Alastair Macaulay

This book is a collection of conversations between Matthew Bourne (now a Sir) and dance critic Macaulay, Bourne's earliest dance history teacher. There are two editions of the book, so be sure to get the later version (2011), which includes all the earlier material and catches up with Bourne's work to about 2009. These are in-depth question and answer sessions covering Bourne's history, influences, inspirations, and methods, accompanied by rehearsal and performance photos, choreographic diagrams, and illustrations from costume and set designs by Lez Brotherston. The title refers to the name of Bourne's first company (Adventures in Motion Pictures); in the early 2000s he started a new company named New Adventures.

For someone interested in Bourne or this type of production, the book is a treasure trove. He talks in detail about each of his major works up till the late 2000s, including Swan Lake, Cinderella, The Car Man, Dorian Gray, Edward Scissorhands, Play Without Words, Nutcracker!, and Highland Fling. His method for directing and choreographing is to allow for a huge input from each performer. Even members of the corps are asked to provide biographies for their characters, and dancers are given films and books for character research. Much of the choreography is designed in rehearsal with individual dancers. When you watch a performance you can see how all the dancers have their own little moments while the main action is taking place - this is definitely not old-school ballet, where the corps stands around in groups watching the stars. There's a wonderful moment in Act III of Swan Lake (the ballroom scene, in which the Stranger, traditionally the Black Swan, shows up in leather and dances up a storm with just about everyone, men and women) when the Stranger is sitting off to the side as the corps starts dancing, and at the end you realize he's now on the other side of the stage, sitting at a table with someone else's girlfriend and making out with her. I had to go back to watch and see how this happens, but things like this are always happening in Bourne's productions, which he considers theater as much as dance. One of Bourne's goals has been to provide male dancers the chance to do more than serve as props for ballerinas, and his Swan Lake was designed to give men long, lyrical performance opportunities. Most of his work has a similar goal. Bourne makes no bones about his inclusion of gay scenes in his work, although all the full-length works are for both men and women. For instance, although the Swan, Prince, and swan corps are danced by men, Bourne's Queen is a highly sought-after part for retired prima ballerinas, and the ballroom scene revolves around the Prince being introduced to various princesses.

This book is a must-have for Bourne fans, and I'll be going back to it again and again as I have the opportunity to see new tapes. If you fall in love with his work, you'll want it too.… (altro)