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== The Most Incredible Thing Pet Shop Boys interview for the ba ==
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== and that is no diff ==
  
<div class="body"><p>With a 26-piece orchestra, video enhancements by the Israeli-born digital  artist Tal Rosner and a spectacular set, the Pet Shop Boys&rsquo; ballet is a huge  &ndash; and risky &ndash; production for Sadler&rsquo;s Wells.</p><p>'It&rsquo;s one of the most ambitious things we&rsquo;ve undertaken, both in terms of the  length of the score and the design, which is quite remarkable,&rsquo; the  theatre&rsquo;s artistic director, Alistair Spalding, says. 'It&rsquo;s a gamble, both  artistically and financially, but I feel we need to take those gambles. And  the audiences are always very excited by that.&rsquo;</p><p>It all started in 2007 with a phone call to Tennant from Ivan Putrov, then a  principal dancer with the Royal Ballet. They had met through a mutual  friend, the artist Sam Taylor-Wood, who collaborated with the Pet Shop Boys  on the staging of their 1997 tour, and who has also worked with Putrov on  various artworks. </p><p>Putrov, who was born in Ukraine, had been offered a chance to perform at  Sadler&rsquo;s Wells during the Royal Ballet&rsquo;s summer break, and wondered if the  Pet Shop Boys would write some music for him. A few days later Lowe happened  to mention that he was reading a new translation of the fairy tales of Hans  Christian Andersen, and that one of the stories would make a great ballet.</p><p>The Most Incredible Thing is short even by Andersen&rsquo;s standards, running at  only three pages. It concerns a king who decides to give his daughter and  half his kingdom to the person who can come up with the most incredible  thing, leading to an outbreak of feverish creative activity &ndash; and, of  course, idiocy &ndash; worthy of a Simon Cowell talent show. </p><p>The winner, however, makes something of real beauty: an extraordinary clock,  built to show intricate scenarios as it strikes each of its 12 hours. But  before he can marry the princess, another competitor smashes the work of art  to pieces. This breathtaking act of destruction is, reluctantly, conceded to  be an even more incredible thing, and the villain looks set to take the  kingdom &ndash; until the clock&rsquo;s broken figures come to life and kill him.</p><p>It is a strange, dark tale, and you can see why it never became a children&rsquo;s  classic. But as a parable showing that ideas cannot be destroyed by brute  force, it has real power &ndash; so much so, that copies of it were handed  round during the Second World War as a rallying call to the Danish  resistance movement. Once they began researching this history, Tennant and  Lowe found the idea irresistible. 'We love doing pop music, but how many  people get to write music for a ballet and have it performed at Sadler&rsquo;s  Wells?&rsquo; Lowe says.</p><p>When the Pet Shop Boys first started touring in the mid-1980s they were  inspired by theatrical spectacles such as Grace Jones&rsquo;s One-Man Show and  David Bowie&rsquo;s Diamond Dogs tour. Their first shows involved dancers  and film backdrops by Derek Jarman, at a time when this kind of live stage  show wasn&rsquo;t the norm for a pop group. Since then they have continued to work  with high-calibre collaborators from the architect Zaha Hadid to the opera  directors David Alden and David Fielding,Team GB Olympic kit by Stella McCartney divides op.</p><p>'There&rsquo;s always been an interest in mixing music and some kind of theatre,&rsquo;  Tennant says, and when their musical Closer to Heaven foundered after a  relatively short West End run, in 2001, it made them even more determined to  keep experimenting. 'When it wasn&rsquo;t a success, that gave me personally the  hunger to continue to do something like this until we made it bloody work.  Unlocking and unravelling this puzzle &ndash; a piece of theatre that has music as  its heart and totally works &ndash; is really difficult. That&rsquo;s the fascination.&rsquo;</p><p>'They&rsquo;ve got a good track record of working with very interesting and modern  collaborators,&rsquo; says Emma Gladstone,lululemon outlet canada, the producer charged with putting a  team together to create the ballet. Her department at Sadler&rsquo;s Wells  encourages collaborations between dance and other artforms. 'I call it  &ldquo;cultural dating&rdquo;,&rsquo; she says, adding that the final line-up for The Most  Incredible Thing has turned out to be unusually collaborative, with many of  the final ideas coming out of group discussions.</p><p>One of her first calls was to Matthew Dunster, who in 2007 was a resident  director at the Young Vic theatre, as well as a successful playwright. He  took on the task of transforming a three-page story into a 20-page script  that he subtitled 'A Map for Music&rsquo;. 'I knew the Pet Shop Boys had done a  very successful new score for Battleship Potemkin,&rsquo; he says. 'So in a way,  writing a silent film was our model. I gave them choices within each part of the  story,lululemon outlet canada, to see which stimulated them the most. It was something they could  follow, but which they didn&rsquo;t necessarily have to stick to.&rsquo;</p><p>Later, when the Venezuelan choreographer Javier de Frutos, and then Tal Rosner  came on board, a longer draft was written, and the clock sequence expanded  to include scenarios such as the Apollo moon landings. An artist with  experience of setting images to live music &ndash; as well as winning a Bafta for  his credit sequence for the Channel 4 series Skins &ndash; Rosner will create  projections that play on a big screen throughout the performance.</p><p>'I can ask Tal to do pretty much anything on that screen,&rsquo; Dunster says. 'I&rsquo;m  used to having limitations as a theatre-maker, so it&rsquo;s very exciting for me  to feel I could write some sections of the piece without any limitations. If  I wanted to go to the moon, then we could go to the moon.&rsquo;</p><p>Over lunch at Sadler&rsquo;s Wells the next day, de Frutos recalls when he first  heard the Pet Shop Boys. It was in the mid-1980s, and he was working as a  dancer in New York. 'This was when people would stand in bars, watching MTV.  And I remember this video came on, and there were lots of queens in the bar  going, &ldquo;Shhh. Listen to this! It&rsquo;s really cool.&rdquo,There is too much c; And it was West End Girls.&rsquo;</p><p>Born in 1963 in Caracas to Argentine and Spanish parents,lululemon outlet, de Frutos describes  himself as 'a mongrel&rsquo;, albeit one who has spent nearly half his life  working in Britain. 'I&rsquo;ve been living here for almost 25 years now, so  I&rsquo;ve finally stopped bitching about the weather.&rsquo;</p><p>It&rsquo;s easy to see why he is a good creative fit with Tennant and Lowe. He has a  mischievous sense of humour and a broad range of interests &ndash; his track  record as a choreographer spans edgy contemporary dance, musicals such as  Cabaret, a Turner Prize-nominated film short with the artist Issac Julien  and a pop video with the singer Mika. In 2009 a dance piece called Eternal  Damnation to Sancho and Sanchez caused a stir at Sadler&rsquo;s Wells with its  bloody orgy of stage violence,Toms Shoes.</p><p>'I killed an imaginary Pope on stage, and some people got a bit upset,Cheap Nike Air Max,&rsquo; he  says. 'I got banned by the BBC and got three death threats.&rsquo; The new  production will be less controversial. 'My dancers are shocked: &ldquo;You mean  we&rsquo;re not nude?&rdquo;&thinsp;&rsquo; He laughs uproariously, but Tennant and Lowe were clear  from the start that this should be a family show. When they saw drawings for  costumes for Adam and Eve, the first characters in the clock, which included  pubic wigs, they immediately vetoed them. But it is not a show only for  children, and like everyone involved, de Frutos appreciates the fact that  the story can be read on many levels. A kingdom in recession; a king so  desperate for solutions that he offers to give away his own child; the power  of destruction. 'We&rsquo;ve all had experience of that in the last few years. All  of us know where we were on September 11, we all remember the impact.&rsquo;</p><p>When we meet, it is just over nine weeks before the run is due to start, but  only the second day of the choreography, and de Frutos explains that it is  all still at a fragile stage. He has spent two years researching Hans  Christian Andersen, reading up on the Russian Constructivists (the starting  point for the set design), listening to the demos of the music and thinking  about the story&shy;line. Now he has to leave his source texts and concentrate  on expressing it all in movement.</p><p>Today he is working with the two principal dancers, Clemmie Sveaas, 26, and  Aaron Sillis, 27, who will play the princess and the clockmaker. (Ivan  Putrov is playing the villain, Karl.) De Frutos has chosen to start in the  middle of the story, when they meet and fall in love, to get the chemistry  right between them.</p><p>'You are creating the steps as you go along,&rsquo; he explains. 'That&rsquo;s why it  takes longer than theatre, where you have the text already written. On the  first day of a play, when everybody reads the script, you get a sense of,  &ldquo;Ah! This is where we&rsquo;re going!&rdquo; You don&rsquo;t get that with dance. You create  about 10 minutes of choreography a week. And we have nine weeks, so that&rsquo;s  cutting it quite fine. We also have the challenge of telling this story for  the first time. If this ballet becomes a classic, and other companies take  the music and want to do it all over again, then they will always compare it  to the original.&rsquo;</p><p>After lunch, we go through to the theatre. What I see in the following two  hours is magical: the transformation of something quite tentative and  mechanical between two dancers into a flowing, beautiful and very emotional  encounter between a young couple falling in love. It starts with an  unconvincing kiss and a lot of technical discussion &ndash; where an arm should  go,Shakira looks pretty, how long a lift should be &ndash; but slowly it comes together as the dancers  grow in confidence. The kiss is replaced with a far more tender touch of the  cheek, and when they dance to a recording of the finished score, the scene  is genuinely moving. After two hours of intense, sweaty work, they take a  break,Toms Outlet. They have created just over a minute of movement.</p><p>For Tennant and Lowe, the challenge was telling a story without words, giving  each character a musical theme and interweaving these over longer melody  lines than they would use in a pop song. 'All the characters in the clock  have their own different music, for instance,&rsquo; Tennant says, 'and then when  they&rsquo;re killing the bad guy, all you can hear is shattered fragments of this  music.&rsquo;</p><p>Tennant&rsquo;s voice appears only once in the show, when the princess is listening  to a radio. 'It&rsquo;s completely different to a pop song, because you can&rsquo;t rely  on lyrics to tell the story,&rsquo; Lowe says. 'You&rsquo;re just trying to express it  in music, to capture different emotions.&rsquo;</p><p>We talk about the suppression of ideas, one of the themes of the ballet. The  Pet Shop Boys have experienced this in its mildest form. When their most  recent album, 2009&rsquo;s Yes, came out in China, the government censor objected  to a line on the closing track,Toms Outlet, Legacy: 'Seasons will pass, governments  fall.&rsquo; He asked for the line to be changed or muted, but Tennant and  Lowe opted instead for the entire song to run as an instrumental. 'They  don&rsquo;t like that!&rsquo; Lowe laughs. 'Not in China: &ldquo;Governments do not fall, get  that out of your head right away!&rdquo;&rsquo;</p><p>Yes was their most pop-orientated album for some time, but its singles weren&rsquo;t  played on pop radio stations, something that still annoys Tennant. 'I can&rsquo;t  relax about that,&rsquo; he says.</p><p>'Well, you&rsquo;re going to have to,&rsquo; Lowe shrugs. 'I think one of the issues is  that pop music is not meant to be made by older people. But I&rsquo;ve never  understood this idea that at some point you&rsquo;re supposed to stop liking what  you did. I still like going to some dubstep club in Shoreditch.&rsquo;</p><p>None the less, the Pet Shop Boys have never pretended to be younger than their  years (Tennant is 56, Lowe 51). 'We&rsquo;re not selling sex. And we never have,&rsquo;  Tennant says. 'Speak for yourself,&rsquo; Lowe says indignantly, before hooting  with laughter. At times, interviewing the Pet Shop Boys can be like watching  an experienced double act going through its routines: it all works because  they complement each other perfectly.</p><p>'Their creativity seems to be brilliantly split down the middle, which is  probably why they&rsquo;ve lasted as long as they have,&rsquo; Dunster observes. 'Neil  is very much the frontman, he&rsquo;ll do the majority of the talking. And  Chris sits at the back and doesn&rsquo;t say very much. But when he does, it&rsquo;s  always the thing that gets us back on track. It&rsquo;s no surprise that it was  Chris who found the story for the ballet.&rsquo;</p><p>In more than 30 years of working together there have been strains &ndash; especially  on tour &ndash; but they have never really fallen out. 'It&rsquo;s a shame, really,  because you don&rsquo;t get the &ldquo,Toms Shoes Outlet;Robbie rejoins Take That&rdquo; moment,&rsquo; Lowe says.  'Staying together is not as good a story.&rsquo;</p><p>There is perhaps less glory in keeping on without too much drama, in  consistently making art with a certain integrity. But the Pet Shop Boys have  done this, and in recent years have been recognised for it as increasing  numbers of younger artists cite them as a key influence. Starting with a  Brit award for Outstanding Contribution to Music in 2009 and peaking with a  triumphant headlining slot at last year&rsquo;s Glastonbury Festival, they might  now be considered national treasures. Which means, for them, more  opportunities to do new and interesting things. Last year, for instance,  they wrote the music for the Young Vic&rsquo;s Christmas show, My Dad&rsquo;s a Birdman,  a touching play by the children&rsquo;s author David Almond.</p><p>'We&rsquo;ve never at any point had a masterplan,&rsquo; Tennant says,lululemon canada. 'We just want to  keep on doing fantastic projects &ndash; and hopefully make really good records.  It&rsquo;s an all-consuming thing, really. It takes up a vast amount of our lives.  But ultimately, that&rsquo;s what fuels us, what keeps us going.&rsquo;</p><p><strong><i>'The Most Incredible Thing&rsquo; is at Sadler&rsquo;s Wells, London, March  17-26 (0844-412 4300; sadlerswells.com),lululemon outlet. An album of the music is out on  March 14</i></strong></p></div>
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Latest revision as of 11:03, 18 May 2013