A new Royal Ballet Swan Lake?

[FLOSS]

Following reports in a number of newspapers that the current run of the Royal Ballet's Dowell production of Swan Lake is to be its last, this is your opportunity to discuss a potential new production.  The thread wasn't actually started by FLOSS, but by Alison to concentrate all the discussion in one place.

 

 

 

FLOSS commented:

 

I know quite a few people who, like me, have loathed the current Swan Lake since its first performance.It is not the basic choreography that is the problem, but it would be nice to have the opportunity to see the Ashton Act 4 and his waltz rather than Bintley's contribution to Act 1.The old production got by quite comfortably without the need for extra characters such as the chaperones who behave as if they think that they are playing procuresses and a tutor who clearly should be of concern to those engaged in child protection. This is after all a nineteenth century classical ballet not an exercise in social realism. I can't wait to see the back of the drunken officers; the flouncing princesses; all those ghastly Act 3 guests; Von Rothbart's entourage of grotesques and all that bling.

But they say that there is only one thing worse than not getting what you want and that is getting it.
Who is likely to stage the new production? It will almost certainly be an "insider", by which I mean someone who knows the history of the ballet as performed by the company.No one will want to repeat the Markarova Soviet style Sleeping Beauty fiasco.It does not have to be a choreographer who does it, but the chances are that it will be and the obvious candidate is Wheeldon and his tinkering with the Sleeping Beauty ( two dud Garland dances )does not exactly inspire confidence. I know that he has staged some of the classics abroad but I do not recall any one saying that they were particularly good.

Then there is the question of design. Putting it mildly in the last thirty years the Royal Ballet has been incredibly unfortunate when it comes to designing non abstract works. It is as if there is no one in the company who knows or cares about what productions look like on stage. Perhaps the truth is that in this country, at least, there are,at present, no stage designers who know or care about ballet design.

Good stage design gives the audience a sense of the time and place in which a narrative ballet is set and helps create the atmosphere and mood for the dancers's performances.Inept designs require dancers to work twice as hard as they would have to if the designs were doing their job.Bad designs can virtually kill a ballet, even one which which has been successful in earlier designs.The decision to abandon the Craxton designs for Daphnis and Chloe nearly did for that ballet;the new designs for Les Rendezvous which set the ballet in the wrong period and make a nonsense of the choreography and the floor plan are almost as bad, Then of course there the company's Don Q with designs which according to Clement Crisp make it look as if the ballet is set in sunny Frinton.I would ask anyone who thinks that I am being unfair to take a look at the Dutch National Ballet's Don Q to see what good design and a real understanding of how a ballet should be staged can do for a piece as lame and unamusing as Don Q.

[MAB]

Agree with most of that, but how about reverting to the old production?  There's a video, reproducing the Leslie Hurry designs shouldn't be too hard, I'd love that old production back, for me it was quintessentially the Royal Ballet.  Bring it back!

[alison]

I'm one of those who dislikes the RB production sufficiently not to want to go and see it too often, so can't comment on casts thus far, but one of the things I *would* like to see in a new Swan Lake, if we are indeed to get one, is for it to be returned to a vaguely medieval period or something. The Victorian era has always struck me as way too rational for evil magicians, enchanted maidens and spells, and, given that it's the Royal Ballet, the production also makes me think way too often of Mayerling. Plus get rid of all the inappropriate behaviour, so unsuited to a Classical ballet production.

[FLOSS]

The problem with bringing back the old production, by which, I assume you mean the choreographic text used on the 1980's DVD is that Derek Deane owns the rights to the Ashton choreography.The Act 1 waltz,the Act3 Spanish dance, which Deane does not use in his production, the pas de quatre and the Neapolitan dance and Act 4, in its entirety, all belong to him. While ENB may not mind the Royal restoring the Neapolitan dance to its production they might be less happy if all of the Ashton text was restored.They would not be able to do anything about it unless its use was restricted by their contract with Deane, but that would not prevent sections of the press having a field day with stories about the Royal Ballet stealing ENB's ballet

 

Then there are Deane's own choreographic pretensions.Some of his choreography may be attributable to the the relative size of the ENB and the Royal( even the Royal might be hard pressed today to provide a mixed corps of twenty four plus the twelve dancers required for the waltz) but a lot of it is choreography for its own sake and it is not very good.His choreographic embellishments include such gems as the dance for the girls who present the posies. They dance, for reasons known only to the choreographer, in little circles as they approach the Queen and turn their backs on her as soon as they have presented their flowers. Then there is the dull choreography for the corps in that Act which includes relentless, uninspired dances for the processional music and an exceptionally dull Spanish dance in Act 3.Would Deane be prepared simply to accept the fees for the use of his property or would he be unable to resist the temptation to insist on being involved in the new production and providing some new choreographic gems?

 

Perhaps they will ask McGregor to become involved. He does go to the ballet occasionally and was apparently very surprised by the difference that different dancers make to performances of the classics. He is after all, according to some people, a choreographic genius and his involvement might help bring a newer, younger audience to the classics.

 

Then there is the problem of the designs does the company revert to the old ones; does it ask Mr Farmer to produce costumes inspired by the old ones, and wait for pastel hued ones to be delivered or does it try to find someone who might be able to do the job?

[Jan McNulty]

Perhaps RB should consider asking Sir Peter Wright to produce a production for them...

[Bruce Wall]

Perhaps RB should consider asking Sir Peter Wright to produce a production for them...

 

While I don't - in reality - think that it will happen, I feel that would be a wonderful idea, Janet.  Even better - although, again, I don't think it is a realistic prospect - in an age of continuing and necessitated austerity where co-productions are often mandated by reality if nothing else - I think it would make a significant point if the RB were to lead the way and share Wright's BRB fine - already established, tried and tested - production of SL between the two Royal companies.  It is - for my money - the best in the country.  In this way they would be making a significant statement in terms of making very real savings and sharing a much prized resource. 

Edited February 16, 2015 by Bruce Wall

[FLOSS]

I recall travelling to Bournemouth to see Sir Peter Wright's Swan Lake very soon after its premier and being impressed by it as a touring production and of course I have seen it since then. At the time that I first saw it I did not think that it was as good as the production th shown at Covent Garden and it is the latte production which is on the Dowell Markarova DVD minus the mime which Markarova did not do. I recall that during the 1970's John Percival wrote a review of the visiting Bolshoi production which he compared unfavourably with the Royal's version which he declared to be the best version to be seen anywhere.

 

If it was my choice I would opt for the old production in its final form with all the Ashton additions except the prologue;Rudi's solo for the prince at the end of the first act and with the original fourth act shown in one run of performances and the Ashton one shown at the following revival.Audiences deserve the opportunity to see both versions of act four performed regularly.

[capybara]

Two of the RB's 'in-house' choreographers have now been mentioned as candidates to mount the new Swan Lake. On the basis of his classical style, I would have thought that the third, Liam Scarlett, would have the greater claim to the assignment.

[Fonty]

Oh dear.  Why is it that any mention of a "new" production fills me with dread? 

 

I can see myself in about 10 years time, reading posts moaning about the current production, and thinking back wistfully to the previous one with its "dramatic sets" and "colourful characters". 

 

All I can say is that I hope the next version has better lighting.  The last time I saw this, it looked as if they were trying to save money on their electricity bill. 

Edited February 16, 2015 by Fonty

[aileen]

FLOSS, that would make a lot of the choreography very similar to ENB's, which is not a good idea as both companies perform Swan Lake in London regularly. It would be better to have some distinct differences between the two companies' productions imo. As for the Bolshoi's current Swan Lake, I don't find much to recommend it. I wouldn't go to see it again. Are you suggesting that the RB include a jester in its new production? I feel that there is no point trying to replicate what the Russian companies do. The RB dancers dance differently to the way in which the Russians dance and the company comes from a much more theatrical tradition. 

[betterankles]

Always wonder why Lez Brotherstone is not used to design for the Royal Ballet... such a fabulous artist who understands the needs of ballet...

[aileen]

What about Jerome Kaplan who designed the very attractive and clever set for NB's Gatsby?

[Bruce Wall]

What about Jerome Kaplan who designed the very attractive and clever set for NB's Gatsby?

 

The French designer Jerome Kaplan has done spectacular work throughout the world, I agree.  His designs of Lost Illusions (Bolshoi) and Ratmansky's Paquita in Munich were simply thrilling as well.  Many choreographers have established (but not, of course, exclusive) relationships with designers.  Currently I think of Wheeldon and Bob Crowley ... or Matthew Bourne and Lez Brotherstone.  Perhaps that is why managements may not ALWAYS think of such designers independently when building new productions of established works - especially should their established choreographic collaborators not in that instance be involved.  Also such design partners often have their schedules built well into the future..  This relationship phenomena, of course, is not new and often happens in the theatre as well ... with established directors.  There were entire regimes build around Trevor Nunn and John Napier (for a while establishing the RSC house style) and Peter Hall and John Burry ... and what would Donnellan be if not cheek by jowl with Ormerod. 

Edited February 16, 2015 by Bruce Wall

[MAB]

If it was my choice I would opt for the old production in its final form with all the Ashton additions except the prologue;Rudi's solo for the prince at the end of the first act and with the original fourth act shown in one run of performances and the Ashton one shown at the following revival.Audiences deserve the opportunity to see both versions of act four performed regularly.

 

I don't' remember a prologue in that version, surely it was a feature of the Helpmann production of the 1960's.

Edited February 16, 2015 by MAB

[capybara]

Now we're talking about a new Swan Lake, thoughts race ahead as to which dancers it will be made on. It would be a fantastic opportunity to feature some younger dancers from all current ranks.

[Nina G.]

Two of the RB's 'in-house' choreographers have now been mentioned as candidates to mount the new Swan Lake. On the basis of his classical style, I would have thought that the third, Liam Scarlett, would have the greater claim to the assignment.

A new "Swan Lake" by Liam Scarlett? I have not liked any of Scarlett's new ballets EXCEPT "Asphodel Meadows". 

[aileen]

It might annoy the in-house choreographers, but I think that the RB might be better bringing in Ratmansky to do it, unless the company wants a radical re-working of the ballet, which I doubt that it will.

[MAB]

Or Vikharev with an authentic version.

[alison]

The problem with bringing back the old production, by which, I assume you mean the choreographic text used on the 1980's DVD is that Derek Deane owns the rights to the Ashton choreography.

 

Deane owns the rights?  I'm very surprised to hear that.

 

 

Then there is the problem of the designs does the company revert to the old ones; does it ask Mr Farmer to produce costumes inspired by the old ones, and wait for pastel hued ones to be delivered or does it try to find someone who might be able to do the job?

 

In all fairness to Peter Farmer, apparently he was suffering from ill-health in the run-up to the new Sleeping Beauty production.  It sounds as though the pastels were only a stop-gap until he was able to create the costumes "inspired by the old ones" which we now have.

[WoodlandGladeFairy]

Totally agree it needs to be set somewhat vaguely mediaeval period, just suits the supernatural elements in it.

 

Hah couldn't they ask HBO whether they could lend their costume designer from 'Game of Thrones'? Lots of great mediaeval inspired clothes in that show.

[SPD444]

How about giving Chris Wheeldon a crack at it. I thought his Winters Tale was excellent and, I believe he already done Cinderella, so his vision on SL would be worth thinking about.

[alison]

He's done a version of it already - was it for Pennsylvania?

[Don Q Fan]

Just don't let McGregor anywhere near it.

[James]

He's done a version of it already - was it for Pennsylvania?

Yes, in 2004, I think. It was also performed by Joffrey Ballet last year.  Inspired by the Degas paintings, Acts 1 and 3 are set in the "real world" of a 19th Century ballet company's rehearsal room. A bit too left field for the RB, I'd have thought. I also imagine that choreographers of his reputation would have their diaries full for the next few years anyway. Wouldn't a new production be scheduled for 2017? They surely wouldn't want to go more than 2 years without a SL to pull in the crowds.

[James]

Deane owns the rights?  I'm very surprised to hear that.

 

It surprises me, too. Ashton certainly gave Natalia Makarova permission to use all his dances when she mounted her production for London Festival Ballet in 1989(?) - shortly after the Dowell production premiered. Maybe the privilege was extended to later LFB/ENB producers.

[Two Pigeons]

I have heard Kevin O'Hare interviewed a number of times over the years and he seems to have a special feeling about Swan Lake. It's almost as though he views it as the Holy Grail of ballet. I would be very surprised if his period oversaw anything way out for a new production. Although I am not that close a follower of the RB personally I would be disappointed if they did not have a solidly traditional version of this cornerstone of the reportoire. Generally speaking gimmicky productions don't last - Matthew Bourne's being very much the honourable exception to this.

 

I do think the point about design is pretty crucial here. Step forward John Macfarlane whose track record speaks for itself.

[Ian Macmillan]

Before this goes much further, could someone who believes that Derek Deane has ownership of Ashton's Swan Lake work perhaps provide some harder evidence for that than has been adduced thus far.  I see no sign of anything of the kind on the 'Owners' section of the Ashton Foundation site, here:

 

http://www.frederickashton.org.uk/owners.html

 

If one follows the link to the Anthony Russell-Roberts site, it appears that ownership of the 1946 Swan Lake elements is vested in him:

 

http://ashtonballets.com/?page_id=32

 

So, are there later Ashton elements not covered in either of these sites?

[Bruce Wall]

 

 

As someone suggested above these decisions - i.e., such as those on a choreographer to 'oversee' a new RB SL - are usually made WAY in advance.  I understand from a source who's usually well sourced on such issues - and although there has been no official confirmation - that the decision in this specific regard has already fallen in Scarlett's favour.  if true - and I stress IF - I, myself, have mixed feelings about this given that I think Wheeldon has truly come into his own - in terms of narrative development - after the initial Broadway workshop of An American in Paris.  He has said so himself.  Proof of this was given with Winter's Tale for the RB which followed immediately after that NYC commercial workshop identified in the previous sentence.  I am now convinced - having seen it four times both at the beginning of its preview period at the Chatelet and at the end of its Parisian run that AiP will be a huge triumph for Wheeldon on Broadway (much like Gypsy, Fiddler on the Roof and West Side Story were for his key mentor, Jerome Robbins.)  That can but increase the pressures on Mr. Wheeldon's plate and may well make him practically unavailable to the RB for such a major undertaking for some time to come.  I know I was perhaps alone here in thinking that An Age of Anxiety was brave of Scarlett and marked a move away (refreshingly in my book) from an over abundance of/reliance on violence - specifically that of a pseudo sexual nature - which appeared to have entered into his work for the Royal Ballet post Ashphodel Meadows (which I still think is - by some considerable distance - his best RB outing). Certainly I know the initial American critical support for Scarlett has somewhat dulled over his past couple of works in NYC; specifically post the last one late last year for ABT which has now been affectionately termed in some quarters as 'twerkgate'.  If the above report IS true - and again I stress the IF factor - I think it is brave of O'Hare to have gifted such a relatively young artist with this key oversight; one SO specifically key to the fiscal well being of the RB.  I applaud O'Hare for that courage - again if true - and hope only that this seeming act of bravery might/will work out to everyone's advantage; not least on behalf of the well deserving audience members as much as the British taxpayer.   

Edited February 16, 2015 by Bruce Wall

[Fonty]

Although I am not that close a follower of the RB personally I would be disappointed if they did not have a solidly traditional version of this cornerstone of the reportoire.

 

 

Yes, I agree completely with that.  Having said that, whose tradition? 

 

Not the Russians', I hope.  Maybe I am being unfair, but I always associate any Russian production with fussy scenery, irritating extras taking up far too much glorious music while they faff about, and short bursts of flashy choreography at inappropriate moments, followed by 3 minutes of standing and milking the audience for applause. 

[capybara]

 

As someone suggested above these decisions - i.e., such as those on a choreographer to 'oversee' a new RB SL - are usually made WAY in advance.  I understand from a source who's usually well sourced on such issues - and although there has been no official confirmation - that the decision in this specific regard has already fallen in Scarlett's favour. ............   If the above report IS true - and again I stress the IF factor - I think it is brave of O'Hare to have gifted such a relatively young artist with this key oversight; one SO specifically key to the fiscal well being of the RB.  I applaud O'Hare for that courage -    

 

 

I think that, if the reports about the new Swan Lake being in Liam Scarlett's hands are true, Kevin O'Hare is being very courageous. But being thus is something an Artistic Director must be if he/she is to ensure his/her company thrives. So I applaud KO'H also and shall look forward very much to the new production.

[aileen]

But would Scarlett, for example, tweak older versions of Swan Lake or create a lot of new choreography? I don't think that a new version of Swan Lake without the basic story and the swan corps would find favour with the RB regulars or indeed even the occasional balletgoer. I think that the vast majority of people want to see the traditional ingredients and I can't imagine that something along the lines of, say, Maillot's unusual Lac would be accepted. Whilst Wheeldon has much to recommend him, is he capable of choreographing interesting and attractive dancing for the corps, including the swans, to the traditional music? The dancing for the corps in Winter's Tale was rather repetitive and his contribution to the existing Swan Lake (I believe that it's his) in the form of the garland dance is just plain ugly. There will be enormous pressure on whoever is chosen to get it right (whatever that means). 

[balletla]

Really hope it's not Scarlett as I just can't see him doing justice to Swan Lake. Has he actually choreographed any full length ballets? Oh yes..... Hansel and Gretel...... I say no more.

 

Whoever it is, I hope they leave out the baby swans played by school children as they don't add anything for me, especially as the baby swans' dance i.e. Dance of the Cygnets is actually done by adults!?

[alison]

Yes, I agree completely with that.  Having said that, whose tradition? 

 

Not the Russians', I hope.  Maybe I am being unfair, but I always associate any Russian production with fussy scenery, irritating extras taking up far too much glorious music while they faff about, and short bursts of flashy choreography at inappropriate moments, followed by 3 minutes of standing and milking the audience for applause.

 

Not to mention that £$%^%$& Jester, and the lack of mime. (And, for that matter, drama, quite often)