Richard LH

Anyone been tempted by the Friday Rush?   Two great seats for  Monday's Naghdi/Kish matinee are currently still available (M27/28 aisle seat in stalls).

This year, I have been very fortunate to experience great live productions of Giselle, The Winter's Tale, Manon and Swan Lake, and also seen, at the cinema, the Bernstein celebration and Bourne's Cinderella (the latter being the only one I haven't really enjoyed).  All these have a common thread -  largely serious in content with little if any light relief, and  (in the main) being tales of loss, death and separation.  

Most classic ballets seem to be that way inclined, and being pretty unfamiliar with many other works, I was wondering what is out there  in terms of  lighter, even comic, themes.

I  can think of The Nutcracker of course,  plus there is La Fille Mal Gardee (at Sadlers Wells later this year), and Don Quixote (at the RB next year). But can people recommend favourite other ballets that are basically  cheerful and bright?

2 hours ago, capybara said:

These are lovely reviews, Richard, but I wouldn't like to think that we are going to start quoting the critics on a discussion thread. After all, the links page is there for us all to read. 

 

Actually, I thought that there was a forum restriction about quotations.

Oops, sorry capybara...I did wonder if this might be a Wrong Thing To Do,  but couldn't help myself !  

I'm pleased to see Takada getting some lovely reviews as O/O:

"Takada as Odette / Odile is a revelation. Promoted to principal in 2016, she has the strongest technique, untroubled by the demands of the role, paired with the most exquisitely expressive arms. Physically she is a dream, speaking with her body what her face fails to say."   

Vera Liber,  British Theatre Guide

"Casts vary, but when we attended Akane Takada in the dual role of Odette / Odile was something special. As the former she reveals excellent shape as the tensions that pulsate through her body create the lyricism. As the latter she is flashy and seductive, while the sheer extent to which she can tempt and manipulate with her movements is also attributable to Scarlett’s own vision".

Sam Smith,   Londonist

It was another great performance by the whole cast tonight, and it was good to see Bonelli and Takada gelling so well at short notice. James Hay went down very well, and I loved Kay and O'Sullivan in the Neopolitan.

I think Indigo sums up Takada pretty well above. If anything I think she improved tonight  on her fine performance on Saturday both technically and dramatically, although it may just be that I am getting more familiar with, and appreciative of, the nuances of the choreography and mime now (third time)! Perhaps because of this, and the fact that I had a better view for Act 4 than before - (I even spotted the lake, Indigo !) the ending felt more powerful and logical too this time. 

1 hour ago, MargaretN7 said:

James Hay as Benno with Claire Calvert and Yuhui Choe as sisters.  

Very lucky to be here again for these three, let alone Takada and Bonelli....plus Heap again in the Spanish...

BTW the swan wings have flown....

On 22/02/2015 at 16:05, Jan McNulty said:

I loathe jesters and I can't stand the happy ending productions.

You should be OK on both fronts with the  current RB production, Jan, if you are able to see it (which I hope). 

On 22/02/2015 at 09:50, Melody said:

One thing I really loathe in these dramatic ballets is the Russian habit of stopping after every part of all the major pas de deux to bow and curtsey and milk applause from the audience. It wrecks the atmosphere, which is more important in Swan Lake than just about any other ballet (except maybe Giselle).

I agree this can be annoying  if it completely upsets the dramatic  flow, or if it seems the  pause is created by the artists  simply in order to solicit applause. But there are occasions where it quite fits in dramatically -- for example when a dance is being performed for an on-stage audience of nobles, peasants or whatever (not an uncommon occurence!),  then the applause which that on-stage audience would provide in the real world  (but don't in the production) can be usefully replaced by the actual audience. I see no problem with that. Also, occasionally audience applause  after  a wonderful  pdd or solo can be so heartfelt and prolonged that we can forgive the artists if they  briefly acknowledge it back (even at otherwise inappropriate moments - but as an exception, not as a rule).  It has seemed just about OK on a couple of occasions during the current Swan Lake run. 

3 hours ago, penelopesimpson said:

Takada gave a creditable--if detached--debut of Odette/Odile.  Dramatically she was weakest in Act II, carrying one frightened expression throughout the act and seldom deviating from that. 

3 hours ago, penelopesimpson said:

For subsequent performances she should work to be more physically and dramatically expressive in both swans.

(Sorry the quotes above are MRR's originally - I mistakenly quoted penelopesimpson's re-quote, but I can't find a way  to delete or re-attribute quotes when editing)! 

Interesting - I  actually loved  her dramatic approach - which I would characterise as subtle and reserved, rather than detached. I don't think her expression in Act II was simply frightened - there was a lot of pathos  and also a queenly quality there.   The character and the drama is also expressed physically, as you say, coming not  just in the face but in the whole body, and  (for me at least !)Takada's  graceful, and beautifully timed movements were indeed very expressive both as Odette and Odile.

33 minutes ago, ElleC said:

Anyone able to comment on Takada and Bracewell last night? I can't wait to hear as I'm very much looking forward to seeing this partnership on the 31st, and the rehearsal photos, as well KO'H's rehearsal of William at last week's insight evening, looked stunning!

I am struggling to find a suitable way of acknowledging  Akane Takada’s outstanding performance  as Odette/Odile. She commanded attention on the stage at every point. Technically brilliant  (32 fouettés ?  no problem...)  but also sophisticated, subtle,  mesmerising, charismatic, enigmatic, stylish … the list goes on. A vulnerable,  moving and regal Odette; an enticing, sexy, wicked Odile.  An amazingly  controlled, mature and nuanced display from the young Principal. 

William Bracewell as her  fitting, assured partner, well  portrayed  a naive young prince awe struck by his encounters with both Odette and Odile.

It was always going to be difficult to follow the first night, but to my mind, and judging by the prolonged and heartfelt applause, these two pulled it off brilliantly.

OK 15 mins. to go.  Wishing all the cast a fantastic performance!

It's strange how sometimes people see things differently. The NY Times reviewer, Roslyn Sulcas, is generally positive (if a little cool) about the opening night , but includes two particular reservations, one being the "peculiarly unbelievable" character of the Queen's advisor/ Von Rothbart; the second being the corps, which "often looked ragged" (?!)

For me, those elements were two of the best features of this great performance. It makes perfect sense (as much as any fairy story makes sense)  to show the evil  character behind all the spell-casting having a presence throughout the performance, and  trying to manipulate everyone to his ends. We can see V R's motivation  in this production, getting  Siegfried tied up with his daughter Odile to assist his power grab on the Kingdom.

As for the corps, I (and  every other commentator I have heard or read) saw only beautiful precise  formations and movement, danced perfectly together - it must take tremendous planning and dedicated practice. The production could not be a success without them, as Scarlett  acknowledged at the end. 

8 minutes ago, aliceinwoolfland said:

My review of the night is up, if anyone is interested in reading  https://aliceinballetland.wordpress.com/

Great review, thank you Alice...I love your Manon review too..☺️

There is another 5 star review by Mark Pullinger at Bachtrack.

1 hour ago, Sim said:

A lovely photo taken just after the performance.  With thanks to Andre Uspenski. 

Shame that more of the gentlemen could not be squeezed in...!

46 minutes ago, Jan McNulty said:

Getting ready for tomorrow's links!

 

Reviews - Royal Ballet, Swan Lake, London:

Louise Levene, FT

Zoe Anderson, Independent

Judith Mackrell, Guardian

Mark Monahan, Telegraph

Neil Norman, Stage

Gallery - Dave Morgan, DanceTabs

and we  are invited to post our own reactions here.... http://www.roh.org.uk/news/your-reaction-what-did-you-think-of-swan-lake

I cannot compete with MRR's earlier cool technical analysis; all I know that the opening night of  Liam Scarlett's new Swan Lake was one of the loveliest things I have ever seen.

Some  of the lasting  impressions of a really special evening…

A wonderfully lit brief prologue,  dramatically setting the scene for what was to follow.

Revelation of the castle grounds scene – transfixing, and then   throughout Act 1 the whole staging, the movement, and the music - so beautiful I just sat there with a stupid grin on my face. 

My first live Nunez performance – so controlled and consummate, with Muntagirov such a great partner for her.

Super bonus – watching   the three amigos (Campbell, Takada and Hayward), all given prominent roles, dancing to perfection. Exquisite skill, warmth, and joy in dancing from all three, and more great characterisation throughout the production from Campbell.

Opening of Act 3 – the spontaneous thrilled applause, for the fantastic set.  Then the equally fantastic costumes for the whole cast. The applause after the challenging solo dancing – not the done thing, of course,  but when Nunez knocked out the fouettés with such apparent ease, sort of saying "there you go !" I don’t think the audience could help itself, and the same with Muntagoriv’s brilliant turns straight after ( - a sort of “anything you can do” moment).

The corps of swans in Acts II and IV – such beautiful perfection in synchronised movement and posture.

The curtain calls, to a lengthy standing ovation, and framed by a seemingly endless  rain of flowers from on high…. a mixture of shared exhilaration, grateful thanks and no doubt relief all round. Hayward glancing across at Nunez, looking so pleased for her.  And the lovely hugs between Nunez  and Muntagirov …

13 minutes ago, Sim said:

I didn’t see Siegfried mime the ‘I swear’ sign to Odette, but I guess we are just supposed to guess that he has expressed loyal and undying love to her by that beautiful pdd. 

Something I don't understand about Swan Lake in general....if Siegfried swears his loyal and undying love to Odette here, how come the spell isn't broken? She stills turns back into a swan at dawn at the end of Act II.

2 hours ago, Lizbie1 said:

Here's a question I always want to ask: who were Odette's doubles? I thought it was Leticia Stock on the Prologue, but can't be sure!

Pretty sure it was Stock in the Prologue.

4 hours ago, Sim said:

 Poor old Siegfried....I much prefer it when he dies too, then at least he and Odette are together for eternity.....!

Well, he can always catch up with her later.....just the rest of his  lifetime with  Odile to put up with first !

An absolute triumph....so pleased for Liam Scarlett. Stage filled with flowers after the elusive Standing Ovation..brilliant staging, lighting, costumes, music.....and sublime dancing.... need to calm down now!

I thought I would posting to express my envy and to wish you all a fantastic opening night, but Unexpected Returns + Mad Impulse + Credit Card = Just got  two last minute tickets for tomorrow night! So we  can join in the excitement...!!   Then Takada and Bracewell on Saturday....good times....

I saw this at the local cinema (recorded) last night.

I agree with all the "painful, muddled, dark, depressing" etc. comments above.

I couldn't feel empathy for the roles - they were caricatures rather than developed characters, and mostly  unnecessary and  unappealing caricatures at that.

Much of  the choreography (when there was actual dancing)  seemed more akin to Cinderella the pantomine than Cinderella the ballet. But unfunny pantomine- highly over-acted and clichéd.

I couldn't  get what sort of person Cinderella is meant to be in this production. I suspect this is much more the fault of the production itself, rather than Ashley Shaw, who looks very talented. 

2 hours ago, alison said:

Actually, I've always thought the dress is pretty spectacular - it's one of the few ballet costumes I covet.

1 hour ago, penelopesimpson said:

Me, too.  Would love a copy.  And mighty awful I'd look in it!

I agree it looks great!    I just  think it rather contrasts  with her outer cloak in terms of the colour, and the extent of material; but perhaps I am reading too much into this, and  I will completely defer to others on how desirable it would be to wear it! 

Alison  yes I am sure you are correct about the necklace/collar.  She loved the thought of being beautifully adorned, and being rich, but at the same time is conflicted with the freedom and passion she will be giving up -  a conflict she shows again when she touches  Des Grieux's bed longingly, just before leaving with M. G. M.  But she thinks she can manage the conflict - as I posted earlier, in the novel it is made clear that  Manon  believes she can compartmentalise  giving away her body, and  giving away her  heart.

Towards the end of Act 2  it is the bracelet that symbolises  either the  pathway to a comfortable life, as Manon would wish  - (riches gained from selling her body, yet still available to be displayed, and even enjoyed, in the company of her lover) -  or , as  Des Grieux sees it, the awful contraint of her being in another's ownership. Hayward and Bonelli  played this out powerfully and I found Hayward's portrayal of the changing dynamics in this part especially moving.

Another contrast that struck me was that  between the grand  fur-lined cloak worn by Manon as she makes her striking entrance in Act 2, and the rather less spectacular black dress revealed beneath. Perhaps there is a symbol here of outer apparent glory but inner darkness...?