Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.The Thembus hate the Hlubis and the Hlubis hate the Thembus. Caught between them, two young star-crossed lovers have their lives blighted by this mindless tribal conflict. Ring any bells?\u00a0Fools, by Mthuthuzeli November, is a one-act work inspired by RL Peteni\u2019s 1976 novel Hill of Fools which transplanted Shakespeare\u2019s tragedy to rural South Africa. The 45-minute piece had its London premiere this week, finale to a new triple bill by Northern Ballet.The Leeds-based company\u2019s bread-and-butter repertoire has mostly consisted of full-evening narratives but once in a while they allow themselves the luxury of a mixed bill. The latest, selected by former Royal Ballet star Federico Bonelli, director since 2022, combines a modern classic with two commissioned works. It opened at the Royal Opera House\u2019s 400-seater Linbury Theatre on Tuesday, performed by the company\u2019s polished and expressive dancers.The programme began with Rudi van Dantzig\u2019s response to Richard Strauss\u2019s Four Last Songs. The 1977 piece, restaged by Sonja Marchiolli, features four couples and an Angel who appears between duets, part magus, part balletmaster. The nine dancers, performing to a recording, are dressed in chalky shades of olive, ochre and saffron by Toer van Schayk, who also supplied the shifting skyscape on the backcloth.Tuesday\u2019s Angel, Bruno Serraclara, felt heavy-footed and underpowered but there was smooth-flowing pairwork from all four couples. Junior soloist Harris Beattie caught the eye in the first song, \u201cFr\u00fchling\u201d, with his light jump and ardent partnering of Saeka Shirai. The revival gives the cast a fine chance to show off their skill but they can\u2019t save the piece from feeling dated. The big emotions \u2014 love, death, and all points in between \u2014\u00a0seem ersatz and stagy, just a pretext for some pretty steps.Kristen McNally\u2019s snack-sized Victory Dance was a five-minute male trio set to a perky Afro-Latin score by the Mercury Prize-winning jazz quintet Ezra Collective. McNally\u2019s steps respond to the party mood of the score, Archie Sherman and Yu Wakizuka whizzing virtuosically around Joseph Powell-Main\u2019s pirouetting wheelchair.November\u2019s Fools supplied the big finish. The action takes place in a grubby shanty town thriftily suggested by a few slabs of corrugated iron, some empty beer crates and a washing line. The shabbily dressed inhabitants flirt, fight and fidget but once the forbidden love affair is discovered the two sides crystallise \u2014 half in blue, half in green \u2014 ready for the extended punch-up.\u00a0The ensembles owe an obvious debt to Jerome Robbins\u2019 Sharks and Jets but November deploys his 17-strong cast with verve, roughening the edges of their classical technique, refreshing its rhythms and supplementing it with angry stamps and wriggles. He takes care to delineate each key character: twitchy rage for Antoni Ca\u00f1ellas Artigues (aka Tybalt); smoother moves for Harris Beattie\u2019s eager, puppyish hero. Beattie\u2019s lovestruck duets with Sarah Chun (the only pair of pointe shoes on the budget) are fluently written and danced: nuzzling embraces; rapturous lifts. The fight scenes \u2014 much floor-slapping with canes and willow switches \u2014 drag slightly, but build (spoiler alert) to the ballet\u2019s sad and bloody climax.\u2605\u2605\u2605\u2605\u2606To January 31, rbo.org.uk<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.The Thembus hate the Hlubis and the Hlubis hate the Thembus. Caught between them, two young star-crossed lovers have their lives blighted by this mindless tribal<\/p>\n","protected":false},"author":1,"featured_media":185660,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-185659","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/185659","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=185659"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/185659\/revisions"}],"predecessor-version":[{"id":185661,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/185659\/revisions\/185661"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/185660"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=185659"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=185659"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=185659"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}