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The Royal Ballet: The Nutcracker, December 2018 - January 2019


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17 hours ago, Jan McNulty said:

OK - let's face the elephant in the room.  I will admit that I loathe this production of the Nutcracker.  I saw it in 1986 when I was a ballet-watching-newbie and fortunately it wasn't the first ballet I saw or I would never have gone again!  I did go to the cinema to see it 2 years ago in the hopes that my tastes had changed.  I noticed that the act 2 diverts are now very similar to the truly glorious production SPW made for BRB but I was still bored rigid - despite Alex Campbell dancing the Nutcracker!

 

I could watch Act 1 all day - so much detail!  I have always had a problem with Act 2 though; the Mirlitons, the Rose Fairy, the SPF etc, just a succession of near-identical ladies in tutus and frosted white hair.  I want the diverts to make more literal references to sweets.  As somebody who was always "bored rigid" by ballet before I discovered MacMillan, there's no narrative and it doesn't appeal to me at all.  One might ask why I don't just leave in the interval; the main answer is, I wouldn't miss the last five minutes for anything.

 

19 hours ago, FrankH said:

One of the touring "Russian" companies, the "Moscow City Ballet", has a version of The Nutcracker, which does away with the SPF, in effect combining the role with that of Clara. I thought it was, dramatically speaking, an improvement. However it's probably far too radical a change to be generally accepted  - and the SPF is far too beloved and iconic a character to be so dismissed.

 

Isn't this pretty much what the ENB production does? Notwithstanding its faults elsewhere.

 

11 hours ago, Jan McNulty said:

 

The main differences are the plot (none of that Hans Peter/nephew malarky), BRB doesn't have the ludicrous angels, the sets and costumes are different, the BRB transformations have to be seen to be believed ... and the BRB one is the best Nutcracker anywhere full stop!

 

I *love* the angels.

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I also love the RB's version with the interactions between Drosselmeyer,  Clara and Hans-P/Nutcracker  taken right through Act 1 and Act 2  - the narrative makes perfect sense to me (well at least as much as any fairytale/ballet does!). The RB version to me is a magical tale of a young girl discovering   romance whilst at the same time improving her dancing repertoire and skills, by learning from the best!  

I haven't seen the BRB version, but so far other versions I have seen, albeit only as recordings,  (including the Mariinsky  and the San Francisco Ballet) tend to  include various characters that rather annoy me, or have poorer sets, choreography and/or plot development. 

Some of the best bits of the RB version for me....Clara already joyfully dancing on pointe for her family as the scrim rises after the street scene....Clara dancing with the rest of the children...Drosselmeyer's magic tricks ...then seemingly conjuring Clara into  a dream state..Clara's wonder as the tree emerges.... her grief turned to joy as Hans-P comes to life and they dance their beautiful PDD.....Clara and Hans-P in and out of the snowflake flurries.....the Angels and their seamless gliding motion...the way Clara and Hans-P are welcomed by the SPF and Prince...the  divertissements and how Clara and Hans-P join in with them....of course the SPF and Prince sequences...and the recognition at the end between Clara and Hans-P in the street with Clara finding she still has the necklace the SPF gave her (so it wasn't just a dream after all!)

Edited by Richard LH
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However it's probably far too radical a change to be generally accepted  - and the SPF is far too beloved and iconic a character to be so dismissed.

 

The very Freudian version that Mikhail Baryshnikov staged for American Ballet Theater in the late 1970s also eliminates the SPF and her Cavalier, with Clara and the Nutcracker taking over.  This was the first  Nutcracker I saw, so for some time having a SPF looked odd, not vice-versa!

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I think Nureyevs version had this Freudian aspect as well!! 

Ive been trying to recall it as so long ago now but it was very different but I seem to remember although more for the main male dancer to do that it was a bit fussy with far too many steps.....if you can have such a thing!! I cannot remember much about any of the staging or costumes etc but that it was not such a "children's ballet" as the Nutcracker usually is. 

I wouldn't mind seeing it again though as might really enjoy it today!

Am not planning on the Nutcracker this year unless I can get to the BRB version at the Albert Hall. I've not seen this version ever so seems the best option but it's only on for about four days so depends on how the travelling up to London will be etc. 

To be honest I hate all the party and the mouse and soldier stuff even though I know this is lovely for the children both watching.... and dancing ......I can't wait till it gets to the first big pas de deux to that glorious music and then the snowflakes and the choir ........

I don't mind missing it the odd year or two though ....it's probably the ballet I've seen more than any others got to be a few hundred times by now!!

Edited by LinMM
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14 hours ago, Sophoife said:

We here in Oz have the BRB version and whenever I watch the RB version (I have two on DVD and yes I notice tweaks) the whole Hans-Peter plot annoys me. Go away boy! @Dawnstar that's the major difference - no HP in the BRB/TAB version.

 

I really like that the Nutcracker turns into a prince who dances with the SPF (who in turn disappears from the last ensemble to be replaced by Clara).

Ah, so my vague memory of a production where Clara swaps with the Sugar Plum fairy by the first disappearing behind Drosselmeyer's cape & the second appearing out the other side is probably the BRB production then.

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18 hours ago, loveclassics said:

This business of the SPF standing on a piece of fabric has come up on this forum before (or maybe the older version of ballet.co).  It was included in the RB production of the 80s but was later dropped as not being authentic.  Apparently it comes from a misinterpretation of a poster design and was never actually danced in any prior production.

 

Linda

This, I think, is the photograph in question.

 

Nutcracker1892.jpg

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On ‎04‎/‎12‎/‎2018 at 23:16, FrankH said:

 

It was seeing Francesca Hayward in the role of Clara (again in a live transmitted cinema viewing) which convinced me that all the rave reviews about her at the RB were totally justified. As Anna Rose O’Sullivan has been receiving similarly enthusiastic comments in this forum, I wondered if I would have a similar experience.The answer is, quite frankly, no.

 

As a ballet ignoramus, I can only claim to be able to (I hope) tell the difference between bad dancing and good dancing. At the top end, as represented by the elite dancers of the leading ballet companies, I cannot claim to be able to tell the difference between the exceptional and the merely excellent. Thus I am not able to judge, who of Francesca Hayward, Yasmine Naghdi, Anna Rose O’Sullivan etc.etc., is the best dancer. All I can do is to record my personal emotional reaction to a performance. In the case of Francesca as Clara, she lit up the stage whenever Clara was the centre of the action, and often even when she was just a bystander. This was not the case with Anna Rose, excellent dancer as she clearly is. To me at least, she doesn’t as yet have that indefinable extra something, as the captivating Francesca certainly has.

 

“Charisma” (or – ugh! – the “X factor”) is a debatable concept, and much depends on personal response.  But if it means anything objective, then Francesca Hayward has it in buckets, while Anna Rose, as yet, only has it in teacups. I’m not sure it’s something which can be learnt. Charisma may not always be an advantage. It may lead to the person being diverted away from the artistic environment to which they are best suited, into the more "popular" and superficial (“Cats”?). I very much hope this will not happen with Miss Hayward. In the meantime Misses Naghdi, O’Sullivan, etc. will have more opportunities to shine.

 

As for Marianela Núñez and Vadim Muntagirov, of course they were excellent. And yet, I didn’t find their performances as compelling as previous performances in other ballets. I realise that this is because of the rather unsatisfactory nature of The Nutcracker as an example of “narrative ballet”, in that the two leading parts in terms of the choreography, are given to characters who are peripheral to any dramatic thrust the “story” might have. When I have seen Núñez and Muntagirov previously (Manon, Two Pigeons, La Bayadère etc.) it has generally been in ballets where they have to dance and act out situations of great emotional depth, which of course they do wonderfully. Here in The Nutcracker, they were required merely (!) to dance excellently, while their facial expressions were frozen into rather vapid grins (please forgive me for these heretical thoughts).

 

Melissa Hamilton (Arabian Dance).  Vanartus wrote “Just a quick addition - loved Melissa Hamilton at her silky slinky best!”. 

Springbourne3 wrote “I think Hamilton dances this role the best out of all the other Arabian dancers I’ve seen - the role is so suited to her physical qualities.”

Absolutely! It has been mentioned a number of times in this forum that Miss Hamilton is not suited to more strictly “classical” roles. But in this particular sort of role she is superb. Dare I write that she has the “sex appeal” necessary to carry this sort of thing off?

 

The Corps were as usual almost flawless – not a weak link among them. They are all such good actors as well as dancers. And that goes too for the delightful youngsters from the Royal Ballet School. You obviously need to be a good actor as well as a brilliant dancer to get there. Let's hope we see some of them progress to the RB.

 

And I could go on and on and on, about the glorious music, so well played by the ROH orchestra. It includes what is to me one of the high points of late 19th century Romantic music – the andante maestoso from the Grand Pas-de-Deux, heavenly in its perfection. Tchaikovsky one of the greatest composers in being able to write music which directly affects the heart strings, and the tear ducts.

 

On my way home after a great evening, I passed the other cinema as people were still coming out. Among them two teenage girls, singing the theme of the "Waltz of The Flowers".

 

 

Thank you FrankH for encapsulating perfectly what I felt when watching the Nutcracker cinema broadcast. I loved Anna Rose's dancing but for me at least she doesn't yet have the personality of other recent Claras, especially Hayward. However, she is only a soloist and not a principal and obviously Francesca has had much more experience in major roles so I'm sure it will develop over time. I wonder if I'm a bit ''Nutcrackered out' as it's been the RB Christmas broadcast for what seems like forever. Like you again I found even the amazing Nunez/Muntagirov partnership I always finds so magical didn't do a lot for me unlike their amazing Bayadere a few weeks ago. That might have been something to do with the (for me) unflattering character disguising blond wigs which I really hate.  I'm hoping that the new or revised Cinderella Kevin O'Hare has talked about will be the Christmas ballet next year and give us all a break though I think it's a good idea to have a Christmassy double or triple bill also. This year's seems to have sold well which must be encouraging (as long as they don't increase prices for mixed bills next season!)

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Oh well I'm going to have to watch Australian Ballet's recording of Nutcracker with Kevin Jackson as the Prince, Benedicte Bemet as Clara, Andrew Killian as Drosselmeyer and Madeleine Eastoe as the SPF. And my much-loved and missed Miwako Kubota as the Rose Fairy. And no creepy angels.

 

(Available on DVD or to stream through the company's website, section called Ballet TV, which is pretty good, a number of full-length ballets to stream and a lot of trailers and stuff as well)

 

(Miwako Kubota retired two years ago and now has a beautiful baby boy)

 

(And I really really don't like the Balanchine version. He and narrative never seem a happy marriage in my personal opinion. And as for all those children...!)

Edited by Sophoife
Note that Kubota retired, to clarify that it's not for a more sinister reason that I miss her. Also remark re Balanchine's version
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9 minutes ago, LinMM said:

Is Miwako Kubota from Japan.......did she dance once with a Japanese Company?

Yes to the first and no to the second. She came to the Australian Ballet School at 16, and graduated into the company, dancing for us for 18 years with great beauty and technique. She retired at the end of 2016, dancing Swanhilda with Chris Rodgers-Wilson (ex-BRB) as her Franz.

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A different dancer then but same name Miwako ....

This dancer trained for a while in UK and then went back to Japan and danced with the company in Tokyo.

Must be a blessed name as she was a lovely dancer too ....felt privileged to have been in class with her for while ( circa 1978-80) 

I always knew she would make it somewhere in the end!

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@LinMMI remember telling Miwako about seeing Miyako Yoshida guesting in Sydney in Madame Butterfly (Stanton Welch) in the mid-90s and her saying Yoshida was her idol and wishing they'd revive it. They did. She got to dance it (and be the image of the production) and was beautiful.

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5 hours ago, Sophoife said:

 

(And I really really don't like the Balanchine version. He and narrative never seem a happy marriage in my personal opinion. And as for all those children...!)

 

Hmm I disagree about the use of children. I think the use of children makes Balanchine's Nut the most innocent and joyful version there is. Also he uses the children in so many capacities -- as soldier, as mice, as angels, as the party kids, as the polichinelles, as candy canes ... it's a great opportunity for ballet students and always makes performances a big family occasion.

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8 hours ago, Ian Macmillan said:

One more tug there and she's over on her ear, I'd say.

 

Surely not!  Isn't it one of those "can you whip out the tablecloth from underneath her without upsetting the ballerina?" competitions? :D 

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The website is being a bit annoying at the moment as I check for any returned tickets for upcoming performances, it has a habit of showing that tickets are available for a performance (currently this evening) and when you click on Buy to see where these seats are located it indicates that it’s two seats in the amphitheatre, when you get to the map to see where they are they’ve gone. Fair enough, someone must have just snapped them up but when you refresh the various pages it says there are now four seats in the amphitheatre but still doesn’t show up on the map.

 

I shall just have to wait until the Rush this afternoon. 

 

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14 minutes ago, Rob S said:

The website is being a bit annoying at the moment as I check for any returned tickets for upcoming performances, it has a habit of showing that tickets are available for a performance (currently this evening) and when you click on Buy to see where these seats are located it indicates that it’s two seats in the amphitheatre, when you get to the map to see where they are they’ve gone. Fair enough, someone must have just snapped them up but when you refresh the various pages it says there are now four seats in the amphitheatre but still doesn’t show up on the map.

 

 

Someone may be hanging on to them in their basket, but not yet paid for them

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14 hours ago, Ivy Lin said:

 

Hmm I disagree about the use of children. I think the use of children makes Balanchine's Nut the most innocent and joyful version there is. Also he uses the children in so many capacities -- as soldier, as mice, as angels, as the party kids, as the polichinelles, as candy canes ... it's a great opportunity for ballet students and always makes performances a big family occasion.

I agree.  As a little girl in NYC, my parents used to take me to see NYCB's Balanchine Nutcracker every year.  I can still remember laughing out loud and clapping my hands with joy as more and more little kids appeared from under Mother Ginger's dress.  I loved the music then and now, and am only sorry that most UK productions seem to ditch it (that was one of the things I liked about the Hampson/Scarfe version for ENB:  they reinstated that music and used children to interpret it).  It was seeing that ballet, as a child in the mid-1960s, that started a lifelong love for, and obsession with, ballet.  Thank you Mr B and NYCB! 

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22 hours ago, jmhopton said:

 I'm hoping that the new or revised Cinderella Kevin O'Hare has talked about will be the Christmas ballet next year and give us all a break though I think it's a good idea to have a Christmassy double or triple bill also. This year's seems to have sold well which must be encouraging (as long as they don't increase prices for mixed bills next season!)

 

I hope Cinderella is only going to be redesigned and not 'revised' or tampered with. It just needs two character artists who can carry off the step-sisters. Maybe David Bintley will be free to return to the role. I can imagine that Michael O'Hare would also make a great Ashton sister. I think I have read somewhere that Gary Avis would like to play the Helpmann sister. Maybe Matthew Hart could also be brought back to the fold? I wonder if a Sansom/Cope duo would be any good, or were they just excellent princes?

 

I agree that a seasonal triple/double bill would be welcome, as it this this year.

 

And Janet, if you are reading, you are not the only forum member who is not a great fan of Peter Wright's RB Nutcracker. I agree that BRB's pros arch production is infinitely  preferable.

Edited by Darlex
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4 hours ago, Rob S said:

The website is being a bit annoying at the moment as I check for any returned tickets for upcoming performances, it has a habit of showing that tickets are available for a performance (currently this evening) and when you click on Buy to see where these seats are located it indicates that it’s two seats in the amphitheatre, when you get to the map to see where they are they’ve gone. Fair enough, someone must have just snapped them up but when you refresh the various pages it says there are now four seats in the amphitheatre but still doesn’t show up on the map.

 

I shall just have to wait until the Rush this afternoon. 

 

Ive had a total mare too Rob S trying to get an extra ticket for a friend for this evening. Took me 2 days of refreshing the nutcracker page (while at work!) and having that frustrating thing of not adding the coloured dot fast enough to my basket, to eventually get one and way over budget but I got trigger happy / desperate! 

 

I found first thing in the morning and between 12-2 and then again between 4-6 there seemed to be a higher instance of returns. 

 

Good luck! 

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3 hours ago, Darlex said:

 

I hope Cinderella is only going to be redesigned and not 'revised' or tampered with. It just needs two character artists who can carry off the step-sisters. Maybe David Bintley will be free to return to the role. I can imagine that Michael O'Hare would also make a great Ashton sister. I think I have read somewhere that Gary Avis would like to play the Helpmann sister. Maybe Matthew Hart could also be brought back to the fold? I wonder if a Sansom/Cope duo would be any good, or were they just excellent princes?

 

 

I hope so too.  It was perfect as it was, I hope they not going to ask one of the current resident choreographers to "bring it up to date".  

 

I have no idea if Sansom & Cope would be any good, but I would love to see them try.  Can I put my name down for a ticket now? 

 

 

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A wonderful company performance tonight, but I have to say Yasmine Naghdi's Sugar Plum Fairy was the stand-out  of the evening for me.  Technically perfect, exuberant in her joy, and making it all seem so natural and effortless.  Witnessing such beauty whilst listening to that glorious music brought tears to my eyes.  And people ask me why I love ballet so much.  This is why.

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Samuel Johnson said when a man is tired of London he is tired of life. I say if one is tired of the Nutcracker one is tired of life. 

Seeing the cheer joy of all the White Lodge children who are clearly delighted sharing the stage with the RB dancers, the smile on their face, their acting and dancing is a treat in itself. They were a joy to watch. It is such a festive ballet and takes me back to childhood. The moment when that christmas tree grows and grows, snow falling down onto the snowflakes and the beautiful music..., what's there not to like! 

I agree with Sim, the star of the evening was indeed Yasmine Naghdi. She is such a fine and elegant Sugar Plum Fairy. Never did she rush, and her Pd2 with Hirano was absolutely  moving, beautifully controlled and superbly danced. Shame we didn't get to see her dance with the Australian principal Kevin Jackson. 

Edited by Xandra Newman
typo -
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16 hours ago, Darlex said:

 

I hope Cinderella is only going to be redesigned and not 'revised' or tampered with. It just needs two character artists who can carry off the step-sisters. Maybe David Bintley will be free to return to the role. I can imagine that Michael O'Hare would also make a great Ashton sister. I think I have read somewhere that Gary Avis would like to play the Helpmann sister. Maybe Matthew Hart could also be brought back to the fold? I wonder if a Sansom/Cope duo would be any good, or were they just excellent princes?

 

All those potential Ugly Sisters are mouth-watering prospects! Bring them on!!

 

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7 hours ago, Sim said:

A wonderful company performance tonight, but I have to say Yasmine Naghdi's Sugar Plum Fairy was the stand-out  of the evening for me.  Technically perfect, exuberant in her joy, and making it all seem so natural and effortless.  Witnessing such beauty whilst listening to that glorious music brought tears to my eyes.  And people ask me why I love ballet so much.  This is why.

 

You took the words from my mouth Sim! I haven't seen a dancer 'own' the SPF role so effortlessly, so naturally and as musically well, since Miyako Yoshida (who is responsible for my ballet addiction!). Which is about as big a complement as I can think of. As Yasmine conquers all the major roles, making them look as if made on her, I can only wonder why current choreographers aren't making more of her in new works. 

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1 hour ago, bridiem said:

 

All those potential Ugly Sisters are mouth-watering prospects! Bring them on!!

 

Did Will Tuckett ever take on the Helpmann sister? Let's pair him with Hart. Ed Watson was a great Carabosse years ago, maybe it would be a good moment for him to do the Helpmann sister. Soares also performed the role, opposite Tim Matiakis - I didn't catch their performances 

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Perhaps because there's joy in seeing a "straight" dancer letting their hair down and taking on these roles - a bit like Ian McKellen playing Widow Twankey.

 

Another idea: in the vein of the Ashton/MacMillan pairing, how about Wheeldon/McGregor? (That isn't a serious suggestion.)

Edited by Lizbie1
extra thought added
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