The Royal Ballet: The Human Seasons / After the Rain / Flight Pattern, March 2017

[Johnpw]

Of course there is a lot of bruising and battering all round, I am sure.

But I think Lizbie1 raises a valid point about some of the choreography. I remember not liking some of these moves last time, and several critics and some posters here mention their discomfort at the sight of female dancers being dragged face down on the floor. I think that is a very fair point to make.

 

In Robbins' 'The Cage', transmitted live yesterday from the Bolshoi, there's a fair amount of mistreatment of the two male soloists by the two female soloists and the female Corps. Stylised, of course, but it includes kicks and dragging (on the back). It does, however, fit the "theme" (female insect eats male after love-making).

During "Human Seasons" (which I thought went on a bit too long) I remember thinking "Ouch" a couple of times at lifts and dragging, which I rarely do. And having no programme I had no idea of the context. In other words the "why?" of those particular moves.

On the other hand, the dancers (specifically the female) are all adult and, from their interviews, seem very articulate. Assuming it's not a case of appearance being worse than the reality, might they have had the chance to object during rehearsals? Or perhaps the "why?" was explained to them. 

[Mary]

I think there is a difference, as you imply Johnpw, between the 'acting out' of some kind of violence as part of a story which we are seeing unfold- as in The Cage- and the more abstract kind of ballet where movements are not directly mimetic.

I did not care for The Cage very much. I found it melodramatic to say the least, but there did seem to be an unpleasant psychological problem underlying it I don't much want to focus on ( something like a castration complex and misogynistic fear of malevolent women). However, whatever one thinks of the story, it was of female insects eating a male insect so i can see why the poor male dancer had to be stomped on- but I didn't like it.

Whereas, Human Seasons is about much more general themes. I will see it again, and think again, but I do think it is valid to ask- why those moves? and what meanings might they have for us all?

[aileen]

Well, I very much enjoyed this programme last night from my nice seat in the stalls circle. I'm beginning to worry that my enjoyment of ballet / dance is really influenced by how good my seat is!

 

I liked Human Seasons a lot. It's refreshing to have a plain uncluttered set which lets the dance do the talking. The attractive, well-cut leotards were a change from the vest and pants combo beloved of so many modern choreographers. As Dave said above, there were some beautiful shapes created in the work. I did wince a bit when the women were being dragged on their fronts and when one woman was 'presented' to the audience with her legs completely splayed. However, Dawson is not alone in doing this kind of thing. The work was slightly too long but I found it very satisfying and thought that everyone (Naghdi in particular stood out) danced very well.

 

I wasn't very enthusiastic about seeing After the Rain again but I loved it last night. Nunez and Soares were so very touching in their duet and even the Spiegel im Spiegel music didn't grate.

 

Initially, I wasn't as enamoured of Flight Pattern as everyone else seems to have been but it grew on me. I suspect that the first section in particular is better seen from above. I did find the music rather monotonous. I was very impressed with the quality of the mass moment: grounded but very fluid.

[Bruce]

The attractive, well-cut leotards were a change from the vest and pants combo beloved of so many modern choreographers.

This jumped out because I think the leotards are not well cut at all and they should have been changed before this second outing of the Dawson. They are so small that only the very, very, very, thin can keep their arse in place/covered - like Sarah Lamb. But on the opening night Nunez had one buttock on display for much of the ballet and Cuthbertson was facing similar problems. It's sooo not a good look - especially if you are going for that ethereal look.

[aileen]

I didn't see that problem, Bruce, but what you describe is unfortunate. I can think of other leotards which don't provide any / much support up above and which are only suitable for the pretty much flat-chested.

[bangorballetboy]

I didn't see that problem, Bruce, but what you describe is unfortunate.

 

No major issues with the leotards in that area last night, so perhaps adjustments have been made.

[Bruce]

No major issues with the leotards in that area last night, so perhaps adjustments have been made.

 

It was the same buttock display back in 2013 as on opening night this time. Perhaps they have moved to use stronger glue.. The Judas Tree used to suffer similarly.

[Ian Macmillan]

Hanna Weibye, author of the Arts Desk review of the Triple Bill, has just drawn attention via Twitter to a comment late last night on the review.  Posted by Tim Couchman, who staged Human Seasons, to my eyes it attacks at least some Company dancers for a lack of commitment to the piece.

 

A link to the review again, and the comment below, is here:

 

http://www.theartsdesk.com/dance/crystal-pite-flight-pattern-royal-ballet

 

I've not seen a performance so do not have a programme to hand but, for what its worth in relation to the comment, I don't see his name in the credits on the ROH site here:

 

http://www.roh.org.uk/productions/the-human-seasons-by-david-dawson

[John Mallinson]

He has a credit on the cast list.

[Colman]

I'm guessing he won't be staging at ROH again. 

[aileen]

It's really regrettable that Tim Couchman has come out and criticised the dancers so publicly. I trust that he had Dawson's permission to post what he did.

[Geoff]

Posted by Tim Couchman, who staged Human Seasons, to my eyes it attacks at least some Company dancers for a lack of commitment to the piece.

 

A link to the review again, and the comment below, is here:

 

http://www.theartsdesk.com/dance/crystal-pite-flight-pattern-royal-ballet

Well well. Maybe we should post our own comments on that site to let Couchman know what we think about this.

[Lindsay]

Wow.  That is some pretty unprofessional flouncing.  Surely the response to really sub-standard dancing should be to withdraw the work before it is performed...  

 

I recall that the reviews for the 2013 preview were more appreciative, I wonder how much that was to do with Ed Watson's presence in the cast? Or perhaps  it in some way relates to its programming with a McGregor work (Chroma) rather than the Crystal Pite besides which Dawson's work seems to have appeared at a disadvantage. 

 

And what a Gordian knot for some posters here - do we defend Dawson's right not to be criticised or the dancers' right not to be criticised by Dawson's stager?  

[aileen]

Has another choreographer or stager ever criticised dancers publicly before? And should they? Is it contractually possible to withdraw a work shortly before a performance?

[Lindsay]

Depends on your contract Aileen. I know the Balanchine foundation has that right. And remember the McGregor work that was withdrawn after Osipova was injured (presumably he had not approved an understudy)

[bangorballetboy]

And what a Gordian knot for some posters here - do we defend Dawson's right not to be criticised or the dancers' right not to be criticised by Dawson's stager?  

 

Personally, I'm just laughing at Dawson and Couchman for what is, in my eyes, their hypocrisy regarding respect and professionalism.

[Ian Macmillan]

I imagine that backstage relationships may be a little strained for the remaining performances this week.  

 

And, possibly quite unconnected, it appears that David Dawson has deleted the Tweet of some days past in which he complained about the early reviews of Human Seasons.

[Lindsay]

He is still retweeting the stuff where people reassure him that the London critics hated Forsythe and Kylian too.  That's an interesting insight into how Dawson sees his own work.

[Colman]

And what a Gordian knot for some posters here - do we defend Dawson's right not to be criticised or the dancers' right not to be criticised by Dawson's stager?  

 

 

It seems sitting back with a cup of tea and some biscuits (I really don't like pop corn) is the best strategy.

 

Blaming the dancers - the least powerful people in the relationship, surely - seems off though.

[capybara]

Isn't it the very essence of the job of a 'stager' to inspire the dancers, to help them learn unfamiliar moves, to coach them and to support them - and to 'get it right' on behalf of the choreographer?

 

By his own admission, any 'failure' lies at the door of Tim Couchman. As I said above, The Human Seasons has been richly cast - surely the stuff of dreams for most 'stagers'...............................

[Mary]

Very regrettable. The curse of modern technology  where it is just all too easy to fire off one's first angry thoughts, which then remain there for all to view forever.

 

i was just about to post that I enjoyed last night.

I am inclined to agree about the leotards! But otherwise agree entirely with Aileen.  What really stood out for me in the evening was the fabulous dancing of  couples in the first 2 pieces- especially Nunez /Soares, as everyone has said; it was the second time I have seen them in this piece and it was just as moving, perhaps even more so.

Also in Human Seasons, Naghdi /Ball. Just beautiful dancing completely in tune...... and all in harmony with a really superb set of RB dancers that fills one with delight.

 

I am not sure how anyone could think the dancers were performing with less than total commitment- they were superb.

 

 

I didn't like the floor-sweeping moves- at best very inelegant and at worst unpleasant. But other than that there is nothing wrong with Human Seasons that better lighting, costumes which stand out against the background, and some more interesting music wouldn't fix- in fact, it could become something really lovely.

 

I think I had read too many reviews of the Pite so expectations were sky-high- perhaps not a good thing. I could see it was immensely skilful and very striking indeed, but it didn't move me as it so obviously has others, and I am pondering why that is. I think just not enough dancing.

[Fonty]

I couldn't read the original tweet mentioned in post 71 on the previous page, so have no idea what was said.  However, the one by Couchman seems at best ill advised, and at worst downright rude.  I can't believe that any of the dancers in that cast would give the performance anything other than their best efforts.  I am not a lawyer, but I would say it is teetering on the edge of being considered libel.  If they were as bad as he implies, surely either the choreographer or Mr O'Hare himself would have cancelled it and put something else on instead.

 

Of course, the problem with Twitter is that we don't actually know if the person tweeting is who they say they are, or just a trouble maker.  

[SwissBalletFan]

The comments are (not verified), and so this could not be a genuine comment.

 

Also interesting to note is the comment by Kathryn Bennetts, who is or shares the name of a stager for Forsythe ballets.

[bangorballetboy]

Also interesting to note is the comment by Kathryn Bennetts, who is or shares the name of a stager for Forsythe ballets.

 

Yes, I liked that one, accusing Hanna Weibye of not understanding English.  That'll be Dr. Hanna Weibye, junior research fellow at King's College Cambridge, from Edinburgh.

[Balletfanp]

Reminds me of the saying "A poor workman blames his tools"....

 

I haven't seen this Triple Bill but the reviews I have seen have been critical of the choreography, not the dancers, and their performances have been praised.

 

Thinking of the dancers involved, I can't believe any of them could be accused of a lack of commitment and/or open mindedness. How disgraceful of Mr Couchman to attack them in this way, and how demoralised must they be feeling if they have seen it?

[bangorballetboy]

Reminds me of the saying "A poor workman blames his tools"....

 

 

I was thinking exactly the same thing.

[bridiem]

I have never seen the RB dancers give of anything other than their best, no matter how poor (or difficult, or unfamiliar) the material they may be dancing has been. If genuine, I think that post is a disgrace.

Edited March 21, 2017 by bridiem

[Sim]

It's an all-too-easy option, blaming those least able to stand up for themselves in public, i.e. the dancers.  They put in such hard graft, are so dedicated, get themselves injured and often affected for life, all so that we can sit in our chairs and love what they do, even if we don't like the choreography.  THAT is why I always applaud, even if I have disliked the piece.  In that situation, I will always applaud the dancers.  If like the piece, then I am applauding it and the dancers.  To question any RB dancer's commitment to any project is out of order, and to blame them for what is perceived as poor choreography is pathetic.  If you are the stager of the ballet and you don't think the dancers are interpreting the choreographer's wishes properly, then it is surely YOUR job to coax what you want/need out of them?  Surely if you don't think the dancers were up to it you wouldn't let them out on that stage to do such a terrible job?   I think of, for example, Pat Neary doing a sterling job with the RB dancers....most of whom aren't schooled in Balanchine, but by the time they get out on that stage do a sterling job too and give great justice to Balanchine's choreography.  

 

To diss the dancers in this way is totally unfair, childish and unacceptable.  What a pair....one throws his toys out of the pram, the other plays the usual game that children in trouble do:  blame someone else, usually a younger sibling.   

 

I also hope (and this is my personal opinion) that they never darken the ROH doorstep again.  Oh, and if Couchman is only referring to one dancer in particular, or a couple, then he should make that quite clear.

[SwissBalletFan]

Again guys, it isn't really an official comment and could be a trouble maker. Just before he is hanged drawn and quartered and so much is taken by the comment.

 

I could easily go to the commments section in the article, choose any one or your forum names and write whatever I like.

[Bruce Wall]

 

Of course, the problem with Twitter is that we don't actually know if the person tweeting is who they say they are, or just a trouble maker.  

 

I whole-heartedly agree with the above statement.  In the vast majority of instances we don't.  Very often ours has become a surreal world in this regard.  Frighteningly so.

 

I just wanted to point out - for the sake of fairness - that in the vast majority of instances with comments made on BcoF we don't actually know who is/are making those statements either.  There are, of course, exceptions to this rule, i.e., those people who have clearly identified themselves.  I, of course, understand a number of reasons why this is difficult for some.  Still I simply felt that a point of information on this score needed to be raised.  

 

(Seems SwissBalletFan and I were thinking the same thoughts at the same time.  SNAP!)

Edited March 21, 2017 by Bruce Wall

[alison]

True, but I suspect that someone who wasn't involved in the staging of the piece wouldn't have phrased it like that.

[capybara]

I understand that there is a possibility of misrepresentation. But it is very hard indeed, in the case of the responses to the criticism of The Human Seasons to imagine that anyone unconnected with the ballet would invest the time and effort to craft such an extensive piece below The Arts Desk review.

 

It feels like a chain reaction: the choreographer is wounded; he accuses the stager and the stager seeks to cast the blame elsewhere.

 

Edited to add that I was posting at the same time as Alison.

Edited March 21, 2017 by capybara

[Lindsay]

Just to add that David Dawson's twitter account is linked to from his official website, so I don't think there is any doubt that the now-deleted tweet and the subsequent retweeting of all the praise for the work are from his 'real' account.

 

I would also add that in my experience, where someone is trying to impersonate someone, especially in a specialist field such as this, the actual person tends to be notified quite quickly and either they or someone else on their behalf points out that the poster is an impostor.  That has not yet happened here, although of course it may.

Edited March 21, 2017 by Lindsay