The Royal Ballet: Four Temperaments mixed bill, March/April 2015

[zxDaveM]

The Royal Ballet's latest mixed bill, featuring new commission from Hofesh Shechter, opens tonight (March 27th, 2015). Alongside this new work, 'Untouchable' are masterworks from Balanchine ('The Four Temperaments') and MacMillan (the mighty 'Song of the Earth').

Was at the Friends general rehearsal, so here are a few photos:

 

The Four Temperaments - Lara Turk, Nathalie Harrison, Edward Watson, Annette Buvoli, Tara-Brigitte Bhavnani
© Dave Morgan. Courtesy of DanceTabs / Flickr

 

Untouchable - Hannah Grenell, Isabella Gasparini
© Dave Morgan. Courtesy of DanceTabs / Flickr

 

Song of the Earth - Carlos Acosta, Marianela Nunez, Thiago Soares
© Dave Morgan. Courtesy of DanceTabs / Flickr

 

See more...

Set from DanceTabs: RB mix bill (Four Temperaments etc)
Courtesy of DanceTabs / Flickr

By kind permission of the Royal Opera House

[Timmie]

He's on Radio 4, Front Row, right now.  I'll be interested to see reactions here to the music volume - should anyone think it rather loud, it seems he'd have preferred it louder.

It was very loud! I was somewhat worried that bits of the building would fall off.

 

 

(Janet says Timmie is referring to Untouchable)

Edited March 28, 2015 by Janet McNulty
To show which work is being referred to in the comment

[barton22]

It was very loud! I was somewhat worried that bits of the building would fall off.

It didn't seem awfully loud from my seat.   One or two brief moments, perhaps. At least those moments served to stop me falling asleep; terribly dull piece of choreography and staging with nothing very new or interesting in choreo or staging/lighting (not as difficult to stay awake through as Tetractys, though; that takes the prize for most soporific ROH ballet of recent times for me).  Predictably there were lots of Hofesh groupies there to shout and scream at curtain calls and give a thoroughly undeserved standing ovation for the choreographer.  Notably many of them that were sitting in the grand tier, at least, left after the Hofesh and there were quite a few empty seats for Song of the Earth.  (I thought the Balanchine was very good and Song of the Earth was very good by der Abschied but seemed a bit underrehearsed in the early movements and will hopefully improve as the run progresses.)

[Beryl H]

Music didn't seem loud from mid amphi, quite enjoyed it actually, the only thing I did enjoy, lighting effects were good though it was too dark to see the dancers themselves, not enough real choreography for me, just walking and moving about in groups.  Four Temperaments was well danced although it seemed a bit slow and careful at first, Akane Takada was great in what I presume would have been Natalia Osipova's role, and I loved the way Zenada Yanovsky seemed to just swat her partners out of the way in the final part, Edward Watson and Steven McRae looked good at Balanchine too. Didn't stay for Song of the Earth, glad I handed in Monday's ticket beforehand, still have 3 more chances to see Song of the Earth, timings for that triple bill seem to be 10m, 25m and 65m, musn't go early then! 

[Timmie]

The Four Temperaments, what’s not to like? It was the first time I’d seen this and it will take a bit of growing into but it was good enough for me to want to see again to appreciate it more. Yuhui Choe in Balanchine poses was a lovely thing to see. 

 

Song of the Earth, again something I need to see again to fully appreciate and I will be seeing it again soon, fortunately not in this triple bill.

 

Untouchable, I went in with low expectations for this and they were not met, not a ballet, can’t be bothered to comment. I do not want to see this again. This is the worst thing I have seen at the ROH to date (and I’ve seen Raven Girl). 

[barton22]

 

Untouchable, I went in with low expectations for this and they were not met, not a ballet, can’t be bothered to comment. I do not want to see this again. This is the worst thing I have seen at the ROH to date (and I’ve seen Raven Girl). 

 

Oh I think Raven Girl was worse/more boring!     I ended up with my head in my hands (literally) towards the end of the opening night performance of that.  I suppose RG did at least make some use of the different skills/abilities ballet dancers have compared to a purely contemporary company's dancers.  I am pretty sure Untouchable would have looked exactly the same on Hofesh's own company.  (He popped in a couple of token balletic arm positions when some of the dancers were static but that is all.)

 

On the plus side, at least some of the dancers enjoyed the experience of working on Untouchable.

[Mary]

I agree, Untouchable was very boring in my opinion. It was gloomily lit. I felt as if I'd seen it before-the choreography was unoriginal and dull. There was a lot of walking around,then rushing about and huddling in groups. The "music" was monotonous, loud and over bearing with a lot of dull thumping percussive effects and zero subtlety.

I felt it was a waste of dancers' abilities to make them do this. There was no hope of seeing inidividual dancers with their individual qualities- the costumes were heavy, ( old combat gear with, for some reason what looked like wigs imitating very matted dreadlocks) the lighting dark and there was so much huddling. It was as if the dancers had had a thick layer of sludge poured over them.

 

Yes I preferred Raven Girl! At least there was some chance to recognise who was dancing in that.

 

 

Four Temperaments was a total contrast with individuals being able to use their own talents to illuminate the varied aspects of the varied and interesting choreography. McRae shone with his very precise, sharp movements and Yanowsky was exciting and powerful as Beryl says, Watson and Takada also brought their own strengths to the solos. I loved it.

 

I always find Song of the Earth very moving . Nunez, Soares and Acosta who I have seen dance it before were very good.Some of the other dancers might need a little bit of fine tuning but overall it was a moving performance of a sublime piece.

 

Strange evening!

[Coated]

Untouchables really wasn't loud in the stalls circle, where it seemed to get a rather good reception by non-groupies (as well as a couple people who didn't like it enough to clap) who also stayed for Songs. A small amount of people left after, though I gather song brings that out in some viewers irregardless of what else is on the bill. There were a few RBS students who didn't reappear, perhaps they have something on early on Saturday, or the next generation isn't fond of Lieder...

 

For me this were 3 new pieces to see, and I took to 4 temperaments like a duck to water. There is a distinct possibility that I'm on my way of becoming a Balanchine groupie. I like the language, the abrupt moves, the different angles. One of my favourite visuals were the 4 girls walking across stage with hips at a forward angle and legs kicking up hip; half-human, half-mechanical doll.

 

Ed Watson was an absolute wonder to behold, and I wish he could be preserved in his current stage for posterity so he'd never need to retire.

 

I loved untouchables for its organic movements, dancers moving like shoals of fish with an innate sense of being part of the group. Whilst the message about immigration is not spelt out directly (with the exception of the Nigel Farage chant perhaps), the breaking up of groups with members leaving others behind, the bursts of anguished movement interspersed with purposeful regrouping and marching on seemed to capture the human experiences of diaspora (whether for political or economic reasons), frantic scrabbling for resources or safety, and the drive and calm acceptance needed to rebuild lives.

 

Obviously all of that is my conjecture, and it could easily look like a mass of writhing anonymous dancers dressed in mad max outfits. Overall, the piece might be a little too long, but I felt that more strongly when I saw it at the rehearsal, getting more involved with the details the second time around seemed to make it fly past.

 

I really liked the soundtrack as well, which always helps (and was a pleasant surprise for me).

 

I might start to like songs when this bill is over. At the moment I only enjoyed bits and bobs(mostly involving Nunez) whilst being incredibly distracted by singers standing in the middle of the stage (fine, that's an exaggeration) and blocking out some dancers (sadly not an exaggeration when sitting towards the side). The odd shrill note didn't help either. For disclosure, I voluntarily attend lieder recitals, so didn't expect to feel annoyed at the singers for distracting me.

[aileen]

I'm enjoying the comments on Untouchable! Keep them coming.

[zxDaveM]

For me this were 3 new pieces to see, and I took to 4 temperaments like a duck to water. There is a distinct possibility that I'm on my way of becoming a Balanchine groupie.

 

 

You know it makes sense!  :-)

[barton22]

Ed Watson was an absolute wonder to behold, and I wish he could be preserved in his current stage for posterity so he'd never need to retire.

 

I loved untouchables for its organic movements, dancers moving like shoals of fish with an innate sense of being part of the group. 

 

The odd shrill note didn't help either. For disclosure, I voluntarily attend lieder recitals, so didn't expect to feel annoyed at the singers for distracting me.

 

Agree about Ed.  Such a special dancer and I doubt we will have another quite like him.  Really looking forward to him in Song of the Earth as he is superb as the Messenger of Death.

 

For the organic, shoal of fish/flock of birds-like movement you mention, do try to see Crystal Pite's Polaris if Sadler's Wells manage to stage it again (I believe they plan to try despite the difficulty of doing such a short piece that requires so many dancers).  It was quite extraordinary and in a different league to Hofesh's effort.

 

I thought the Mahler well sung.  Maybe I missed something when i was focused on the dancing, but the tenor role in Das Lied von der Erde is written to sound like that and it is a piece that can take a while to grow to love.  (It is my favourite piece of music.  Period.)

[barton22]

You know it makes sense!  :-)

 

It would be great if a few more Balanchine pieces could be added to the rep (or they would revive some that have not been danced for a while).  Has anything been added in recent years other than Ballo della Regina?  I wish they would revive Bugaku.  i remember seeing that back in 1988 and being fascinated by the extraordinary movement Balanchine created.  I don't think it has been danced here since.

Edited March 28, 2015 by barton22

[Coated]

I thought the Mahler well sung. Maybe I missed something when i was focused on the dancing, but the tenor role in Das Lied von der Erde is written to sound like that and it is a piece that can take a while to grow to love.

Agree on the tenor, he was fine and had pretty good diction too. Wasn't convinced by the soprano (correction: Mezzo (ta, BBB)- note to self: never type quickly without re-reading) who sounded forced at times. My real beef with the singers was their position on stage, I'd like them further to the side (or in the pit) but I accept that I can't have everything I want....

Edited March 28, 2015 by Coated

[Timmie]

...On the plus side, at least some of the dancers enjoyed the experience of working on Untouchable.

It did look fun to dance, I think if I had been dancing with them I would have enjoyed it. It's the way I imagine I dance at the end of a long night out when one ends up in a Night Club.

[bangorballetboy]

Agree on the tenor, he was fine and had pretty good diction too. Wasn't convinced by the soprano who sounded forced at times. My real beef with the singers was their position on stage, I'd like them further to the side (or in the pit) but I accept that I can't have everything I want....

Mezzo

[barton22]

My real beef with the singers was their position on stage, I'd like them further to the side (or in the pit) but I accept that I can't have everything I want....

 

I know what you mean.  I may be forgetting, but don't remember them standing quite so far out into the stage in prior runs and they lurked a little closer to the side and were less visible in their black outfits against a black background.  I also think Soares and Acosta ended up a little closer to the wings than I think they should have at one important stage in der Abschied and were visually blocked by the mezzo for a while even when viewed from a fairly central seat.

[barton22]

I don't think it has been danced here since.

 

By the Royal Ballet, I meant.  I think there may have been a guest company performance (SFO?) since then.

[blackdove]

Did someone really pay Shechter to create that piece of absolute dross?

[Sim]

I thought the company did very well with 4T, and echo the comments above about Ed, Akane, Zen and Steven.   They were standouts, but all the dancers looked comfortable and relaxed whilst negotiating the sometimes complex steps and patterns of the piece.  With Patricia Neary staging it, it would be hard to go wrong!  I was really pleased to see this again, and look forward to the second cast with Eric Underwood.

 

Untouchable.  Hmmm.  I was in the amphi, at the end of row E.  I didn't find it overly loud, but had it been at Sadlers Wells it would have deafened me.  There were a few elements I liked, but these were all in the militaristic bits, when the company were really moving well together as one;  from the amphi the patterns were quite clearly delineated, despite the now-mandatory gloom onstage.  There was some effective lighting at a couple of points, but as someone pointed out above, the dark clothes, dark floor and dark lighting made it very difficult, even with my strong binocs, to pick out the individual eco warriors oops I mean dancers.  But maybe that was the whole point.  Whatever the whole point was, it was lost on me.  I found myself straying with my binocs to the orchestra quite often, to watch the percussionists.  I found that much more interesting than what was going on onstage.  A friend of mine who has seen it from the stalls level (rehearsal) and amphi said that it is much better from the amphi.  On the positive side, it was great to see so many of the very young dancers have a chance to shine.  I only wish it had been another choreographer doing the buffing.

 

I love Song of the Earth, and it was a joy to see the trio of Nunez, Soares and Acosta dance it again.  Nunez is that very rare thing:  a dancer who has it all....solid, strong technique paired with intelligence, emotion and dramatic depth.   Her interpretation of this role seems to have added depth this time round, and she danced so movingly last night.  I normally don't associate her too much with MacMillan, but she is definitely one of the best interpreters of this role for many a year.  I am not a big fan of lieder so can't comment on the singing, but from where I was sitting, which was slightly round to the left, I couldn't see the mezzo at all. Maybe they should consider moving them over a bit as this blocking of the dancers wasn't a problem in the past in my recollection.

 

It is interesting because my 24 year-old daughter was with me and she loved the Shechter;  thought is was 'awesome' and 'exciting'!!  Maybe that is the age group it is aimed at.  She liked bits of Song, but didn't think it was one of MacMillan's best works, and would have much preferred it without the singing which she found boring (she does like opera), but loved the music!  So maybe it's an age thing;  our opinions of the two works were polar opposite!

 

In conclusion, Shechter's piece was sandwiched in between the works of two choreographic geniuses, and the gap between them and everyone else was shown here to be glaring.

[penelopesimpson]

It didn't seem awfully loud from my seat.   One or two brief moments, perhaps. At least those moments served to stop me falling asleep; terribly dull piece of choreography and staging with nothing very new or interesting in choreo or staging/lighting (not as difficult to stay awake through as Tetractys, though; that takes the prize for most soporific ROH ballet of recent times for me).  Predictably there were lots of Hofesh groupies there to shout and scream at curtain calls and give a thoroughly undeserved standing ovation for the choreographer.  Notably many of them that were sitting in the grand tier, at least, left after the Hofesh and there were quite a few empty seats for Song of the Earth.  (I thought the Balanchine was very good and Song of the Earth was very good by der Abschied but seemed a bit underrehearsed in the early movements and will hopefully improve as the run progresses.)

 

 

A word re. your comment about 'groupies.'  I was in the Grand Tier last night and I clapped loudly and called one bravo.  That was because I really enjoyed the performance and was expressing my appreciation.  I am not a Hofesh groupie, having never heard of him before, but I like to show my enjoyment. I am sorry you did not personally like the performance, but it is somewhat unkind to criticise others who did.  We all like different things and for me the standing ovation was deserved.

 

I did not leave after the Hofesh, although I wish I had because I thought Song of the Earth was a real downer, completely spoiled for me by the two singers being put on stage singing their mournful German dirges.  Loved the Ballanchine and, all in all, it was a great evening which ended on a low, even thought I thought Acosta was wonderful.  Should have added that Watson was his usual totally fabulous self. I had a 'non Ballet' companion with me and he was in raptures at Watson's dancing. 

[aileen]

Reading this forum and the comments on Twitter it's amazing to see how varied people's responses to the programme were. Some disliked 4T, some the Schechter and some Song. There was a lot of enthusiasm for the Schechter on Twitter.

[Ian Macmillan]

Before too many more performances, and in the hope that references to "mournful German dirges" might be put into context, this extract from the official Kenneth MacMillan website might help:

 

http://www.kennethmacmillan.com/ballets/all-works/1960-1966/song-of-the-earth-das-lied-von-der-erde.html

 

Besides the explanation of MacMillan's thinking, it includes video of Darcey Bussell's memorable final minutes on the ROH stage - and, without that repeated 'Ewig,' I personally would find the steps for the final trio inexplicable.  But we're all different. 

[penelopesimpson]

Before too many more performances, and in the hope that references to "mournful German dirges" might be put into context, this extract from the official Kenneth MacMillan website might help:

 

http://www.kennethmacmillan.com/ballets/all-works/1960-1966/song-of-the-earth-das-lied-von-der-erde.html

 

Besides the explanation of MacMillan's thinking, it includes video of Darcey Bussell's memorable final minutes on the ROH stage - and, without that repeated 'Ewig,' I personally would find the steps for the final trio inexplicable.  But we're all different. 

 

 

Yes, I looked up the site when I got home last night and found it most useful.  I still found the singing a mournful German dirge but, as I was at pains to point out, that is simply my view.  I would very much have preferred not to have the distracting presence of the singers on stage.

 

 This board used to be a friendly place where amateurs and experts alike could express an opinion without being labelled a groupie. No offence taken, but it is a shame.

Edited March 28, 2015 by penelopesimpson

[penelopesimpson]

Did someone really pay Shechter to create that piece of absolute dross?

Yes, and some of us loved it.

[Thecatsmother]

I could have watched 4T's several times over and agree that more Balanchine would look lovely on the company.

 

Untouchables failed to touch me in any way but I appreciate that dance is a subjective art form. I think my main question would be-in what way did this piece 'showcase' a company with so many talented dancers?

[Jillykins]

I am so enjoying reading other people's views of the programme, even if my feelings go with a minority. I loved the Balanchine, didn't want it to end. Zenaidas long legs suited Balanchines choreography so well. I don't think the leotards help the girls show the lovely lines they are making and I hate the black floor and black tights of the boys. Yuhui continues to delight me with the purity arm and leg positions. We are so lucky to see both Edward and Steven at the peak of their dancing. I felt cheated when the curtain came down, I wanted more!

Untouchable, I am not a groupie, never seen Shechters work befoRe, other than at the Insight but I loved it. I can't helap it I really enjoyed it. Does it belong in an evening of ballet? I don't know. All I can say is that the movement, grouping and passion had me throbbing along with it. Our wonderful young dancers were totally committed and must have learnt a lot about movement in rehearsals.I wasn't keen on the costumes and would have liked more light at times. Congratulations to the orchestra for the very different kind of music and their skill in performing it.

Song- another contrast and I could happily do without the singing! I am sorry but I found it off putting and masking some of the dancing.however I realise it is an intrinsic part of the ballet. What a joy to see Carlos in such fine form. Slim of body, powerful in dancing and with beautifully pointed feet. For me his feet have sometimes let him down in the past. Last night terrific! Marienela was as beautiful as ever, what a great trio they made. I always enjoy Thiago but felt he was a little heavy legged at times but, as always a terrific partner to Carlos and Marienela.

A truly enjoyable evening of contrasts and different opinions. How lucky we are that we all have different views,likes and dislikes. As a new girl I would not wish to offend anybody and do enjoy reading other people's opinions. Thanks to Balanchine, Shechter and Macmillan for all being innovators in their own time!

[John Mallinson]

An illuminating exposition of the themes of Das Lied von der Erde by Leonard Bernstein

[Mary]

 I  do think it's reasonable to ask The Royal Ballet to perform ballet; experimental contemporary dance can be very good , but why do the RB have to spend precious time and money on it? To me there is already not enough time and money for either the dancers, or the audience, to spend performing and watching ballet,  so I do resent the  waste of one third of the programme on something that isn't ballet at all in any way. After all if I go and see a flamenco group- which I do- I don't want them to launch into Swan Lake, and so on and so on.

I want to see the RB dancers do what they are trained to do. Yes it's great to see so many young dancers on the stage but in what way was their special training related to what they were doing?

Many posts have listed countless ballet works people would like to see, and  often they haven't been seen for years. It is hardly as if there is any shortage of good ballet works to stage.There are also talented people in the company whose work does not get onto the main stage-but  I refuse to believe the Shechter piece was better than anything they could produce. Why not an innovative new ballet piece by one of the RB's own choreographer dancers?

[Timmie]

That about sums up my view Mary. Months ago I booked to see a triple bill at the ROH performed by the Royal Ballet, call me naïve, but I expected to see three ballets. Untouchable may be great in its genre, but if I had wanted to see other genres then I’d go see them but I wanted to see a ballet!

[Timmie]

Jillykins, I agree with you about Zenaida, watching her was like watching all those old youtube videos of the NYC Ballet suddenly coming to life. The other dancers were good but she just totally hit the spot.

Edited March 28, 2015 by Timmie

[Fonty]

 I  do think it's reasonable to ask The Royal Ballet to perform ballet; experimental contemporary dance can be very good , but why do the RB have to spend precious time and money on it?

 

Especially if, to judge by the Swan Lake thread, they don't seem to have the time to make sure that every aspect of their bread and butter classical ballet is as good as it can be. 

 

i've not booked to see this triple ballet, because the Balanchine would be the only piece I would want to see.  I normally love MacMillan, but I do find Song very dreary, I'm afraid.  How are ticket sales doing? 

[ChrisG]

I am so enjoying reading other people's views of the programme, even if my feelings go with a minority. I loved the Balanchine, didn't want it to end. Zenaidas long legs suited Balanchines choreography so well. I don't think the leotards help the girls show the lovely lines they are making and I hate the black floor and black tights of the boys. Yuhui continues to delight me with the purity arm and leg positions. We are so lucky to see both Edward and Steven at the peak of their dancing. I felt cheated when the curtain came down, I wanted more!

Untouchable, I am not a groupie, never seen Shechters work befoRe, other than at the Insight but I loved it. I can't helap it I really enjoyed it. Does it belong in an evening of ballet? I don't know. All I can say is that the movement, grouping and passion had me throbbing along with it. Our wonderful young dancers were totally committed and must have learnt a lot about movement in rehearsals.I wasn't keen on the costumes and would have liked more light at times. Congratulations to the orchestra for the very different kind of music and their skill in performing it.

Song- another contrast and I could happily do without the singing! I am sorry but I found it off putting and masking some of the dancing.however I realise it is an intrinsic part of the ballet. What a joy to see Carlos in such fine form. Slim of body, powerful in dancing and with beautifully pointed feet. For me his feet have sometimes let him down in the past. Last night terrific! Marienela was as beautiful as ever, what a great trio they made. I always enjoy Thiago but felt he was a little heavy legged at times but, as always a terrific partner to Carlos and Marienela.

A truly enjoyable evening of contrasts and different opinions. How lucky we are that we all have different views,likes and dislikes. As a new girl I would not wish to offend anybody and do enjoy reading other people's opinions. Thanks to Balanchine, Shechter and Macmillan for all being innovators in their own time!

This is pretty much how I saw it too (with one exception that I'll come to later).  I've seen NYCB do Balanchine and it's hard to believe any of their dancers would have been better than Zenaida in the final variation.  The whole thing was a complete delight and has, I think, now become my favourite Balanchine piece!  I too liked Untouchable but could sense the unease around me from the audience about what they were seeing.  My final thought was that if I'd seen it danced by, say, the Rambert, then I would have thought 'wow!', but as it was, I just wondered if it was the right piece for the right company.  I saw English National Ballet do their two commissions from Akram Khan and Russell Maliphant last year and they both seemed right for a ballet company to be doing, but I'm not sure this piece did.

 

My one gripe with you   would be your comment about the singing.  As one who has sung with the Hallé Choir in performances of Mahler 2 and Mahler 8, I was drawn to this ballet just as much by the prospect of hearing Mahler's glorious song settings as by the ballet itself, and I wasn't disappointed.  Samuel Sakker sang the tenor songs extremely well, but his is obviously still a young voice and will improve with age.  It would have interesting to hear Tom Randle sing the part, as it looks like he is doing later in the run.  Catherine Wyn-Rogers started a little uncertainly (it must be unnerving to come out cold and sing so exposed on the corner of the stage like that, even for seasoned opera singers!),  but her singing grew in strength and stature as the performance unfolded.  Her final 'ewig, ewig' was breathtakingly beautiful, matching perfectly the final procession of the the three main dancers down the stage.  I felt time was suspended at that point and I'm not ashamed to say I had tears in my eyes.

[Bruce Wall]

 How are ticket sales doing? 

 

According to the ROH web site all performances are sold out, Fonty.  Proudly so.

 

For me, the Balanchine last night was the highlight - but then that was always going to be case inthe greatest likelihood.  It was, after all, Balanchine in the late 70's and early 80's in NYC who truly sealed my passion for drama through ballet and who taught me - in the most meaningful manner - a true appreciation for music given that such was always Balanchine's master.  He called himself 'a servant'.  While I didn't feel that last night's was the most inspired rendition of 4T's I'd ever seen, I was much enamoured by the input of Messrs. McRae and Watson and the unique perfume that a certain Ms. Naghdi brought to her supporting role.  She very much had the Balanchine stretch living in her body and it was a joy for me to behold in this masterwork.  

 

I also seemed to enjoy the Song of the Earth by MacMillan more than some others on this board appear to have done.  I very much like the music and felt that the tenor rendered it especially well under the carefully husbanded baton of the outgoing Barry Wordsworth.  Nunez - as ever - was radiant - and served her choreographer brilliantly whilst continuing to incite her own personality unto its full fruition within the striking largess of this role.  Thought too that Campbell and Dyer were compelling in their support.  

 

As to 'Untouchable'; there were elements of the Shechter that I admired.  I glowed with glee at the 'Nigel Farage Chorus'.  (I seemed to have been alone in that amongst my section of the amphi.  I don't think the audience otherwise 'got it'.  I giggled with the certain knowledge that such will surely not be long sustainable.  There could be no question but that the commitment of the young RB dancers was obvious.  The determination of their energy brought a fervor to the militaristic aspects of the piece.  While I could certainly see Shechter honouring certain key/current RB influences (e.g., the occasional hyper-extended pulls favoured by McGregor and the rough-hewn staccato chants as enervated in Acosta's work) I felt that somehow Hofesh Shechter did not exactly meet the RB in an equal compromise (which I thought surely to be the point of any such enterprise).  Indeed, he employed - apart from the most cursory and basic detail - no classical/neo-classical elements in his dance making here.  I, myself, came away feeling that this work could have been done by any number of contemporary ensembles in any number of locations right now.  Furthermore I thought it might well have been best suited to the much admired ROH community dancers where it might have been developed in their Thurrock base.  I'm sure their appreciation levels would have been vast as well.  Indeed, they might well have brought an even keener fever to the obvious edge of this work.  I, myself, have felt for some time that Shechter's work is becoming a tad repetitive and felt 'Untouchable' was again in a very similar mold.  I had so hoped that with the additional challenge/benefit of the RB dancers this might not have been the case.  

 

I, in part, agree with Timmie above.  There are so few ballet companies in this nation - and many more contemporary ensembles.  With the UK media devotion too largely given over to Contemporary dance (e.g., BalletBoyz - both with The Talent and before; Matthew Bourne and DV8) there are I think many more opportunities for UK contemporary choreographers to exercise their dance imaginations than there are for their balletic brethren.  For this reason I SO admire Peter Martins at NYCB who - for OVER 40 YEARS - has insisted that the works created for NYCB - be it for a Diamond Project or for the Choreographic Institute or for a basic NYCB season piece - be fundamental in their use of a 'balletic idiom'.  That is one of the few mandates.  That requirement certainly still gives vast scope but it also ensures that the artform itself is enhanced; that the language of the ballet might somehow too move on.  While I have not always admired Martins own choreographic output (with the exceptions certainly of such fine pieces as Ash and Fearful Symmetries - the scores for both of which - as with so many - he - like Balanchne before him - as in 4Ts - commissioned) - I do heartily applaud his firm intent a la the balletic idiom and I feel confident that it will ensure Martins' place in the long term of balletic/dance history.  Personally I would like to see that same - given the relative paucity of opportunity - undertaken by the RB in a concerted effort to maintain a similar balletic endorsement for this nation.  With the talents on display surely this fine Company deserves it.  

Edited March 28, 2015 by Bruce Wall