There is something to be said for a ballet that despite lacking clarity in the narrative can still be pulled off by its dancers and remain hugely enjoyable visual spectacle and this is certainly true of Kenneth Tindall’s first full length story ballet, Casanova. Ably supported by a highly talented creative team, Casanova is a glossy, proud and distinctive first work from Tindall. The various encounters of the protagonist may all blur into one as we move from various locations in Venice to Paris but ultimately, we still understand Casanova’s conflicted mindset throughout.
The marriage of Christopher Oram’s set and Kerry Muzzey’s often mournful score lift Casanova to be the intense viewing experience it is. It is dripping with mesmerising images; from the moment the curtain raises, the burning incense hanging low from the ceiling and razor thin shards of light shown within the church, to the opulence and grandeur of the Masquerade ball and gambling table.
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