Jan McNulty Posted October 5, 2018 Share Posted October 5, 2018 A very brief word about yesterday’s performances - SPECTACULAR!!! More words when back with a keyboard! Congratulations BRB. 2 Link to comment Share on other sites More sharing options...
Mary Posted October 5, 2018 Share Posted October 5, 2018 Lookig forward to hearing what you think about Ignite, Janet. Inspired by a fantastic painting. King Dances, I know is spectacular- especially the end. Really looking forward to this programme at Sadlers Wells. 3 Link to comment Share on other sites More sharing options...
Bruce Wall Posted October 5, 2018 Share Posted October 5, 2018 (edited) I agree with, Janet, that yesterday's fare (at least at the matinee) was a quality one. That said people should know that this programme is only one hour and eight minutes of dance in its entirety being less than one hour three quarters in total with a half hour interval. I did have a ticket for the evening as well but work pressures I fear put paid to that (such is my life now). I'm so glad that I was able to steal a chance to see THE KING DANCES again. I so loved it the first time(s) I saw it at Sadler's Wells (then on a fuller programme with Balanchine's Theme and Variations and Ashton's Elgar Variations) and sadly will be in New York for work when the FIRE AND FURY programme appears in London. The entire company glistened in this fine piece by Bintley (up there with his finest in my estimation, e.g., Tombeaux, Gallentires). The narrative of this piece - abstracted from the choreographer's vision of Le Ballet de la Nuit - is honed to make ultimate impact. Max Maslen made Le Roi very much his own - and literally dazzled much as William Bracewell had done when creating the role. For me, however, it was Tryrone Singleton (aptly named) who really stood out as La Nuit/Le Diable and Cardinal Mazarin. What a joy this dancer CONSISTENTLY is. He has it ALL and is not afraid to generously share such. The Company too responded in kind to Stephen Montague's richly dramatic score evocatively conducted by Jonathan Lo. Juanjo Arques' new IGNITE was - much like THE KING DANCES - fetchingly designed and certainly will suit the fine DNB company ethic, one shared by our own - and most admirable - BRB - who together make up the partners in this co-produciton. IGNITE's narrative's libretto happily did not bite off more than it could chew and as a result the ending - richly replete in tandem with the crackle of Kate Whitley's score - was proudly evocative. Celeine Gittens and Brandon Lawrence were alight as Fire. There has been some comment on the lack of attendance at the recent BRB Fille performances at the Hippodrome. I actually was heartened that there seemed to be more in attendance in the lower ranks of the upper echelons than had been present at that wonderful Ashton bill (The Dream/A Month in the Country) that had reportedly left Bintley so disappointed - as it did me - at the lack of turnout. It is true that the Upper Circle yesterday was largely empty. A very jovial staff gentleman of some age approached those happy few of us - all again of a certain generation - who were sitting on the bank of red seats outside that level - each dappled in the mid-day sun - telling us he was alone on duty so he would have to cover both doors himself. He asked to inspect our tickets outside - telling us were a very 'elite group'. At seven minutes to the performance hour (2.00 pm) the door I went through opened. (I remember because I looked at my watch). He told us at five minutes to the hour we could move down to 'Row O'. (Row N was quite full I'm pleased to report. I moved from my side seat in Row W where I was alone to a central one in Row U. This is a programme which profits from viewing at a certain height I think - albeit with my much cherished binoculars (opera glasses for the poor) to hand. I was most appreciative of the senior discount that had been given for this performance - and was assuredly proud to be among that 'elite'. It was - for lack of a better word - a healthy one. We were - IMHO - and as Janet suggests - well served. Edited October 5, 2018 by Bruce Wall 3 Link to comment Share on other sites More sharing options...
alison Posted October 5, 2018 Share Posted October 5, 2018 5 hours ago, Bruce Wall said: That said people should know that this programme is only one hour and eight minutes of dance in its entirety being less than one hour three quarters in total with a half hour interval. Quite. Ballet for the time-starved generation? Surely there was something else that could have been added to this bill? Admittedly, 18 months ago I'd have welcomed something that short - but that was 18 months ago. I'll have another look at The King Dances before I wipe it off the hard drive and see if I change my mind about going to see it again. 1 Link to comment Share on other sites More sharing options...
Jan McNulty Posted October 5, 2018 Author Share Posted October 5, 2018 Quality .... always quality over quantity! I must admit that I was quite shocked when I saw the running times on the cast sheet but I came out of the two performances fully sated and a very happy bunny indeed! 6 Link to comment Share on other sites More sharing options...
Tony Newcombe Posted October 5, 2018 Share Posted October 5, 2018 What about adding The Moor’s Pavane to this bill. 1 Link to comment Share on other sites More sharing options...
Douglas Allen Posted October 5, 2018 Share Posted October 5, 2018 2 hours ago, Jan McNulty said: always quality over quantity! ! You can and should have both. Would you be happy with an evening's performance of Symphonic Variations only? The brevity of this programme reinforces my concern about BRB's attitude to its audience. Link to comment Share on other sites More sharing options...
Jan McNulty Posted October 5, 2018 Author Share Posted October 5, 2018 Ignite has a large cast and The King Dances has a large cast of men. Perhaps the Company felt it would be hard to do justice to another piece. Tony’s suggestion of Moor’s Pavane would work for me but I don’t know what the licensing arrangements are. Your analogy is ludicrous - there were 2 pieces on offer last night and I have seen other programmes by other companies that were of a similar length and I did not feel short changed by any of them either. 2 Link to comment Share on other sites More sharing options...
Lizbie1 Posted October 5, 2018 Share Posted October 5, 2018 14 minutes ago, Douglas Allen said: Would you be happy with an evening's performance of Symphonic Variations only? I certainly would! And it's rather nice to have an early night sometimes. 3 Link to comment Share on other sites More sharing options...
Tony Newcombe Posted October 5, 2018 Share Posted October 5, 2018 The one thing for certain is that we were not short changed on quality. Both ballets are quite superb and should be considered as “keepers” 4 Link to comment Share on other sites More sharing options...
bridiem Posted October 5, 2018 Share Posted October 5, 2018 I've been to a number of Akram Khan works that have lasted an hour with no interval and that's that. I've set out thinking 'ooh what a cheek, what a rip-off' etc (or words to that effect) and ended up after an amazing hour totally happy and sated. (Though I do think that perhaps a very short evening should be reflected to some extent in the ticket price...). And I do sometimes find myself thinking 'great stuff! We get out early tonight!'. Strange, but true. 5 Link to comment Share on other sites More sharing options...
Tony Newcombe Posted October 5, 2018 Share Posted October 5, 2018 Was there again this evening. Ignite wonderful and Delia Mathews superb as River 4 Link to comment Share on other sites More sharing options...
alison Posted October 7, 2018 Share Posted October 7, 2018 On 05/10/2018 at 16:42, Jan McNulty said: Your analogy is ludicrous - there were 2 pieces on offer last night and I have seen other programmes by other companies that were of a similar length and I did not feel short changed by any of them either. By ballet companies? Anyway, Luke Jennings gives the programme 4 stars: https://www.theguardian.com/stage/2018/oct/07/birmingham-royal-ballet-fire-and-fury-review Based on the picture which illustrates it, and his previous form, I am surprised, though, not to find him complaining about a male choreographer featuring a woman with splayed legs. Link to comment Share on other sites More sharing options...
northstar Posted October 7, 2018 Share Posted October 7, 2018 Thanks Ballet Forum members for your thoughts on this BRB double bill. I went to the Saturday 6th Oct performances. I nearly let it pass me by, but when watching the UK World Ballet Day YouTube video I saw the BRB section with Tyrone Singleton and Max Maslen rehearsing the King Dances and was so impressed I was so glad to see the performances in Birmingham this week and booked my tickets for Sat. In The King Dances, the matinee was lead by Lachlan Monahagn and Yasuo Atsuji and the evening by Max Maslen and Tyrone Singleton, as Le Roi and La Nuit/Le Diable. In Ignite the same cast was River/Fire/Sky in both performances which was Dela Mathews/Celine Gittens+Brandon Lawrence/Mathais Dingman. First of all I must commend, as always, the exquisite quality/artistry of the BRB dance and the Sinfonia. I remind myself never to take it for granted! The audiences were not by any means full houses, (expected but nevertheless disappointing) but once could tell the enjoyment and appreciation by the loud response. The King Dances was right up my street and I must say I particularly enjoyed the Maslen/Singleton performance, which seemed to get better and better and towards the third/fourth 'watch' I found the atmosphere humming in that special way when the magic of ballet is spun, it is all completely convincing, and one stops thinking and just experiences the art emotionally. I was further up in the circle in the evening and as Bruce says the benefit of the viewing angle might have had something to do with it - the effect of the mirrored black floor more stunning, the ensemble quality more obvious. But also, Maslen's interpretation was so regal, so noble, even in the night shirt scenes; and Singleton's powerful presence and partnering utterly convincing. From both performances, the joy of the focus on male dancing (the fast turning, the arabeseuque and less reliance on huge leaping) was a total revelation to me and I've not felt anything like that, except seeing Song of The Earth by English National Ballet last year. I also sensed the influences of the great Petipa ballets - Swan Lake/Nutcracker in the fantasy drama elements. So much to admire enjoy in both performances, I hope to see it again, but I must say Maslen seemed to elevate it by his interpretation into the magical. Photographs of that final scene with the Roi Soleil cannot do justice to the stunning theatre of it, when seeen live. What a literally brilliant piece of ballet-theatre. Ignite is the sort of ballet which challenges my rather stubborn prejudices. The only thing I have seen similar is Khan's Giselle, the memory of which came back as I saw large number of dancers flowing across the stage like animals or elements. After viewing the opening scenes cautiously, I really did admire the river section with it's stillness and Mathews communication. Celine Gittens I did not recognise until the curtain call. And this is a compliment, as I have been so used to her long-limbed majesty in classical roles to see her compact and dynamic and sympathetic performance as Fire with Lawrence is yet another surprise from this wonderful dancer. I saw Bintley sitting in the evening audience. How grateful to him I am for his direction of this wonderful company, and sad that I have only recently come to appreciate the quality of his own choreography/productions. 8 Link to comment Share on other sites More sharing options...
Sim Posted October 7, 2018 Share Posted October 7, 2018 Thanks for your lovely review, Northstar. I look forward to seeing this bill. 1 Link to comment Share on other sites More sharing options...
Jan McNulty Posted October 8, 2018 Author Share Posted October 8, 2018 (edited) I just loved this double bill, having been to see both performances on Thursday. The King Dances is such a visually stunning piece. I remember seeing the premiere and the thrill I experienced when the curtain went up and we saw the 4 dancers with the flaming torches. I got the same thrill on Thursday. Apart from the quality of dancing, the costumes, the set and the music (!) what I really like is the way David Bintley seems to have seamlessly melded the movements of the period with subtle modern day moves. It is, for the most part, slow and stately and I find it absolutely gripping. The dancers make it look all so simple but I bet it is devilishly difficult, especially with the men dancing in the heels. Tyrone Singleton was utterly masterful as La Nuit on Thursday afternoon - I could not tear my eyes away from him. Max Maslen was very regal as the King and the ensemble of gentlemen were so in tune with each others moves it quite took my breath away. Yijing Zhang as Selene is just sublime - she has such a serene quality of movement and that perfectly fitted the role. In the evening Yasuo Atsuji, Lachlan Monaghan and Yvette Night took the leading honours and were also fabulous. I was absolutely bowled over by Ignite. I hadn't read the programme notes before the performance, all I knew was that it is about fire. As with TKD it is a collaboration of movement, music and costumes/set and again it was a visual feast. For the costumes think Balanchine black&white but in shades of grey with most of the dancers also having shimmering, flowing shirts in shades of red, yellow and orange. This piece has a large corps and 7 leading dancers and it really does give the impression of a fire from its inception to its hottest to its end. There are lots of swirling movements for the corps that I suppose simulate the flames being fanned. The duets and trios are just gorgeous, especially the one for Delia Matthews and Mathias Dingman. Reading the programme later and finding that the work was an abstract realisation of Turner's The Burning of the Houses of Lords and Commons I understood that Delia was the River and Arques uses her stillness to great effect as the fire burns in front of her. What an expressive back Deila has! The mirrors of the set move up and down and change angles giving the further impression of the fire's movement and is a very effective way of making the stage look even fuller. The finale is quite stunning - the music ends and the dancers have taken off their shirts leaving them on the floor. As we can hear the crackle of the fire the dancers move into the darkness of the back of the stage. It was the same cast at the matinee and evening performances. Both these pieces showed BRB at their best as a truly integrated company that moves as one. I came out of both these performances feeling sated, rewarded and happy. BRB is on fire ... pardon the pun. Edited October 8, 2018 by Jan McNulty Corrected to say "double" - thanks Trog! 5 Link to comment Share on other sites More sharing options...
capybara Posted October 8, 2018 Share Posted October 8, 2018 Thank you for your reviews North Star and Janet McNulty. They made me feel as if I had been there. 2 Link to comment Share on other sites More sharing options...
trog Posted October 8, 2018 Share Posted October 8, 2018 1 hour ago, Jan McNulty said: I just loved this triple bill, having been to see both performances on Thursday. Bit of a typo there Janet! Briefly, I love The King Dances but I thought Ignite to be very gymnastic, although it was very well performed. Link to comment Share on other sites More sharing options...
Mary Posted October 31, 2018 Share Posted October 31, 2018 Saw this at Sadlers Wells last night- my 3rd viewing of The King Dances and I enjoyed it just as much. Ignite was a marvellous evocation of fire- fast-moving and involving. The main treat of the evening for me was seeing Tyrone Singleton AND Brandon Lawrence- and the Ignite pas de deux Lawrence/Gittens was the dance highlight and one to remember for me, especially as for once I was close up having taken advantage of the special offer- thanks Alison for posting that. What superb dancers and a great company. 6 Link to comment Share on other sites More sharing options...
Mary Posted October 31, 2018 Share Posted October 31, 2018 On 07/10/2018 at 22:27, northstar said: The King Dances was right up my street and I must say I particularly enjoyed the Maslen/Singleton performance, which seemed to get better and better and towards the third/fourth 'watch' I found the atmosphere humming in that special way when the magic of ballet is spun, it is all completely convincing, and one stops thinking and just experiences the art emotionally. I was further up in the circle in the evening and as Bruce says the benefit of the viewing angle might have had something to do with it - the effect of the mirrored black floor more stunning, the ensemble quality more obvious. But also, Maslen's interpretation was so regal, so noble, even in the night shirt scenes; and Singleton's powerful presence and partnering utterly convincing. From both performances, the joy of the focus on male dancing (the fast turning, the arabeseuque and less reliance on huge leaping) was a total revelation to me and I've not felt anything like that, except seeing Song of The Earth by English National Ballet last year. I also sensed the influences of the great Petipa ballets - Swan Lake/Nutcracker in the fantasy drama elements. So much to admire enjoy in both performances, I hope to see it again, but I must say Maslen seemed to elevate it by his interpretation into the magical. Photographs of that final scene with the Roi Soleil cannot do justice to the stunning theatre of it, when seeen live. What a literally brilliant piece of ballet-theatre. I was going to write more about The King Dances but re reading the reviews this says it all -and also Janet's comments on ignite- I would just be repeating you both! 'atmosphere humming when the magic of the ballet is spun..one stops thinking and just experiences the art..' Yes! It doesn't always happen. For me it doesn't always happen when the narrative is too complex ( ahem Mayerllng ahem) but it really does with this superb piece which is indeed ballet theatre, with all the effects achieved through brilliant dance (rather than facial emoting and staggering about etc) together with theatrical effects which were simple but perfect for the piece-when danced with such skill and attack as we saw last night. 5 Link to comment Share on other sites More sharing options...
Esmeralda Posted October 31, 2018 Share Posted October 31, 2018 Thank you all for your lovely reviews! Can´t wait to see it in a few hours, your reviews are making me even more excited! 1 Link to comment Share on other sites More sharing options...
alison Posted October 31, 2018 Share Posted October 31, 2018 Out of curiosity, if anyone's in the area, please check whether there are any tickets for this at the tkts booth in Leicester Square. The website isn't showing any, but I know from bitter experience that that doesn't necessarily mean anything. Link to comment Share on other sites More sharing options...
Jan McNulty Posted October 31, 2018 Author Share Posted October 31, 2018 Gabriel Anderson publishes some wonderful photographs of BRB colleagues, mostly in performance, on Instagram. His work is well worth a look: https://www.instagram.com/ganderson.photography/ How evocative is this: 5 Link to comment Share on other sites More sharing options...
Coated Posted October 31, 2018 Share Posted October 31, 2018 Just saw the King Dances and can only say that Tyrone Singleton is magnificent and the piece itself is practically meditative. So glad I dragged myself out of the house for the matinee. A seat close to the stage is perfect for the lighting, which is beautiful but a bit dark from the back of beyond. I rather hope that this will be a Bintley piece that stays in BRB''s repertoire (not always fond of his pieces, but when he gets it right they are very good) 5 Link to comment Share on other sites More sharing options...
alison Posted November 1, 2018 Share Posted November 1, 2018 I was most disappointed to find that BRB have abandoned their policy of producing a single programme for whatever they're performing in their autumn run, say, and produced a programme just covering these two ballets. As I already had The King Dances covered in their previous visit, I decided not to buy the programme just for Ignite. Not sure whether I'll buy a separate programme for Fille or not. 2 Link to comment Share on other sites More sharing options...
Two Pigeons Posted November 1, 2018 Share Posted November 1, 2018 I do so agree Alison. In Birmingham there were separate programmes for each production. In my opinion a backward step from the much better product for the beginning of the 2017/18 season. 1 Link to comment Share on other sites More sharing options...
alison Posted November 1, 2018 Share Posted November 1, 2018 Not to mention previous seasons If they're doing that at their home theatre, I can't see it helping to encourage people to come to a different programme. I mean, otherwise you might have looked through the programme, seen photos from the other productions and thought "That looks interesting ..." 1 Link to comment Share on other sites More sharing options...
Esmeralda Posted November 1, 2018 Share Posted November 1, 2018 I was at the matinee yesterday and what a wonderful afternoon I had! Jan McNulty and Northstar found already the perfect words for these very special performances...it was such a treat for the eyes and hearts and I am very happy that I brought a friend with me, who never really liked Ballet, but couldn´t stop to rave about it afterwards. Now she wants to see more of Ballet - mission accomplished! Jan McNulty, Gabriels photos are wonderful - if he has to retire in the far, far, far away future as a dancer I seriously hope this will be his second career! 5 Link to comment Share on other sites More sharing options...
alison Posted November 1, 2018 Share Posted November 1, 2018 Glad you (and your friend) enjoyed it so much, Esmeralda. 2 Link to comment Share on other sites More sharing options...
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