Two Pigeons with Campbell/Choe/Mendizabal

I should probably start by saying that I never got around to listing my highlights from 2015’s dance and ballet programmes; however, if I had, anything with Alexander Campbell in it would have been in my top three. I was never a massive fan of Campbell, always thinking him a bit on the short side and just a bit ‘meh’. However, I saw him dance a lot last year and can happily say that I’m a converted fan. Actually, I may be his biggest fan. It was mainly seeing him as Colas in Fille last year that changed everything. His characterisation was pretty perfect. He had the bravado but he wasn’t arrogant, he had the peasantry look, but remained chivalric and he was cheeky and funny without being annoying or overbearing. It was such a huge joy to watch. It was this performance which also made me take notice of his technique. The guy has stepped up his game massively over the last year. The height in his jumps, the speed of his feet and the passion he so easily portrays through movement rivals many of the Principals in the company. He was wonderful in Woolf Works, proving he can also tackle the more modern stuff, his Mercutio is the best in the company and his Nutcracker was enchanting. And now we find him in Two Pigeons where he continues with success. I’m sorry to sound gushy but I feel I have to make up for a lot of ‘whatever’-s’ that I used to throw around when I saw him dance.

The first thing to say about this performance of Two Pigeons, is how well it was danced by everyone. Every step, every look, every flick, all done exquisitely. This is rare for something by Ashton as his style is notoriously difficult to achieve. Campbell and Choe floated through, however, and their partnership is, and always has been, a thing of beauty. They feed well off each other- she naïve and delicate, he more dangerous and powerful. For this ballet in particular it’s the perfect ingredient. It’s also important to add that they both have a wonderful ability to move the audience. You’re always rooting for Choe from the beginning as her Young Girl is sweet, playful and unaware of the realities that the world will throw at her. It seems inconceivable to her that her man would be seduced by another woman. But this is the story, and although Choe was funny when she needed to be, her portrayal of the character was a lot more forlorn and upset – which pulls on the heartstrings early on in Act One. Choe’s had a funny career. Having danced numerous Principal roles, but never becoming Principal, one has to wonder why. Sure she’s perhaps not an all-rounder (I remember seeing her Gamzatti and thinking it seemed a completely wrong fit for her as she is more of a pure and gentle dancer); however, when a role fits her, she dances it so beautifully. I also think Campbell brings something else out of her. As I said earlier, their different styles really complement each other and they have a natural chemistry which is perfect for an Ashton ballet.

Although the partnership is superb and special mention also to the rest of the cast who were spot on throughout, for me, it was Itziar Mendizabal’s ‘Gypsy Girl’ who really stole the show. Itziar is a funny one. She reminds me so much of Laura Morera, I guess it’s the Spanish thing, and I was completely taken aback by her technique and talent. I loved her Myrtha and I thought she did well as Tatiana in Onegin although with better partnering I think she probably would have shone more. But apart from spotting her here and there in the corps, I haven’t seen her in a solo role for a while. Why? She’s brilliant. My eyes were fixed on her the whole time and I was especially impressed with how well she was doing the steps. She’s a fantastic dancer, technically, and she also understood the character down to a T. She balanced the sultry side of the Gypsy girl with a lot of humour and I especially loved her hilarious facial expressions when she’s squaring up to Choe. I think she’s been a highlight in the whole run of Two Pigeons and I’m very interested to see her dance, in something meaty, very soon. I hope she’s given that opportunity.

What stands out after seeing this cast is that the whole story seemed so believable. It’s a sweet story: girl loves boy, boy wants more, boy gets more and realises all he ever wanted was in front of him the whole time. I think it’s something that relates to all of us in one way or another. The tenderness and love shown in the final pas de deux, when the boy returns and all is forgiven, was so poignant, that it also seemed to symbolise the realisation that home is where the heart is. I was so moved by this, because their pas de deux was no longer about a lovers tiff, but more about appreciating what you have in life. It was emotional stuff. A young girl in ruby slippers once said that there’s no place like home and this message seems to be at the core of Ashton’s ballet.