DANGEROUS LIAISONS Leeds Playhouse 28 – 31 October 2020 A BALLET BY DAVID NIXON OBEWelcome David Nixon OBE Artistic Director Production supported by David Nixon OBE. Photo Simon Lawson. Cover: Natalie Leftwich and Christopher Hinton-Lewis in Dangerous Liaisons, 2010. Photo HANSON. This season we had planned to perform The Great Gatsby and present the world première of Drew McOnie’s Merlin. However, the restrictions in place due to the Covid-19 pandemic have made this impossible. Our dancers have endured months of trying to maintain their fitness from home in the confines of their kitchens and living rooms. For the majority of them, it was the longest time they had been away from a ballet studio since they began classes as children. With the majority of our staff furloughed and watching our planned performances get cancelled week by week, a spark of hope was ignited as restrictions loosened a little and finally allowed our dancers to return to training in small groups. By the summer, the hunger and need the Company has to perform, as well as the community’s desire to regain some sense of normality, was palpable. In the face of numerous challenges, we determined to find a way to return to the stage for live performances. It was impossible for us to stage one of our large-scale productions due to social distancing restrictions and the financial viability of performing to smaller audiences. However, with the support of Leeds Playhouse, we established this programme of three one-act mixed bills and the revival of Dangerous Liaisons. This programme gives us an opportunity to stage work that we would not normally do and work that is rarely staged, alongside excerpts from some of our more recent productions. Again, it has not been possible to stage these works in the way we usually would; we have had to use our Sinfonia made up of less players and cannot feature the sets. But we are committed to maintaining as much production value as we possibly can, whilst prioritising the safety of our dancers, musicians, backstage staff, venue staff and audiences. As I write this, I am fully aware that with the ever-changing situation we find ourselves in this year, there is always a chance that these performances will not be able to go ahead after all. Even if they do, we still find ourselves with an uncertain future ahead as we try to plan our 2021 tour without knowing what the situation will be by then. The arts industry has been badly affected by lockdown and as it stands, the future for many organisations is not guaranteed. If you are in a position to be able to do so, you can help by donating money, or not claiming a refund on cancelled tickets, instead please consider accepting a credit voucher or transferring your ticket to another event. If you would like to donate to Northern Ballet, we would be incredibly grateful. Please see northernballet.com/magic for details of our current appeal. I would like to extend my sincere thanks to our audiences, individual and corporate supporters, and trusts and foundations who have continued to support us throughout this time, as well as Arts Council England and Leeds City Council. I would also like to thank every person who works for Northern Ballet. You have all shown tremendous resilience in the face of huge difficulty and anxiety over the last few months, and your determination in making it possible for us to offer these performances just shows the spirit that Northern Ballet has as a community. Thank you for joining us for these performances. Keep well. Stay safe. 2The Story In 18th century France, passions run high amongst the wealthy elite. The Marquise de Merteuil is simmering from a previous affair with Gercourt, who left her for another woman. She enlists her former lover Valmont, to enact her revenge. The Marquise unveils her plan for Valmont to seduce Gercourt’s virginal fiancée Cécile de Volanges but Valmont takes this as an insult to his talents and refuses. He has already set his sights upon the happily married and virtuous Madame de Tourvel. The Marquise offers Valmont a wager; seduce Madame de Tourvel and he will be rewarded with a night of pleasure with the Marquise herself. Her only condition is that he must present proof of his accomplishment in a written letter. Valmont accepts the challenge with relish. While Valmont heads to his aunt’s country estate in pursuit of Madame de Tourvel, the Marquise devises another plan and introduces Cécile to the young and dashing Chevalier Danceny. Neither plan bears fruit: Danceny proves to be all poetry and no action, whilst Madame de Tourvel is resistant to Valmont’s charms. The Marquise decides a shake-up is necessary and sneakily informs Cécile’s mother of the letters Danceny has been writing to her daughter. Shocked, Madame de Volanges sends Danceny away and, following the Marquise’s advice, takes Cécile to visit Valmont’s aunt in the country. Valmont agrees to deliver letters secretly between Danceny and Cécile, giving him an opportunity to return to the country where he continues his pursuit of Madame de Tourvel and chooses to ‘educate’ the naïve Cécile. All eventually goes to plan. Using force, Valmont seduces Cécile who later learns to enjoy her sensual nature. Madame de Tourvel succumbs to Valmont’s charms and falls madly in love with him, becoming his lover despite her principles. Finally, the Marquise takes Danceny as the latest in her string of amusements and pleasures. However, when the Marquise receives Valmont’s triumphant letter describing his lovemaking and feelings for Madame de Tourvel, she becomes inflamed with jealousy. Coming to collect his reward, the Marquise mocks Valmont for being in love, telling him his only chance of claiming her as his prize, is to give up Madame de Tourvel. Giving into his pride, Valmont breaks off his relationship with Madame de Tourvel, knowing it will destroy her. In an emotional rage he returns to the Marquise to demand his reward and discovers Danceny is her new lover. Valmont convinces Danceny to return to his true love Cécile but still, an outraged Marquise refuses to give Valmont the reward she promised and instead declares war upon him. The Marquise reveals Valmont and Cécile’s relationship to Danceny who, in a fit of rage, challenges Valmont to a duel. Emotionally tired and in realisation of the evils of his life, Valmont allows himself to be killed but, before dying, gives Danceny the Marquise’s correspondence. Now understanding the truth of the matter, Danceny seeks advice from Valmont’s aunt and chooses to reveal a few of the letters. The Marquise becomes an outcast, and totally humiliated, retires from public life. 3Characters Marquise de Merteuil An aristocratic woman who takes pleasure in seduction and toying with the love of others. Manipulative and prone to jealousy, she plots revenge but becomes a victim of her own game. Vicomte de Valmont The Marquise’s former lover who shares her enjoyment of games of passion. He falls uncharacteristically in love with Madame de Tourvel before committing an act of betrayal which leads to his downfall. Cécile de Volanges Young and naïve, Cécile unknowingly becomes the subject of a plot by the Marquise to exact revenge on her former lover Gercourt, who left the Marquise for Cécile. Madame de Tourvel A happily married and God-fearing woman. She finds herself the unwelcome focus of Valmont’s plans of seduction but the pair awaken unexpected feelings in one another. Chevalier Danceny Introduced to Cécile by the Marquise, he courts Cécile’s affections through poetry and letters much to the disappointment of the Marquise who later seduces him for her own lover. 4Production credits Technical Creative team Wardrobe Production Manager Steve Wilkins Company Manager Emily Deller Production Stage Manager Lyndsey Holmes Production Deputy Stage Manager Chun-Yen Chia Production Electrician Chris Alexander Lighting Programmer Abbi Fearnley Production Sound Engineer Kevin Heap Chandeliers Ali Allen & Northern Ballet Electrics Props Northern Ballet Stage Management Lighting Equipment Hawthorn LogisticsStagefreight ChoreographyDavid Nixon OBE Music Antonio Vivaldi Lighting DesignAlastair West Music played live byNorthern Ballet Sinfonia Music Director Jonathan Lo Head of Wardrobe Kim Brassley Wardrobe Supervisor Mikhaila Pye Assisted by Julie Anderson Carley Marsh With help from Donna Hardcastle Ellie Kemp Holly Prescott Roxanne Major Hair, Make- Up & Wigs Supervisor Harriet Rogers Tobias Batley and Martha Leebolt in Dangerous Liaisons, 2010. Photo Merlin Hendy. 5The Dancers - Our Collaborative Artists Premier Dancers Antoinette Brooks-Daw Javier Torres Principal Soloists Ashley Dixon Abigail Prudames Leading Soloists Mlindi Kulashe Ayami Miyata Joseph Taylor First Soloists Sean Bates Sarah Chun Rachael Gillespie Riku Ito Minju Kang Matthew Koon Dominique Larose Kevin Poeung Soloists Jonathan Hanks Matthew Topliss Junior Soloists Filippo Di Vilio Lorenzo Trossello Coryphée Miki Akuta Gavin McCaig Mariana Rodrigues Dancers Harris Beattie Helen Bogatch Alessandra Bramante Wesley Branch Natalia Kerner Sena Kitano Kyungka Kwak Heather Lehan George Liang Harriet Marden Charlotte McKay Aerys Merrill Matthew Morrell Julie Nunès Bruno Serraclara Andrew Tomlinson Apprentices Sara Dos Remedios Albert Gonzalez Orts Leandro Olcese Aurora Piccininni Archie Sherman For dancer biographies visit northernballet.com/dancers 6We extend our deepest thanks to our corporate sponsors, individual supporters and trusts and foundations whose essential support has become even more critical as we try to overcome the impact of the Covid-19 pandemic. We cannot list everyone here, but we are so grateful for your ongoing support during this difficult time, and please know that we remain committed to ensuring that the company you love will return to the tours and productions you expect, better than ever, as soon as it is permitted and safe to do so. With Grateful Thanks For more information on ways you can support Northern Ballet, please visit northernballet.com/support-us Antoinette Brookes-Daw, Rachael Gillespie and Pippa Moore. Photo Guy Farrow. 1st Violin Geoffrey Allan Helen Boardman Raimonda Koço 2nd Violin Winona Fifield Laura Concar Oliver Morris Viola Rosalyn Cabot Hannah Horton Cello Alexander Volpov Toby Turton Double Bass Gemma Murray Piano Andrew Dunlop Flute/Piccolo Tom Hancox Oboe / Cor Anglais Mary Gilbert Clarinet Joanna Rozario Alan Asquith Bassoon Paul Boyes Horns Nick Wolmark Dave Horwich Trumpet Tracey Redfern Trombone Richard Scoates Timpani Ian Hood Percussion John Melbourne Harp Elinor Nicholson Sinfonia Supporters Nick Lyle & Sheila Nelson Northern Ballet Sinfonia Music Director Jonathan Lo Orchestra Manager Steve Costello 7Find out more about how your donation will help at northernballet.com/magic Rachael Gillespie in Merlin. Photo Guy Farrow. We began this year celebrating 50 years of Northern Ballet with plans to bring two new ballets, Geisha and Merlin, to audiences nationwide. However, in place of celebration, we now find ourselves facing the tremendous strain that the Covid-19 pandemic places upon our ability to create, perform and teach ballet. As a result, our 2020 world première of Merlin has been postponed. We need your help to ensure the magic of Merlin finally becomes a reality for its rescheduled world première in 2021.Next >