Ashton Fan

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  1. As was said in the section about streamed performances Jewels may not be the greatest of Balanchine's works but it is a piece which enables a company to display the range of talent within its ranks and I would add that even if it is Balanchine not on absolutely top form it is considerably better then most other choreographers manage at their best. As I have already said the Royal Ballet used to dance Balanchine with a distinct foreign accent,they no longer do so, but they are no longer a company which can be guaranteed to dance Ashton as stylishly as they once did. It may not be clear from what I have told you about the Royal Ballet this season but the company is going through a period of transition which is more obvious than that occasioned by the departure of Rojo, Cojocaru, Galeazzi and Benjamin.Then it was clear who the dancers leading the company would be as they were, for the main part, already in post as principal dancers. At this point it feels that a generational change is taking place as all the remaining experienced female principals are in their thirties Cuthbertson the youngest is about thirty two and Morera the oldest is in her very late thirties while the two recent appointees are in their twenties and it is likely that any dancers newly appointed to the rank of principal will be no older than their mid twenties. With Yanowsky's imminent retirement, Soares, who has never been that stylish, obviously struggling in exposed roles and questions about how long Watson will continue dancing some people are beginning to treat casting announcements like auguries indicating who the likely candidates for promotion and principal status are as they not only tell us who we are going too see in performance but indicate who among the junior ranks have caught the eye of management and stagers. With the late Gailene Stock at the school and the company's repertory given considerable coherence by Mason some of which has survived O'Hare's somewhat uncritical pursuit of new repertory we seem to be entering one of the Royal Ballet's better periods. We had a good mixture of experience and promising talent on show during the performances of Jewels with the company fielding three casts for Emeralds, Rubies and Diamonds with only two dancers in the main roles appearing in more than one cast. In both cases the doubling up probably reflects management's need to give a dancer like Hristov some leading roles and to feed McRae's ambitions rather than a lack of talent or the youth and comparative inexperience of much of the of the company. Everywhere you look there is real talent and potential. It seems unfair to describe the casts as first, second and third cast as it suggests that there were marked qualitative differences between the performance of each when in fact it was one of those occasions on which the placing of a particular cast in sequence had little or nothing to do with the dancers' abilities or the quality of their performances. If anyone who saw all three casts had a favourite their selection was almost certainly based on the fact that one of the casts included dancers in whom they are particularly interested rather than any great difference between their performances. The casts were as follows;- 1) Emeralds with Nagdhi Ball,Mendizabal and Edmonds with Acri,Gasparini and Hinkis in the pas de trois;Rubies with Heap, Takada and Campbell; Diamonds with Cuthbertson and Muntagirov. 2) Emeralds with Stix-Brunell, Hristov,Morera and Hirano with Hay, Maguire and Crawford in the pas de trois; Rubies with Hamilton, Lamb and MCrae; Diamonds with Nunez and Soares which was the streamed cast. 3) Emeralds with Choe,Hristov, Hayward and Zuchetti with Richardson,O'Sullivan and Stock in the pas de trois;Rubies with Storm-Jensen, Magri and Sambe; Diamonds with Ccuthbertsom and Muntagirov. Salenko and McRae. also danced Diamonds during the run. All the casts in Emeralds brought something special to their performances and each managed to capture the elusive mood of the piece as well as to make it their own. It is a ballet which with the wrong cast I have found you watch out of a sense of duty and ask yourself whether in reality it is one of those pieces which died with the departure of the original cast as it can seem so dull. In these performances it became a fascinating work to be watched with real pleasure because of the theatrical life which the casts breathed into it. Much as I admired the cast of Emeralds which was streamed because it included Morera, Stix-Brunell and Hay who is one of the most interesting and elegant of the company's make dancers I found the cast which included Naghdi and Ball was the most interesting as it showed so much promise. Naghdi has shown extraordinary assurance and maturity in every performance she has given this season and these performances were no exception.This run gave Matthew Ball the opportunity to reveal his increasing elegance as a dancer and partner while Mendizabal gave one of her best performances so far with the company. Gasparini and Stock seemed completely at home in the pas de trois while Acri who was slightly less assured improved markedly during the run. The cast which included Choe and Hayward was also well worth seeing as its pas de trois was danced by Richardson who shows great promise and O'Sullivan who has made her mark in each classically based role in which she has appeared this season. At the first performance of the run Rubies was danced by Heap,Takada and Campbell. They were all good Heap brings real vigour and dynamism to the her role while Takada surprised me by the stylish individuality and character which she brought to her performance. Hamilton's performance in the evening suggested that she was treating the role as the Balanchine equivalent of Ashton's "Popular Song" which should be performed as if those involved in it are terminally bored by their routine and each other and are merely going through the motions of giving a performance The evening cast was the one who were seen in the cinema and while Hamilton seemed very assured in her performance, presumably the result of the time she has spent in Dresden, she seemed rather under-powered when compared with Yanowsky who used to dance the role, and Heap and Storm-Jensen who danced it during this revival.The youngest cast of Storm-Jensen, Sambe and Magri certainly seemed to be enjoying themselves at the performances they gave and they were the cast who consistently brought out the choreography's close relationship to show numbers. Depending on the performance you attended Diamonds was danced by Cuthbertson and Muntagirov, alternating with Nunez and Soares during the early part of the run and in the latter part of it by Salenco and McRae. Cuthbertson does not have the crystalline quality which Nunez brings to the Farrell role. Her approach is softer and slightly more lyrical she had the best of the three partners on offer in the supremely elegant Muntagirov who makes every gesture however simple look as if it his natural expression rather than something he has worked on in the rehearsal room. At the moment if you get Nunez in a ballet which is concerned with technical display then the chances are you will be stuck with Soares as her partner. I can understand why Nunez favours him as a partner as he is thoroughly dependable but I can only say that if you thought the performance which you saw him give in the cinema was laboured it was much better than any of those he gave earlier on in the run. Then he hardly seemed to be in control of what he was required to dance.. When he was promoted to principal dancer he said that he had been told that he had to polish up his technique but I don't think that he ever really did so. It seems to me that for some years he has been delivering edited highlights of roles like Lescaut and to some extent Rudolf while making up for his technical deficiencies by emoting. I think that he is about thirty six but his dancing is nowhere near as good as Bonelli's who is a few years older than him. The final cast of Diamonds was led by Salenko and McRae whose account of the choreography was very clean and accurate but for me lacked the effortless elegance which Muntagirov brings to his dancing and partnering. Somehow I can never stop being aware of the effort which McRae puts into his performances particularly the effort involved in transforming himself and his body from that of a demi- character dancer into a danseur. His dancing and his partnering are admirable but they are not effortlessly elegant in the way that Muntagirov's and Hay's are. Salenko clearly had good training but, and perhaps this is because she is a guest, she never seems to display much individuality in her performances which tend to be accurate but not compelling.With the number of smaller dancers in the company's ranks her regular presence as a guest becomes increasingly inexplicable.
  2. Helene, It is very interesting to read your views on the streamed performance. I should certainly like to read more of your thoughts on the quality of the performances which were on show. At one time the Royal Ballet used to dance Balanchine with a strong local accent. It does not do so to the same extent now but then it does not dance its Ashton repertory as idiomatically as it once did. I think that generally this run of Jewels has proved to be the most successful that the company has mounted and in large part that is because it now has the dancers to do Emeralds justice.All the ballets were multi cast and it was able to muster three casts for Emeralds each of whom caught the elusive quality of the ballet. I am not sure that we would all have agreed that the cast for Rubies which appeared in the streamed performance was the best of the run but then I think that when it comes to streamed performances management feels that it is under an obligation to show the company's senior and best known dancers as for many people living outside London this is the only opportunity that the audience has of seeing dancers of whom they have heard.Lamb can be a very cold remote dancer and she did not really thaw out with McRae. I think that a lot of people were disappointed that Osipova was not paired with McRae for this revival.Although it may not have been quite what Mr B. intended, what they did with the Rubies pas de deux when they appeared in it had to be seen to be believed.
  3. The following may be of interest to those who are unable to access the Royal Ballet's streamed performances but would like to see something of the company's work.Giselle danced by Nunez and Muntagirov, streamed in 2016, was issued on DVD in March 2017. In response to enquiries made by company fans it has been announced that the following steamed performances will be issued on DVD as follows;- 1) Anastasia with Osipova in September 2017 2) Sleeping Beauty with Nunez and Muntagirov in April 2018 3) Nutcracker with Cuthbertson, Bonelli, Hayward and Campbell at Christmas 2018
  4. I don't believe that the ROH accepts returns by phone. The website says that original tickets have to be returned before they will be put up for resale. There was a time when the opera house did not insist on having the original ticket handed back to the box office and the result was that there were occasions on which there was more than one person claiming the right to occupy a seat each of whom was in possession of a ticket for the seat in question because not only had the original purchaser asked the box office to resell the ticket but they had also sold the ticket on to some innocent purchaser. I think that the current system was devised to prevent this.and to avoid the embarrassment involved in holding an inquest into who is in possession of the valid ticket and thus entitled to be present at the performance.
  5. The 10th June is an evening when Osipova is due to dance in Marguerite and Armand. Polunin has " decided to withdraw" from the performances he was due to dance so there is a reasonable chance that some tickets will be returned for resale. The news that Polunin has withdrawn is very recent so you are unlikely to see a great deal of activity on the website for a few days at least as you have to return the actual tickets to the box office. Of course the possibility is that the casting for Marguerite and Armand was not what persuaded patrons to buy tickets. My advice is just keep watching the website and bear in mind all three casts announced for the Dream are well worth seeing.Although it has also been announced that Lamb has withdrawn from Mayerling on the 11 th May due to injury. There is a possibility that the casting for the Dream could turn out to be a game of musical chairs...
  6. While it will be interesting to see who management chooses to replace Polunin Marguerite and Amand is only of real interest in those performances which, for London audiences, mark Yanowsky's retirement as a member of the company. The choreographic substance of this mixed programme lies in the first two ballets on the bill, The Dream and Symphonic Variations. Marguerite and Armand is merely a vehicle. although it is currently said to be the most frequently performed of Ashton's ballets. The management has a number of options as far as casting a replacement Armand is concerned. They could ask if the Mariinsky could possibly spare Xander Parrish but if they were being really brave they would take a chance on someone young and exciting from within the ranks of the company such as Matthew Ball who has come on in leaps and bounds during this season. Clarke is unlikely as he is already cast in the Some's role in Symphonic Variations. Both Clarke and Ball are cast with more senior dancers next season. Clarke is to dance Aminta to Cuthbertson's Sylvia and is due to partner her SPF in Nutcracker while Ball is due to partner Choe at he beginning of the run of Nutcracker and Naghdi towards the end of the run. In addition there is considerable speculation about whether either Naghdi or Hayward will be making their debuts in Giselle in the new year. I will finish by writing briefly about the run of Sleeping Beauties which ended in mid March with a performance by the husband and wife team of Bonelli and Kobayashi. Bonelli's prince was, as usual, wonderfully elegant and Kobayashi's account of Aurora has visibly matured and improved. As I had expected it provided an opportunity to see a few more debuts including, the somewhat unlikely casting in the act 3 pas de trois Florestan and his Sisters of Reece Clarke who is 6 ft 3 ins as Florestan. It is one of those apparently innocuously simple pieces of Ashton choreography which undo those who do not have a secure technique. It is generally something of a challenge for tall dancers but while it is generally better suited to dancers who are more compact it is a role in which many dancers struggle. As originally cast he was to dance with two tall dancers but due to illness or injury he ended up with a tall sister in Stix-Brunell and shorter one in O'Sullivan.It could have been less than special but it turned out to be very good and rather stylish.
  7. It would seem that Hamilton is now back with the RB as her contract with Dresden was short term rather than permanent.It will be interesting to see what Hamilton is given to dance in the first part of the season as the ballet repertory for first booking period consists of Alice,Sylvia,Nutcracker, a mixed bill including a new piece by Twyla Tharp and a sort of national MacMillanfest involving other companies as well as the RB performing a range of his choreography. We should know in a few weeks what the casting looks like. I think that she is likely to be cast in the tall girl role in Elite Syncopations, given something in the mixed bill, possibly the Queen of Hearts and one of the goddesses who appear in the last act of Sylvia. Hamilton is a fascinating dancer in the right role but in the past there have been occasions when the fact that she was a latecomer to classical ballet training has been all too obvious.In a role like the Queen of the Dryads her performance would be a mixture of movements of creamy beauty and control and within a few bars of music she would be struggling for technical mastery of the trickier elements of the choreography. As she appears to be a woman of steely determination I imagine that she will have used her time in Dresden to work on developing her technique and stagecraft but unless her technique has improved a great deal I don't think that she will be cast as Sylvia. . I know that RB performances can hardly be described as accessible in North America but if any of you do get an opportunity to see the RB performance of Jewels it will be interesting to hear what you think of it. While the cast involved in the streamed performance were the first cast to dance it during the course of the run the quality of the later casts was so high that it seems unfair to describe them as second and third casts with all that seems to imply about the quality of their performances. Tierney Heap appeared in the same role as Hamilton in the second cast and to my mind she brought considerably more to it.
  8. As someone pointed out to me during the lengthy run of Sleeping Beauty the company has been short of two male Principal dancers during the entire season and yet I don't think that anyone has really noticed their absence as far as the quality of the company's performances is concerned. What the audience probably has noticed is that a number of obviously talented young men have been given their first opportunities to dance the princely roles in Nutcracker and Beauty.and some have had the opportunity to dance in Jewels as well. It will be interesting to discover whether these opportunities were part of a development plan for them or whether their appearances in these roles was simply a pragmatic response to the absence of the more senior dancers. Perhaps we shall find out when the casting for the first booking period is announced. While I don't like making predictions I would not be at all surprised to find Hayward cast in the performance of Alice which is due to be streamed next season. She made a very successful debut in the role when it was last programmed and both Cuthbertson and Lamb have already been seen in streamed performances. Perhaps Bracewell will be given a shot at dancing Jack and the Sugar Plum Fairy's cavalier. I think that we will almost certainly have debuts in Sylvia.There are not that many performances of the ballet but if management means to keep the ballet as part of the company's living repertory then we should see one, if not two, debuts in the title role during this run.It might also decide to try out Ball and Clarke as Aminta. Given the way in which O'Sullivan danced in Sleeping Beauty as Fairy of the Songbirds and Golden Vine, Florine and one of Florestan's Sisters I shall be surprised if she is not given a debut as Sugar Plum Fairy over Christmas. In 2018 we have revivals of Giselle and Manon, with any luck that will mean debuts by both Hayward and Naghdi in Giselle and Naghdi making her debut in Manon. I can't help wondering whether Watson will dance Manon with Hayward as he did when she made her debut All in all the season is bound to become really interesting once the casting is announced. As far as the new Swan Lake is concerned it is announced as having choreography by Petipa and Ashton. What that means is anyone's guess merely the Neapolitan dance or some more substantial bits of his choreography ? We have a long time to wait for the answer. I just hope that if it is bad news we don't have to endure it for too long. A production using the choreographic text from the Dowell production with Bintley's pedestrian waltz replaced by one of Ashton's versions and the restoration of the Peasant girl's pas set by De Valois would be more than acceptable but an occasional outing for Ashton's last act would be better. If it ends up with even more Ashton in it then I think that the London audience will probably see it as a tribute from one great choreographer to the man who he said gave him "private lessons" whenever he watched the Fairy Varitions
  9. I think that John Lanchbury did an excellent job for MacMillan in finding music that would work in the context of the ballet which the choreographer was creating. MacMillan sent a copy of Gillian Freeman's treatment of the narrative and his timings to Lanchbury in Australia so that he knew the action that the music was required to accompany and its duration. In return Lanchbury selected and supplied not only the music requested but additional music for each section, should it be needed, and suggestions for cuts should they be required. It can't be easy to find enough pre-existing music by an individual composer. even one as prolific as Liszt which can be stitched together in such a way that it furnishes a suitable score for a full length ballet like Mayerling. The score does its job and I don't think that it is reasonable to expect much more of it. You will be surprised by how much of the score sticks after you have seen the ballet a couple of times.While I understand what you say about the score I think that its"film music" quality is connected to Liszt's popularity with audiences and his influence on composers which continued well into the twentieth century. I think that a lot of composers who turned their hand to composing film music were influenced by him or at least recognized that the mass audience found music written in his style both accessible and attractive. You really should try to watch the South Bank Show documentary about the making of Mayerling. If you do you will find from extracts of performances by the original cast that Wall danced the role with great clarity and finesse. I have no doubt that Polunin was splendid as Rudolph because of the clarity of his dancing combined with his skills as an actor. If you watch the documentary you will see that Wall acts every scene as much as he dances them but that his acting is essential to his performance rather than being used to cover technical inadequacies Rudolph is a dancing role and not really one that is best suited to a dancer whose technique has begun to fray at the edges and is forced to fall back on his partnering skills and resort to emoting to carry the day. Soares gets away with it but seeing the role " danced" is a totally different experience The review of Polunin's performance singles out Rudolph's first solo for special comment. It is as dependent on silky smooth transitions and weight adjustment as is De Grieux's first solo in Manon. I can't help thinking that Rudolph's initial solo must have been made on Dowell as MacMillan originally intended to make the ballet on him and worked on the ballet with Dowell for a couple of weeks before he withdrew and was replaced by Wall. Like everything else created on Dowell lesser mortals have to find their way to do justice to choreography made to display his unique qualities, even when it is only a small section of a much longer ballet. You said that you gave up watching Alice part way through which is a pity because the most entertaining sections are in the second half.I don't think that Alice is a great work. It is more of an entertainment than a ballet but the staging and special effects are impressive and the way in which the Cheshire cat is staged is both inventive and amusing and really captures the spirit of the text. The best bits of the ballet/ entertainment are in the second part so perhaps you should give it another try. My problem with the work is that Wheeldon is not a good enough butcher and the result is that he found himself staging elements of the story which do not work in balletic terms.Some of the choreography seems to be there in order to give individual dancers something to do rather than to reveal more about their character or to move the narrative on. The White Rabbit's solo is a case in point, it seems to be there because Wheeldon has suddenly remembered that he has got Ed Watson in the cast and that he needs to give him some choreography to dance. Again the pas de deux at the end of the ballet seems to come out of nowhere.There appears to be no narrative reason for it except that we are now at the end of the ballet and the audience expects to see a pas de deux to round off the performance. Perhaps with more performances, which we will get next season, one of the younger dancers will transform the work completely and the final pas de deux will suddenly seem to be there for a narrative reason rather than to act as a full stop.It could happen.It has taken other narrative works several seasons to really run in and for roles to be developed to their full potential. Having moaned about the weaknesses of Wheeldon's Alice there are bits that work really well in theatrical terms. It is as if towards the end of the work he was suddenly inspired or perhaps the truth is that when we get to the sequence for the corps as playing cards and the scenes which involve the Queen of Hearts, the reluctant hedgehogs and the send up of the Rose Adagio we have arrived at the incidents which he actually wanted to stage. I went to the performance of Alice at which Francesca Hayward made her debut in the title role and because I left it rather late to buy a ticket I found myself sitting among a group of Russian ballet goers from St Petersburg who sat stony faced through the first part of the ballet but came back for the second half which they found very funny, including the send up of the Rose Adagio. The problem for me is that unlike a ballet by Ashton or MacMillan the choreography does not feel as if it is the only way in which the story could be told.The movement and its relationship to the music does not feel inevitable. But Alice was Wheeldon's first narrative work and I have to say that Hayward managed to make the the ballet work far more effectively than other dancers have managed to do so far. Perhaps the answer is that a new dance work which brings families to the theatre is a good thing in itself as it may lead to an interest in the art form. But somehow I can't help thinking that children deserve to see really good choreography when they see their first ballet and that rather than a work which only works intermittently, regular revivals of Coppelia, Ashton's Cinderella and Fille with performances scheduled during school holidays and at weekends would be a much better way of developing the next generation of ballet goers.
  10. Mnacenani I think that all the titles which you cite as having universal appeal and thus ideal for staging as ballets are concerned with thwarted love a theme which MacMillan wanted to move away from as he felt it was far too conventional and limited the development of the art form. In a television documentary which can still be found on the internet MacMillan talks about the creation of Mayerling and his wish to abandon the subject matter and conventions of the traditional ballet with a ballerina at its centre and a narrative of thwarted love. It would appear that he was influenced in his approach to ballet making by the French ballets he saw in the immediate post war period. Although he does not name him I suspect that MacMillan is referring to the influence on his narrative ballets of Roland Petit. Thus while his contemporaries writing for the British theatre in the 1950's and 1960's were engaged in abandoning the conventions of the "well made play" as unsuited to the material which they wanted to present on stage MacMillan was on a similar quest for ballet, looking for greater realism, a wider range of narrative and pushing at the boundaries of the art form. Whether or not you think that abandoning the conventions of the "well made ballet" based on nineteenth century models in a search for greater psychological realism paid off and was successful depends very much on your response to MacMillan's three major full length narrative works. As our response to the works of individual choreographers is the product of our experience of watching ballet and dance works and our expectations are formed by that experience our response to individual ballets will vary and not everyone will find that Macmillan's choreography with its mixture of classroom steps and expressionist movement is to their taste. But whatever your response to them, it is clear that dancers want to perform the meaty roles in Manon and Mayerling and the paying public enjoys them sufficiently to buy tickets to see performances of them. It seems to me that the fact that these ballets are revived on a triennial basis is testimony to their continuing popularity with audiences and dancers alike and that perhaps MacMillan got something right when he made them.. As far as Mayerling is concerned there is no fixed rule about how the role of Rudolph has to be interpreted. The three dancers who appeared as Rudolph in the first season gave very different but very persuasive accounts of the role .As I recall it David Wall, the role's creator, played Rudolph in a way which made the audience feel some sympathy for the character and his sufferings while Jefferies played him far less sympathetically. From his first appearance on stage Jefferies' Rudolph was already in deep trouble emotionally and clearly "mad bad and dangerous to know". MacMillan's full length ballets leave room for the individual dancer's interpretation of a role. Romeo and Juliet probably provides the widest range of options in performance as it works equally well as pure dance,Sibley and Dowell's approach or as dance drama, the approach of Seymour on whom Juliet was created, and the approach favoured by most dancers today. And yes the choreography for the corps in Romeo and Juliet is dull, repetitive and rather boring. As this is a common feature in all of MacMillan's full length narrative ballets it suggests to me that he was not that interested in the "spear carriers" and did not expect the audience to be that interested in them or their choreography either. Perhaps both Grigorovitch and MacMillan share at least one thing in common as choreographers creating dance dramas the shared belief that divertisements are out of place in such ballets and that if the main characters are to carry the story they need to be in the foreground with the "supers" kept in the background and never given anything to dance that might distract from the main characters and the dramatic action of the ballet. So far the current revival has given the audience four varied interpretations of the role. On Friday Watson gave the audience a distraught unbalanced and potentially very dangerous Rudolph who is already clearly disintegrating physically and emotionally as the ballet opens with a fine supporting cast.Since the ballet was originally prepared with great care and considerable thought was given to which characters were essential to the narrative in what was the equivalent of a film scenario treatment by Gillian Freeman I think that we need to accept that there are no superfluous characters in it. Thus each of the women with whom we see him interact and dance tell us more about him. It is the nature of their interaction with him that counts rather than their names. I will simply say that all the women who appeared in the Watson cast were excellent. Yanowsky was a wonderfully glacial Empress;Hayward a terrified Stephanie; Lamb a slippery, manipulative Larisch; Nunez made Caspar an essential character; and Osipova was outstandingly good as Vetsera. Campbell restored the role of Bratfisch to the status of an essential character while Avis was a compelling Bay Middleton and the Hungarian Officers forever lurking in the curtains during scene changes included a number of dancers who look set for bigger, better things in the near future. Saturday afternoon gave the audience Bonelli's Rudolph who is almost too well balanced to make the action of the entire ballet seem possible or credible when the ballet opens. The opening of course gives Bonelli's Rudolph further to fall. We saw his disintegration begin in the final scene of the first act.His scenes with Morera were compelling and the action of the final scenes of the ballet make it clear that the suicide pact is a total folie a deux. When I watched Soares account of the first solo I wondered yet again how he can still be a principal dancer as his dancing seems so ragged and under powered. But when he began the first pas de deux he made it all look so easy and as the ballet progressed the dancers playing the women in his life seem to have more time and more space in which to perform their roles and the freedom of performance which only comes with a truly great partner and the effect is so compelling and Soares' acting is so good that I forgot what an ordeal the initial solo had been. By then it had become an essential part of his Rudolph.His Vetsera Cuthbertson is excellent in what was a long promised debut in the role. Bank Holiday Monday and I was back in the theatre to see McRae as Rudolph with Lamb as his Vetsera a cast which I had doubts about when I booked as McRae can find it difficult to submerge himself in the character he is playing and stop being "Steven McRae the great technician".In the end I bought a ticket because the early May Bank Holiday afternoon is usually cold and damp rather than with a great sense of enthusiasm for the prospective performance. A friend who had attended the open rehearsal and is far from being a McRae fan told me how impressed she had been by his performance of Rudolph which she described as "one of the best danced accounts of the role she had seen in years." All I can say is that she was not exaggerating. McRae danced the choreography with such clarity and precision that he restored subtle details which other Rudolph's have seemingly ignored or glossed over for years. While I think that McRae's decision to play the tavern scene as if he was tipsy was a mistake the rest of his performance was outstanding and thrilling as a first attempt. Lamb can be very variable in performance and whether she is stunning or merely technically sound depends very much on who is partnering her.On Friday night she had been an excellent, slippery, manipulative Larisch to Watson's Rudolph what was her Vetsera going to be like?. Some of Lamb's best performances to date have been with Pennefather who helped reveal all sorts of detail in her performances in roles as varied as the Sylph and Manon. It would seem that dancing with McRae has the same effect on her.Her Vetsera has clearly been well schooled by Larisch, she knows what will intrigue and excite Rudolph and during the initial section of their first pas de deux she seems to be gauging the effect that she is having on him.All in all a performance which I am glad that I attended. You almost seem to be suggesting that the company should be programming works which are part of Osipova's standard repertory and yet would not that defeat the object of the exercise as far as she is concerned and disrupt the development of the younger members of the company of which she is now a member? When it was announced that Osipova was joining the Royal Ballet I think that we were given the impression that she wished to have an opportunity to spread her wings and dance roles that she might not be given at the Bolshoi where, as I understand it, the rules of emploi are still applied quite rigorously. Surely suggesting that she should be dancing roles like Kitri for example puts her back in the emploi straight jacket from which she was trying to escape? I think that we have to assume that Osipova is appearing in works she wishes to dance in rather than being forced to do so.Far from being a mistake to cast her in the role of Vetsera it would appear that even the exceptionally hard to please critic Clement Crisp was impressed by her performance as he has gone so far as to describe her as the best in the role since Seymour herself and you cannot hope for higher praise than being compared favourably with one of the greatest dance actresses of the last century. I have to say that I have not been that impressed by some of the more recent creations Osipova has danced in particularly those which have been part of the independent programmes in which she has appeared. As far as the Royal's repertory is concerned I do not think it likely that she is being cast in modern creations in order to sell tickets. I think it far more likely that she dancing in works in which she wishes to appear and that she wants to have works made on her as well as appearing in the company's wide ranging standard repertory. Mnacenani I should be interested to know which pieces you would describe as "silly contemporary works" to see whether they are similar to mine. I will start with Wheeldon's "Strapless" which Kevin O'Hare has said needs some tweaking where I should have thought that radical surgery was required with no guarantee of success. If it had not been announced as a co-production with the Bolshoi the kindest thing would have been to put it out of its misery. . I do not know whether you have had a look at the schedule for the 2017-18 season but Giselle and Manon are being revived in 2018 and we are to have a new production of Swan Lake at the end of the season.
  11. Constructing an effective mixed bill is an art in itself. It is not simply a question of selecting the right dance works for an evening as even the sequence in which they are performed can have a significant impact on the audience's response to the programme as a whole. Comments on French ballet websites about programming at Covent Garden suggest that French audiences find mixed programmes containing contrasting elements something of an anglo saxon eccentricity and much prefer, or are used to seeing, programmes with a significant unifying element to them. A programme of dance works set to Chopin's music by a number of different choreographers would not be the subject of comment about the lack of variety whereas a programme of contrasting works by a single choreographer would almost certainly be criticised for its lack of a unifying element. Perhaps the problem in this case was opening with the Cunningham.
  12. Mashinka. You may know considerably more about inadequate performances of Oberon than I do. I prefer to avoid them if at all possible. I know that I spent a great deal of Dowell's directorship being delighted at the prospect of performances of Ashton mixed bills, being appalled by the proposed casts and saving money by staying away from them. The result seemed to be that the Ashton mixed bills with half decent casts at Covent Garden ended up being gatherings of ballet goers who knew and cared what Ashton's ballets should look like in performance which people who I knew from my earliest ballet going years seemed to crawl out of the woodwork to attend .I also went to see a lot of performances by SWRB/BRB which under Sir Peter Wright seemed far more able to conjure up interesting mixed bills with much better casts than the company resident at Covent Garden seemed able to manage although it was generally understood that the resident company had first choice of the school's graduates .Wright seemed to have a much better understanding of how to develop dancers through his choice of repertory and a much better grasp of the ballets which his dancers and his audience needed to experience in performance. Perhaps the fact that Wright came to be involved in classical ballet in his late teens via Kurt Joos gave him a greater appreciation of the special qualities of classical dance and choreography created using the idiom than someone who is introduced to ballet as a young child and grows up in a world where it is a given.I should like to think that Kevin O'Hare had learned some of Sir Peter's system for developing dancers from his time working for him. The ballets in this year's repertory with Fille, Nutcracker, Sleeping Beauty and Jewels occupying a significant part of the season suggested that he had. However next year's rep suggests that his commitment to giving the youngest dancers in his company the development opportunities that they need may not be that strong. I know that next season is being treated as a significant MacMillan anniversary season but I am not sure that is necessarily that beneficial for maintaining technical standards throughout the company.The early performances of the new Swan Lake will reveal what damage, if any, the MacMillanfest has inflicted on technical standards as his full length ballets tend to treat the corps as background stage dressing, albeit each with his or her backstory, rather than giving them really challenging choreography to dance.
  13. I have just come back from Zurich where I saw two performances of this production. I do not intend to give a detailed account of the production as Amy did a sterling job when she described what she saw in Milan nor do I intend to give a blow by blow account of the choreography. It was all so familiar and yet so different. At regular intervals I saw elements not only of the Dowell production but of the productions which preceded it but those familiar sections were performed with a different emphasis and accent as everything was performed in period appropriate style. This had the effect of making the performance of the choreography emphasize dance as a flow of movement rather than movement from pose to pose.As legs are kept low and are often curved and limbs are not stretched to the nth degree the dancing looks softer in performance than we have become used to in this ballet. One of the first things that struck me about the performances which I saw was that in this version Odette does not engage in Swan impersonations and the music is not distorted in order to accommodate the dancers and their desire to exhibit their muscular control and their technique. This meant that for the first time in years I saw an account of the first lakeside scene in which Odette and the corps de ballet actually seemed to be appearing in the same ballet as far as tempi were concerned rather than at the brisk tempo indicated by the composer when the corps were dancing and at a "as slow as you can you go" sort of speed during the pas de deux or pas de trois as it is here.While the floor plan for act 1 scene 2 is pretty much the same as it is in the Dowell production it looks and feels very different in performance simply because of the speed at which it is danced..It is lighter, faster and far less like the monumental classical ballet which modern productions tend to make it and it contains no overhead Bolshoi style lifts. In the second act the pas d'action is just that, it tells the story through dance and mime and it does not degenerate into competitive dancing towards the end of the pas. Siegfried's choreography can be seen as an expression of his pleasure at having found the girl of his dreams rather than an expression of his bravura technique. Odile's choreography is used for narrative and expressive effect. It is not simply an opportunity for the dancer to display her bravura technique to the audience, it is the means by which she first distracts Siegfried when Odette appears at the window and then entrances and beguiles him. I think that Ratmansky is right where his staging gives Siegfried the possibility of catching a glimpse of Odette at the window as it explains Odile's subsequent actions, touching his forehead and thrusting herself between him and the apparition at the window. At the end of the pas when Siegfried swears eternal love for Odile both Rothbart and Odile laugh at him before they rush off, the laughter is in the score. The act ends with Siegfried collapsing distraught at his mother's feet which does not look at all heroic .It is easy to see why in later post revolutionary productions the prince rushes off into the night when he discovers that he has betrayed Odette. It makes him look more like a man of action and less like a wimp. The last act begins with four swans entering and then looking out onto the night waiting for Odette's return and they are followed by another four swans who do the self same thing but facing in the opposite direction. Odette arrives and tells them what has happened and that Siegfried has abandoned his love for her.The rest of the act is very similar to the Dowell production. I have seen seen the Mariinsky reconstruction of Sleeping Beauty which restored the original sumptuous designs but performed the original choreographic text using modern "improved" technique and the Bolshoi reconstructed Corsaire "seen through twenty first century eyes" in live performance. I have seen the Ratmansky reconstructions of Sleeping Beauty and Swan Lake in live performance and the Munich Paquita in a streamed one. All three of these were performed in period appropriate style and at tempi which the choreographer and his composers might have recognised. While it might be nice to stage reconstructions of nineteenth century ballets with expensive designs I don't honestly think that the success of a reconstruction is dependent on expensive costumes and designs. What really matters in the initial stage is the choreographic text and how it is performed. Ballets are expensive to stage and at a time when the majority of ballet goers, dancers,coaches and artistic directors have yet to be convinced of the relevance and value of reconstructing the great ballets of the past it seems to me that the bulk of the effort has to go into reconstructing choreographic texts and recruiting dancers who can perform these works in period appropriate style with the same sort of facility we expect of those dancers performing in current performance style. It seems to me that there is little point in staging a reconstruction of any nineteenth century ballet if the stager is not going to insist on period appropriate performance style and observing the tempi set by the composer. that way there is a possibility that the audience will experience something approaching the choreographer's musicality. Seeing the Mariinsky's Sleeping Beauty was fascinating as far as the designs were concerned but what we were saw in performance bore little resemblance to what was staged in 1895 as it was being performed in the most modern style rather than in a style and at a speed which might have allowed the audience to experience Petipa's musicality.I have to say that what I have seen so far makes me eager to see more reconstructed Petipa and then there is the Justament archive.There is always a possibility that some of the great French ballets of the nineteenth century could be revived,
  14. The RB only reveals the barest details of casting.It has finally announced the missing details of the Ashton mixed bill which will round off the ballet season.In the Dream Sambe will dance Oberon to Hayward's Titania and Campbell will dance Oberon to Morera's Titania. In addition Polunin will be dancing Armand to Osipova's Marguerite. The ROH has only seen fit to announce the fact that Polunin is to appear in Marguerite and Armand.Personally I think that the details about who is to dance Oberon will be of far greater interest to the regular ballet goer than the fact that Polunin will be appearing in Marguerite and Armand. In fact the casting for Oberon will probably come as a great relief to many as there were fears that we might have to endure Matthew Golding lumbering round the stage in order to see Hayward dance Titania.
  15. Unfortunately as 2017 marks the twenty fifth anniversary of MacMillan's death it was inevitable that we were going to have rather a lot of his ballets programmed during the entire year. I am just grateful that we have had so few of his "challenging" works scheduled for performance and that Lady M. has not managed to persuade the management to disinter Isadora. As far as the Ashton repertory is concerned I am not sure that It has been specifically singled out for neglect as we have not seen much of the Diaghilev repertory either since Mr. O'Hare became AD. It would seem that he is more concerned with commissioning new works for the company, most of which have turned out to be second rate, than performing and maintaining the company's repertory of twentieth century masterworks, or acquiring as regular repertory pieces any of the major works created elsewhere in the last fifty years. Strangely in all this MacMillan's three successful full length ballets have not suffered neglect. The company has proved itself capable of programming revivals of them with such regularity that there seems to be a timetable for their revival which raises the question of why something similar can not be done for the company's founder choreographer? It must be difficult for any AD running a company with a significant repertory of masterpieces to get the balance right between encouraging the creation of new works and maintaining the historical repertory I can't help thinking that an AD who wanted to achieve a balance between new works, the nineteenth century classics and twentieth century masterpieces would find a way of doing so. What makes the whole thing so frustrating is that Mason pulled so many ballets back from oblivion and now O'Hare is letting them drift back into the shadows.I have heard one or two people suggest that this is because the current AD is more concerned about his legacy than he is about his duty to make the historic repertory available to the current audience but then perhaps the problem is that while the new works don't look too bad if they are seen in isolation when they are seen in close proximity to major works they tend to look weak if not inept.I hate to think what the 2020 season will look like if Kevin only programmes new productions and works created during his directorship. A season which includes Acosta's Don Q possibly his Carmen;Scarlett's new Swan Lake,Frankenstein, Sweet Violets and The Age of Anxiety; Wheeldon's Winter's Tale, Strapless, In the Golden Hour and After the Rain;McGregor's Woolf Works, Limen, Infra and Live Fire Exercise; Dawson's Human Seasons and Schechter's Untouchable does not seem that attractive to me and could prove to be a very cheap season. It seems to me that the real problem as far as the Ashton repertory at Covent Garden is concerned is that his works suffer from not having the active advocate that MacMillan has in Lady M..I am pleased to see that Sylvia is being revived but I can only guess at why Marguerite and Armand is back again so soon.It suggests either that someone significant is retiring and wants to dance it or that someone has agreed to dance in that ballet as a guest artist.From something that Francesca Hayward said in interview last night it would seem that the ballet has now become a work that dancers want to appear in as she said that she hoped that she would have the opportunity to dance it when she is older.We shall discover the reason for its inclusion in the 2017-18 season when the casting is announced, at the moment it just seems part of a very odd mixed bill. It is good that Giselle is being revived as it should mean that some of the dancers who should have been given the opportunity of working with Peter Wright when it was last revived may now have the chance of doing so but in many ways I wish that his production were less of an edited highlights account of the ballet.I find the Skeaping production which the ENB dance is far more satisfying.As far as the new Swan lake is concerned from the notes in the handbook for the 2017-18 season it seems that some of Ashton's choreography will be seen in Scarlett's new Swan Lake I assume that this means that at the very least we shall see Ashton's Neapolitan Dance but I hope that we get his Waltz , his dance of the prospective brides and his Pas de Quatre as well. Having just seen the Ratmansky reconstruction of Swan Lake in Zurich which was delightful because its period appropriate performance style gives the audience has an opportunity to experience something approaching what Petipa and Ivanov intended their audience to see I think that a company like the RB should really have at least two productions of the ballet in its repertory. One a scrupulous reconstruction danced in period appropriate performance style and a second more modern version with whatever choreographic interpolations the company has acquired over the years.In the RB's case their second version would be a version of the ballet as danced in the 1970's probably the one danced during Morrice's directorship which included Ashton's Act I waltz which requires twelve good classical dancers,in Act III his dance of the prospective brides, his Pas de Quatre, Spanish Dance and Neapolitan Dance and Maria Fay's Czardas, and his Act IV. As in earlier years the new season will, no doubt, look considerably more interesting when the casting is announced and even if the new Swan Lake proves to be less than choreographically ideal there will be debuts and the debuts of dancers like Hayward, Naghdi, Stix- Brunell, and possibly Heap as Odette/Odile and Ball,Clarke and Hay as the Prince will persuade me to buy tickets. As Scarlett has ,so far, chosen good designers for his ballets there is every hope that the new Swan Lake will not be the bling laden design disaster that Dowell's production proved to be.