Syndicated Interview: Daniel de Andrade, Choreography, Direction & Scenario
The Boy in the Striped Pyjamas isn’t an obvious ballet title – why did you choose to adapt this story?
At Northern Ballet we are very comfortable with presenting narrative ballets. This mind-set gives us the freedom to choose what we’re inspired by.
When I was invited by Northern Ballet’s Artistic Director David Nixon to choreograph my first full-length ballet for the Company, I initially suggested a ballet based on the diary of Anne Frank. David broached the idea of John Boyne’s The Boy in the Striped Pyjamas, with it being set in the same period of history. When I read the novel my connection with the story was immediate as a strong and original way to approach this sensitive subject. I found it to be a truly compelling and touching story, with these horrific events told through the eyes of a little boy.
How have you approached the subject matter of this story?
Adapting The Boy in the Striped Pyjamas for dance has been an exciting but challenging task. The subject matter of this story is sensitive and worthy of much respect, and we have placed a high level of importance on not over-romanticising it in any way in our adaptation.
How have you approached the story itself?
The original book is the essence of the ballet, but the film has also contributed in some ways. Similarly to the book our ballet is told from Bruno’s perspective, although as dance is so visual we do show more of the reality of some of the tragic historical events of the period than what Bruno’s innocent mind describes in the book. So our ballet draws from the film adaptation in this respect. Overall though the ballet is very true to the book and we approached the story with utmost respect.
What can you tell us about the original music?
I invited Gary Yershon to compose a new musical score which will be played live by Northern Ballet Sinfonia at every performance. Gary’s music has been a true gift in helping us to create the many different characters and environments of this ballet.
What about the sets and costumes?
The costumes are intended to be as authentic as possible. We have tried to stick closely with what the original uniforms looked like for both prisoners and soldiers, and the rest of the characters will have clothes which are based on the fashions and styles of the time. Designer Mark Bailey has created faithful costumes and visually striking sets, reflecting the period and mood of the ballet perfectly.
Syndicated Interview: Daniel de Andrade, Choreography, Direction & Scenario
The Boy in the Striped Pyjamas isn’t an obvious ballet title – why did you choose to adapt this story?
At Northern Ballet we are very comfortable with presenting narrative ballets. This mind-set gives us the freedom to choose what we’re inspired by.
When I was invited by Northern Ballet’s Artistic Director David Nixon to choreograph my first full-length ballet for the Company, I initially suggested a ballet based on the diary of Anne Frank. David broached the idea of John Boyne’s The Boy in the Striped Pyjamas, with it being set in the same period of history. When I read the novel my connection with the story was immediate as a strong and original way to approach this sensitive subject. I found it to be a truly compelling and touching story, with these horrific events told through the eyes of a little boy.
How have you approached the subject matter of this story?
Adapting The Boy in the Striped Pyjamas for dance has been an exciting but challenging task. The subject matter of this story is sensitive and worthy of much respect, and we have placed a high level of importance on not over-romanticising it in any way in our adaptation.
How have you approached the story itself?
The original book is the essence of the ballet, but the film has also contributed in some ways. Similarly to the book our ballet is told from Bruno’s perspective, although as dance is so visual we do show more of the reality of some of the tragic historical events of the period than what Bruno’s innocent mind describes in the book. So our ballet draws from the film adaptation in this respect. Overall though the ballet is very true to the book and we approached the story with utmost respect.
What can you tell us about the original music?
I invited Gary Yershon to compose a new musical score which will be played live by Northern Ballet Sinfonia at every performance. Gary’s music has been a true gift in helping us to create the many different characters and environments of this ballet.
What about the sets and costumes?
The costumes are intended to be as authentic as possible. We have tried to stick closely with what the original uniforms looked like for both prisoners and soldiers, and the rest of the characters will have clothes which are based on the fashions and styles of the time. Designer Mark Bailey has created faithful costumes and visually striking sets, reflecting the period and mood of the ballet perfectly.