LACAD

What an embarrassment.

I honestly don’t see this affecting the repertoire at all. I could sound blindly optimistic to some in the forum, but I doubt they’ll be throwing in dance battles at company class anytime soon.

This is definitely more of a stateside issue, and I think more specifically this is about second/junior companies (they mention moving onto the bottom rank). Junior and second companies have a reputation for abysmal pay and I wouldn’t be shocked if some even asked for money. I’m fact according to a Dance Spirit article from 2013; “Sometimes. You might get a salary that’s enough to live on. You might get a weekly stipend. You might be paid per performance. But at some organizations, the second company is a pre-professional program, rather than a paying gig. In that case, you might actually have to pay tuition.”

Great review Christine, I’m glad some of the pieces transferred stronger in the theatre than online. In regards to my use of the word ‘consternation’ I don’t mean it too strongly. Just that sometimes an online audience can be a bit more discerning than one in the theatre that’s able to soak up the buzz and atmosphere. It’s easy to judge a work a little more harshly when you’re not there, and perhaps I may have done that with some of the pieces from that night myself!

About time! Congratulations to her ❤️

I can’t either with it’s current layout, but the last time I saw it was maximum 30 dancers, perhaps less.

This evening saw the premiere of the limited stream - ending on Monday at 10pm CET - of New/Works, by Stuttgart Ballet. An evening of contemporary ballet choreographers attached to the company’s history as part of their 60th anniversary. The quadruple bill is bursting with big names, and the company is rightfully very proud of the many great choreographers they’ve commissioned and had in house. It’s refreshing to see a major company stream an evening of mostly brand new works, leaving their performances to the consternation of a potentially much larger audience than the theatre can even fit. And my mind goes to the word ‘consternation’ primarily because in my view this is a rather mixed Mixed Bill. Christian Spuck’s ‘Cassiopeia’ is a different venture for him (something he admits in his interview, there’s one for each choreographer bar Forsythe). The work is largely conceptual and abstract and he’s become much more known in recent years for full length story ballets. The piece shows the great contemporary talent of the company, particularly the arresting Elisa Badenes, but it was rather forgettable to me. The costumes and indeed the choreography recalls Kylian, even one of the music selections is used in his Bella Figura, but it feels sort of like an imitation of Kylian. There were some interesting passages of movement but they seemed to get swamped in rather dated ‘contemporary’ ideas. I found I had the same issue with the other premieres. Marco Goecke’s intense duet Nachtmerrie felt rather one note. The impact and movement in his works are always striking, but it can be almost unyielding. I was amused by his choice to include a recording of Lady Gaga singing her pop anthem Bad Romance as a raspy cabaret chanteuse to piano, but that was the most interesting moment in the piece for me. Edward Clug’s Source is an aesthetic minimalist’s dream with its plain costuming, sets, and sleek use of the lines of the body. But despite a very physical and playful pas de deux performed by Rocio Aleman and star principal Friedemann Vogel, Clug - like Goecke, stuck with what he knew. The piece neither really took off or had a hook, nor was a thoughtful meditation. It was just… neutral. I say all this still believing that it is better to produce new works than stick with safe bets, even if that leads to a dud. And while I wasn’t a huge fan of the previous works I still admire the choreographers and the intentions of Stuttgart Ballet. Yet I did find myself waiting patiently for the “safe bet”, and boy was I glad. Forsythe’s Blake Works I has seem to have drawn superlatives since its premiere in 2016, and finally having seen the work I’m inclined to agree. Unlike the other works, this ballet doesn’t take itself seriously and quite aptly has a wonderful summery vibe, yet it is so rooted in pure academic ballet. The piece allows all ranks to shine, and while the dancers visibly aren’t so used to the breezy dynamism or intricate corps patterns of Forythe’s style, you can really see their joy radiate through. And what makes this piece really stand out is its episodic nature. While I certainly don’t think dance without a story needs to follow a specific layout, it needs to be interesting enough to rise above the need for an arc. In Blake Works I, if you’re not too fond of one section, there’ll be another shortly after with a completely different approach and ambiance. I’m excited to see it live next Spring in Sadler’s! One thing to note is that some viewers complained in the live chat about Forsythe’s wish that the piece is filmed neutrally, from the front of the stage, without close-ups, and with one camera. I almost preferred this as I can take it in like a live performance but please, consider the screen you watch this on. Overall I’d recommend watching if you want to become more familiar with Stuttgart’s dancers (newer addition and Lausanne prize-winner Mackenzie Brown gets lots of deserved attention), or to give the world premieres a try. But I’d definitely say the stream is worth checking out for the Forsythe (beginning at 2:27:00). I did find myself thinking about the recent and obviously warranted exploration of streaming theatre. I sincerely hope this trend of free or cheap streams continues once things get back ‘to normal’. I understand some smaller companies need bums on seats and it’s just not economically viable. But I hope bigger/wealthier companies continue to take full advantage to showcase their rep, dancers, and company to as wide an audience as possible.

Flanders has downsized considerably in the last few years. Since the merger with the opera company I imagine this was a financial choice. I’m not too surprised by this move since Cherkaoui’s work has long been in the repertoire of Geneva, the best of luck to him in Switzerland!

Really quite disappointed with these prices.

From my own experience bringing friends to the ballet who are my age (early twenties), many really like the choreography, music, ability of the dancers, and storyline, but disconnect with the ‘frippery’. Most friends’ reservations are that it’s hard to escape in an art form that is so formalised and reflects mostly on historical periods. So when I hear Acosta talk about making these ballets reflect today, I wonder does he mean simply updating the setting of these existing ballets? Making them a little less formal and a little more personal?

I think that the Royal Ballet is and always will remain a largely classical company. Wanting to reach a wider audience with a wider repertoire is frankly their prerogative, but the classics will always bring the big crowds and even the most radical of directors will recognise that. While I agree there should be a place for the 20th century heritage works (particularly Ashton) rather than just rehashing Tchaikovsky ballets, bringing in living contemporary choreographers won’t negate or erase the company’s classical side.

The lack of women at the soloist ranks could mean serious opportunities for those at artist and first artist hopefully! I’ve heard that in some companies newly promoted principals still perform a few of the typical “first soloist” roles for their first principal season. Perhaps to help with the sudden feeling of added pressure that many principals face after promotion.

I think O’Sullivan is definitely a favourite, she’s got a unique sparky quality that will make her stand out. I think Kaneko of course will no doubt become a principal, hopefully soon. As for Magri, I worry she may fall under the same fate of Choe, a fan favourite that for one reason or another doesn’t quite make that final hurdle. Unlike O’Sullivan; Magri is far more typecast in “sassy” roles, hopefully her swan lake debut will let her flex her other abilities. Personally I’d be very happy to see Stix-Brunell promoted, she has such brilliant artistry and really embodies every role. For someone with such a rapid rise to her rank I wonder why she isn’t brought up in these conversations. I think in a company as large as the royal there shouldn’t be a need for every principal to be a “catch all” principal, who *must* possess virtuosic technique with a bit of artistry artistry (this isn’t to say that the principals are all phenomenons without any artistic qualities). I feel the focus should be on the fact that there is an open spot to fill for a male principal currently, and I personally think Corrales is the most deserving despite his short time with the company. Would be equally happy to see Bracewell or Clarke clinch it, and perhaps they’ll want to keep a healthy amount of British dancers at the principal rank (not something I think matters but has been brought in up before). Regarding the other ranks, I’d like to see Maeda, Sissens, Stock, and Dias climb the ladder. And while this isn’t probably a long shot for now but I’d really like to see Pajdak move up a rank- if not, get a good amount of featured roles to work with. In the same way as Stix-Brunell, I think she has a presence that surpasses the technical.

I think the distinction is used because ballet (in all forms) derives from one of Europe’s biggest and oldest codified dance traditions. So even if it’s neoclassical, contemporary, or romantic, it’s all derived from the classical school. And while of course ‘classical’ technically refers to a period, ballet as a dance form is classical in the sense that it is old. It’s pejorative, but it makes sense (at least in my eyes). I do wonder if dancers in other classical forms would be seen as classical too? I wonder has Khan or Jeyasingh in her more Bharatanatyam derived works been categorised as ‘classical’? And if dancers in other ‘old’ forms of dance (Irish, flamenco, Balinese etc.) have been a part of the category? Perhaps I’m overthinking!

Well gauging from everyone else’s reaction so far, I feel quite alone for my excitement with this season! I understand that like the RB’s we won’t have many mood lifters, however Rojo has never promised to be a conventional director and I’m glad that ENB are sticking to their guns with a rather unconventional lineup. Perhaps part of my excitement is that I’m moving over to London in August and will be able to see as much as I want (already have my ticket for Creature). I’m also curious to see Rojo’s take on Raymonda; my major issue with it has always been the flimsy and rather boring storyline. I’m a huge Forsythe nerd and I gather through social media that that is the programme that the dancers are most excited about. I think that this programme with Playlist and even certain moments in the other works will bring the sunny side that this season needs. Dancers universally seem to love doing his work, and his style allows for a lot of individual freedom so I may even go a few nights to see how different casts interpret it (especially with a ballet as improvisational as Approximate Sonata). It may be the London season closer but I think it’ll really let the dancers flex all their muscles and have some fun.

Dutch National Ballet continue their streaming programme with a weekend of performances of some of Hans Van Manen’s most famous works, being the resident choreographer, the dancers perfectly capture his style and wear his works well. The highlights of the mixed bill were the first two works. The afternoon begins with ‘Adagio Hammerklavier’, a piece I had seen performed by ENB a few years ago which didn’t strike me then, however this performance buzzed with an underlying urgency. The dancers were hungry and didn’t just go through Van Manen’s angular motions but also found that essential underlying emotion and restraint. Next the iconic Pas de Deux ‘Sarcasmen’. In this case the performers went with a more humorous interpretation. Jozef Varga’s adolescent petulant charm was the perfect foil to Floor Eimers’ easygoing yet in control demeanour. Rachel Beaujean- who provided commentary throughout the programme- explained that every couple brings their own interpretation to the dynamic of these characters, this couple certainly brought a fresh interpretation which I prefer to the overly stoic style of some other couples. Eimers is definitely a star on the rise, and after the retirement of two of the prominent Dutch dancers of the company she could well be principal material. The evening also consisted of the earthy ‘Deja Vu’ danced with great athleticism and power by Young Gyu Choi and Erica Horwood. The melancholic ‘Trois Gnossiennes’ with a featherlight Anna Ol. But by ‘Two Pieces for HET’ and ‘Variations for Two Couples’, I felt a bit tired of the Van Manen style. They’re both also great pieces, but it is true that an evening of Van Manen can be a repetitive experience (funnily this criticism of him recycling movements was the inspiration behind the title of ‘Deja Vu). In ‘Variations’ - the final piece - one almost senses a retrospect of Van Manen’s works before, elements of ‘Solo’, ‘Five Tangos’, and even ‘Adagio Hammerklavier’. He shows us all the flavours he’s got, it’s not many but nevertheless delicious. There’s one more stream tomorrow, I’d definitely recommend the programme to those who are willing to get a thorough reading on all things Van Manen. It’s also another great chance to see the world class dancers of the company, HET have been providing us with a brilliant variety of works and live performances, which is not only culturally enriching but brilliant exposure for their dancers.

I was very appreciative to have access to the programme being a resident outside of the UK! For me I really enjoyed rewatching ‘Hollow’ by Stina Quagebeur (especially to get to appreciate the expressive Emily Suzuki) and to rewatch Shobana Jeyasingh’s ‘Contagion’. It was also lovely seeing Osipova take on the pas de deux from ‘Sacred Monsters’ with Akram Khan. The pieces that really wowed me were in fact the works that were entirely new to me, ‘Shades of Blue’ and ‘BLCKDOG’ (which lived up to its hype imo- hopefully I’ll get to see the full work soon). I was also quite struck by the punchy short solo choreographed by Oona Doherty, who seems to be a rising star here in Ireland. Overall a programme with truly something for everyone!

The POB goes digital this year with its annual gala, and thanks to support from donors and sponsors Chanel and Rolex is viewable to all for a limited time on their website. While the debate over the future of the Paris Opera Ballet’s tightly held traditions rages on, it was nevertheless interesting to see one of their more wholesome customs; the Défilé. Despite being masked one could still easily spot out their favourite danseurs/danseuses, a notable addition to the Étoile rank is the newly promoted Paul Marque who beamed as he took his bow. However (perhaps in accordance to custom) there was an insistence throughout the stream on bowing... in complete silence. At first it was shocking- a grim reminder of the current state of the performing arts- but later just became awkward and unnatural. The gala got into full swing with the iconic ‘Grand Pas Classique’ with new costumes by Chanel. The costumes were pretty, not necessarily spectacular, but what was spectacular were the performances of Étoiles Hugo Marchand and Valentine Colasante who took on those notoriously bravado variations with a grin. Colasante’s right foot may have been cramping after the relevés but her joyous presence would have us think it was all a walk in the park! The second piece was an all Étoiles performance of Robbins’ meditation on love and relationships ‘In the Night’. Each pas de deux is different, though in this performance not so much. I felt a certain limpness in each couple, not necessarily committing to the characters as much as they were to the movement. I had the impression that it took them about a minute or two into the pas before they came to embody their characters. The youngest pair- Léonore Baulac and Germain Louvet -were lovely to watch on a physical level, but it felt like things only got interesting between them just as they left. The glamorous Alice Renavand and smouldering Stéphane Bullion cut to the chase a bit faster, however I didn’t feel any urgence amoreuse from the cast until the very last movement. However I could just be splitting hairs here, the POB may just be sticking to a more pragmatic and Parisian approach to romance. What really blew me away was the champagne at the end, Forsythe’s ‘The Vertiginous Thrill of Exactitude’. The five dancers did away with all the previous formalities and just danced. While admittedly I am a big Forsythe nerd and do love to see his work, I feel having this 10 minute marathon may have been a tad cruel to the dancers who are still getting back into full performance shape. Yet notwithstanding the occasional wobble, the dancers faced the task with aplomb. They embraced the intentionally challenging choreography and the elusive yet necessary element when approaching Forsythe rep, risk. Special mentions to the men (bouncy Marque and precise Premier Danseur Pablo Legasa), and spitfire Première Danseuse Hannah O’Neill (who, along with Sae Eun Park, is surely up for Étoile consideration). But the champion of the work was Étoile Amandine Albisson, musical and playful. She breezed through the quick directional changes and rapid engagement of legs and arms, and could seriously take up a side gig as a martial artist with her big swooping legs. Overall it was a pleasure to see the Paris Opera Ballet facing this pandemic with its typical brave face of brilliance and class. While the company’s image may still feel a bit haughty, they also continue to try and push the boundaries of the art form and endeavour to set a standard. Whether you agree with their methods or not, their intentions are earnest and to be applauded - hopefully an applause that the dancers will get to bow to.

I must agree with Irmgard that Maliphant’s piece showcased the brilliant dramatic abilities of Reimar and Oliveira. While I wasn’t particularly fond of this work from a choreographic standpoint I loved the visual effects, perhaps seeing it in person has a stronger impact. One of my favourite works of the series was undeniably Jolly Folly- the final addition. The cast clearly threw themselves into the young Arielle Smith’s slapstick-like movements. The wacky, silent film inspired work allowed the dancers to switch between the mysterious and aloof à la detective noire and full Chaplinesque qualities. This worked particularly will the men, especially with the visceral Erik Woolhouse and the acrobatic and charming Rhys Antoni Yeomans (a frankly underused standout from the corps de ballet). I was also quite impressed by the ever commanding Ken Saruhashi and Georgia Bould, who, despite being the most junior ranked of the women, naturally embodied a Marlene Dietrich figure to great effect. I hope Rojo commissions Smith again, the dynamism and modern approach to dance would certainly slot in well with the repertory she’s been bringing in and the firecracker style of the dancers.

I must say I really enjoyed this shortened version, I’m not a major fan of the party proceedings in Act 1 and the battle so it was nice getting to see the highlights. I was curious about why they picked Mair as Clara for this film as she’s the most recent addition but probably the motive was to create a buzz around their newest addition (I’m hoping there are more across all ranks to come once things slowly return to normal following the sudden loss of a number of dancers). Mair was light and cheery, with the most effortless arabesque and a brilliant weightless quality, and Arrieta shined. The diverts and waltzes were all brilliantly danced but of course the highlight was the Grand Pas de Deux. Takahashi was especially sublime in this, and frankly is one of the finest sugarplums I’ve seen- utter control and ease, probably one of the finest classicists in the company.

I am generally for this idea of Laid in Earth being something new. Despite the cancellation of the run in Sadler’s Wells, ENB stated that these would be dance films rather than filmed dance works (therefore being different from the staged production). And I expect in particular Arielle Smith’s work will be equally as cinematic. That being said, Laid in Earth feels like the first work so far to really flex its cinematic muscles - yes the cameras provided brilliant intimacy in Take Five Blues, but this feels like a film that happens to express itself in dance rather than a documentation. I agree that Cherkaoui’s choreographic style is a bit predictable with its constant undulation and fluidity, but it was perfect for the marvellous Adams (how is she only a junior soloist) and Cirio who seem to just click with contemporary styles which require a full-body control. Takahashi and Streeter also did very well, their partnership in this film made me remember their stunning performance in the leading roles in Khan’s Giselle and while Erina may be more known for her classical roles she certainly is able to keep up with the rest of the cast who have all developed reputations for their performances in works by Khan, Forsythe, and Bausch. While the rotting style was a bit disturbing this didn’t deter me from the work. The aesthetic is intentionally gothic and macabre (though I felt the giant Graham buns the women were given were a bit odd). I really enjoyed the parallel worlds of the work, and though I generally believe that not all works beg to be analysed, I couldn’t help but think about the visual effects and the dance style and what it could possibly mean. Much praise to the ENB team for this successful and innovative season, hopefully in the future we get to see more new works as well as recorded performances and documentaries on demand. Now if only they’d released this specific work on Halloween!

Just watched the newest instalment of the digital season; Yuri Possokhov’s ‘Senseless Kindness’. Which is based on Vasily Grossman’s political, wartime, family-drama novel ‘Life and Fate’ (though it seems quite freely interpreted with Possokhov himself stating that the story is secondary). The work is full of characterisation for the leading roles played by Hernandez and McWhinney, and their dynamic works well. Physically they’re both tall and possess the same sort of full bodied approach to the emotional interpretation of the characters. Despite the reputation of Hernandez not necessarily being the most expressive with his face and body language, one can’t deny his great technical abilities which he employs here quite well to express the character’s emotions. McWhinney meanwhile is such a natural storyteller, and not only physicalises the emotions but embodies them with her facial expression and posture. She’s entirely believable. It’s no surprise that she’s performed as Manon, Juliet, Cinderella, and Giselle in their classical version- I would personally like to see her take on Khan’s Giselle. She’s a brilliant dancer and while she’s not a technical firecracker (though only in comparison to her fellow colleagues at ENB who’s calling card among their rising stars is virtuosity), she’s a true artist; making her worthy of promotion in my eyes. I’m not sure if as a pair they’ve performed many times but they balance each other well, and perhaps can draw out from the other dancer what they could work on (McWhinney on panache and Hernandez on dramatisation). This was my first time getting to see Frola and Hawes dance, and I was left a little disappointed in the lack of content they were given. I noticed in the behind-the-scenes video that Rebecca Blenkinsop and Skylar Martin were in the bubble as understudies and I almost wish I got to see them instead- Blenkinsop is young but could use the break and has the right gooey port de bras for Hawes’ role, and Martin seems to not necessarily get much in the way of roles despite his soloist rank (though perhaps this could be because of the audition system that ENB are known for using under Rojo). Overall I felt the work was pretty but not necessarily engaging, it was mostly worth it to see McWhinney in action and assert in my mind that she is one of the companies finest dance-actors. The visuals and direction were also very lush and gorgeous. I wouldn’t immediately recommend it, but if you’re a fan of Shostakovich or anything full of ‘Russian Soul’ I’d say give it a whack!

Kizzy was the highlight of the performance for me, she really commanded the stage. I liked the idea of an ageless witch rather than an aged hag. Ida brought a special take to the Sylph in act one, self aware of how desirable she is and eagerly watching the effect she has on James. Jon was a good James, good in the sense that I’d love to give him a slap- so job well done! While I enjoyed the characterisation I noticed the dancing left me feeling a bit flat. Very effortless and natural, so true to the Bournonville style- but I missed that additional sense of spring and weightlessness in their jump. That being said strong jumps are the first to go and the last to come back, and lockdown has probably taken its toll. I must say I didn't take too well to the design but commend the company for trying something different with one of their trademark pieces, while I really liked the lighting and stagecraft in act one I felt the bright pastels of act two made the wonderful corps blend into the background in quite a literal sense. Overall I enjoyed it, its not my favourite iteration of the work but I liked the added layer of Grimm-like macabre.

I gather that Forsythe is quite private about his works. I’ve struggled to find any professional recordings of his works other than One Flat Thing Reproduced and Love Songs, any full work of his I manage to find is usually recorded from the audience or a rip from an archival recording (and they’re normally removed shortly after). I also noticed that despite his works being in the repertory of most companies, it wasn’t anywhere to be seen during the digital seasons. I’m a student so $180 isn’t feasible. I’ve seen some other American companies like PNB (and I believe SFB) are allowing people to buy tickets for individual programmes or a full season ticket which works out at a discounted rate. It’s a shame since I’m a huge admirer of Forsythe and of Boston Ballet but the price was just inaccessible to me.

Brilliant review Irmgard! I agree that the lighting was a touch dark but I loved that they used a real Director to bring that extra layer of cinematic savoir-faire. Intimate yet joyful.