Jump to content

The Royal Ballet: The Nutcracker, London, December 2017


Recommended Posts

I also was interested in the differences between the way Drosselmeyer is played at the RB vs. in the U.S. In the U.S. he's played as a comic character, sort of an eccentric. But in the RB Drosselmeyer is a much bigger part of the overall storyline and he's not so much funny as a magician and thus sort of mysterious. Not saying one is better or worse than the other, it's just different.

  • Like 3
Link to comment
Share on other sites

  • Replies 126
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

On 24/12/2017 at 23:16, Ivy Lin said:

 But having Clara and Prince jumping into all the divertissements as well as the two big corps scenes (the Waltz of the Snowflakes and Waltz of the Flowers) is distracting. 

 

 

Totally agree.  

19 hours ago, Ivy Lin said:

I have never seen the Royal Ballet Nutcracker live so I have no idea whether the camera work really captures what the overall effect is onstage. 

 

I haven't seen it in the cinema, but I have seen it live, and I found the fact that Clara was getting involved in every scene very irritating.  Even when she was danced by the wonderful Cojocaru.  I found myself thinking, "Will someone please tell this pesky child to sit down, and stop attempting to do everything the adults are doing."

 

On 25/12/2017 at 08:46, JohnS said:

In light of Luke Jennings Nutcracker article in yesterday's links including Gary Avis's comment about the Sugar Plum Fairy/Prince representing the ideal that Clara/Hans Peter should aspire to, I was mulling over how SPF/Prince could teach Clara/Hans Peter, as the Rose Fairy teaches Clara, so Clara/Hans Peter conclude the PDD.  

 

No, No, NO!  The music is one of the most wonderful pieces ever IMO.  I want to get carried away with an uninterrupted flow of movement, not have it broken up with another couple joining in!

Edited by Fonty
  • Like 7
Link to comment
Share on other sites

Nutcracker is ubiquitous and there are so many versions of it that it is impossible to lay claim to a single version being the definitive one without upsetting a lot of people who are convinced they know a better production because the one they see every year is the best version of the ballet ever created. Perhaps it is a good thing that there is not a single definitive version but several competing ones as this has the effect of allowing any reasonably good choreographer to dream of the possibility of making his or her version of the ballet to this extraordinary Tchaikovsky score.

 

Although competing claims are made for the Balanchine and Vainonen stagings being the definitive version of the ballet there are plenty of people who believe that Nutcracker, one of the greatest ballet scores ever written, is still in search of a definitive choreographic version which is anywhere near equal to the music. This gives choreographers a freedom which they will not experience if they dare to meddle with any other other ballet which uses a score by Tchaikovsky. But once the choreographer has exercised this creative freedom and made his Nutcracker, and Sir Peter has created two productions sufficiently different from each other to lead some to feel the need to post almost annually about the superiority of one production over the other, how much should it be tweaked subsequently? Does it really need tweaking to keep the production fresh ? I ask because over the years Sir Peter has become an almost obsessive tweaker of his Covent Garden staging and I am not sure that all of his changes have been improvements.

 

In fact I am inclined to agree with Ivy Lin and Fonty that Clara' and Hans Peter are too involved in the Kingdom of Snow.The staging of this scene was originally described as a reconstruction of the Ivanov choreography and it did not suffer intrusions from non snowflakes while Clara was performed by a student. But once the role was given to an adult dancer her role and that of Hans Peter seem to have grown incrementally to the extent that they now dominate scenes where they were originally merely spectators. However much you like the dancers performing them these characters have grown so much that they now destabilize the ballet as they are involved in virtually every scene and intrude into every available divertisement whether they are needed or not. And, much as I admire Gary Avis, I think that the role of Drosselmeyer has come to dominate the entire ballet in a way which turns the entire production into the Drosselmeyer show and reduces the grand pas de deux,when it finally arrives, into something closely resembling  an anticlimax rather than the ballet's culmination. If the casting were to be listed in a way which reflected the character's current importance  in this production the names of the dancers would be listed in the following order Drosselmeyer,Clara, Hans Peter and finally SPF and Cavalier.

 

Perhaps it is clear that from what I have said so far that I regret the way that Nutcracker has come to dominate the Christmas ballet programme nationally and at Covent Garden. When I first started attending ballet at Covent Garden Nureyev's Vainonen "influenced" production was well established as part of the company's repertory but you were just as likely to see Cinderella, Sleeping Beauty or Fille at Christmas as you were to see Nutcracker. I can't help thinking that this varied programming was more likely to develop a new generation of ballet goers than the almost perennial Nutcracker revivals. After all there comes a time in most children's lives when, if they have been exposed to annual  doses of Nutcracker since they were old enough to be taken to the theatre, they come to consider themselves far too grown up and sophisticated to continue with such a childish entertainment. As the company rarely offers anything more grown up over the Christmas period I can't help thinking that a lot of older children cease to be ballet goers at this point. 

 

As far as the streaming of RB performances is concerned if you post a comment on the Opera House website which critcises the camera work and the use of close ups and upper body shots at points when most ballet goers would want to see full body shots including the dancers' feet or shots showing the disposition of the entire cast on the stage you will almost certainly receive an answer which will tell you that the man in charge of the filming is a former dancer. I think that this response is intended to silence those who think that the camera work is far too fussy and fails to focus on the essentials of the production . Unfortunately I don't think that because you have you have acquired the skill to dance a ballet it follows that you have the necessary skill and knowledge to produce a good streamed account of a performance of it. I think that the old BBC  recordings of ballet performances at the Opera House were much better both in terms of lighting levels and calm effective camerawork.But then those performances were being filmed  by people who had been trained to film outside events and had spent time working out shots and angles for the theatrical performances they were recording. For all we know the filming of streamed performances is now being undertaken by a former dancer  who has received no formal training and has simply developed a hobby into a paying proposition.

Edited by FLOSS
  • Like 2
Link to comment
Share on other sites

Many thanks Floss, Fonty and Ivy Lin.  It's always interesting to read others' views.  Whilst I for one very much welcome Clara and Hans Peter joining in Act 2 to make for a stronger narrative, I hadn't appreciated that others might find this an unwelcome intrusion.  I would just say to Fonty that whilst I was musing on the possibility of Clara/Hans Peter being taught the SPF/Prince PDD, I did immediately go on to say:

 

"But I guess this would break the wonderful PDD and we do after all see Clara/Hans Peter entranced by the glorious dancing and can imagine what lies ahead for them."

 

I shall look forward to the 30 December and 1 January matinees, transport etc permitting, but I imagine I will be very much wanting to see Anna Rose and James Hay enjoying Act 2 as eager participants, not simply observers, and I'm sure I won't be disappointed.

 

 

Link to comment
Share on other sites

Hi John, I was just concerned that your comment regarding Clara and Hans Peter joining the PDD might also have crossed the mind of a choreographer,  who may be considering this to be the next logical step in the proceedings.

 

I just wanted to lodge my protest before they went ahead and did so. :)

  • Like 6
Link to comment
Share on other sites

The continual  intrusion of Hans-Peter and Clara in the second act is the only quibble I have about this very popular Peter Wright production, the latest addition is to have them sitting each end of the stage watching the grand pdd, which looks odd and uncomfortable for them, didn't they use to have thrones at the side of the stage as honoured guests? I like watching the Collier/Dowell DVD for this reason, Hans-Peter and Clara don't get such a long pdd at the end of the second act but the Snowflakes Waltz looks beautiful and I believe contains more Ivanov choreography, likewise the Waltz of the Flowers.

  • Like 5
Link to comment
Share on other sites

Frankly I find their participation in Act 2 really annoying, I preferred the previous version where Clara and Hans-Peter just sit on a throne during Act 2 and watch the magic of all the variations unfolding before their eyes, to end it all with the grand Sugar Plum Variation. Thank goodness they don't come and distract us during that beautiful PDD! 

  • Like 3
Link to comment
Share on other sites

On 27/12/2017 at 14:52, Beryl H said:

The continual  intrusion of Hans-Peter and Clara in the second act is the only quibble I have about this very popular Peter Wright production, the latest addition is to have them sitting each end of the stage watching the grand pdd, which looks odd and uncomfortable for them, didn't they use to have thrones at the side of the stage as honoured guests? I like watching the Collier/Dowell DVD for this reason, Hans-Peter and Clara don't get such a long pdd at the end of the second act but the Snowflakes Waltz looks beautiful and I believe contains more Ivanov choreography, likewise the Waltz of the Flowers.

 

I believe the reason for moving H-P and C was because they were invisible to much of the audience on the left-hand side of the theatre.  Plus I believe that the current Snowflakes is supposed to be more Ivanov than the previous version?

Link to comment
Share on other sites

I thought William Bracewell acquitted himself very well, particularly considering it was his debut in a principal role at the RoH and as such was probably pretty nerve wracking.  He was an attentive and careful partner, his solos were tidy, his pirouettes finished with control. Job well done IMO.

 

Fumi was outstanding: she has the most gorgeous fluid arms and she moves exquisitely, through and beyond the music. I was talking to a friend this morning who said she has soul and I thought that captured perfectly the very special quality that she has. 

  • Like 8
Link to comment
Share on other sites

1 hour ago, annamk said:

I thought William Bracewell acquitted himself very well, particularly considering it was his debut in a principal role at the RoH and as such was probably pretty nerve wracking.  He was an attentive and careful partner, his solos were tidy, his pirouettes finished with control. Job well done IMO.

 

Fumi was outstanding: she has the most gorgeous fluid arms and she moves exquisitely, through and beyond the music. I was talking to a friend this morning who said she has soul and I thought that captured perfectly the very special quality that she has. 

 

Thanks, annamk - sounds excellent. I look forward to seeing both of them in more roles!

Link to comment
Share on other sites

1 hour ago, annamk said:

I thought William Bracewell acquitted himself very well, particularly considering it was his debut in a principal role at the RoH and as such was probably pretty nerve wracking.  He was an attentive and careful partner, his solos were tidy, his pirouettes finished with control. Job well done IMO.

 

Fumi was outstanding: she has the most gorgeous fluid arms and she moves exquisitely, through and beyond the music. I was talking to a friend this morning who said she has soul and I thought that captured perfectly the very special quality that she has. 

That’s an interesting comment about having soul. I remember Asylmutatova as she approached retirement using that word. She thought that too many of the younger dancers at the Mariinsky danced without it.

Link to comment
Share on other sites

2 hours ago, annamk said:

I thought William Bracewell acquitted himself very well, particularly considering it was his debut in a principal role at the RoH and as such was probably pretty nerve wracking.  He was an attentive and careful partner, his solos were tidy, his pirouettes finished with control. Job well done IMO.

 

Fumi was outstanding: she has the most gorgeous fluid arms and she moves exquisitely, through and beyond the music. I was talking to a friend this morning who said she has soul and I thought that captured perfectly the very special quality that she has. 

 

It was wonderful seeing Fumi Kaneko dance again in a principal role an completely recovered, and the description of 'having soul' describes her dancing and stage presence beautifully. I'm hoping to see a lot more of over the next few years.

 

William Bracewell looked very promising as well, definitely someone who I'll book for in future.

Edited by Coated
  • Like 6
Link to comment
Share on other sites

It's lovely to see Fumi back...has she had a protracted injury? 

It seems that a couple of years ago I had just started noticing her and circling her name in casts sheets etc and then she just disappeared

I thought she had a wonderful graciousness of movement back then.

Link to comment
Share on other sites

She was injured doing Kitri and was out for quite a bit after that, IIRC. She was very spirited and rather fab in the bit she got to do before needing to be replaced by Nunez mid-performance, and I hadn't seen her in big roles since (apart from the Gypsy Girl in Two Pigeons).

  • Like 1
Link to comment
Share on other sites

2 hours ago, Coated said:

She was injured doing Kitri and was out for quite a bit after that, IIRC. She was very spirited and rather fab in the bit she got to do before needing to be replaced by Nunez mid-performance, and I hadn't seen her in big roles since (apart from the Gypsy Girl in Two Pigeons).

 

Unfortunately, Fumi Kaneko was off through injury again after Two Pigeons. She is a glorious dancer and I can't wait to see her in more leading roles.

 

  • Like 4
Link to comment
Share on other sites

Yes, she was a lovely Rose Fairy this afternoon - and an all round lovely performance by everyone. I took my brother for a Christmas gift - he hadn't been to the ballet for over 10 years but having seen the Nutcracker documentary last year, he was interested to see Francesca who more than lived up to his expectations. In the interval he turned and said 'I know nothing about ballet but the dancer in red really stands out as being really classy and elegant' - a very discerning comment about a James Hay IMHO!

  • Like 7
Link to comment
Share on other sites

I've noticed that in last year's cinema relay and again in this year's that Hans-Peter/the Nutracker's hair isn't golden anymore.

All the previous dancers I'd seen, speaking just in terms of the three or four relays before 2016 and the 2000 DVD, had had their hair sprayed gold (or were they wigs?),

so I'd understood the colour to be a significant detail, something that marked Hans-Peter out as a fairytale prince, a romantic, idealized figure of a young girl's dream, in contrast to the boy next door, Clara's partner at the party.

 

Would anyone know why this detail is no longer deemed important by the stagers?

Link to comment
Share on other sites

4 hours ago, grey said:

I've noticed that in last year's cinema relay and again in this year's that Hans-Peter/the Nutracker's hair isn't golden anymore.

All the previous dancers I'd seen, speaking just in terms of the three or four relays before 2016 and the 2000 DVD, had had their hair sprayed gold (or were they wigs?),

so I'd understood the colour to be a significant detail, something that marked Hans-Peter out as a fairytale prince, a romantic, idealized figure of a young girl's dream, in contrast to the boy next door, Clara's partner at the party.

 

Would anyone know why this detail is no longer deemed important by the stagers?

 

Probably because it looked awful.  Some dancers in that role now add a little glitter to their hair instead.

  • Like 1
Link to comment
Share on other sites

2 hours ago, bangorballetboy said:

 

Probably because it looked awful.  Some dancers in that role now add a little glitter to their hair instead.

 

I personally don't remember it looking awful. Anyway thank you grey for pointing out its symbolic purpose, which I'd never considered before.

  • Like 2
Link to comment
Share on other sites

Back home from a fabulous Nutcracker matinee - Francesca Hayward and Alexander Campbell as Sugar Plum Fairy/Prince, Gary Avis as Drosselmeyer, and Anna Rose O’Sullivan and James Hay as Clara/ Hans Peter.  I love this production and the more I see it, the more impressed I am with how it works as a magical piece of theatre combined with a compelling narrative.  

 

I know I'm repeating myself, and others have very different views, but to me the whole narrative works because we see Clara and Hans Peter becoming a young couple on the cusp of adulthood.  They play a full part in the Act 2 celebrations, being encouraged to join in by Drosselmeyer and the dancers.  What is the better reward for this young couple - being passive spectators, sit and be quiet, or join in and enjoy the dance?  When you have such engaging couples as Anna Rose and James, (and Francesca/Alex in the cinema relay and in other performances I’ve seen in the theatre), I find their actions and dancing in the Kingdom of the Sweets compelling and very hard to understand the criticisms of Clara/Hans Peter being tiresome.  Because Clara and Hans Peter have played such a part in Act 2, it also means that those two short final scenes work so well and for me herald the magic of Christmas: Clara and Hans Peter outside the house and their puzzled half recollections, with Clara's affirmative recognition of her pendant; and Drosselmeyer’s reunion with Hans Peter.  

 

Some have commented that Drosselmeyer is too controlling and dominates the production.  I don't agree. Yes he is magician, master of ceremonies, and he has a plan, but he is critically dependent on Clara exercising her moral agency, be it caring for the Nutcracker doll, dispatching the mouse king, and falling for Hans Peter (and quickly forgetting her dancing partner at the party).

 

I also love the detail in Act 1 where all dancers are characters, with plenty of opportunities for partying, flirting and squabbling.  And then the fabulous magic of the Christmas tree, battle, Clara and Hans Peter’s pdd and the snow flakes.  Brilliant.

 

As regards the matinee performances, I just think both couples are so well matched and look forward immensely to their future performances in other roles.  Fabulous dancing from all, silver quick Anna Rose, James so elegant, sparkling Francesca, and Alex a wonderful Prince and partner.  It must be so reassuring for dancers to know that their partners can be relied upon to support at all times as Francesca alludes to in her Instagram post.  Finally thanks again to bangorballetboy for such fantastic photos.

  • Like 9
Link to comment
Share on other sites

7 hours ago, grey said:

I've noticed that in last year's cinema relay and again in this year's that Hans-Peter/the Nutracker's hair isn't golden anymore

Would anyone know why this detail is no longer deemed important by the stagers?

 

I seem to remember someone saying a couple of years ago that Sir Peter Wright had decided that he didn't want the gold hair any more.

 

I rather liked it as it lent an other worldly glow to Hans Peter.

  • Like 3
Link to comment
Share on other sites

23 hours ago, BMC said:

Yes, she was a lovely Rose Fairy this afternoon - and an all round lovely performance by everyone. I took my brother for a Christmas gift - he hadn't been to the ballet for over 10 years but having seen the Nutcracker documentary last year, he was interested to see Francesca who more than lived up to his expectations. In the interval he turned and said 'I know nothing about ballet but the dancer in red really stands out as being really classy and elegant' - a very discerning comment about a James Hay IMHO!

 

I saw Thursday evening's performance, which had beautiful performances by everyone, but James Hay was extra special, such elegance, and the ending when he and Bennet Gartside hugged each other moved me more than ever before!

  • Like 9
Link to comment
Share on other sites

I loved the Grand PDD. Sarah Lamb and Steven McRae did such a beautiful job of it. And Gary Avis was just wonderful.  Though my young niece did cry (both times) through both showings of McRaes solos which broke my heart a little but she did love Sarah. (Must be the tutu)

 

Slight OT question but not really, I watched last year the Nutcracker special filming Hayward/Campble's first run as the SPF and the Prince and they were dancing opposite (counter clockwise?) from what Lamb/McRae did. What dictates which way the performance goes?

Link to comment
Share on other sites

That reminds me: when Bonelli and Morera (I think it was) did the GPDD, I think they did a shoulder sit on each shoulder, but with Clarke and Cuthbertson I think it was the same shoulder both times.  Am I mistaken in what I remember?

Link to comment
Share on other sites

Just watched the TV programme and absolutely loved it - which is strange because I have no affection for Nutcracker!

 

Actually, I thought the making of Nutcracker was far more interesting than the ballet itself.  Francesca's first teacher was right - there was something special about her even as a small child.  You could see it.  And what a wonderful partner Alexander Campbell made; so effortless and reassuring.

 

I had never realised that the Sugar Plum role is regarded as so exacting.  I have seen Nutcracker twice and decided that, like Sleeping Beauty, it just isn't for me so I save my money.  For me the pdd seemed so stilted - still in the mode of ballerina dances whilst male provides support.  It made me realise how my tastes have moved on to loving the more modern approach of two dancers interacting as well as the drama of Mamillan.  Yes, I am sure the choreography is traditional and really quite wonderful, but what does it mean?  I like dancing to say something and this was, for me, like Twyla Tharp's dismal autumn offering, just people dancing.

 

The above is not to criticise Nutcracker, just an end of year evaluation of where my ballet education is leading me! I am having a tough time with Ashton but, as others promised, am beginning to enjoy if not entirely understand. 

 

The Nutcracker is wonderful spectacle which is why the peep behind the scenes worked so well but, other than that, ....

Slightly disappointed to hear someone make remarks in the commentary about 'every year' which seems to mean, I suppose, that it has the Christmas spot for infinity.

  • Like 4
Link to comment
Share on other sites

It's difficult to explain why one person may love the Nutcracker pas deux and another person may not be able to relate to it. 

 

Perhaps actually doing ballet as a child ....or at some other point in your life helps to appreciate both the difficulties and beauty of the classical technique as it relates to the music. With the Sugar Plum variation it's not just the steps ....but being able to dance them so joyfully ...and communicating that joy of the Dance to an audience ....something Francesca is so good at.....she really does just look in her element!! 

 

As the programme showed....which I also really enjoyed...some things are just innate to certain individuals ....as Francesca's deep connection to the Dance came out at an early age for her. 

 

I do do love the dramatic ballets as well and ones which have more of a story line etc but cannot help loving the classical dance for what it is too....don't know why....started when I was about seven....when I heard the beautiful music of Chopin for the first time with seeing the dancers in Les Sylphides ....the two married together ( already knew the music from one of my mums old gramophone records) 

 

I really enjoyed that programme it is fascinating seeing how it all comes together and all the emotions involved.....for all taking part...hope Thomas got his role this year!

I also can now finally put a name to a little boy I saw at YBSS in the summer .....and wondered then whether he was at the Royal....there he was in this programme ....being interviewed as well ....Caspar ....I think his name was ....but you couldn't tell so much from the clips what a delightful dancer he is becoming. 

 

 

  • Like 3
Link to comment
Share on other sites

34 minutes ago, LinMM said:

It's difficult to explain why one person may love the Nutcracker pas deux and another person may not be able to relate to it. 

 

Perhaps actually doing ballet as a child ....or at some other point in your life helps to appreciate both the difficulties and beauty of the classical technique as it relates to the music. With the Sugar Plum variation it's not just the steps ....but being able to dance them so joyfully ...and communicating that joy of the Dance to an audience ....something Francesca is so good at.....she really does just look in her element!! 

 

As the programme showed....which I also really enjoyed...some things are just innate to certain individuals ....as Francesca's deep connection to the Dance came out at an early age for her. 

 

I do do love the dramatic ballets as well and ones which have more of a story line etc but cannot help loving the classical dance for what it is too....don't know why....started when I was about seven....when I heard the beautiful music of Chopin for the first time with seeing the dancers in Les Sylphides ....the two married together ( already knew the music from one of my mums old gramophone records) 

 

I really enjoyed that programme it is fascinating seeing how it all comes together and all the emotions involved.....for all taking part...hope Thomas got his role this year!

I also can now finally put a name to a little boy I saw at YBSS in the summer .....and wondered then whether he was at the Royal....there he was in this programme ....being interviewed as well ....Caspar ....I think his name was ....but you couldn't tell so much from the clips what a delightful dancer he is becoming. 

 

 

Caspar was fetching!  You have put your finger on it with Francesca, her utter joy in dance.  

  • Like 2
Link to comment
Share on other sites

7 hours ago, penelopesimpson said:

 

I had never realised that the Sugar Plum role is regarded as so exacting.  I have seen Nutcracker twice and decided that, like Sleeping Beauty, it just isn't for me so I save my money.  For me the pdd seemed so stilted - still in the mode of ballerina dances whilst male provides support.  It made me realise how my tastes have moved on to loving the more modern approach of two dancers interacting as well as the drama of Mamillan.  Yes, I am sure the choreography is traditional and really quite wonderful, but what does it mean?  I like dancing to say something and this was, for me, like Twyla Tharp's dismal autumn offering, just people dancing.

 

 

 

I'm the same way. I'm really not a fan of the classical ballets because the males dancers are basically just trucks which I find increasingly difficult to watch when you know the dancer has so much more to give. Liam Scarlett is adding some choreography to Swan Lake this season and I'm hoping its mostly to enhance the male dancer so their roles seem a bit more important and more involved in the story telling. That said, Its been over 20 years, while i love this nutcracker perhaps in the next few years they should consider changing the production up a bit. Maybe get rid of the Emo Gothic Nordic look in the 2nd half. (no offense if you're Nordic.) I can't be the only one who noticed they were wearing a tad too much makeup.

  • Like 2
Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...