The Royal Ballet: Anastasia, October 2016

[Balletfanp]

I too get very irritated by the curtain calls (which I enjoy watching) being interrupted by the hosts talking. The dancers deserve their moment of glory in the cinema just as much as in the venue itself.

[Mary]

Absolutely agree- it was very annoying at the end of Anastasia and quite wrong that Osipova was replaced by- whoever on earth that chap is!-on the screen- a really jarring moment.

[VickyPage]

Speaking as someone who was there in the theatre on the night, were the accidentally dropped program and the loud ringing phone obvious in the live stream? I remember thinking perhaps the program was actually a passionate fan letter to Osipova that someone had dropped as she neared their corner of the stage... Whatever it was, it would be worthwhile knowing how distracting it was before I buy any DVDs that may or may not be forthcoming. 

Edited November 6, 2016 by VickyPage

[Mummykool]

Speaking as someone who was there in the theatre on the night, were the accidentally dropped program and the loud ringing phone obvious in the live stream? I remember thinking perhaps the program was actually a passionate fan letter to Osipova that someone had dropped as she neared their corner of the stage... Whatever it actually was, it would be worthwhile knowing how distracting it was before I buy an DVDs that may or may not be forthcoming. 

You heard the clatter and the programme notes briefly fluttered down on the very left of the screen. My husband heard the mobile phone (on the night and at the cinema encore) but I missed it both times. Someone in the amphithetre clapped when the usher removed the programme durting the interval and we were delighted to see it had that it had been shown on the live broadcast

I should imagine these glitches will be edited out for a DVD. The whole of the same cast's Saturday night performance was filmed and so there will be other material that could be used at those points.  It also to be hoped that they axe Darcey's contributions completely....Is it me or do all her 'interviews' actually focus on herself and her career, not the person she is talking to?

 

 It was interesting that Bonelli's difficulties in the pas de deux were far less obvious from the broadcast camera angle than from our seat in the amphitheatre.

Osipova's performance was outstanding. Her emotion reached clearly to the amphithatre on the night, but the cinema close-ups (especially in the final act) were priceless. That look in her eyes in Act 3 will haunt me for days. 

[JohnS]

Thank you Capybara in response to Floss 11:07 above.

 

We haven't seen Anastasia before this run and are finding it a tremendous piece of theatre, harrowingly exploring Anna's psychological state by three astonishing Annas/Anastasias. All three Acts work for us, with the first two being clearly Anna's 'memories' of Imperial Russia and what might have been and so that we know who virtually all the characters are in Act 3. It is telling having Anna on stage at the very start of Act 1 to underline this point. Bob Crowley has explained that Acts 1 and 2 are set within the confines of the psychiatric hospital (although I have to say that it hasn't been that obvious to me in the theatre or from the cinema relay: we were fortunate enough to attend a stage rehearsal and with no safety curtain and full lights could see the scene changes between the Acts and how the sets for the first two Acts sit within the hospital). If I could make a couple of suggestions for emphasising that the whole ballet is from Anna's perspective it would be to have Anna on stage at the start of Act 2 and to consider renaming the ballet 'Anna/Anastasia'. Looking forward immensely to Saturday's two performances and, in time, the DVD.

 

So many thanks to Kevin O'Hare and all at the Royal Ballet for reviving the full Anastasia and I sincerely hope that we won't have to wait another 10 or so years for a further outing.

[Shade]

Sadly missed the performance on Wednesday at ROH, due to illness so was delighted to watch the repeat this afternoon. Loved all the additional insight but agree that it should not be "all about me". At least on the R4 interviews you could hear the interviewees.

 

I have never seen Anastasia before - the difference between the first two acts and the third was a shock! In act one I thought Osipova was like a young Leslie Caron in Gigi. Act two - the coming of age, per Aurora in SB. The Nunez/Bonelli pas seemed a little awkward at the start. It reminds me a little of Paquita - the same grandeur but very technically challenging.

 

Act 3 - confusion, sadness, despair.

 

Very harrowing to watch. Great performances from all, including the orchestra.

[alison]

 

I think you are correct about choreography for the husband being shifted to Rasputin. I've found some reviews from 2004 which make this explicit.

 

http://www.independe...ndon-57678.html

 

https://www.theguard...04/apr/24/dance

 

https://www.theguard...04/apr/25/dance

 

And here is something from 1996 when the revival was being prepared

 

http://archive.spect...identity-crisis

 

 

Thank you for taking the trouble to do that, Lynette.  Unfortunately, Dance and Dancers had ceased publication by 1996, IIRC.  I do miss the more detailed discussions that the specialist dance press used to produce when significant new works were premiered

[Vanartus]

I'm so glad and relieved that the latest batch of reviews and feelings express the complexity of the work, and acknowledge its flawed greatness. I would be happy to see it again in full, but would also be happy to see the last act on its own, perhaps using the original title of "I, Anastasia". I recognise it's a troubling, at times frustrating and disturbing work, to which some connect and which has obviously repulsed others. But I appreciate the fact that I am able to see Fille AND Anastasia, AND enjoy them both. And I look forward greatly to the McGregor triple bill on Thursday. I think it's been a great start to the season.

Edited November 6, 2016 by Vanartus

[Ian Macmillan]

Having finally seen a catch-up screening in Cambridge today, I come late to the table.  I don't recall too much of the last revival that I saw live at the ROH, but I came away entirely happy with the 3-Act format today.  I have had reservations about Ms Osipova in the past, but I drop them all now.  Her performance was truly remarkable and the close-ups afforded in the cinema screening, especially in Act 3, were particularly revealing - she really was living that role, I must say.  And, my goodness, Christina Arestis can do hauteur and really icy froideur!  All in all, an impressive show, and I'm sorry that others were disappointed in it.

[Bruce Wall]

Last night - on yet another historic eve in 2016 - Ms. Morera gave yet another monumental performance in the title role of MacMillan's Anastasia - only building on her first in this run about which I've already written above - (and I SO hope the RB allows her to perform that last act - the original ballet - I, ANASTASIA - in the gala celebrating her enormous contribution to the RB on the occasion of her retirement from active RB performance - WHEN IT COMES).  Ms. Naghdi -- the stunningly musical Yasmine - gave BY FAR the best performance by a ballerina of the second act PDD during this particular series of performances.  She made the interim solo in that adagio sequence glitter in the warmth of her detail.  Diamond sharp it was.  Suddenly I began to feel the Sibley touch.  

 

I was grateful for ALL.  

Edited November 9, 2016 by Bruce Wall

[alison]

It won't come.

 

*Naghdi* was doing the Act II pdd??

[zxDaveM]

It won't come.

 

*Naghdi* was doing the Act II pdd??

 

she was - Ms Takada has an injured foot.

And jolly good it was too  :-)

[capybara]

she was - Ms Takada has an injured foot.

And jolly good it was too  :-)

 

 

And she flirted wonderfully outrageously with the Tsar.

 

But no curtain call 

 

Pleased to note that (since last Weds?) Vincenzo di Primo has been listed in the cast sheet (as well as on the screen).  I think that, along with the issuing of the Nunez/Muntagirov DVD, this an example of management taking heed of feedback.

[Sim]

Yasmine was just wonderful last night;  imagine if she had had more rehearsal time!  She and James only had two rehearsals together, neither of which was even a stage rehearsal.  She was definitely the best K of all of them in this run, IMHO.  Just goes to show what a very special artist, and professional, she is.  

Watching her last night, with that perfect characterisation of the role, I can't wait to see her Odile one day!  

 

I also think it is awful that the pdd couple don't get a curtain call.  The audience doesn't get the chance to applaud them properly, and it is a highlight of the whole ballet.  And the ballerina should be able to receive her bouquets in front of the audience just like the other dancers do.

 

Very well done to Yasmine and James.  And of course, the wonderful Laura Morera.  

[bridiem]

I could be wrong but I'm pretty sure that Nunez and Bonelli did get a curtain call on opening night. (I remember feeling sorry for them having to hang around for ages in costume after they'd done their stuff!). Or maybe I'm thinking of someone else.

[JohnS]

Wonderful to read of Yasmine and James - can only imagine what it was like and thanks to all for their comments!

 

The cinema relay did include a curtain call for the pdd but not in other performances I've seen.

[Sim]

Yes, Nunez/Bonelli got a curtain call in the cinema relay, but that is the only one the pdd couple have had this run.  Why?

[capybara]

Nunez/Bonelli had a curtain call on the opening night, at their next performance (recording), and for the live cinema relay.

 

I agree with Sim (above). If the two dancers are willing to stay on, they should have their call and red run.

[Sim]

Ah.  I was told that Nunez/Bonelli only had a call in the cinema relay.  I was there on opening night but was underwhelmed by their performance, as well as by the first two acts, so I had obviously forgotten!

[Geoff]

Why was Anastasia's iconic sailor suit ditched

Following on the theme of our hope that feedback is listened to, just want to second this comment (which was deep inside a much longer and most interesting set of remarks amd so may have got overlooked). The sailor suit is one of the things which stuck in my memory from all those years ago. Iconic is indeed the right word.

Edited November 9, 2016 by Geoff

[alison]

I wonder if some of the current incumbents are rather tall to be able to carry off a sailor suit?

[alison]

she was - Ms Takada has an injured foot.

Oh dear. Takada's in 2/3 of the McGregor triple bill starting tomorrow. Does it sound likely that she'll be out of that?

[Sim]

She said she was hoping to recover for her Anastasia performance on Saturday...

[standingticket]

Unless I am mistaken, I don't think Naghdi and Hay were on stage for the company bows at the end, so could not have had a curtain call. I very much enjoyed Naghdi's performance (even if, on age alone, it felt a little implausible that she could have had an affair with the Tsar BEFORE his marriage!)

 

I thought Morera's Act III was stunning. She has such a talent for story-telling and brought out a number details and nuances that I had not appreciated at my first two viewings (Osipova cast both times by accident rather than design!). I was very glad that she got such a loud cheer for her solo bow.

[Sim]

No they weren't onstage, but they darn well should have been!

[alison]

She said she was hoping to recover for her Anastasia performance on Saturday...

 

Glad to know it's only minor, although I wonder whether she might be better not risking it, given that she's got a heavy workload over the next week.

[aileen]

I have mixed feelings about this ballet. I don't find the contrast between the first two acts and the third a problem; it actually makes sense to me. The problem that I have is that very little happens in the first two acts, as evidenced by the very brief synopsis in the cast sheet. I was surprised at how classical the first two acts were. It starts terrifically; there's no scene setting (people walking around, greeting each other drinking etc) but goes straight into some complex dancing by the officers. I didn't find the relationships between Rasputin and the family sufficiently developed. Poor Eric Underwood had almost no dancing until the third act and it wasn't clear to me why Rasputin featured so strongly (and more than the Romanov family) in the imaginings of Anna Anderson when she was in the asylum.

[alison]

Because he was Irek Mukhamedov?

[Mary]

Saw Morera this evening and thought she was stunningly good. She reminded me of Benjamin in the role. I found her performance much more heart-rending than Osipova's ( superb as that was). What a really wonderful actor-dancer she is.

 

But also, as someone has said already- Bruce?- Hirano's Rasputin is so good it actually adds a new dimension and brings things to life- he conveys  a powerful aura and a sense that all is very much not well in the family circle (!)-  using a focused stillness to project with great power even when not dancing.

 

Gartside also made a subtle difference to the scenes he was in by being so in character: he was the only one in Act 1 who was a naval officer dancing, rather than a dancer in uniform. Sambe's solo was fantastic- perfectly controlled, neat, spot on and elegant- lovely.

 

One or two other things struck me. People rarely say that Macmillan was influenced by Ashton but he was I believe ( naturally enough) No doubt many will correct me but I really saw that in Act 2 tonight- in the graceful dance with Anastasia and the Tsarina , and the 'scarf/ribbon dance' that follows.

 

The orchestra were on form tonight and that possibly helped to make the evening much more powerful; I am still not quite convinced by the work as a whole- but watching Act 1 and 2 with Act 3 in mind does really help.

 

Takada and Hay gave a good account of the  pas de deux I thought though it still looked uncomfortable- (was it the costume making Hay look strangely hunched?)

 

 So sorry to miss McRae in this- but no doubt anyway he now has better things to do for a bit. Good luck to him and hurry back.

[Jamesrhblack]

Anastasia is a complicated ballet: its genesis means that we have two acts added after the initial inspitration with two radically different musical worlds and the added complication that historically we are now in a position removed from MacMillan's understanding.

 

The current revival takes account of that introducing Anna Anderson at the very beginning which, together with the slant (literally) of the sets, means that we are encouraged to look at the first two acts as artificial memory rather than historical exposition. Given that MacMillan gave credence, if I have understood this correctly, to Anderson's claims we are looking at a re-interpretation of the ballet against the creator's remit with the added complication that the dancers are needing to enact an interpretation at odds with his mindset.

 

I found today's matinee a fascinating afternoon. Act One is an extraordinary idyll of an idealised life style and the second movement has haunted me all evening, not just because of the exquisite music, but because of the imagery: Anastasia trying to find herself, the group dance for the Romanov women, the child's fall, Rasputin's intervention, the heavily orthodox religious response with Anastasia uncertain which then connects to her reputation of Rasputin in Act Three.

 

Act Two is less compelling (ignore the historical inaccuracies, this is a skewed memory) with too much corps de ballet padding and another struggling performance of the pas de deux (Lamb with Bonelli, replacing McRae) didn't help but Act Three grips vice-like and I am convinced its impact is strengthened by having seen what has gone before. There are incongruities: I still don't quite understand why Anderson is so antagonistic to Rasputin (historically, we know he was probably a malign influence yet the family venerated him) but their confrontations are thrilling in dramatic terms and the idea of lost identity trying to reestablish itself is very potent.

 

Cuthbertson was remarkable in her ability to convey child-like innocence in Act One, yet joining this to the second and third Acts. The reference to the hands in shoulders read very clearly (I interpret this as being yourself which is why the Tsarina in Anna's "memory" repeats the gesture) and her technical dexterity was both involving and impressive. Thomas Whitehouse was also outstanding as Anastasia's Officer and Anna Anderson's Husband, whilst Reece Clarke was astonishingly impressive as an Officer in Act One. He not only hung in the air but moved with a dexterity and cleanness unusual in so tall and strongly built a dancer.

[alison]

More of those random thoughts which keep appearing at odd moments during the ballet:

 

- what about the secondary group of officers, the ones who dive off the ship?  What did they do during the original Act I when it was, I understand, set as a picnic in the countryside?  Was there a lake?  Is the "going for a swim" bit an addition?

 

- I've only just realised that the dancer who plays Anna Vyrubova in Acts I and II then becomes the Matron in Act III.  What, if anything, does it say that she "changes sides" while everyone else appears to stay the same?

 

- I noticed from one of the old reviews which Lynette linked to, I think it was, that there was a mention of Anna's "silent scream" in Act III - yet all 3 ballerinas in this run were vocal in their screaming.  Is that another change?

[bridiem]

Anastasia is a complicated ballet: its genesis means that we have two acts added after the initial inspitration with two radically different musical worlds and the added complication that historically we are now in a position removed from MacMillan's understanding.

 

The current revival takes account of that introducing Anna Anderson at the very beginning which, together with the slant (literally) of the sets, means that we are encouraged to look at the first two acts as artificial memory rather than historical exposition. Given that MacMillan gave credence, if I have understood this correctly, to Anderson's claims we are looking at a re-interpretation of the ballet against the creator's remit with the added complication that the dancers are needing to enact an interpretation at odds with his mindset.

 

 

Yes, that's very interesting, Jamesrhblack. Though I still didn't necessarily think it encouraged us to see the first two acts as artificial memory - just as the memory of someone who was now in a very different state, and with the implication that she was Anastasia (since the film freezes on her). I thought that the off-kilter elements of the sets etc were (as in Mayerling) an indication of a crumbling dynasty, not of a crumbling mind. And nothing in the choreography or the narrative of these two acts suggests that they are not real or true - it's all pretty naturalistic (if that's the right word) and is danced as such. So even with the imposed intro, I don't think the work hangs together or that it's possible for the Anastasias to give a coherent performance (though it sounds as if they've all given it a very good go!).

[aileen]

James, I had thought that the hands to shoulder movements were something to do with Russian courtly or folk dancing. Can you explain your interpretation of them. Did the outstretched arm with the upturned palm (there is a photograph of this with Durante demonstrating this movement to Cuthbertson(?) in the programme) signify anything in particular? I assume that it alluded to her cutting her wrists.

 

Introducing Anna at the beginning of Act 1(in a sort of prologue) makes the work much more coherent IMO. When was this added?