transition from innocence to maturity, and her emergence from the grasp of a widowed mother into the arms of a handsome stranger.
Told in four movements – Goddess of the Woods, The Wildfire Meadow, Sanctuary and The Gladiator – the piece explores the nature of innocence, death, love and romance.
David Murley says “Patrick Hawes wonderfully evocative score for the Highgrove Suite is ideally suited to classical ballet. To have been able to bring this story of innocence, death and first love to life has been an enormous privilege.”
Wayward Kinship (Choreographed by Richard Chappell)
Few historic moments parallel the shaping of British culture like the conflict between religion and monarchy. With a 12th century setting, 19 year old Richard Chappell, thrusts into the heat of the argument between Henry II and Thomas Becket, Archbishop of Canterbury. Powerful and lively movement portrays the pairs decaying relationship reversal from friend to foe that results in the savage murder of the Archbishop,
Frisky Claptrap (Choreographed by David Murley)
A strikingly hilarious performance that follows three backpackers as they visit eccentrically named UK towns and cities. From ‘Cockfosters’ to ‘Fannyfield’, Frisky Claptrap is a new and original take on British humour leaving audiences chuckling “only in Britain…!”
Shaadi (Choreographed by Anaish Parmar)
From henna parties to hen nights, Shaadi (meaning ‘wedding’ in Hindi) plunges ballet-slipper first into the controversial topic of arranged marriages. Exuding symbolism, the piece vividly contrasts the Eastern and Western traditions that have together moulded the ‘British-Asian’ wedding celebration. Loosely based on Nijinska’s Les Noces, choreographer Anaish Parmar describes the piece as ‘a vibrant balletwood romp in preparation for the big day’.
For further information and ticket booking, please visit www.murleydance.com.
Disclaimer: Advertorial. I received no compensation for this post.