Interview with Choreographer Matthew Bourne

Summary

In this insightful interview, renowned choreographer Matthew Bourne discusses his creative process, collaborations, and the evolving nature of dance as storytelling. He reflects on his partnership with costume designer Les Brotherston, whose revolutionary designs merge theater and dance. Bourne also shares the influence of film, particularly Fred Astaire and Ginger Rogers' dance number from *Swing Time*, on his work. As he looks ahead, Bourne reveals his interest in adapting the novels of Patrick Hamilton and reflects on the emotional power of live theater, eagerly awaiting its return post-pandemic.

Takeaways

• 😀 Bourne highlights the universal theme of love and resilience, emphasizing its importance in difficult times, and how his works resonate with the current global situation.
• 😀 The collaboration between Matthew Bourne and costume designer Les Brotherston is central to his work, with a focus on creating designs that feel natural to the story being told rather than traditional dance costumes.
• 😀 Bourne draws inspiration from film, specifically the Fred Astaire and Ginger Rogers dance number 'Never Gonna Dance' in *Swing Time*, noting its emotional depth and storytelling through dance.
• 😀 He feels that modern dance often lacks the emotional storytelling seen in earlier film and ballet, and strives to create pieces that connect with audiences on a deeper level.
• 😀 Bourne expresses the importance of collaboration in his creative process, where the design and choreography evolve together, rather than having a finished product delivered upfront.
• 😀 He discusses the evolution of dance costumes, particularly the work of Brotherston, who revolutionized dance costume design by making them look more like those seen in films and plays rather than traditional ballet attire.
• 😀 Bourne reveals that he has recently finished a long list of creative goals, but he continues to seek out fresh challenges, though he's open to being given a project to work on by others.
• 😀 Currently, Bourne is working on a smaller-scale piece that will tour the UK, and he’s exploring the novels of Patrick Hamilton as a potential source of inspiration for future works.
• 😀 Despite missing the traditional theater experience, Bourne has found the virtual performances during the pandemic to be a valuable alternative, but he eagerly anticipates the return of live, in-person performances.
• 😀 Bourne reflects on his personal connection to the audience, mentioning that he enjoys being in the middle of the crowd during performances and values the shared emotional experience between the performers and the audience.
• 😀 The future of theater is something Bourne remains hopeful for, with an emphasis on the collective joy of being able to experience live performances once again after the pandemic.

Q & A

What is the central theme of the production discussed in the interview?

The central theme of the production revolves around love and its transformative power during difficult times. The piece is designed to resonate with current global challenges, highlighting the emotional depth and resilience needed in tough moments.

How does Matthew Bourne describe his collaboration with Les Brotherston?

Matthew Bourne describes his collaboration with Les Brotherston as a close and dynamic partnership. They share similar tastes and ideas, allowing them to collaborate effectively and create dance costumes that feel cinematic and narrative-driven rather than traditional ballet attire.

What impact does Les Brotherston's costume design have on dance performances?

Les Brotherston's costume designs are revolutionary in that they move away from the typical, restrictive dance costumes like tutus and point shoes. Instead, his designs resemble those in films or plays, making them more relatable and helping to tell a deeper story through the movement of the dancers.

Which film sequence does Matthew Bourne cite as a major influence on his work?

Matthew Bourne cites the Fred and Ginger dance sequence from *Swing Time*, specifically the 'Never Gonna Dance' number, as a major influence. This sequence demonstrates how dance can convey deep emotional and narrative layers, using movement to tell a story of love and relationship.

What does Matthew Bourne appreciate about the 'Never Gonna Dance' sequence?

Matthew Bourne appreciates how the 'Never Gonna Dance' sequence in *Swing Time* uses dance to convey a relationship's depth and emotion, creating a story that is as impactful as any spoken dialogue or dramatic moment, all while showcasing stunning choreography.

What upcoming project is Matthew Bourne working on, and what is it about?

Matthew Bourne is working on a smaller-scale piece inspired by the novels of Patrick Hamilton, which explore passionate, ordinary love stories set in 1920s-1930s London. The project aims to create an intimate, heartfelt experience with his dancer-actors.

How does Matthew Bourne feel about adapting new stories for the stage?

Matthew Bourne feels that it's becoming harder to find new stories that align with the kind of emotional and narrative-driven dance theater he creates. However, he remains open to new ideas and welcomes the challenge of adapting material that speaks to both the performers and the audience.

What does Matthew Bourne miss the most about theater during the pandemic?

Matthew Bourne misses the live, shared experience of being part of an audience. He values the emotional connection and communal experience of seeing a performance unfold in real-time, something that cannot be replicated through virtual performances.

Why does Bourne prefer not to stay at the sides or in the wings during performances?

Matthew Bourne prefers to be within the audience during performances because he enjoys experiencing the collective emotional journey of the audience. He finds it crucial to be part of that shared energy, rather than observing from the periphery.

What is Matthew Bourne’s perspective on the future of theater after the pandemic?

Matthew Bourne is optimistic that live theater will return and that audiences, as well as performers, will be eager to experience it again. He believes that the emotional and communal aspect of live theater will be especially meaningful once it's safe to return.