Sim

The opening night of English National Ballet’s Sleeping Beauty (Kenneth MacMillan’s production) was a ballet lover’s heaven. Here’s why: A maverick choreographer/producer, who pushed classical and neo-classical ballet to its limits, but whose respect for the classical idiom and heritage was deep (he understood more than many how important it is for any ballet company to keep the 19th century classics in its repertoire. Without them, how would classically-trained dancers be able to maintain their tough training? Or understand their artistic heritage?), ensured that he made a version of this most difficult of ballets in which every member of the company would want to dance, and with which every member of the audience would want to engage. Engage I did, and how could I not? The sets (by Peter Farmer), whilst perhaps not as lush as those of the RB and BRB versions, are very pretty and effective and make you feel like you want to be there, not sitting in the audience. The sets are enhanced by the atmospheric lighting of Neil Austin (thank you, thank you, for lighting the stage so that the dancers can be clearly seen from all over the theatre). The costumes (by longtime MacMillan collaborator Nicholas Georgiadis) are sumptuous and complement the dancers’ movements beautifully. The girls’ tutus in the garland dance and the vision scene swirl and bend like flowers floating in a gentle breeze and are sometimes hypnotic. The only glitch is Bluebird’s costume, especially the metallic silvery tights. Luckily, Daniel McCormick gave such a technically confident and joyous account of the choreography that I could overcome my dislike with no problem. Rina Kanehara made a fine Florine and together they soared and sang as bluebirds should. Beautiful. Shiori Kase was a lovely, benevolent Lilac Fairy, almost managing to perform her Prologue solo without a hitch, and I have almost stopped expecting any dancer to be able to do this. But she did it well, and made her presence felt throughout the ballet. James Streeter was a sarcastic and delightfully evil Carabosse, whose loud boos at the end showed how convincing he was. Not sure why the wicked fairy is made to look like Elizabeth I on a bad-hair-and-powder day, but hey, I just went with it. In the other Prologue solos, the fairies gave solid accounts of their variations, and their cavaliers were impressively synchronised. As far as the two leads were concerned, I was absolutely charmed by Alina Cojocaru’s Aurora. I had seen her in ENB’s Giselle (Skeaping) a couple of years ago, and as one of my all-time favourite Giselles I was expecting more of the same. I was a bit disappointed in that performance, so was wondering whether she was starting to wind down, especially with the prospect of motherhood ahead of her. Oh be ashamed, me of little faith. From the minute she made her appearance onstage we knew she meant business, and that she was back, and back to her best artistic self. My goodness, she blew me away with her amazing technique, her artistry and her real understanding of a role she had made her own during her years at the Royal Ballet. We saw her engage with her parents, with the four princes, with her friends, with the prince, with Lilac Fairy and Carabosse, and with each in a different way. We see her progression from excited 16 year-old to dignified woman, all through her dancing and her interpretation. She is a fairy tale, but she makes it real. The story jumped forward 100 years, but as far as Cojocaru was concerned the years melted away backwards. This was like watching the 25 year-old Alina once again. Long may she remain 25 if this performance was anything to go by. Joseph Caley, who joined the company from BRB at the end of last season, was a very good match for Cojocaru, and they could build on what I saw on Wednesday night and dance many things together. He was a totally believable Prince, so young and vibrant and full of the joys of spring once he had found his love. Misery and melancholy? Pah….he left all that behind in the clearing in the woods. He could hardly contain his happiness in the Act 3 pdd, and he bounded towards his princess as if he couldn’t wait to be with her, and didn’t want to risk anything untoward happening to her again. He was like a sweet little puppy, but at the same time a gentle, protective and noble prince. His variation was very well executed, and I can’t remember the last time I saw such beautifully pointed feet on a male dancer. Finally a huge shout out for the lush, exquisite playing of Tchaikovsky’s beautiful score by the ENB Philharmonic, once again under the magic wand of maestro Gavin Sutherland. Is there anything that man can’t do with whatever orchestra he conducts, in whatever piece of ballet music, to make them sound world class and wonderful? He is a national treasure, and the lovely thing is he doesn’t know it. Everything is from the heart, not the ego; huge kudos to him. As a matter of fact, huge kudos to the whole company on and behind the stage. This production is proof that they all respect their heritage as well as looking to their future, and long may it continue.

I saw her. I thought she was ok, but this isn't really her natural role. I also think she was a bit nervous at first, and she did get better as it went along. She was ok with Aaron Robison, but it often looked like a real effort for him to lift her, and he almost dropped her in the second fish dive in Act 3. I didn't feel any chemistry between the two leads, nor did I get any sense of character development from Aurora like I did on Wednesday night. Alina Cojocaru would have been a hard act for anyone to follow, so maybe I should have waited until Maria's second performance to go along.

Well I guess that, as with many gestures in ballet, they are exaggerated so that the people up in the cheap seats can see them too!

I am seeing her tonight which is why I am holding off writing more....I am sure it will be very different from Alina's interpretation last night. How beautiful it was, so I am very much looking forward to Maria A. tonight!

I don't think anyone here has 'lodged accusations of unethical behaviours.' And if any jury members recuse themselves, this should be made known to avoid just such speculation.

I was in the stalls and McCormick's Bluebird was marvellous. Very high elevation to his jumps, beautiful battements, and perfectly placed turns. I was very impressed with him, and can see why he is an Emerging Dancer finalist.

I agree Bruce. A wonderful evening!

Having seen many of the finalists dance tonight I would hate to have to choose between them!

That makes sense, Lindsay, you are probably right. If only you'd had a camera!

I have asked the photographer and he says that either the light is shining on the tights to make them look lighter than they are in the photo (Siegfried wears dark grey tights), or that's someone else and Matthew is completely obscured by Natalia's body....but it is definitely him to whom the thumbs-up is directed!

Can you enlarge the photo? That would help!

He's standing in the opposite wing....you can just make out his legs behind her right arm.

Yes I know joint won, but still won. Not 'presumably'....if you are on the jury, you vote.

Thanks Ruth....I also have that DVD, but just wanted to send a link. Anyway, I have sorted it now.

Does anybody know if there is some way I can get a link to the final 10 minutes of the Dowell Swan Lake? I have looked on YouTube but all there is is a brief clip discussing Act 4 (Kish, Yanowsky, Avis, Westcombe). A friend of mine went to SL last night and we were discussing the ending earlier. I was telling her about the apotheosis, and she would love to see it to compare it with last night. Many thanks!

And the boyfriend won.....

I just adore this photo of Natalia Osipova giving Matthew Ball the thumbs up just before the Act 3 pdd. You can just about see him in the opposite wing. Fabulous! With thanks to Andre Uspenski.

How wonderful that you are still writing, Ivy Lin. I am so pleased that you have found the strength to follow your passion instead of conceding to ignorance and stupidity. Please keep it up....you write so vividly and you are a very important link to what is going on across the pond. Thank you.

Good pun there, Pulcinella! 😜

Wow....many congratulations, Arucaria!! I hope it is a wonderful experience for you. Please let us know how you get on!

At least we will be able to turn the sound down....but I think I would probably skip to the last piece anyway!!

Awww poor diddums. Anyway, I don't want to hijack this thread, and once I start..... 😠

What are the poor, hard done by tube drivers striking about this time?

I will be at the barricades with you, 2P! How I would have loved to see him and Delia dance R&J at Sadler's Wells! 😢

Dear Kat, Your daughter is a very brave young lady, and so are you and your family for being such good support to her and for sharing her pain. I do hope that she gets better very soon, and that going forward she will thrive and be happy and healthy. Please pop in from time to time and let us know how she (and you) are getting on. Very best of everything to you, your amazing girl, and your whole family. Sim xx