Natalia Osipova: triple bill, London, June 2016

[thewinelake]

Going to see this today. Very much enjoyed Cherkaoui's piece for LA Dance project. Got the tickets cheap, and wouldn't have paid full price, as the concept didn't really appeal. I think some dancers should stick to what they're good at. I even think that Bussell's recent attempts on TV to do other forms have diminished her talents in my eyes. Sylvie Guilhem might be a bit of a one-off?? Hopefully it'll be a bit more "rehearsed" by now!

Edited July 2, 2016 by thewinelake

[Scheherezade]

Prior Disclosure: I love Arthur Pita's dance theatre pieces and expect them to be more theatrical than dance oriented

 

Overall, I probably had a much better experience with the Osipova programme than other posters and I left with a big smile on my face.

 

The first piece didn't do a lot for me. I'm probably not a fan of Cherkaoui's and for me Qutb fell into what I categorise as 'Meditative Gymnastics'.

 

My interest perked up in Maliphant's Silent Echo. In terms of choreography, it wasn't the most exciting Maliphant with the exception of Polunin's Solo which felt like a calling card for classical Polunin. The piece didn't feel polished yet, but there was a raw energy underlying the performance that edged it into a exciting piece to watch. It really helped that the great lightening design really seemed to fit the dancing, enhancing movements rather than trying to steal the show.

 

Pita seems to have become Osipova's slightly macabre unofficial biographer. I assume that the demise of the male in both Run Mary Run and Facada are Pita's addition to Osipova's story seeing that both Vassiliev and Polunin appear to be alive and well.

 

To me, RMR was an artistically brave and ultimately successful performance piece, sharing (ok, at times oversharing) intense personal emotions, contextualising recent history and criticisms, and a very public declaration of love - russian style, slightly mad and beautiful, melodramatic, deeply felt and emotionally honest.

 

I loved the opening sequence of two hands performing their own ballet, reaching up through the soil. Whether there was a particular value to playing the story backwards I don't know, but it was well done and dramaturgically very clear. The story on stage was about the attraction of being a bad boy, and being with a bad boy, the realisation of going to far and the declaration of undying love irregardless. The untold story seemed to say they have found a centre with each other that allowed Osipova to loosen up and Polunin to grow up (strictly my interpretation).

 

It probably helped that I have no problems with funky beehives and 60's clothing, or Polunin smouldering so hard in a James Dean outfit that there must be some scorchmarks on the stage. The stage truly loves that boy, every move seems interesting, every look or half smile is somehow magnified.

 

So yes, perhaps RMR is light on actual dancing, but it is a great piece of theatre for people who like that sort of thing.

 

An interesting take on the performances, Coated, which I enjoyed reading although I won't be going to see this programme since if I want scorching theatre I'd rather see Helen McCrory at the National. I did see Osipova's last contemporary run which didn't inspire me to go again. Pita's Facada was the highlight but a case of 'that box ticked now move on' for me.

[Beryl H]

I saw Friday's show and really enjoyed Qutb, thought Jason Kittelberger and James O'Hara partnered Natalia Osipova very well, especially Jason Kittelberger who had a long pdd with Natalia Osipova (don't know these dancers, only going by photo in the programme),  thought it quite sensual and hypnotic. Silent Echo was even better, althouth there were dark, almost invisible Michael Hull moments, in general it was clear and with opera glasses I was able to see the extraordinary dancing, a real mix of classical and contemporary, an extended pdd, lots of fast turns for both Natalia Osipova and Sergei Polunin in their solo's, this was a joy to watch and I was feeling happy and wondering why there had been bad reviews, then came Run, Mary, Run, which was dire, disappointing given Arthur Pita's reputation, maybe not enough time, and Natalia Osipova must have been exhausted by then so she couldn't have danced much anyway, but there wasn't any drama, or humour, it seemed to have a subplot about Amy Winehouse and her boyfriend, although Sergei Polunin looked like James Dean.  Liked the idea of recorded 1960's music during the second long interval, (one tune keeps going through my head), and I think there was an Amy Winehouse song as we left the theatre. I'm sure lots of people loved it, though there was not the ecstatic audience reaction I expected (there had been for Silent Echo). Noticed cameras in the stalls, don't know what they filmed. 

 

Very generous of Natalia Osipova to dance in all 3 ballets, and lengthy ones too, not just 10 minute solo's, she gave 100% as she always does, and I have now seen her dance with Sergei Polunin, which was one of the reasons we all went, they do look good together too. Programme was well produced for £5.

[Lenore]

[...]

I'm sorry to sound bad, but it seemed to me from the beginning the pretentious attempt of a ballerina, in my very humble opinion, too pampered by the public, although she has never done anything but Natalia Osipova on stage regardless the role, the ballet , the plot ...

Well... I have a very different opinion on this. I've seen Natalia dance several times and have never been anything but fully convinced by her portrayals/characterisations (I think her Giselle will stay with me forever). I've never had the feeling of watching her dancing as herself (if that makes sense), and don't really see this branching out into a different style as pretentious? Maybe we'll have to agree to disagree though. :-)

 

Anyway, I saw the matinee today. I went in with as much of an open mind as I could. I'm the first to admit that contemporary isn't really my cup of tea (I've not entirely enjoyed the McGregor pieces that I've seen thus far, for example). I booked on a whim without really knowing what to expect.

 

I think Beryl H really sums up my thoughts best (& much more eloquently). But I'll attempt to summarise my thoughts on the three pieces.

 

I enjoyed the first piece (Qutb) the most, which I didn't expect. The music was really good. I half expected to find it would drag, but I'm pleasantly surprised to say it didn't. I was so absorbed in it all the time just flew by. I enjoyed the pas de trois & pas de deux with Natalia and Jason Kittelberger, but also the solo by James O'Hara. I thought that was quite dramatic. I think the programme said it was inspired by the planets & I could definitely see the influence from that, as well as the spiritual symbolism.

 

Something that struck me, that doesn't normally register, was the lighting. It was absolutely amazing on all three pieces; it really added to the atmosphere.

 

The second piece (Silent Echo) was still enjoyable despite not being my favourite. Some of those chaines turns by Natalia were so quick her arms were just blurs (I had a mental image of them taking off ha). But I found the 'industrial' type of music for her solo repetitive and grating after a while. The music for Sergei's solo was better (more musical). The final coda section was brilliant. Some amazing dancing from both. I liked the fusion of contemporary and classical. This received the most enthusiastic response from the audience I think, possibly because of this fusion?

 

The final piece was... Interesting. I think that sums up my feelings best. I loved the music. And the costumes. There were a few humorous moments mixed in amongst the drama.

I was a bit worried the dirt would prove a slip hazard but thankfully my fears weren't confirmed!

I think there was just too little dancing for my liking. I was completely mesmerised though, following the story, but didn't really know what to think when it'd finished. Maybe it'd work as a music video. That was something that crossed my mind. I loved the acting from both Natalia & Sergei, & the way the story was told, but... I don't know. Weirdly I thought I'd enjoy this piece the most but it turned out to be completely the opposite. So, for me, the end piece felt a bit deflating.

 

I wouldn't say I was entirely converted to contemporary dance after this, but it's definitely piqued my interest. I was pleasantly surprised by the performances and have made a mental note to keep an eye out for future Polunin/Osipova performances. I enjoyed their chemistry even from all the way up in the second circle (speaking of which, despite being so high up, I had a perfectly uninterrupted view. This was my first time at Sadler's Wells).

 

Just a quick question. I've noticed there's another performance of this in September/October. Is it exactly the same or will the commissioned pieces be different?

[Amelia]

Lilian88, on 01 Jul 2016 - 08:46 AM, said:

"... too pampered by the public, although she has never done anything but Natalia Osipova on stage regardless the role, the ballet , the plot ..."

 

For me Osipova is unforgettable as Juliet, Giselle, Jeanne, Kitri, Esmeralda, Swanilda, ... the list can continue.

I also find her remarkable in modern ballets, like "In The Upper Room” by Twyla Tharp, or “Russian Seasons” by Ratmansky.

One can ask why she is "pampered by the public"? In my view, apart from her outstanding technical prowess and dramatic talent she has another, rare gift - she is lovable. 

[MaggiM]

Janet, I'm Brazilian, live all the way down in the South, very far from the big cities where all that is important about Ballet happens. Unfortunately, most of my contact with Ballet is virtual, with the exception of maybe two months a year when I am "based" in Germany - my opportunity to see live performances in Europe. I'm a keen reader of reviews and ballet forums, to keep me informed and learning, and to help me choose what I will try to see the next time... I'm grateful for the information and knowledge I find here!

 

I saw Solo For Two in London, 2014, the reason why I'm interested in this Triple Bill. Osipova and Polunin have made some unusual professional decisions lately, I was wondering about their health and priorities, and curious about developments in her contemporary work.  

As in Solo For Two, I see totally divergent opinions, and it is not always easy to figure out the premises of each writer to understand why.

But some comments... 

 

I cannot believe, for example, that it was under-rehearsed. I'm not doubting the writer's impression, it's just that both Osipova and Polunin are great, experienced dancers, and have been preparing this show for months! Solo For Two was prepared in a single month, and I could see nothing that needed more rehearsal, not the slightest hesitation or blurred movement - but I also had accepted that well known steps might not be performed in a classical way, and must be seen in the context of a different aesthetic and intention. 

 

The choreographers were Osipova's choice in both occasions, and if in Solo For Two Cherkaoui and Naharin made versions of existing pieces, you never know what will come out when it is a new work. Choreographers are human, may be more or less inspired. It is very frustrating, however, if the outcome is not up to the dancers' potential, as several reviews imply. For them and for us. Expectations were very, very high, both times, all expected some miracle to happen. Not reasonable, and an extra weight for anyone who is venturing in new ways.

[bridiem]

 

Janet, I'm Brazilian, live all the way down in the South, very far from the big cities where all that is important about Ballet happens. Unfortunately, most of my contact with Ballet is virtual, with the exception of maybe two months a year when I am "based" in Germany - my opportunity to see live performances in Europe. I'm a keen reader of reviews and ballet forums, to keep me informed and learning, and to help me choose what I will try to see the next time... I'm grateful for the information and knowledge I find here!

 

I saw Solo For Two in London, 2014, the reason why I'm interested in this Triple Bill. Osipova and Polunin have made some unusual professional decisions lately, I was wondering about their health and priorities, and curious about developments in her contemporary work.  

As in Solo For Two, I see totally divergent opinions, and it is not always easy to figure out the premises of each writer to understand why.

 

But some comments... 

 

I cannot believe, for example, that it was under-rehearsed. I'm not doubting the writer's impression, it's just that both Osipova and Polunin are great, experienced dancers, and have been preparing this show for months! Solo For Two was prepared in a single month, and I could see nothing that needed more rehearsal, not the slightest hesitation or blurred movement - but I also had accepted that well known steps might not be performed in a classical way, and must be seen in the context of a different aesthetic and intention. 

 

The choreographers were Osipova's choice in both occasions, and if in Solo For Two Cherkaoui and Naharin made versions of existing pieces, you never know what will come out when it is a new work. Choreographers are human, may be more or less inspired. It is very frustrating, however, if the outcome is not up to the dancers' potential, as several reviews imply. For them and for us. Expectations were very, very high, both times, all expected some miracle to happen. Not reasonable, and an extra weight for anyone who is venturing in new ways.

 

 

Interesting post, MaggiM - very good to hear from you. Just to say that I did indeed see hesitations on Wednesday evening, mainly (I'm sorry to say) from Osipova. And I would say that I went to the performance in hope rather than expectation, given previous experiences of great dancers commissioning works for themselves - clearly being a great dancer doesn't necessarily also bestow great skill in other aspects of the art form (choreographing, directing, teaching etc), though sometimes it does. But you're right that we all see performances differently for all sorts of different reasons. And whatever my view of this bill, I still think that Osipova is an amazing dancer!

[Jan McNulty]

Great post, thanks MargiM!

 

I was at the matinee yesterday (wearing my badge but didn't see any others!) and just loved the show!

 

I've only seen Osipova a couple of times (apart from on YouTube) - I loved her in Rubies but wasn't so keen on Rhapsody (livestream).  I have enjoyed choreography by Cherkaoui, Maliphant and Pita.

 

I thought Qutb was just mesmerising.  All three dancers danced as one and I found it incredibly expressive.  Cherkaoui really brought out the hypnotic effect of the Sufi vocals with his movement.  Somewhat irreverent perhaps but the way the three dancers inter-twingled in parts reminded me of the version of Four Feathers with Heath Ledger - the bit where they are all trudging around in the prison.  I hadn't read the programme notes before the performance so my impression was of three people trying to escape but scared to leave each other.  Natalia Osipova was not only very supple and flexible but also incredibly expressive - for me her facial expressions moved from fear, to panic to an almost ecstatic trance-like state.  What a wonderful piece this was.

 

I have never seen Sergei Polunin dance before (just saying).  He partnered Osipova in the second and third pieces.

 

Silent Echo was an incredibly powerful, sensual piece and the stage presence and power of both dancers was, for me, outstanding. The stage positively crackled with the frisson between them.  I thought the lighting was incredibly effective and I thought the choreography fitted beautifully with the music and the dancers.

 

In the first 2 pieces, Osipova had to show huge trust in her partners with some of the tricky lifts.  It is a testament to her that she did.

 

Run Mary Run was, for me, a typical Pita piece.  It had a very black humour, which both dancers used to the full.  I loved the sections where they were dancing with the earth.

 

So, to sum up, I came to this performance not a huge fan but curious to see what Osipova would make of it.  I came away with the impression of a great dancer who is also well on her way to be an incredibly expressive dance-actress too.  If there were any wobbles at the start of the week there certainly weren't any yesterday!

 

If you are going to this performance, go to enjoy it for what it is and not expecting to see a classical ballerina toying with contemporary.

[thewinelake]

Qutb just stunning!

 

As is this seed & bean chocolate...

 

Looking forward to Silent Echo

Edited July 3, 2016 by thewinelake

[LinMM]

Think I will give it a go in September after all

[SPD444]

Great review Janet, I agree with all you say. I was at the evening performance and thoroughly enjoyed, to varying degrees, all the ballets. The only problem with the first one is to pronounce it, Qutb, the dancers interacted brilliantly, I thought, with Jason Kittelberger a tower of strength, Natalia must have felt very safe in his hands. I have to admit that it was gymnastic in a lot of movements but it drew you in. The second piece, Silent Echo, was a real eye opener for me as it seemed to mimic the whole tradition of a pdd; duet, solo, solo, duet showing lots of "classical" steps and lifts being perfectly in sync with electronic "music". Fabulous dancing by Sergei and Natalia, he really can dance. The third was a bit of a let down, to be honest. I loved the 60's setting and Natalia in a beehive and mini, a reference to Amy Winehouse I believe, was a total treat with Sergei doing a great James Dean impression but for some reason, and I can't put my finger on it, but it just missed the mark. Very enjoyable evening, don't understand some of the really negative opinions. I think all artists should come out of their comfort zone and try something new. She could easily keep repeating her SL, or Kitri or Giselle to huge acclamation so, fair play to her, she puts herself out their gives it a go. Well done Natalia.

[helpop]

I'm so glad I booked for two performances of this (Friday and Saturday evening) - it's the best triple bill I've been to in a while, often finding them a bit hit and miss.  For those interested, the audience reaction was much stronger on Saturday evening, although distractingly a member of the audience seemed to be trying to hand them a bouquet from the stalls during the final curtain call, which was a bit odd.

 

The first piece is a style of dance I'm not a huge fan of, but I did actually enjoy it.  All 3 dancers were impressive, and I was very struck by how strong the taller man must be, to lift both a woman and another man for that period of time!  However, having seen it twice I think the accusations of under-rehearsal are actually less to do with rehearsal time and more that Osipova was struggling a bit with the choreography, which seemed fairly tricky in places.  Sometimes her foot seemed to get caught as she didn't lift it high enough in one smooth movement (for example).  So it's a good piece (in my view), albeit in the rather generic modern dance style which I find a bit interchangeable.  My main criticism is it didn't really showcase Osipova, or reveal her personality or style - I think another dancer with sufficient flexibility could step into her role easily, which is a disappointment in a piece commissioned by her and created on her.

 

My main response to the Maliphant piece was - WOW!  Definitely the highlight for me.  I had somewhat low expectations having had mixed reactions to his work before, and it really blew me away.  I think a lot of this is attributable to the performance by the dancers - it was a powerful reminder of how fantastic Polunin is live, with his technique and presence.  I think the piece would be rather ordinary with other dancers, but it was executed with incredible skill, finesse and projected both dancers' power beyond the footlights.  Particularly impressive was the speed of their turns, particularly as Polunin is a jumper rather than a turner (technical dance expressions  ).

 

The 3rd piece was, overall, a disappointment.  I've been a fan of all the Pita work I've seen so far, so I was looking forward to this one the most.  Taken as a standalone piece, it is a good piece of theatre in his signature style and to his usual standards.  The problem for me was that we'd just been shown what incredible dancers Osipova and Polunin are, and given an inkling of how interesting their exploration of contemporary dance could be, and the Pita work rounded out the evening by having almost no dance in it!  Polunin had 1 good but very short solo, but that was the only real dance in the whole thing, which was VERY frustrating!  The cigarette & drink dance was funny and clever, but more music hall act than spectacular pas de deux.  It didn't help that the piece is witty and smartly put together, but ultimately lacked substance and didn't treat the story & its themes with a lot of depth or the drama they required - possibly juvenile is the word which comes to mind.  It's such a shame that we didn't get to see more of them dancing together (or indeed, solo), which is what the audience really came to see.

 

Nevertheless, a very enjoyable evening and I may book for the autumn.  But my main hope is that RB take Polunin's (very heavy) hints from interviews and offer him a guest contract.  O'Hare was mentioned in the cast sheet acknowledgements, so hopefully he went to see them and got a timely reminder of how spectacular Polunin can be.  (Hint to Mr O'Hare if reading this - Friday and weekend scheduling would be much appreciated by those of us who have to travel.  thank you  )

[capybara]

  O'Hare was mentioned in the cast sheet acknowledgements, so hopefully he went to see them and got a timely reminder of how spectacular Polunin can be.  (Hint to Mr O'Hare if reading this - Friday and weekend scheduling would be much appreciated by those of us who have to travel.  thank you  )

 

Kevin O'Hare is in Japan with the RB.

[capybara]

Having spoken of Osipova's and Polunin's astonishing talent, Clement Crisp in the FT goes on to say: "These artists are trapped in this Sadlers Wells concoction of new stagings or direst inadequacy and elephantine pretensions, which deform and deny their gifts, their artistic identity."

 

There is more in similar vein! ! ! !

[thewinelake]

I was hoping to edit my earlier post with final musings on the evening, but that doesn't seem to be possible now - so it's just hanging there as a bit of a memorial to pointlessness (although that chocolate really is damn good). Anyway:

 

Qutb (how DO you pronounce it?! "Cuttub?") was superb - very reminiscent of the Cherkaoui piece performed by LA Dance Project, but better, with more variation. Apparently Qutb means 'axis', 'pivot' or 'pole' - and I can see there was a sense of that. Osipova seemed to perform the piece pretty well, even if the "meditative gymnastics" (Love it!) style isn't what she's known for. Her partners were stronger, maybe more used to doing that kind of thing?

 

Silent Echo - yes, another great success in my book - super lighting effects and incredible spins from both dancers. I thought they worked very well together - perhaps not an obviously emotional connection, but certainly a physical, performance synergy there. This one could have usefully been longer - as it was quite enthralling.

 

Run Mary Run. Mmmmm. Really not sure what to make of it (and that in itself is a good thing). Plenty of the departing audience were not at all amused (and this amused me). Interesting seeing Osipova do her 60's dancing - not bad - and the funny bit with the drink and cigarettes worked for me. However, one thought that plenty of other dancers could have done it equally well, so possibly a waste of her talent? 

 

What was wonderful was to be able to get so close to her (we were on row B of the stalls) and see her face without the need for optical aids. I've got to say that I would have enjoyed it more if she'd done more classical stuff, but I respect her right to try something different - and am glad we didn't pay full price!

 

Edit: Just looked at Clement Crisp's review - I know what he means (and I think I make a weaker but similar point), but is it fair to blame Sadlers Wells? Surely this was Osipova's own selection? At worst it's just a bit of self-indulgence, surely? Or maybe like commuting in a Ferrari?

Edited July 5, 2016 by thewinelake

[Jan McNulty]

Hello TWL, you only have 30 minutes after posting to edit.

 

I enjoyed reading your thoughts.  The ladies on my right on Saturday afternoon were very underwhelmed with Run Mary Run.  I'm not saying it was the best thing I have ever seen but I thought it gave a great opportunity to see these two dancers doing something completely out of their comfort zone.

 

As you say it was a good opportunity to see such stellar dancers at close quarters and at a very reasonable price.

[VickyPage]

... it gave a great opportunity to see these two dancers doing something completely out of their comfort zone.

 

Polunin, in particular, looked slightly uncomfortable with some of the more 60s-ish dancing, but I thought it was brave of him to try it. I just wish that there had been a tad more actual dancing, but Pita does seem to prefer emoting as part of narrative pieces.

[thewinelake]

Janet - were there any programmes available on the Saturday? They'd sold out by Sunday - the one time I'd decided to throw caution and prudence to the wind and buy one of the things!

 

Anyway, they've made the programme available here: http://issuu.com/sadlerswells/docs/natalia_osipova_merged_pdfs?workerAddress=ec2-54-87-249-211.compute-1.amazonaws.com

 

BTW, Hope it's OK to post that - please delete if you think it might be in any way bad ettiquette.

[Jan McNulty]

There were still programmes at the Saturday matinee, I bought one!  I think it's quite a decent programme.

 

Thanks for the link to the online version. 

[thewinelake]

Do you keep all your programmes?

[Jan McNulty]

Sadly, not any more.  I haven't got the space.  I buy a programme for something new and keep it for a while.  As I mostly follow 2 companies I only now buy the first programme of the season so I can see who the new dancers are.

[alison]

There weren't any programmes left by early Saturday evening, that's for sure.  Even when I went in there early to book some tickets, the staff were standing there with piles of photocopies.

[Buddy]

I came away with the impression of a great dancer who is also well on her way to be an incredibly expressive dance-actress too.

Somewhat late on this one, but I saw one of the performances and I do agree. For me, a lot of her appeal will depend on the quality and nature of the material that she choses.

 

I also thought that Sergei Polunin did a fine job. He was very capable, very able to adjust to the different kinds of material and at times at least as sensitive as his remarkable partner.

Edited August 3, 2016 by Buddy

[Amelia]

Auckland Arts Festival: Natalia Osipova & Guests - Review:

http://www.noted.co.nz/culture/arts/auckland-arts-festival-natalia-osipova-guests-review/#.WNXA4F4yVbo.twitter