Michael Pink is paving the way for a new style in ballet, McFall said. In the past, fulL length ballets have been more interested in technique than using dance to advance the story. Dracula is one of the first productions I've seen in which, although still concentrating on technique, also provides strong character development and uses both music and dance to move the story forward. It's a fully develop theatrical event told through dance. According to choreographer Michael Pink, the development of Dance Theatre has been a mission of Northern Ballet Theater, located in Leeds, England, for the past ten years.
Classical dance depends on a clearly defined physical form.
An actor, on the other hand must find the motivation behind his character's actions long before he begins working on text. He must create a reality before he discovers how to play his part In Dracula , our goal was to merge these two art forms into a well-constructed and developed story. Luckily, Bram Stoker's 1897 novel is so rich in sexual tension and drama, that it seemed a natural fit for the type of work we wanted to achieve. A year before NBT's Dracula , premiered in England, Mr. Pink along with Mr. Gable, who directed the ballet, and drama consultant Patricia Doyle began holding workshops with NBT company members. Obviously we have no vampires in our company who could relate the being part of the undead.