Poetry in motion as youngsters step up

Published on Wednesday 20 June 2007 11:55

Morag Alexander School of Dance Annual Show 2007 ****

Brunton Theatre

CONSISTENT and utterly convincing, the huge cast of Morag Alexander's School of Dance annual show all know how to do one thing, whatever their technical ability, and that is perform.

From the tiny tots in the Pied Piper sequence, right up to the seniors of the ballet class, up on point for a modern ballet interpretation of Thunderbirds, there is an assurance and confidence about them.

This might be a dance-school show, but it is certainly no vanity production.

And while the finale, a sequence from Cats, seems just a whisker too far, this is a show that challenges all of its participants in terms of stamina, ability and variety of dance forms on display.

That said, there is a large cuteness factor to the preschool class' performance. Enough to melt the heart of the sternest critic.

Move up to the primary one and two, and while there is a certain hesitancy about the performance, the seeds of the ballet stars of the future are obvious to see. There is already a focus about these young dancers who are clearly enjoying themselves as they entertain.

In sequence after sequence, this professionalism and enjoyment from the dancers is given added potency thanks to the varied and, quite frankly, very strong, choreography.

In many cases it is all about telling a story. Such ballets as Pocahontas, Alice in Wonderland, or the entirely appropriate Caller Herring based on the "fresh herring" call of Musselburgh fishwives, use dance to carry the narrative while creating beautiful patterns on the stage.

The modern sequences are more about interpreting the music. Whether it is J Lo, Walk This Way, or a hip-hop version of Lonely Goat Herd from the Sound of Music, this is about a chorus who are not just able to move together, but who have the ability to put their hearts into their own moves with the confidence that their fellow dancers are doing the same.

In fact, the importance given to timing is apparent through the whole show.

Of course there are dancers whose cleanliness of movement indicate a greater technical ability than those around them. But there is no-one out of step as, time and again, movement in unison is just that. Or a simple move is passed all the way along a chorus line without pause or break.

Wielding close to 150 children around the Brunton stage, not to mention the many costume changes involved, must be a logistical nightmare. The results are easily worth it, however.

Indeed, there is something almost magical about the big ballet finale to the first half. Having excelled in a long sequence that has given all the ballet classes a go on stage dancing to Swan Lake, they return in a tide of pink and white tutus, until the stage is one, vast meringue. Cheesy? You bet, but it is pure entertainment.

• Run ends June 30