The Let’s All Dance Company brings the classic fairy tale back to the stage in this new production exploring different languages and techniques. Guillermo Nazara chats with one of its lead creatives, to learn all the fun facts about the development of this montage where magic soars beyond its storyline.
How did the idea of creating this ballet come to you?
When we first discussed producing Goldilocks as a ballet, it seemed very apt for the show to be set in the 1940’s. Gingham, bunting, music hall and ragtime music felt like the perfect combination to bring the much loved children’s story to life in a charming and nostalgic way.
In the enchanting era of the late 1940s, both variety theatre and ballet captivated audiences with their distinct charm. It has long been my ambition to intertwine these beloved art forms. After a turbulent time during World War II, these genres brought just the escapism the world needed and craved and, after the last few tough years, we all need escapism and joy once again.
A tale that’s been told over a hundred times for over a hundred years. What’s new to tell about this story?
When adapting a show for families, it’s important to stay true to the original narrative. This is paramount when adapting a story that is cherished by so many. With Goldilocks, we have stayed true to the iconic storyline. However, to add some dramatic tension, we have introduced a villain to the piece (Selfish Sid), who is trying to steal Goldilocks’ magical pot of honey. When I have developed family shows in the past, my priority has always been to create a moral that will give the audience (whatever age they may be) an underpinning message to take away and reflect on. In this case, the bears help to save Goldilocks from Selfish Sid and they all learn the value of sharing through Goldilocks dishing out equal amounts of honey to all the characters.
What makes this montage different to other dance-based productions inspired by this tale?
As far as I am aware, this production is the third ballet adaptation of Goldilocks in the UK. This production is unique as it combines classical ballet with audience participation, tap, contemporary dance and old comic routines inspired by traditional British music hall. It was important for me to include something for everyone as even despite the fact that the show is targeted towards children; parents, guardians and grandparents also need something tangible to entice them and inspire them.
I was also keen to include a demonstration and introduction to classical mime at the start of the show. This simple device allows the audience to connect to the traditional mime used to drive the story. ‘Beautiful’, ‘evil’ and ‘dance’ have mimes passed down to represent them and by demonstrating them it allows the audience an access point follow the storyline throughout the show.
What’s been the process of delivering this piece?
Work started on Goldilocks in May 2023, having just choreographed a slightly more racy production titled, Goldilocks and the Bare Bears at Brick Lane Music Hall, which saw the three dancing bears being involved in a strip tease; I concluded that this story and the themes of sharing, family and accepting others into your world would be appropriate for a child-friendly production. From this I contemplated how we could expand the story, how I could combine nostalgic tunes with a classical score and how we as a company could highlight the comedic potential of ballet and craft an immersive production for young children.
Putting this production together has been a truly wonderful process; working with such talented dancers and creatives has been a joy and I would like to thank them all for bringing their individual and unique craft to the work. The production has truly been a collaboration and it would not have the same energy and charm without the input and enthusiasm of everyone involved.
Have you found any particular challenges as a choreographer when designing it?
The process has been incredible, however like any production or live event it has been a huge undertaking to produce. I have been lucky enough to choreograph and create shows for many production companies in the past, but this is the first full length ballet I have ever worked on. The sheer amount of choreography and storytelling that goes into a ballet is immense and it has been a major part of my life this past year, just ask my partner! I have enjoyed every single second of the challenge and I am hugely proud of the show and of everyone who has worked on the production.
What, would you say, is the highest point of this production?
The highest point of this production for me was hearing and feeling the response from the audience for the first time. You never really know how a production works until the audience is an active participant in the event. They hold all power and their responses determine if a show is entertaining, moving or funny. On our first few shows it was overwhelming to hear laughter, applause and participation from everyone. I am confident that I can speak on behalf of the entire company and say that the continued positive reactions from audiences across the UK have made all of our hard work worth it.
Why come see Goldilocks: The Ballet?
Goldilocks:The ballet is a show for everyone, whether you’re one or one hundred and one, there is something to captivate and entertain you and the whole family. And just like Baby Bear’s porridge, I believe we have created a production that is ‘just right!’
Goldilocks is currently on tour across the UK until 21 July. Tickets and venue information are available on the following link.
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