Queensland Ballet: La Sylphide, London, August 2015

[alison]

I feel the same. I booked relatively recently because I wanted to support the Company but one does feel cheated when it might have cost only half the amount.

 

Or at least, you could have had better seats for the money you'd paid

 

It is very rare that any dance performance, let alone a run of half a dozen performances, sells out at the Coli (DNB's Cinderella was a recent exception - I'm not sure why). Visiting dance companies are far too ambitious and put on too many performances. [...]  I'll be interested to hear how well St Petersburg Ballet sells; it must be confident as it has added several performances to what was already a reasonably long run.

 

I was quite bemused at Cinderella, too.  StPB has been selling well, at least as far as Swan Lake is concerned: Bayadere is still struggling, even with only 2 performances.

[Andy]

The evening performance on Thursday - cast sheets were available without the need to buy a booklet, they printed plenty of the sheets (much more than the people were in)

As usually in situations with the poor sales (Vishneva, Cinderella, Solo), the ushers invited all the people to move forward from the back & more central ;-)- people were pleased

[Coated]

I thought the orchestra was great the first time I went and I particularly liked the horns and flutes - perhaps someone had a day off when RuthE went?

 

After seeing it twice, I'm now quite fond of the production despite its over-abundance of tartan and somewhat slow start. I have also caught up on my yearly quota of fairies, which generally makes me happy. I have sat through both performances with a smile on my face (not an entirely common occurrence) brought on by the simple charm of the production and by getting entrances by the nice footwork and soft arms all around.

 

I really enjoyed watching Luke Schaufuss both for characterisation and dancing tonight, and am a bit in love with Sarah Thompson's Sylphide - there was a scene in the second act where she was so in tune with the music it made me wish the frolicking in the woods could go on and on.

 

I wasn't too taken with the very smiley Madge of Mary McKendry and preferred Greg Horsman's sterner version.

[alison]

Well, I really enjoyed tonight's performance.  I'm not sure what it was in particular: watching it from higher up (that was certainly an advantage for seeing patterning better, as usual)?  the change of cast?  the company having settled in better?  It was certainly a particular pleasure watching a Bournonville-trained dancer as James, and I certainly felt the story flowed better tonight.  I'm wondering if I can squeeze in another trip before it ends.

 

(BTW, if you *are* buying tickets, note that if you sit on the left-hand side of the auditorium you're likely to miss a few of the effects)

[Sim]

Ah well I guess that means we won't be getting Luke tomorrow night.

[Coated]

Well, I really enjoyed tonight's performance.  I'm not sure what it was in particular: watching it from higher up (that was certainly an advantage for seeing patterning better, as usual)?  the change of cast?

I seem to have done it the other way round, watching from higher up first and stalls today, so I don't think it's location. My money is on the cast and possibly less jet lag.

[alison]

Ah well I guess that means we won't be getting Luke tomorrow night.

 

You never were, were you?

[Ian Macmillan]

After seeing it twice, I'm now quite fond of the production despite its over-abundance of tartan 

 

I trust that the shade of Robert Burns will forgive me but, back in the ballet.co era, I seem to recall ending some remarks on a RB performance on these lines:

 

"From scenes like these Auld Scotia's grandeur springs,

And flies around the world on shortbread tins."

 

Sir Walter Scott would surely revel in knowing that, some 200 years after he stage-managed the visit to Scotland of a tartan-clad George IV, this Bournonville ballet keeps his work alive.  What he'd make of the natty pin-striped kilts for business use now seen in the Edinburgh tartan shops is perhaps another thing.

[Sim]

You never were, were you?

I guess not....I've been too busy to look at any of the casting, so I just a bought a ticket for the night I could go! I haven't even checked tonight's casting.

[swanprincess]

I too had the pleasure of seeing La Sylphide last night, here's a link to my review... http://ballerinadreamsdancediary.blogspot.co.uk/2015/08/la-sylphide.html?m=1

[Bruce Wall]

Quickly:  Saw three performances of Schaufuss' LA SYLPHIDE and was delighted that I enjoyed the production as much as my memory had persuaded me I might.

 

The Queensland Ballet showed themselves to be a beguiling and certainly hard working ensemble.  The pride amonst the women in the first character sweep of Act I was particularly potent.  It was leading out here - as she did on Thursday afternoon - that I most enjoyed the work of Sarah Thompson for there she was (i) without the elongated box of her pointe shoes which I found oft disturbing when she danced the title role and (ii) refreshingly minus the rather self-aware coyness of her Effie on the first night.  That said in the latter category she was in fact modesty itself when compared with Mary Li as either Madge or Anna.  More rather than less seemed to be the determined Mary's defining moto.

 

There was much to cherish amongst the named characters.  Both Mia Heathcoate (daughter of the rightly admired Steven) and Eleanor Freeman were adorable Effies, the latter building a particular strong bond with both of her men whilst the former was entirely vivid in the crush of her confidence at the end of Act I.  The dramatics here play such a key function and both Emilio Pavan and especially Vito Bernasconi as Gurn measured well in this aspect - with the latter appearing to be the stronger dancer in the one small solo this character receives.  It was lovely too to see the Australians bring over children from their own school.  Of the Madges I thought Janette Mulligan (who many of a certain age will remember with LFB) was the most effective.  Her Madge was quite believable as one of those post 50 women that one has read so much about in the papers of late who unwittingly let drink temper more than it rightfully should.  We watched as her reason was whittled.  That in and of itself is frightening.  

 

Of the James - a role in this production that Pater Schaufuss so brilliantly made his own opposite the enchanting Edokimova - I thought that Hao Bin (the only current Queensland Ballet principal to actually dance the role in London) was by some considerable distance the best of the three on show.  It is a shame he only had the cruelly underpopulated (in terms of audience) Thursday matinee.  He had a nobility that the others lacked, handled the mime very well and was excellent in terms of those straight-up explosions of passion that Bournonville so delights in.  Certainly Schaufuss Jr. (i.e., Luke) had the most rapt entrechats as befits his schooling but was I fear a dramatic deficit on Wednesday night.  Qi Huan fell between the two stools but had the advantage of the best Sylphide in the person of the Cuban Yanela Pinera.  Although she had a somewhat tentative start on Tuesday by the time of her delightful first solo in the second act her epaulament sincerely sang.  So too in that aspect did Clare Morehen who had much to offer in the telling of her titled tale.  Her rather Irish coloured countenance frequently reminded me - in terms of the shading of its dynamic simplicity - of a young Angela Lansbury.  Her porte de bras in the final blind stalk was also ravishing in its ability to communicate movingly.  

 

A word too for the input of young Rian Thompson and Jack Lister who did fine service in offering effective detail in their soloist assignments.  

Edited August 7, 2015 by Bruce Wall

[Lisa O`Brien]

Nice one,SP. Maybe you`ll be a professional dance critic one day.!!

[Don Q Fan]

Lead casting is on the eno.org website

[Irmgard]

Managing to get into London by a circuitous route to attend yesterday’s matinee of “La Sylphide”, I was delighted to see quite a decent-sized audience for the show (at least in the stalls), despite all the transport problems.  For me, as soon as I heard the overture, it was a trip down memory lane as I thought of all the ENB performances I saw of this beautiful production, now over 25 years ago.  The memories continued as I watched friends Janette Mulligan and Mary Li (McKendry), both former ENB ballerinas, now taking on the character roles.  The first “La Sylphide” that I saw was as a student in Canada – Erik Bruhn’s production for the National Ballet of Canada – the most memorable performance of which was Mikhail Baryshnikov’s first performance with the company at the open-air venue, Ontario Place (free admission!) which he gave as a thank-you to Toronto where he had defected.  Memories also came flooding back of the ultimate Sylph, the divine Eva Evdokimova, who danced the role so often in this production.  Although this performance could not hope to live up to these lofty ideals, I was impressed by the standard and excellent discipline throughout the company and I congratulate Li Cunxin and his staff for raising the company to an international standard.  My main criticism would be that the dancers needed to project a bit more in such a vast auditorium and get rid of some of the ‘ballet’ acting (superfluous arm gestures – my bugbear) but otherwise the company gave a fine performance of the best thing Peter Schaufuss has ever done (IMHO).  The leads were sensitively and sympathetically danced by Clare Morehen (Sylph), Hao Bin (James) and Eleanor Freeman (Effie) who obviously relished the Bournonville style if not naturally possessing the intense degree of ballon that can make the choreography breathtaking.  I thought all the group dances and solos in Act I were extremely well done, with very neat, clean footwork and an exuberance which made it a party I would have liked to attend!   Having had the advantage of being in so many performances with the great Dane, Niels Bjorn Larsen, as Madge, Janette Mulligan brought the right combination of humour, menace and power to the role and certainly had command of her band of witches, even though they towered above her!  In all, it was well worth the journey into London and I look forward to a return visit for the Saturday matinee.  I paid the £10 for the programme and read that the week is presented by Peter Schaufuss’s own production company so it is responsible for the high price, rather than the company.  It could have done with some better proofreading and perhaps a “Who’s who” for the back page of “La Sylphide Memories” as I doubt all the audience members would be familiar with all the faces that are included.

[swanprincess]

Nice one,SP. Maybe you`ll be a professional dance critic one day.!!

Thank you and yes, that would certainly be a wonderful career!!x

[alison]

Not quite such a good deal tonight, but £50 tickets down to £30 at tkts in Leicester Square.

[MAB]

FLOSS says that this production is loathed in Copenhagen:  now I know why.  As for the comedy witches - words fail me.

[alison]

FLOSS says that this production is loathed in Copenhagen:  now I know why. 

 

Agree about the witches, but apart from that - would you like to elucidate, MAB?

[LinMM]

I really enjoyed Wednesday's Performance I liked this production the sets and costumes etc very much.

 

I saw the Luke Schaufuss Sarah Thomson and Mia Heathcote cast.....don't know who was playing the Old Woman/witch character or any of the other parts as had no cast list.....very irritating.

 

I thought all three of the above danced their roles really well especially the Sylph....had just the right touch of mischievousness and delicate ness. I thought Luke made a sympathetic James on the whole and his dancing was great to watch with lovely ballon.

The whole company danced this style (not easy) extremely well.

 

I liked the ballet enough( have only seen bits on TV before) to hope it will be in the repertoire of more companies if that is possible.

The only thing I would say is that delightful as this Sylphide was the evening was finished by 9.15pm.......now on that particular Wednesday was something of a godsend because of the strike( had to wait while three full buses past going to Islington) but if I had paid more for the ticket I might have felt something else could have been offered by this company which may only rarely come to London. So you would have thought they would have wanted to show off a bit more of their current repertoire.

There may have been reasons for this but I do think this needs something else to accompany it for a whole evenings entertainment so to speak.

Needless to say I do hope the Company does return in the not too distant future and if this was once a wholly contemporary company then the new director has done wonders in a fairly short time!

[cavycapers]

Yes, LinMM,I had been five hours on coaches due to terrible traffic, to come and see this on Friday night, and at 9.15pm, I too felt that I had had my starter, and where was the main course? I applaud the Coliseum for upgrading my terrible seat to front row of dress circle, though. I too felt it seemed a shame, however, for the QB to have come all this way to bring us something so insubstantial.

I don't have the technical knowledge to know how to describe my thoughts, but there were two things I didn't like. The Sylph's arm positions throughout, with the elbow resting on the hand, and the other hand under the chin gave a rather round-shouldered, round-backed impression, and foreshortened the body, in my opinion, and the fact that James cannot touch the sylph meant that I felt deprived of any real partnering and lifts between the two of them, which made their appearances on stage together a bit repetitive. (Quite a lot of 'wafting', as my friend said!

Edited August 9, 2015 by cavycapers

[Sim]

Well, the Australians might have embarrassed themselves on the cricket pitch in England this week, but they sure did themselves proud on the English ballet stage!  I was there on Friday night and really enjoyed it (especially since, due to poor ticket sales, my cheap ticket was turned into a middle stalls seat!).  I haven't got time to write my thoughts now, but I think that considering where this company have come from in such a short period of time, it augurs well for the future.  The corps in Act 2 were as well drilled as many I've seen, and the whole company looked like they were really enjoying themselves.  I hope they come back in the not too distant future, and that they choose a venue where the seats would sell better (or perhaps bring a rep that is more alluring to the general public).  I do agree that a short ballet to commence the evening would have been nice.  

 

Cavycapers....that position is the classic position adopted by ethereal creatures of various types in the Romantic ballet style.  It is very similar to that which Myrthe often uses in Giselle.  When Giselle's mother is warning her, through mime, of the dangers of the Wilis, that is the gesture she uses to depict those vengeful ghosts.

[alymer]

Cavycapers; James cannot touch the Sylph because she is not human - that's why there is no conventional partnering.  And it's arguable that it is his embrace rather than the supposedly "magical" scarf which causes her death. 

[capybara]

I quite enjoyed myself last night insofar as:

• there has not been much ballet on for a while
• it was interesting to see Luke Schaufuss who, I thought, did well in Act 1 but was less convincing in his dancing and acting in Act 2
• I liked Greg Horsmann's Madge
• it is always good to test one's perceptions by seeing different companies and the ensemble work seemed fine to me
• I was trying (and largely failing!) to spot the differences between the Peter Schaufuss version and that of Johan Kobborg

But - and it is a big BUT:

• at 105 minutes (including the interval) it felt like very poor value for money
• sections of the orchestra were decidedly dicey
• basically, La Sylphide is never going to be a favourite ballet of mine
• a poorly populated Coliseum does not generate the necessary 'buzz'.

However, thank you for coming Queensland  and, next time, please bring a full length programme!

Edited August 9, 2015 by capybara

[Irmgard]

I was delighted to see that the Stalls was almost full for the Saturday matinee performance of this beautiful production which introduced me to an almost completely new cast of principals from the one I saw on Thursday.  Qi Huan as James was outstanding, not only technically but also dramatically.  Here was a true Bournonville dancer with ballon aplenty and clean, neat footwork particularly noticeable in his wonderfully open entrechats so that one could actually see the feet opening and crossing.  He had a plie that went on forever in landing between jumps and his grand plie landings in his main solo were to die for.  There was a wonderful chemistry between him and both the Sylph and Effie which gave the story the poignancy it needs.  His Effie was the delightful Tamara Hanton who gave the character an innocence and vulnerability, as well as a sunny virtuosity to her Act I solos.  Rian Thompson made a very handsome Gurn, also performing his solos with aplomb, who resisted the temptation to overact in his comic moments.  The Sylphide herself was danced by Tara Schaufuss in her only performance (I think) during the London season.  She was a deliciously playful sylph whose graceful mime and buoyant dancing make her thoroughly believable as an other-worldly creature.  I always admired her mother’s (Janette Mulligan) dramatic qualities as a ballerina and this has obviously been inherited by Miss Schaufuss, who gave a very moving death scene.  It is a very rare occurrence to have a mother and daughter onstage in a ballet but this was one of them, with Janette Mulligan giving another very fine performance as the witch. My eye was caught at both performances by a red-haired dancer amongst the sylphs who showed a particularly fine understanding of the Romantic style and on checking my programme I see that this was Mia Heathcote.  Another who impressed by the vivacity of her dancing was Lina Kim.   I am very grateful to the Queensland Ballet for giving London the chance to see this award-winning production again and hopefully it might persuade English National Ballet to revive one of the jewels of its repertoire.

[Bruce Wall]

I simply want to applaud Irmgard sentiment's above.  I too was at the matinee and appreciated Qi Huan as James afresh.  Indeed his was a performance considerably refreshed from that of Tuesday night where jet lag may well have played a little havoc with his precision.  There was, however, no doubt of his prowess and authority yesterday afternoon.  I am so glad I was able to see him for a second time.  He stands proud as a fine James in this equally fine production.  

 

Agree Tamara Hanton too stood well within the telling ranks of other intoxicating Queensland Ballet Effies (namely the vivid Ms Heathcoate - a chip off her own father's notable block with the Australian Ballet and other world ensembles - and the always enchanting Ms. Freeman who did yeoman service throughout this run in a wide variety of capacities).  Agree that Rian Thompson was utterly charming as Gurn (standing taller than he otherwise might alongside the physically championing perspectives of both Vito Bernasconi - who last night was so utterly endearing and clear in this role that I began to question Effie's (i.e., the character's) taste - and Emilio Pavan).  Thompson's fine footwork was as evident at the matinee as it had been in the Pas de Huit throughout the week.  

 

I too warmed to Ms. Schaufuss' title Sylph; one very much fashioned along Carole Lombard lines.  It was wonderful to see how she seemed to put her own stamp onto it.  Here was a demonstrably wilful miss.  Ms. Schaufuss' insistence at receiving that fatal shawl was incisively and oh, so wittily animated.  Her large eyes sparkled with glee.  Ms. Mulligan remained for me the most convincing - indeed dramatically compelling - Madge of the week.  

 

The stalls did look fairly ample at yesterday's matinee but one must in fairness note that both the balcony and the upper circle at the Coliseum were once again sadly closed.  The large amount of complimentary tickets did, however, (or at least one hopes) make it possible for many who might never have seen a ballet to attend.  They could not have chosen a better taster.  The family next to me - with a little girl who was totally entranced by the fine Australian youngsters in the production - will, I'm sure, be back for more.  Indeed the father - who sat immediately to my left - said they would.  (He told me they had come because the £5 tickets had made it possible and was delighted to be able to sit in a prime stalls location upon arrival.)  I suggested they might like ENB's glowing Corsaire in the same venue, noting of course that there were no seats for such at that low a level for any age group.  

Edited August 9, 2015 by Bruce Wall

[LinMM]

Oh dear I didn't realise the Coli was that empty it must seem a bit of a downer for the dancers to have a half empty theatre to perform to what a shame! Perhaps Sadlers Wells would be better next time then.

On Wednesday I was in the dress circle .....on a cheap ticket though.....and it had seemed quite fullish. I think Mia Heathcote is a lovely dancer too.

I can appreciate that this romantic style is not every ones cup of tea but when danced convincingly is a very beautiful one and hope it doesn't get lost.

Almost the complete opposite is the Carman (review later) but which I equally enjoyed for completely different reasons .....though almost overwhelmed by the testosterone on display in that production!!

The Sylphide made a nice balance in gentleness(but not lack of strength) of style but still plenty of "death and destruction" on display!!

[LinMM]

Sorry forgot again....does anyone know who played the Witch in the Wednesday evening performance. Whoever it was a great performance and must be quite satisfying to perform indeed....silly James .....but these romantic ballets seem ....as in fairy tales...seem to judge rather harshly foolish young men or women!!

[betterankles]

Greg Horsman was Madge Wednesday and Saturday evening

[alison]

Cavycapers; James cannot touch the Sylph because she is not human - that's why there is no conventional partnering.  And it's arguable that it is his embrace rather than the supposedly "magical" scarf which causes her death. 

 

Yes, I don't believe there was even a touch between them in this production?  If there was, perhaps he would have been less desperate to possess her (and I use the term advisedly - I think the lack of dramatic depth which various commentators noted could perhaps be summed up by Lyndsey Winship's comment "In a ballet that hinges on romantic intoxication and despair, that’s what you need to elevate this to more than a very pretty period piece" in her review in the Evening Standard http://www.standard.co.uk/goingout/theatre/la-sylphidequeensland-ballet-review-a-leap-into-the-darkness-10442938.html).  Intoxication, obsession, or some other intense emotion pertaining to the Romantic Movement needs to be there, and I didn't feel that it was in the performances I saw.

 

Incidentally, I think I remember that James and the Sylphide do touch occasionally in the Kobborg production - can anyone else confirm?

[Beryl H]

Really pleased to see this for myself yesterday after reading so much about it, completely agree with Irmgard and Bruce Wall as to the excellence of Qi Huan as James and Janette Mulligan as Madge at the matinee, marvellous light fast dancing from him, and that was the best Madge I've seen since the one and only Sorella Englund, in the evening Greg Horsman was very dramatic at the end but not so much earlier on. Two Sylphs with differing styles, Tara Schaufuss more playful, Yanela Pinera more dramatic, Yanela Pinera reminded me of Alina Colocaru in the role, so light and fast. Liked both Gurns and Effies too, and the leading Sylphs. Sets and costumes lovely but lighting down a bit too much in places, such as the very beginning.

 

I had wondered at the rather short running time, not realising that Peter Schaufuss has restored quite a lot of music and choreography (not sure if it was Bournonville's, I would have liked an article on this in the programme) Johan Kobborg added about 5 minutes but this is longer and actually I think it makes the ballet drag rather, although I did like the new solo for James in the first act, I think what makes the version we know best so perfect is the length, and it gives a chance to see another  contrasting ballet such as The Lesson, but it was very interesting to see this slightly different one.

 

I  was moved down to the Dress Circle at the matinee, but enjoyed the view better in the evening from the Upper Circle, I always like to see the corps from high up, and they looked very good indeed, All the reviews I've read have been good, The Times and Sunday Times too, an artistic success certainly!

[Arky]

The children, who danced so beautifully, were British. Auditions were held earlier in the year. 

[capybara]

The children, who danced so beautifully, were British. Auditions were held earlier in the year. 

 

What a pity, then, that the sentence at the bottom of the cast sheet implied that they were from Queensland.

[cavycapers]

The shiny A5 flyerI picked up from a table said that Francesca Hayward would be make a guest appearance. I'm guessing this never happened. I would have loved to have seen that.

Edited August 9, 2015 by cavycapers