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The Royal Ballet: The Winter's Tale, Spring 2014


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I think Darcey Bussell could contribute a lot to an HDTV broadcast.  It is just that she is used in the wrong way and that is not her fault.  Using that fine artist in a role for which she is not suited dismays me as much as seeing a Rembrandt used as a wall covering.

 

If a company like Pathe Live broadcast the Royal Ballet's performances I am sure they would interview her about a subject that she knows something about such as the challenges of a difficult bit of the choreography or her memory of dancing a particular role.  Then we would all remember her for the wonderful dancer and beautiful woman that she was and indeed still is.  

 

She is still a star as far as I am concerned though I have to take a deep breath and count to 10 when and remind myself of how much I admire her as a dancer when I see her at the Huddersfield Odeon. 

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Copying over from today's Links an interesting "audio slideshow" on the creation of the ballet: http://www.theguardian.com/stage/audioslideshow/2014/may/01/the-winters-tale-edward-watson-lauren-cuthbertson-royal-ballet-audio-slideshow

Pictures from backstage and frontstage (if the word exists), plus Ed Watson and Lauren Cuthbertson talking about the creative process and developing their roles.  It sounds extremely intense.

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My goodness everybody is freely having a go at Darcey Bussell!

 

Is there a contradiction here with the way that dance performances themselves are generally discussed on the forum and elsewhere? Most comments are pretty happy in nature and harsh words are but rarely said - it seems rather reverential. But dancers and creatives are just doing a job in the same way that Bussell is.

 

I have to say I rather like the idea of a forum that gracefully talks about the negatives as well as positives of performances. Half the performances I see are not as good as the other half, but judged by Social Media and forums like this one 80-90% of performances are stonkingly brill. I overemphasise, somewhat, for effect of course!

I don't think my intention is to have a go at Darcey whom I admired greatly when she was dancing.  My point is that anybody doing a presenters job needs to be good at presenting and Darcey clearly is not.  This would have been noticeable whatever programme she was presenting, but having her introducing an evening of total superlatives just threw into sharp contrast how amateurish she was.  I don't really mind who does the job although I always through Deborah Bull was great, ditto Tamara Rojo, but they need to be GOOD.

 

Re. criticism, I'm with you there.  I like to post the positives but would also enjoy a little more discussion about different dancers.  For example, I cannot engage with Sarah Lamb and would love to know why when clearly she is an excellent dancer.  To me there is no characterisation and little heart.

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Re. criticism, I'm with you there.  I like to post the positives but would also enjoy a little more discussion about different dancers.  For example, I cannot engage with Sarah Lamb and would love to know why when clearly she is an excellent dancer.  To me there is no characterisation and little heart.

I've had trouble "getting" Sarah Lamb in some roles, too, yet at the same time I've really appreciated her Sylphide, Countess Larisch and Manon, to name 3 roles which come to mind instantly. I wasn't taken with her Juliet the first time I saw it, either (can't remember who her Romeo was), but then I saw her with Slava Samodurov a couple of years later (on the big screen - don't know if that helped), and very much changed my tune, so perhaps it depends on the circumstances as well.

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 For example, I cannot engage with Sarah Lamb and would love to know why when clearly she is an excellent dancer.  To me there is no characterisation and little heart.

 

Gosh - I'm polar opposite to you on that - Sarah has a winning smile, and a perky almost cheeky demeanour in the role. A proper teenager! And her dancing is just sublime; at the beginning of act 2 its ethereal almost mystical (in tune with the music), but becomes really sparky once her beloved arrives on the scene. Can't wait to see her again. Really liked Beatriz Stix-Brunell too, but in a different way. I feel lucky to have seen both.

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I like to post the positives but would also enjoy a little more discussion about different dancers.  For example, I cannot engage with Sarah Lamb and would love to know why when clearly she is an excellent dancer.  To me there is no characterisation and little heart.

 

Having seen the Gartside/Nunez cast at last Saturday's matinee, plus the cinema broadcast, I generally found both casts delivered a great performance.

 

I was hugely impressed with Bennet Gartside stepping into the lead role - I thought he did an an excellent job and his performance held its own with Watson's, which is a real compliment.

 

i would agree with earlier comments regarding Muntagirov - for me his dramatic performance of the role slightly had the edge, although McCrae's dancing was superb.  I think Muntagirov knows how to project a character to the amphitheatre through gesture and body language.  I also really liked Beatrix Stix-Brunell in the Perdita role.  I haven't seen much of her previously, and her performance had a very nice quality to it -  a sort of soft feel.

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I finally got to see Act III.  It was worth waiting for after the satelite link fiasco in Wandsworth.  Wow what a lovely production.

 

Last night's performance began with Kevin O'Hare coming out to say a few words about Gailene Stock and to let everyone know that it was to be in her memory.

 

I think for me the difference between a live performance and one at the cinema was the music.  I was more visually aware watching the screen as I could actually see the dancers, but at times during the live show, because of my seat and the very inconsiderate person in front of me who could not sit still, I didn't get to see bits.  So I relied on the music for dramatic indication, which I got by the bucket load.  I don't think I have ever been to see anything at ROH when I didn't sit back and think how skilled and impressive the orchestra there is.

 

Wow what a fantastic show.  Again, I thought Edward Watson, Zeneida Yanowsky and Lauren Cuthbertson were amazing. Not only was their dancing outstanding, but their ability to convey their feelings to the live audience was incredibley heartfelt.

 

As mentioned before, the third Act is so lovely and Leontes retouching of the statue of his dead son after Hermione supposedly comes back to life is heartbreaking and brilliantly done.

 

This is definitely the best thing I have seen from Christopher Wheeldon, and would definitely reviisit it in the future.

 

 

 

 

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Well, last night was the last show for at least 18-20 months, and boy, did i enjoy it. Can't wait for it to come back. This has proved to be one of those ballets that has grown on me with each viewing - and that's from a high starting point, as I was pretty much completely smitten from the rehearsal. Personally, I think its not just the best thing Christopher Wheeldon has done, but probably the best new/revived/re-imagined/rekindled work the RB has done since I've been attending ROH shows over the last 10 years. And as there wasn't much new stuff (by all accounts) between that and the days of MacMillan, probably considerably before that too.

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It was wonderful to see such an assured retelling of The Winters Tale in dance form. Unlike Alice, which is an entertainment, this is a real ballet.It will be interesting to see what it looks like after the Canadian performances. I assume that we will see it again in the 2015-2016 season..,

 

Will Mr Wheeldon take the opportunity to make a few slight alterations such as cutting the Bohemian jollifications and slightly extending the recognition scene?

 

 The Bohemian scene feels too long. Is this because it is over long or because the choreography does not provide enough contrast in movement and style ? Strangely I did not feel this quite so much with the second cast Perdita and Florizel  who took a more lyrical approach to the choreography so perhaps it is  a question of  lack of stylistic contrast between the choreography for the  corps and the young lovers. The final section of the Bohemian scene for the corps could do with a rethink as could the final pas de deux for Perdita and Florizel  which after several viewings, with both casts. still seems to strain for originality and as a result looks awkward rather than stunningly original. 

 

On the other hand the recognition scene seems to end abruptly rather than coming to a natural conclusion. While this scene is not as important as the statue scene, it is significant as the restoration of Leontes' lost heir is evidence of his partial redemption.[ In the play it is also the fulfillment of the oracle's words that the king will live without an heir until that which is lost is found ].

 

Having said all that, this is the best new work that we have had since the days of Ashton and MacMillan. Suddenly things look a lot brighter choreographically.

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I saw this on the last night - May 8th. For some reason I stayed away from reading reviews and posts and have not even read the thread above before posting this.

Act 1 was staggeringly exciting - choreography, dancing, sets, acting, score, orchestra everything was fantastic. My eyes were absolutely glues to everything - not one false moment or lifting of the emotional connection  felt with the stage. Its been a long time since I have been so excited and blown away by a new ballet. Act 2 was interminable and I could not work out why my feelings were so different. Act 3 was partly ruined by audience behaviour (posted elsewhere and interestingly I only really engaged with it when the photo taking and chatter stopped). This may turn out to be another where I really only attend for the first Act and then sit out (or leave before) the rest - or sometimes return for the final in a Triple Bill. I do this now for Romeo & Juliet & Marriage of Figaro (yes I am sorry I have some residual shame about these but have seen them too often to think I will ever sit through Act 2 of either easily after the sublime joy of Acts 1!) and often when triple bills include something I find dull (Sweet Violets, The Dream etc). If only it could have been around 60 minutes - the whole of the magnificent first Act and the final scenes (yes I know Shakespeare, Wheeldon and Talbot would all have something to say about that). 

Zenaida Yanowsky continues to be an increasing revelation for me (I used not to appreciate her very much at all) - she was wonderful. Edward Watson (Leontes) was a joy (a terrifying joy at times). I wanted to make a special mention of the very young Joe Parker (Mamillius) whose descent down the stairs whilst watching his parents' torment unfold was spellbinding. Anything negative in the above review is more than counterbalanced by how much I loved Act 1 in every single respect.

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Watching Winter's Tale- a third viewing now- on BBC4, I was impressed anew and the experience has confirmed my earlier feeling that this is a major new work that will stand the test of time.

 

Ballet on TV does not work all that well for me  ( especially on my small and not very good TV) but I was still entranced by the powerful, expressive choreography, beautiful sets and indeed the music, which  is growing on me. Furthermore the 3 elements worked together to form a meaningful whole. (Still not keen on some of the costumes though....those trousers...)

 

Of course the very fine performances also helped a good deal.

 

What do others think, does it stand up?

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Watching Winter's Tale- a third viewing now- on BBC4, I was impressed anew and the experience has confirmed my earlier feeling that this is a major new work that will stand the test of time.

 

Ballet on TV does not work all that well for me  ( especially on my small and not very good TV) but I was still entranced by the powerful, expressive choreography, beautiful sets and indeed the music, which  is growing on me. Furthermore the 3 elements worked together to form a meaningful whole. (Still not keen on some of the costumes though....those trousers...)

 

Of course the very fine performances also helped a good deal.

 

What do others think, does it stand up?

This was my second viewing after the live theatre performance. I found it a rather mixed experience. The first act was greatly enhanced for me, by the close ups in which so much more facial expression was visible. I sat in the Grand Tier and saw the Nunez/Gartside cast, so it was interesting to see the Watson/Cuthbertson combi. From a 'distance', much of the expression is lost and so much of the action, as was mentioned in reviews at the time, appeared overblown and at times, surely unintentionally funny. But close up, I found Edward Watson's portrayal of uncontrollable inner turmoil incredibly affecting, as was the incomprehension of everyone around him at his sudden change of mood.

The second act I found as interminable as in the theatre I am sorry to say. My attention seriously wandered as for me, there is so little variation in the action and the score. I remember Perdita's opening dance and the rather haunting music at the theatre, but this didn't seem to come across at all last night. It was just far too much of the same peasant style dancing and lots of A-Z of ballet gesturing, pointing and standing around gurning at whichever peasant was doing his or her thing at the time. I still like the tree though.

Some of the close ups didn't work so well, the shiny faced baby and that dreadful statue of the dead child. Also the sweaty costumes. What's with the tomato soup coloured trousers?

Act 3 was again, quite affecting although a little rushed.  I remember groaning inwardly at the theatre, when it began with more angst and Leontes appearing to be led across the stage by his ear. All lead performances were very fine last night, as they were with the cast I saw at the ROH. I would like to see the production again one day. I hope it will undergo some tweaking of the sort suggested on first viewing by critics. I feel it is something that needs to be seen live and on the strength of last night, I have decided not to buy the DVD.

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Could only catch the last half hour - but it was so good. I really appreciated the detail of the gestures/mime. Sort of Martha Graham meets Wheeldon at times but added to the archive/retro feel of some of the choreography. I saw Choreatum (? am having a senior ballet title moment - forgive) in Munich came into my mind at times. I'm more of a Wayne McG than Wheeldon fan, but when I saw WT in its first run, I was stunned by its beauty, grace and depth of feeling so gently expressed. Seeing the last statue scene on tv made it even clearer. I'm sure it'll be back next season, but I might even buy the DVD. And they should repeat it on bbc4, but there is iplayer too. In fact I'd quite like a year dedicated to Shakespeare in ballet: the Royal have got The Dream, R&J, Shrew, WT...they could revive the Helpmann Hamlet, Tetley's Tempest...acquire the Limon Otello...and commission a Macbeth.

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Personally I found the storyline quite hard to follow, it was nice enough but I wasn't overly enthralled...

The Principals were exquisite though- I thought Edward Watson's acting skill in the first act was phenomenal, although I would've liked to have seen Steven McRae or Carlos Acosta perform too. Lauren Cuthbertson danced the role of Hermione with a delightful confidence and grace- I particularly liked her bourrees; her gorgeous feet seemed to flow like an effortless river- although at one point her ribbons came untucked which was a slight distraction! At times, she took supported promenades en demi pointe- in my opinion they should've been on pointe! Sarah Lamb was beautiful too, she expressed the British style superbly with delicate Pointework and elegant pas de deux.

It was fascinating to see Wheeldon's choreographic choices with regards to the more contemporary dynamics, it gave the ballet a stylised twist whilst also demonstrating the versatility of the Company. Although the storyline didn't particularly appeal to a young audience, the Principals' performances were certainly worthy of applause.

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Could only catch the last half hour - but it was so good. I really appreciated the detail of the gestures/mime. Sort of Martha Graham meets Wheeldon at times but added to the archive/retro feel of some of the choreography. I saw Choreatum (? am having a senior ballet title moment - forgive) in Munich came into my mind at times. I'm more of a Wayne McG than Wheeldon fan, but when I saw WT in its first run, I was stunned by its beauty, grace and depth of feeling so gently expressed. Seeing the last statue scene on tv made it even clearer. I'm sure it'll be back next season, but I might even buy the DVD. And they should repeat it on bbc4, but there is iplayer too. In fact I'd quite like a year dedicated to Shakespeare in ballet: the Royal have got The Dream, R&J, Shrew, WT...they could revive the Helpmann Hamlet, Tetley's Tempest...acquire the Limon Otello...and commission a Macbeth.

BRB are planning pretty much that with their 2015/16 season. Bintley is said to be planning a nes full length Tempest. The Nureyev version was one act.

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I  was surprised by how dark significant sections of the action seemed to be in the recording that was broadcast last night. I managed to see both casts during the ballet's initial run and although some parts of the action take place on a stage that is lit in a subdued manner the action is clear; much clearer than some of the atmospherically lit pieces created by Wayne McGregor where, if you sit in the Amphi. you struggle to see the dancers. So I wonder whether the lack of visibility is a result of the BBC failing to boost the lighting levels; the film editor's choice of shots or a combination of the two or whether the lighting scheme for this ballet is just too complex for the addition of extra banks of lights to resolve the problem..In the past the management used to warn you that if you attended a performance that was being filmed there would be additional lighting that would mean that the audience would not see the stage lit as it would normally be for the ballet in question.Although you still get given that warning you rarely see a significant number of lights set up near the stage and I don't recall seeing any extra lights set up there the evening that it was filmed.

 

During the performance there are occasions when parts of the stage are lit and  the rest is in shadow an example of this is the point where Leontes hides behind the statues near the front of the stage to spy on his wife and his best friend;he is in shadow,they are lit clearly enough to ensure that the audience can see their actions as he sees them.There are several occasions when the stage is partially lit but when you watch the ballet in the theatre  you automatically look at the well lit areas which is obviously where Wheeldon wants you to look.. In Act 1 the darkness is clearly the darkness of Leontes' mind. and in the third act the somber lighting, as I understand it, reflects his loss and remorse. I am surprised that no one seems to have identified the problem that the ballet's lighting scheme might pose as far as filming it  was concerned and done something to resolve it .

 

As far as the structure of the ballet is concerned I feel that the lurking behind the statues goes on too long. One less lurk would be an improvement while the recognition scene in act 3 is too short and goes for nothing. In the play the oracle of Delphi not only proclaim's Hermione's innocence but states that the king shall live without an heir until that which is lost is found. Leontes is punished by the death of his heir and the apparent death of his wife because he refuses to accept the message of the god. The restoration of his child is  a significant step in Leontes' regeneration. While Wheeldon and his colleagues have, understandably, cut the play to adapt it for ballet Perdita's story is central to the story and a recognition scene that is over as soon as it has begun is plain stupid. I  agree that the second act outstays its welcome. It is far too repetitive and not particularly inventive

although it seemed to drag far less when Muntagirov and Stix Brunell danced Florizel and Perdita. No doubt when it returns to the Covent Garden stage it will be modified in light of the experience of staging it in Canada

 

 

 

 

 

 

 

 

 

 

 

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Well, I recorded this yesterday because I was unable to see it live, only to find that the first couple of minutes' introduction had been cut off! (Crystal Palace transmitter, Freeview - *and* there were several moments of pixellation/dodgy sound) Fortunately I checked it early enough to be able to re-record the overnight version.

 

It was a bit of a shame that there was no real synopsis, though. In the cinema, of course, we had one, and presumably there will be one with the DVD, but it was a shame that the TV audience missed out: Winter's Tale is hardly one of Shakespeare's best-known plays, and I suspect quite a few people will have been a bit lost.

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In fact I'd quite like a year dedicated to Shakespeare in ballet:

You should try and catch Ballet Cymru. Over the years they have done their own ballet versions of A Midsummer Nights Dream, Twelfth Night, As You Like It, The Taming Of The Shrew, The Tempest, Romeo & Juliet (two different versions) and Hamlet. Sadly most have gone by the wayside, but I think they still do A Midsummer Nights Dream and their new version of R&J. I do wish Darius would bring back Shrew.
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I have finally finished watching Winters tale.

Saw it all back to front as caught the second Act only on Christmas Day and then watched the final,and then the first Act!!

 

This cast except for Steven McRae and Sarah Lamb were more or less the same as when I saw earlier this year.

 

I think the tv made the whole thing much darker and didn't really capture that wonderful tree in the second Act it just didn't look as good as when I saw for real .......when the audience broke out into simultaneous applause when the curtain rose on this......mind you could have been partly relief from the comparative darkness of the first Act.

I loved McRae and Lamb in this truly delightful dancing but all the main principals were wonderful in their roles.

 

I liked it better second time around but am not a great lover of this score although parts do seem to be growing on me.

As a rule though I feel ......as with the score of Alice .....that there are few highs and lows so to speak it....sort of ambles along......and afterwards I honestly couldn't hum any part of it!!

 

I do like the ballet as a whole though and would definitely go .....for real....again!

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I was quite pleased to be able to watch 'The Winter's Tale' on BBC Four on Christmas Day. I thought the 1st act was very heavy, the 2nd act was fun and the 3rd a catharsis.

 

Found it quite a palate cleanser as well, not 100% sure on the music score though.

 

Some really nice choreography but the ballet could do with some editing.

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Watching Winter's Tale- a third viewing now- on BBC4, I was impressed anew and the experience has confirmed my earlier feeling that this is a major new work that will stand the test of time.

 

Ballet on TV does not work all that well for me  ( especially on my small and not very good TV) but I was still entranced by the powerful, expressive choreography, beautiful sets and indeed the music, which  is growing on me. Furthermore the 3 elements worked together to form a meaningful whole. (Still not keen on some of the costumes though....those trousers...)

 

Of course the very fine performances also helped a good deal.

 

What do others think, does it stand up?

Mary, I do agree with you assessment and I think it would sit well in the established repertoire of the Royal Ballet offering several meaty/interesting roles for dancers. It has some wonderful choreography and again on my second viewing, I found it extremely moving. Contrary to a couple of other comments, I think the score is very accessible and I love seeing the musicians on the stage in the second act. Here the joy and celebration of dancing is a pleasure to watch and the tree is a thing of beauty which I think projects well even on the small screen. I do hope this will be back in the repertoire soon.
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