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Project Polunin at Sadler's Wells


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It's a story he should know well, replacing 'own image' with 'own view of ballet' and and 'losing contact with the dance world'

You are brave to say that SBF and I agree.  The analogy was not lost on me as I sat staring at the stage and wondering if I was truly seeing this appalling creation from hitherto superstar who had promised much once he was 'released from his slavery' but who turned out to having nothing to offer.

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And when did any ballet lover ever refer to Russian dancers as 'poor boys from a poor country?'

 

Polunin Noooooo!!! We shall not let you go! Will not let you go!! Dame Mason....

 

The Royal Opera House was nothing of a place for me.... for meeeeee!

 

Project Polunin Rhapsody

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Oh, absolutely, there is more than "an element of 'getting back'". How did a boy "from a poor country" (something he had heard a lot while studying at the Royal Ballet School and afterwards) dare to dis that sacred cow of an institution that some of us forget has been in existence only since the end of the World War II.

 

How can I, for example, trust Debra Crane's damning condemnation ("Banal, ludicrous and bombastic", one might think she is one of the guardians of "good taste") when I vividly recall her enthusiastic endorsement of tasteless banality of Arthur Pita's "provocations" that I am unable to call "choreography"?

 

This is not to say that I do not share with some critics (Clement Crisp, Mark Monahan) sadness and frustration that an "electrifying, once-in-a-generation dancer" is wasting his unique talent, except that I hold "guilty" for this state of affairs as much the ballet establishment itself that prefers obedient mediocrity.

 

Polunin's background is entirely irrelevant to any assessment of his performance/s (or pronouncements), certainly on this forum and I'm sure amongst professional critics. And if by obedience you mean some capacity to co-operate with a company's schedules, requirements, training etc, then yes, I think a degree of 'obedience' is needed to succeed as a dancer. Quite why you link that with mediocrity I don't know. Is Osipova an example of mediocrity? Is Edward Watson? Marianela Nunez? Muntagirov? I could go on (for rather a long time). 

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Polunin's background is entirely irrelevant to any assessment of his performance/s (or pronouncements), certainly on this forum and I'm sure amongst professional critics. And if by obedience you mean some capacity to co-operate with a company's schedules, requirements, training etc, then yes, I think a degree of 'obedience' is needed to succeed as a dancer. Quite why you link that with mediocrity I don't know. Is Osipova an example of mediocrity? Is Edward Watson? Marianela Nunez? Muntagirov? I could go on (for rather a long time).

 

I quite agree. The ability to,lets say bend our wishes and wants to the competing will of the group is necessary in all walks of life. Actually it is pretty much socialisation. Cogges in the wheel. Doesn't make you mediocre far from it. The royal ballet isn't mediocre. Far from it, they are well trained, prepared and efficient with some great talents past, present and future.

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After the Solo for Two that Osipova and Vasiliev did I avoid these programmes now and so far have been right to do so. It's a shame such talent is being so wasted. Is there an element of the Emperor's new clothes about these programmes. I hope tickets were not too highly priced.

Edited by Don Q Fan
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I avoid these programmes now and so far have been right to do so.

 

(You assume :) )

 

I must admit that I read the initial blurb for the programme and decided that it was probably something I wouldn't be heartbroken to miss, so indeed I have missed it, in all its glorious ... whatever.

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With no disrespect to forum members, I had rather hoped that there was an element of exaggeration in the comments above and I would go along this afternoon and come out saying it wasn't that bad, I quite enjoyed it - particularly as expectations had been very much lowered! Sadly I have to agree with every word - I couldn't quite believe what I was seeing. It felt like some sort of elaborate wind-up. I thought Icarus was just about ok but a very strange choice for a programme that was meant to be forward-looking. Tea / coffee (or whatever it's called) just made me want to go home and smash my own teacups, although I applauded very enthusiastically out of sympathy for the dancers.

 

Despite reading all the reviews above and the critics, even then I didn't feel quite prepared for Narcissus, particularly the sets and costumes. It looked like a cross between the musical Forbidden Planet and the school nativity play, where the 'bit box' had been raided. I had to avert my eyes from the poor man with the pink feather - and enough has already been said about Polunin's (lack of) costume. I can't honestly think how anybody could have come up with anything so awful - choreography, sets, costumes, everything. don't have the technical know-how to really say and maybe I have been swayed by others' comments, but even Poluni's dancing didn't seem up to the standard I remember so fondly and I found that I was only really watching Osipova when she was on stage. All in all, it felt like a really sad afternoon.

 

Having said that, there was a queue for returns and some loud cheering - there were also a surprising number of quite young children, all impeccably behaved - I would imagine it was a very long afternoon for them. It certainly was for me!

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I've just got back after seeing the matinee & have some thoughts.

 

Curiously, for a show entitled 'Project Polunin' there was very little dancing for Polunin himself. That struck me as rather peculiar. And I'm still struggling to see why the middle piece was included at all.

 

I unfortunately never saw Sergei when he was still at the RB (he left just before I started going more frequently), so I'm unable to comment on how his technique has changed (although I don't doubt the general consensus that it has worsened; after all, he hasn't really been focussing on dancing for the past few years). I will say that his dancing was very clean (in particular his turns) but felt his jumps lacked elevation. At times I found my eyes straying whilst he was on stage, particularly to Natalia, who struck me as significantly stronger, both technically and emotionally (with a limited character to bring life to in both pieces). In fact, I probably wouldn't hesitate to say that, for me, she was the saving grace of the entire thing.

 

 

I had actually seen the first piece (Icarus: it's available on one of the 'Great Stars of the Russian Ballet' DVDs with Vasiliev and Maximova if anyone is interested). However, the difference in sets rendered it practically unrecognisable as the same piece.

I wasn't sure if I was enjoying at first, but it definitely grew on me. I wasn't a particular fan of the music (Sergei Slonimsky) but liked the dancing - I am a big fan of Spartacus & am wondering, judging by previous comments, if that was linked to my enjoyment of it.

I did think Sergei fell at one point (can someone confirm I didn't imagine it?) but it was cleverly disguised. The partnering seemed smooth enough, no doubt having benefitted from more rehearsal time.

I didn't think the curtain call was too long. I've seen worse anyway. And I abhor curtain calls which overstay their welcome.

During the curtain calls I rather optimistically thought the rest wouldn't actually be as bad as the reviews might have suggested. How wrong I was!

 

To sum up the second piece (Tea or Coffee) in one word: dire. Absolute drivel. I don't think I've ever disliked a piece this much actually. And just when I thought (hoped) it was over it kept going.

It started with the exchange of words/phrases in different languages. I did understand some words but missed what was so funny to some people. Anyone know what might have been so hilarious? I did wonder if it was the movements on stage rather than the actual words that people were laughing at...

After that followed some floor writhing, some arguing, & then the lights went out. When they came back on, someone was lying on the floor (dead?). This happened several times. But then they got up near the end, so not sure if I missed something (I definitely closed my eyes at one point). It dragged.

This is definitely a contender for worst piece I've ever seen. It also put me in a more pessimistic mood for the final piece (with some optimism still clinging on though - I do always try to keep an open mind).

This seemed wildly out of place for a show entitled Project Polunin. Perhaps it's for the best he didn't include himself in it.

 

The last piece was Narcissus and Echo. This was the piece that cemented the thought that his technique probably wasn't as good as it once was. Low jumps (in particular the leaps off stage were disappointing) but to his credit everything was very clean. That being said, for half of the piece he was sat on the planet not doing much, & then at the end appeared to just be running around a lot. I still can't get over just how little he did in a show with his name in the title.

 

I was instantly dazzled by Sergei's crotch when he came on stage. Who knew it would be that sparkly in person? Certainly not me. In fact, the person sitting next to me got the giggles. I don't think she was expecting the costumes to look the way they did. She also left before the end...

Also, another curiosity on the underwear front (or should that be y front?): the dancer with the red cape appeared to just be wearing a jock strap? Without binoculars I couldn't confirm this.

All joking aside, I liked that there was a live orchestra. The music itself was okay but a little repetitive after a while. I won't be rushing out to buy the CD but it did go with the feel of the piece. I don't know what else to say. I didn't like it. Lots of frolicking from the Nymphs and not much dancing at all towards the end. There was some lovely dancing from Natalia although that tinsel costume was awful. Not as bad as Sergei's though. I did idly wonder if his costumes had been purposely chosen to show off his many tattoos.

 

One of the other male dancers was very good (not sure who it was looking at the program), although they all danced well. I just didn't think Sergei stood out when dancing with them. I don't want to be too harsh, & I'm definitely willing to blame the terrible choreography to a point, but I didn't think his dancing was anything special.

Also, what was with those star cushions? For a split second I thought they were sea creatures (jellyfish). But then they laid down & used them as pillows. Certain things in retrospect seem so bizarre (the set, the video footage which included a close up of an eye... I could go on).

 

I am interested to see what Sergei's next projects might be. I understand he has a few acting gigs coming up so do wonder if he intends to step away from dancing altogether?

 

Of course one of the problems with Sergei is that his reputation precedes him (the constant comparisons to Nureyev don't help). I came away rather disappointed. Luckily my seat was not too expensive.

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I've just got back after seeing the matinee & have some thoughts.

 

Curiously, for a show entitled 'Project Polunin' there was very little dancing for Polunin himself. That struck me as rather peculiar. And I'm still struggling to see why the middle piece was included at all.

 

I unfortunately never saw Sergei when he was still at the RB (he left just before I started going more frequently), so I'm unable to comment on how his technique has changed (although I don't doubt the general consensus that it has worsened; after all, he hasn't really been focussing on dancing for the past few years). I will say that his dancing was very clean (in particular his turns) but felt his jumps lacked elevation. At times I found my eyes straying whilst he was on stage, particularly to Natalia, who struck me as significantly stronger, both technically and emotionally (with a limited character to bring life to in both pieces). In fact, I probably wouldn't hesitate to say that, for me, she was the saving grace of the entire thing.

 

 

I had actually seen the first piece (Icarus: it's available on one of the 'Great Stars of the Russian Ballet' DVDs with Vasiliev and Maximova if anyone is interested). However, the difference in sets rendered it practically unrecognisable as the same piece.

I wasn't sure if I was enjoying at first, but it definitely grew on me. I wasn't a particular fan of the music (Sergei Slonimsky) but liked the dancing - I am a big fan of Spartacus & am wondering, judging by previous comments, if that was linked to my enjoyment of it.

I did think Sergei fell at one point (can someone confirm I didn't imagine it?) but it was cleverly disguised. The partnering seemed smooth enough, no doubt having benefitted from more rehearsal time.

I didn't think the curtain call was too long. I've seen worse anyway. And I abhor curtain calls which overstay their welcome.

During the curtain calls I rather optimistically thought the rest wouldn't actually be as bad as the reviews might have suggested. How wrong I was!

 

To sum up the second piece (Tea or Coffee) in one word: dire. Absolute drivel. I don't think I've ever disliked a piece this much actually. And just when I thought (hoped) it was over it kept going.

It started with the exchange of words/phrases in different languages. I did understand some words but missed what was so funny to some people. Anyone know what might have been so hilarious? I did wonder if it was the movements on stage rather than the actual words that people were laughing at...

After that followed some floor writhing, some arguing, & then the lights went out. When they came back on, someone was lying on the floor (dead?). This happened several times. But then they got up near the end, so not sure if I missed something (I definitely closed my eyes at one point). It dragged.

This is definitely a contender for worst piece I've ever seen. It also put me in a more pessimistic mood for the final piece (with some optimism still clinging on though - I do always try to keep an open mind).

This seemed wildly out of place for a show entitled Project Polunin. Perhaps it's for the best he didn't include himself in it.

 

The last piece was Narcissus and Echo. This was the piece that cemented the thought that his technique probably wasn't as good as it once was. Low jumps (in particular the leaps off stage were disappointing) but to his credit everything was very clean. That being said, for half of the piece he was sat on the planet not doing much, & then at the end appeared to just be running around a lot. I still can't get over just how little he did in a show with his name in the title.

 

I was instantly dazzled by Sergei's crotch when he came on stage. Who knew it would be that sparkly in person? Certainly not me. In fact, the person sitting next to me got the giggles. I don't think she was expecting the costumes to look the way they did. She also left before the end...

Also, another curiosity on the underwear front (or should that be y front?): the dancer with the red cape appeared to just be wearing a jock strap? Without binoculars I couldn't confirm this.

All joking aside, I liked that there was a live orchestra. The music itself was okay but a little repetitive after a while. I won't be rushing out to buy the CD but it did go with the feel of the piece. I don't know what else to say. I didn't like it. Lots of frolicking from the Nymphs and not much dancing at all towards the end. There was some lovely dancing from Natalia although that tinsel costume was awful. Not as bad as Sergei's though. I did idly wonder if his costumes had been purposely chosen to show off his many tattoos.

 

One of the other male dancers was very good (not sure who it was looking at the program), although they all danced well. I just didn't think Sergei stood out when dancing with them. I don't want to be too harsh, & I'm definitely willing to blame the terrible choreography to a point, but I didn't think his dancing was anything special.

Also, what was with those star cushions? For a split second I thought they were sea creatures (jellyfish). But then they laid down & used them as pillows. Certain things in retrospect seem so bizarre (the set, the video footage which included a close up of an eye... I could go on).

 

I am interested to see what Sergei's next projects might be. I understand he has a few acting gigs coming up so do wonder if he intends to step away from dancing altogether?

 

Of course one of the problems with Sergei is that his reputation precedes him (the constant comparisons to Nureyev don't help). I came away rather disappointed. Luckily my seat was not too expensive.

A wonderful post, Lenore.  I too couldn't believe what I was seeing.  When I was able to collect my thoughts on the train home, I realised that if this absolutely terrible farce of an evening had been staged by anyone else, I'd have been asking for my money back.  Like you, at one stage, I wondered if it was some terrible joke - Sergei hating his audience as much as he clearly dislikes ballet companies - and wanting to make them look foolish for paying to see total rubbish.

 

The most insulting thing about the whole evening is that Project Polunin was meant to be a new dynamic in ballet, showing us all how it could be done without the 'tyranny' of belonging to a ballet company.  

 

Well, I think we know the answer to that, now.  I hope Mr. Polunin finds a day job that will give him satisfaction but I will never waste my money on anything he has had a hand in again.  And RB, don't even think about offering him a job.

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I very much regretted having paid money to see this show. I honestly felt being taken for a ride and borderline insulted. Does he really think the audience will take just about anything he throws at us? Never again!  

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Does anyone know what orchestra it was please?

The London Metropolitan Orchestra conducted by Andy Brown. They seem to specialise in film and TV recordings. 16 players - basically one player for each of the "usual" orchestral instruments. There was also a "glass harmonica" credited but I didn't hear that. Always glad to have live music at Sadlers Wells. I thought they did a good job of the score of Narcissus and Echo which struck me as "filmic", not unattractive and perfectly serviceable.

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Penelope, I think that that's a bit harsh. I really don't think that SP was playing some cynical trick on the audience. He tried to have high production values by commissioning a score, using a live orchestra and bringing in Osipova and several other dancers (ENB, ex-ENB, Stanislavsky plus others). He also worked with several other people on the choreography. It's unfortunate that the end result was unsatisfactory. I think that SP is guilty of some naïveté. These 'vanity projects' are hard to pull off successfully. Most dancers only get involved in them towards the end of their careers when they have danced everything and have seen a lot of other work (and often experienced a lot of other art forms) by a variety of choreographers, both classical and contemporary. SP has never seemed to be particularly interested in dance as an art form (I think that he has said that he doesn't go to watch dance performances) and I do think that this may hamper him when curating his own programme.

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I agree with Aileen and Billboyd. So much is about context. The "moral of the story" seems to be he's got his comeuppance and Schadenfreude is an acceptable response. The problem is "we" don't have the counterbalance to his perceived excesses. If he'd stayed with the Royal I could have balanced the Project P with memories of what he would have done in McGregor or Mayerling or R&J or SB...but we don't have that balance. If he'd been better advised or if the marketing had been better, he could have "sold" the programme as an interesting insight into a) a glimpse of the contradictory nature of late Soviet choreography, B) a look at a particular type of modern dance, and c) a camp homage to those technicolor ballet inserts in 50's films very Powell and Pressberger, and ironic. But what we saw did not deserve the hate. And as for being a rip off???!!! I paid £20 for a decent seat and saw Osipova, Polunin and some other damn good dancers. And yes - he should come back to the RB. And I'd bring back Balanchine's Prodigal Son for him!

Edited by Vanartus
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Luke Jennings asks whether it's possible to have a portfolio career which includes classical ballet. He seems to suggest not and that the discipline and rigour of daily class and rehearsals are necessary if you wish to dance at the highest level. How well do peripatetic dancers (ie those who are not part of a company) actually dance? Is there a reason that, unlike opera soloists, ballet dancers are almost always attached to companies or is this just tradition?

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I agree with Aileen and Billboyd. So much is about context. The "moral of the story" seems to be he's got his comeuppance and Schadenfreude is an acceptable response. The problem is "we" don't have the counterbalance to his perceived excesses. If he'd stayed with the Royal I could have balanced the Project P with memories of what he would have done in McGregor or Mayerling or R&J or SB...but we don't have that balance. If he'd been better advised or if the marketing had been better, he could have "sold" the programme as an interesting insight into a) a glimpse of the contradictory nature of late Soviet choreography, B) a look at a particular type of modern dance, and c) a camp homage to those technicolor ballet inserts in 50's films very Powell and Pressberger, and ironic. But what we saw did not deserve the hate. And as for being a rip off???!!! I paid £20 for a decent seat and saw Osipova, Polunin and some other damn good dancers. And yes - he should come back to the RB. And I'd bring back Balanchine's Prodigal Son for him!

 

I don't think it's Schadenfreude - the problem is that he has talked so much about disliking the RB and the strictures of classical ballet etc, and mounted this programme as an explicitly different way forward. So he's going to be judged on that basis. (And I don't think any marketing spin could make Narcissus and Echo anything other than cringeworthy.)

 

But yes, I would still love him to come back to the RB - IF he's now willing to harness his talent in the service of great choreography.

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I don't want to see SP get his comeuppance - I would just like him to be personally happy (although that of course is non of my business) - and to see him fulfil his talent, if he chooses to use it. And if he doesn't, to do other things that he enjoys more. It seems a sad half way house situation at the moment, and it's sadness I feel about that, rather than any sense of schadenfreude. And perhaps SP is happy with how the programme went - with sold out houses etc. Perhaps many of us are being a bit selfish in wanting him to fulfil his talent in ways we feel appropriate. And now I've got myself in my Polunin tangle again and don't what I really think any more!

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More than 'a bit harsh'. Very offensive and insulting.

 

 

Where is the insult BB? She bought her ticket for the performance, agreed with another post, and said like others, that to criticise RB and larger companies, then to have a project that was in generally seen as a terrible show by critics and the public alike. She then feels as an RB ticket payer that he should not be allowed back to the RB. Where again, if you pay your money for the magazine articles that are written again and again criticising the RB with his 'bad boy of ballet' image, telling the world he took cocaine.

 

Which sensible employer would take back a person who walked out on them, told the world they took cocaine and other drugs during the work for them, and then went to the press to criticise you as often as possible. Then they opened up a competing firm, where the result was terrible and they showed the lost some talent or judgement since you hired them. 

 

So as the RB do you think they should welcome him with open arms? When they clearly have had a wonderful season with their new young talent where they work their socks off to try to get anywhere near to be a principal dancer, and are delighting the audiences and critics? I wouldn't imagine in his current state that Mr Polunin would be a positive influence around the place.

 

I am sorry that in this thread, there seem to be those who are sorry to see Mr Polunin has lost his way, and are tired of buying tickets and giving a chance for his projects. I don't think anyone is glad about the situation as it stands BB, but to say it is in insulting is ridiculous, and I for one am quite tired of one line criticisms of anyone who dares to say their opinion about the situation mentioning Mr Polunin.

 

Have you been to see the show BB? Would you care to share your thoughts?

Edited by SwissBalletFan
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I have seen the show.

 

But, such comments I would find offensive written about any dancer in any show.

 

 

I am surprised, I think that it is not even the most critical review of the show in this thread, could you at least quote the piece you find so particularly offensive? 

 

I don't want to be insulting BB, but is there a reason that you post only a single line or two? maybe you are restricted by a mobile device? I am not being facetious in asking.

May I ask if you paid for your tickets, or you were invited as a friend of the group?

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Does anyone know the name of the male dancer in a *very* pink cape in Narcissus at Tuesday's premiere please? My gaze kept shifting from the main man Sergei towards this guy during all-male variations, his jumps were truly breathtaking!

Edited by margo_margo
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An earlier posting of mine read - 'The insults are coming thick and fast'.

 

If you've got to ask, 'Which words or phrases are insulting....' - there is no point in me giving an answer.

 

The length of my posts is irrelevant. 

 

I paid for my ticket.

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Loved your prodigal son comment Vanartus made me smile. My feeling is though that he probably doesn't want to go "back" to RB

 

Seriously I didn't know Balanchine had created a Prodigal Son ballet

The only one I've seen was danced by the old Festival Ballet and I thought was created for Paul Clarke to sort of ragtime music score. He was great in the role but you never see it these days....not sure who choreographed that one.

Unfortunately Paul Clarke died very young ....I was at primary school with him until he won a scholarship to the RB but initially we had the same ballet teacher.

Sorry about this little aside but would love the current ENB to revive this ballet.

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An earlier posting of mine read - 'The insults are coming thick and fast'.

 

If you've got to ask, 'Which words or phrases are insulting....' - there is no point in me giving an answer.

 

The length of my posts is irrelevant. 

 

I paid for my ticket.

 

 

You see insults where people see critical description of what they have seen, which is why I wonder why you are so defensive to comments of these dancers, which is allowed. The superlatives were also 'thick and fast' for a young Pollution wowing the crowds

 

The reason I asked about the length of your posts was because I wasn't sure if the constraint to the length of your posts was the intelligence of your device.... that obviously isn't the problem.

Edited by SwissBalletFan
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For once, that was a direct insult:

 

Ouch in spades but every word of it spot on.  What a total idiot this (no longer that young) man has made of things.

 

The show itself was fine, I've seen far worse both at ROH and SW. Some of the aesthetic choices were polarising, but I didn't see the total and utter apocalyptic disaster that is being discussed in this thread.  Opinions, eh? 

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