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

[LinMM]

On your post 94 Terpischore......just one thing.

You mention wanting to feel elated after a performance but when you go to something like Anastasia or a straight theatre piece which has dark content it is possible to feel quite disturbed rather than elated but I don't mind this if something has made me think or rethink about something. Life is not all chocolate and roses etc so sometimes we do need a bit of a shake up and if theatre in whatever form manages to remind us of Life as a whole not just our little world then it has been successful.

 

I remember going to see a play called "Good" which told of how otherwise perfectly nice and good people betrayed each other and ended up joining the Nazis so that their world would be less disturbed(but admittedly also a survival tactic) but it really made you think about how deep ones personal principles ran and at what point would you collapse as an individual thinker.......and about just how many people...still...all over the world are confronted by such decisions. One certainly didn't feel too elated coming out of that.

 

I wouldn't try too hard though about liking the Winters Tale.....I agree with Aileen on this......you have to stand by what your own experience was in the end and not be too worried about how others have received it because that was the truth for you on that occasion.

[aileen]

I agree that a work can grow on you. Sometimes, if it is a new work, or a work which is new to you, you can spend so much time trying to take everything in that you feel a bit harried. Of course, the converse can also be true and a work becomes less satisfying on repeated viewings.

[Terpsichore]

On your post 94 Terpischore......just one thing.

You mention wanting to feel elated after a performance ....................

 

I think the word I used was "uplifted" rather than "elated" which as you say is not the same thing. I used the word "elated" in the next sentence when discussing how ungrateful I feel to the genius and hard work of the artists when I just don't get any pleasure from a work.

 

"............................you have .....  not be too worried about how others have received it .........................

 

I am not. Remember where I live. We Yorkshire folk like to be contrary. Have you never seen "Last of the Summer Wine" which was shot substantially in Holmfirth.  I like a good argument, me - that's why I argue for a living.

 

My concern is that I may not have done justice to Christopher Wheeldon and his beautiful dancers. Traffic was terrible on Saturday.  Every single caravan seemed to be on the road not to mention every single weekend motorist hogging the overtaking lane and a succession of roadworks too numerous to count. I was in a vile temper by the time I parked in Lincoln's Inn Fields on Saturday evening and was thus possibly not in the best mood to watch a ballet.

[Sim]

Any views on the debuts of tonight's second cast please?!

[Bruce Wall]

What a special treat it was to see THE WINTER'S TALE for a second time tonight with the delayed premiere of the second cast.  Some things certainly ARE worth waiting for.  In every respect this experience was a happy one for me; building in strength upon my own initial happy impressions.  

 

Bennet Gartside's Leontes brought the first act - indeed all - into the light of his own very special and always regal frame.  Having directed a production of the play in London in 2005 I know there are two failings in playing this wonderful role theatrically:  (i) The performer mustn't give in to the temptation to give too much away too quickly e.g., to be 'Too Hot; Too Hot' - (leaving him to appear overly repetitive or OTT as some critics recently observed - and (ii) must always remember that Leontes remains a monarch throughout - struggling to grapple with the affairs of his own confused state as much as those of the nation.  Gartside's King haunted in each respect.  Every inch a king - Gartside managed his manful responsibilities with magnificent precision and variety.  His relationship with his young Prince son - the glorious Joe Parker - was lovingly defined from the outset and when Marianela Nunez - a truly resplendent Hermoine - made reverence to him in the court scene it traced the very moment when both would ultimately turn from their own personal observation unto the state's business wherein monarchs need to do very private things within a very public surround.  The weight and shade of these two deservedly noted artists made a substantial difference to the sensitive story telling of this evening's particular narrative tale as did Valeri Hristov who proved to be a tastefully exotic Polixenes.  There was no doubt at all in anyone's mind but that this was very much a King of an entirely different realm.  Reaching out Laura Morera was, as we have come to expect, searing in the informed immediacy of both her depiction of Paulina's intellect and emotions.  We watched the seeds of her wisdom bear fruit.  A fine journey.  Her outburst in face of Leontes betrayal of her mistress stung as did her decision post fisticuffs - one made on behalf of all - to sublimate her own interests in order that she might serve - as she does in the play - a greater good.  Here she is OUR catalyst.  Ms. Morera stood apart (and as parted) with apt distinction.  

 

Let there be no doubt: This evening's second act - a magnum opus whose tenor is so tellingly different from the first and third - delighted even more than it had the premiere.  Beatriz Stix-Brunnell delighted in her life enriching embodiment of Perdita.  Here VERY CLEARLY was a creature ENTIRELY raised on the shores of this isle of Bohemia.  The fact that she wore her mothers colours was now but an accident of fate.  We, the audience, reveled freely as much in Ms. Stix-Brunnell's innocence as her joy.  She bubbled forth.  When presented with her mother's token about her delicate neck Ms. Stix-Brunnell bravely made almost light of toying with her future maturity .... one that would come into greater focus all too quickly - and post bourees - once further significant voyages of discovery had been undertaken.  Her regal beau tonight - Vadim Muntagirov as Florizel - was the very picture of love's young dream and without hesitation his father's rightful inheritor.  Mutagirov's multi-wattage smile  beckoned and the shaping of this young couple's rapture in the adagio was a delicacy for all to savour in times to come.  (What a shame that this cast can't be filmed as well.)  This Forizel was a young man who had determinedly come in search of disguise.  Once changed he wanted NOTHING MORE than to celebrate the spirit of the community in which he found himself, much as Shakespeare's play dictates.  Muntagirov honoured all.  Not once would you find this young man staring out into any theatrical house.  His attentions were brilliantly focused in and around that dazzling tree.  Under it's charge Luca Acri's enticing Brother Clown - aptly named - revelled in being Bohemia's balletic answer to Rory Bremmer; a personage rife with lightly mocking bon mots.  His partner in crime - Yasmine Naghdi - all sun against an azure sky - was as much a whirlwind of zeal in her etching of the Young Shepherdess much as Ms. Stix-Brunnell hereself had been on last week's world premiere.  James Hay delighted in his fleet of foot articulation in the happy corps - (what a stunning Floritzel/Perdita combo he will one day make aside the vivacious Francesa Hayward) - and the bear - O that stunning bear - one billowing in his inspiration - came alive in more than just one boxed vision and zealously pursued us all with his spirit of dedication.  He in fact followed us out.  

 

Can there be a full length ballet in the Royal;s repertory that is MORE ravishingly designed or aptly lit I pondered.  I struggle to think.  To my mind, there can be no question but that THIS IS a keeper .... 'Deservedly so', say I.  Wheeldon's work - in London - has come of its age.  The ROH audience remained adamant in its admiration for all concerned.  How grateful I, for just one, am to simply have been present.  A gift indeed. 

Edited April 16, 2014 by Meunier

[aileen]

I wasn't as keen on with Winter's Tale as many others have been. The first act was very long and did not have enough dancing for me. This was followed by almost a full act of jolly folk dancing and then a very short act when all the reconciliations took place very quickly. I felt that the two leads, particularly Hermione who only featured in act 1 and at the very end of act 3, did not have much actual dancing to do. I loved the backdrop in act 1and the tree in act 2 but there were too many changes of set which made the ballet feel rather bitty. Nobody stood out for me this evening. Although Vadim danced well (and he and Beatrix were sweet together) the role was clearly created on Steven who is a shorter and more nimble dancer and I felt that it must have been a bit of a struggle for Vadim to get his long legs round the fast, jazzy steps.

[capybara]

But I thought Vadim Muntagirov and Beatriz Stix Brunell made it clear that Perdita and Florizel were very much in love and, as others have said (somewhere), the first cast didn't really convey this essential fact.

 

By the way, huge admiration for Meunier for writing so much so late at night - thank you.

[bangorballetboy]

But I thought Vadim Muntagirov and Beatriz Stix Brunell made it clear that Perdita and Florizel were very much in love and, as others have said (somewhere), the first cast didn't really convey this essential fact.

 

 

Agreed!

[aileen]

I haven't seen the first cast and so I can't comment on whether Steven and Sarah seemed to be 'in love'. Vadim and Beatrix convinced me that they were having a relationship but didn't convince me that it was a great love affair; it was more like the puppy love of teenagers. This may of course have been a lot to do with the choreography.

 

I agree largely with Giannandrea Poesie's review in The Spectator. For me, this is a play with some dancing and there is not enough choreographic interest for me, particularly in the form of pas de deux. Are on stage musicians to become a regular feature of new full-length ballets at the RB?

[Ian Macmillan]

Meunier:  I have just seen your report on last night's Second Cast performance so may I return last week's compliment and note that you have said much of what I might have written myself.  I hope to see the First Cast at the cinemas in some ten days time but we should take some comfort in knowing that the Royal Ballet can field another of such strength, fully able to put across what must be a difficult subject - 'a play with some dancing' suits me fine for the telling of a Tale.  I thought Ms Nuñez very noble at the end, admired Bennet Gartside's Leontes and Laura Morera's Paulina, but I do look forward to seeing Ms Yanowsky in that central role.  At first meeting, I'd say there might be some scope for editing - as Wheeldon did with Alice, let us recall - but I'm with you in saying this must be a 'keeper.'

[Mary]

I am so much looking forward to seeing WT on Tuesday and then again in the cinema-so seeing both casts, thanks to all these detailed posts.

 

I admit to having really hated Alice, so do most people feel this is far better? That is the sense I get.

 

Having said that, I think Alice was just a totally different kind of work- a pantomime Xmas show sort of piece which is probably an excellent thing for the RB to have, and after all I have liked a lot -or even all!-of Wheeldon's short pieces.

But I wondered if any comparison could be made between his two 3 act ballets.(Has he only made two? my ignorance.)

[bangorballetboy]

 it was more like the puppy love of teenagers.

 

 

Probably because they are teenagers!  Perdita is 16.

[aileen]

Romeo and Juliet were teenagers too but theirs was a great and passionate love affair. I didn't find the choreography for Florizel and Perdita very affecting and some of the lifts were just ugly IMO.

[alison]

I haven't seen the first cast and so I can't comment on whether Steven and Sarah seemed to be 'in love'. Vadim and Beatrix convinced me that they were having a relationship but didn't convince me that it was a great love affair; it was more like the puppy love of teenagers. This may of course have been a lot to do with the choreography.

 

I suspect so.  Based on my single viewing so far, I didn't feel that the choreography tended to dig very deep, emotionally speaking.  I felt it told the story very effectively, but that any greater depth was applied on top by the acting skills of the cast, so to speak.

 

At first meeting, I'd say there might be some scope for editing - as Wheeldon did with Alice, let us recall - but I'm with you in saying this must be a 'keeper.'

 

I think there *is* scope for editing, certainly, and am sure Wheeldon will have done so by the next run: 5 minutes off the first act (I'm sure a few minutes less of Leontes' paranoia wouldn't hurt), and about the same off the 2nd, and a bit more onto the 3rd so that it doesn't feel quite so rushed would help, I think, but yes, I agree that this one is a keeper.  As usual, you can only see what works and what doesn't once the ballet is in performance.

 

I admit to having really hated Alice, so do most people feel this is far better? That is the sense I get.

 

Having said that, I think Alice was just a totally different kind of work- a pantomime Xmas show sort of piece which is probably an excellent thing for the RB to have, and after all I have liked a lot -or even all!-of Wheeldon's short pieces.

But I wondered if any comparison could be made between his two 3 act ballets.(Has he only made two? my ignorance.)

 

The complex but linear narrative of Alice is always going to be a problem for a choreographer, and it's difficult to fit a lot of dance into it, I think, but yes, I think on a first viewing that this is a better work than Alice.  And no, he's made more than two: a Swan Lake (I think for Pennsylvania Ballet?) and a Cinderella, and possibly others which I've missed out on.

 

Probably because they are teenagers!  Perdita is 16.

 

But OTOH, teenagers who are about to get married, which as we know is not something to be entered into lightly, so one would hope that their love has some depth to it.

[alison]

BTW, there are a handful of returns on the ROH website for the next 3 performances: current lowest price £32.

[billboyd]

There's a ticket on this site for £13 - ....23 April....

[Josephine]

For me Wheeldon does not give sufficient choreographic scope for the exploration of the depth of Leontes' paranoia or penance. I thought last night's central trio tremendous in conveying emotional subtleties and a sense of developed relationships, reaching beyond the limits of Wheeldon's vision (for me). But I am not convinced that repeated viewings will reveal more layers, and I do feel that this play would have been transformed much more powerfully into ballet by someone with a very different aesthetic and dance vocabulary.

[SPD444]

Just read Meunier's review and had to write to congratulate him on it. His command of the english language is a joy to read, something so called journalists could well learn from. Well done!

[Bruce Wall]

Thanks SPD444 for your kind comments; thanks to all.  It means so much.  Bless you. 

[Beryl H]

Saw the first and second act last night, I imagine Bennet Gartside and Marianela Nunez were very dramatic in the final pdd.  Am beginning to gather more opinions and think this is a huge improvement from Alice and Cinderella, it is the more mature Wheeldon that I had hoped for, although of course it is a more serious subject. 

 

I like some of the music, the drum dances for Polixenes have a great period feel, and the flute music for Perdita's solo and first pdd is very evocative, what I miss most are some soaring melodies, can't remember any yet.  The first act seems to be mostly solo's and I like them, the double death scene is also very well done, Joe Parker is so sweet, it really is Leontes' ballet though, Hermione doesn't get  much dancing.  Act 2 looked better the second time, Beatriz Stix-Brunell and Vadim Muntagirov are so young and charming and are beautifully matched in every way.  Luca Acri danced the boisterous solo very well, actually the men came off better in general, Bennet Gartside, Valeri Hristov, Vadim Muntagirov and Luca Acri all made more of an impression than the women.

 

Looking forward to more performances and seeing the last act again when I can nip out easily at the end, can't remember much from one viewing except the statue pdd . The timings of the acts are strange, definitely think the first could be cut a little, the audience did get restless last night. Bear looked good again, saw his paws as well as face!  As others have said, I hope on-stage bands and dancers shouting aren't going to be the next thing in ballet!

 

 

 

.

[alison]

Some more returns for Tuesday's matinee currently available, although nothing terribly cheap.

[Jan McNulty]

Picked this review up via twitter

[Nina G.]

Has this been the only review of "The Winter's Tale"' Marianella Nunez/Bennet Gartside cast?

[alison]

Well, if I ever get to see the second cast, maybe I'll write something

[Mary]

I saw the second cast in today's matinee.

I loved the ballet at my first viewing.

 

The positive aspects that struck me most were:

the way that the whole piece had been made as an organic whole-for example in the portrayal of the two contrasting worlds of Sicily and Bohemia in the dance and music and designs, all three hanging together ;

the serious attempt, very successfully made, to embody Shakespeare's poetry and drama into dance- the realisation of character in dance, especially in Leontes, Hermione and  Poilxenes, against the deliberate contrast of the two-dimensional act 2 characters, making these stand out even more effectively;

the use of motifs to characterise the two worlds and the emotional themes such as the gentle waves/howling storm wind so well portrayed in the music, at times very reminiscent of  Britten ( excellently well performed and much appreciated by the audience this afternoon.)

 

 

Gartside gave a marvellous and not over-played portrayal of Leontes, but I could see that the choreography was at times perhaps a little over- strained into contortions which must have given rise to criticism of Watson "over acting" ( at moments it risked toppling over into Ministry of Funny Walks and if the performer was not top notch one could imagine it could go very wrong...) -I cannot see Watson or Gartside being at fault here at all,  but the dance itself...perhaps a little of such expressionist angst goes a long way.

 

It was the first time I had seen Muntagirov-his willowy form and fluidly graceful dancing seemed ideal for the young lover Florizel.

I felt very sorry for him lumbered with the rather absurd costume. Others have commented on this and I do so agree. First he is made to wear frightful orange -too long- trousers and a hideous patchwork waistcoast..then on top of that he has to don a sort of skirt..then, as it that is  not enough, a kind of frilly jerkin ....and, loaded with all this tat, that he still danced with grace and zest shoud win him an award.

 

I can see that the role was made for Mc Rae and can't wait to see him in it at the live screening.

 

Nunez gave great dignity and emotional drama tothe role of  Hermione, and Hristov was an ideal Polixenes. The male pas de deuxs with the two kings were very reminiscent for me of Macmillan. In fact it was fascinating to notice the influences- Act 1 Macmillan in the impassioned, even tortured pas de deux;, Act 2- in the first part, the Ashtonian pastoral dances for the corps. I was racking my brains to recall what Laura Morera's -superb- characterisation of Paulina reminded me of-it was her role as jealous sister in Hermanas- even the costume very similar! though rather opposite roles.

 

Act 2 was a joyous frolic -(Gary Avis had a part absolutely made for him and brought things to  life in his short, funny solo- I wished it longer- what a scene stealer he is-) but the costumes dragged it down a bit. Only the pretty head dresses seemed to me to capure the spirit of Shakespearean pastoral. The backcloths and rather beautiful effects with a ship on billowing waves  were nice but I am not sure they really added that much to the ballet ( in fact , were they  a slight distraction,-provoking audience oohs and ahs which  to my mind  interrupted the narrative for no real purpose.....?)

 

In general another thing I much admired about the ballet was the construction of the piece to keep the flow going and prevent those false climaxes when people feel they have to clap..so that a great emotional tension could be built up in Act 1, and a smooth sequence of slowly developing waves of pleasure in Act 2..

 

Overall,  it seems to me  a great achievement , and a ballet that will repay many viewings, offering lots of parts for the dancers in two companies to develop and make their own.

 

Sorry to ramble on everyone!

[aileen]

I saw this afternoon's performance as well. I agree with Mary about Vadim's costume. Why he has to wear something that looks as if it has come from the back of the wardrobe of one of Christopher Wheeldon's older male relatives I don't know. My feelings about the ballet as a whole are probably the same. On the plus side: it tells the story very effectively; the characters are clearly drawn; there are very good sets; the bittersweet ending packs a powerful punch and the music is pretty effective in conveying the story. However, for me, the choreography is not interesting enough overall and doesn't really demand much of the leads. I feel that Vadim and I'm sure Steven are rather wasted in the role of Florizel.The pdds are disappointing (he could take a few lessons from Liam Scarlett in this respect) and the non-stop folksy dancing in Act 2 (which becomes dull after a while) doesn't compensate for the lack of dancing for the corps elsewhere.

[alison]

Sorry to ramble on everyone!

 

Oh, please, Mary, feel free to "ramble"!  I know people have been wanting feedback on this cast

[Mary]

...thanks Alison! that has encouraged me

 

....and I should have said ......

 

Beatriz Stix-Brunell was charming, with soft, delicate feet in particular.

 

I also forgot to say that the prologue was beautifully staged and lit- and gave the necessary background and information very efficiently; without resorting to mime, it told a story very cleverly -yet simply somehow..for example the two little boys in red and green being replaced by two young men in red and green;  the child emerging from under the couple's arms as they turned etc.

 I loved it.

I also should have registered strong agreement with those who have admired the way Wheeldon presented Leontes' mad, imagined events versus reality- and the way the lighting and music made this work-clever, original and effective.

 

Can't wait to see it on Monday at the cinema.

[alison]

No, I shall be interested to see it, too - a close-up look might be just what I need.  I even went and booked my ticket this evening - the screens (plural!) were beginning to fill up quite a bit, which is good to see, and I didn't want to risk having to traipse miles across London for an evening showing.

[Beryl H]

I've booked for the cinema too, the chance to see it close up, in comfort, and able to stay until the transmission stops is too good to miss!

 

Saw last night's, wonderful performances from Lauren Cuthbertson and Edward Watson, especially the last pdd, Edward Watson's expressive pliant body contrasts perfectly with Lauren Cuthbertson's cooler, purer style, after all he is the penitent one. Also noticed the solo for Hermione towards the end of act one more, it takes quite a few viewings to take it all in, it seems to get better each time though

[alison]

I saw the second cast in today's matinee.

 

Can I just say, as a total aside, how TOTALLY frustrating the ROH's day ticket policy is when it comes to 12 pm starts?  Especially when you have a high-demand (i.e. huge queues) opera on in the evening as well?  Grrrr.

[munchkin16]

Thanks to a very kind forum member selling me her ticket I had a wonderful view of last night's performance and it was my best birthday present by far from my parents. I was apprehensive but this production blew me away. I want to go again!

 

The first act was fast moving and emotional. The artistry came across perfectly. I felt for each of the characters and I loved Wheeldon's choreography. It seemed to flow so well with the story concentrating on the meaning behind each move rather than tricks which I loved. I have to mention Joe Parker as the little price, he was excellent and very energetic. Don't understand the Prince's sudden death though, he seemed healthy enough!

 

The scenery, sets and lighting were visually stunning, there were gasps in the audience at one point! The only thing missing was I thought Watson's madness was a bit sudden but that's probably the story and his acting was brilliant.

 

I loved Lauren Cuthbertson's performance, she is a wonderful artist and I feel very lucky to have seen her dance. Her appeal at her trial was touching.

 

The act 2 set was wonderful and I actually quite liked the folk dancing, it showcased the men a bit more and they were fabulous, the turns in those skirts! I also felt McRae was wasted as Florizel but he still gave it such energy.

 

Sarah Lamb gave a beautiful performance, I really believed she could be an innocent 16 year old and obviously her dancing was stunning.

 

On a side note, Darcy Bussell and Wayne Sleep were in the audience, so close to me! I could see them chatting away.

 

Act 3 was touching, but felt a little rushed at times then too long in others. I thought perhaps Perdita accepts these strangers rather quickly as her parents...

 

Some people left very quickly when the curtain went down so the applause was not as loud as the dancers deserved, and I couldn't tell who was standing out of appreciation and who out of impatience to leave!

 

Sorry for my long ramble, basically I loved it and hope it stays around becuase it truly is something different and special.

[alison]

Munchkin, I'm glad you enjoyed it.  I don't know where you're located, but do check and see if there's a cinema near you doing the live relay on Monday.