English National Ballet: Lest We Forget, 2015

[johnross]

I think this may be the wrong place to post this but as this is up and running I will just show you some pictures from yesterday evening's rehearsal. First night is tonight and  I will leave comments to the critics, just to say that all three ballets were very dark.

 

 

Liam Scarlett's No Man's Land 

 

 

Russell Maliphant's - Second Breath 

 

 

Akram Khan's - Dust 

 

More pictures on www.johnrossballetgallery.co.uk

[zxDaveM]

I was fortunate enough to be at Sadlers Wells for the dress rehearsal for this magnificent triple bill from ENB, so here are a few photos:
 

No Man's Land - Max Westwell, Crystal Costa
© Dave Morgan. Courtesy of DanceTabs / Flickr


Second Breath - Alina Cojocaru, Begona Cao
© Dave Morgan. Courtesy of DanceTabs / Flickr


Dust - Tamara Rojo
© Dave Morgan. Courtesy of DanceTabs / Flickr

See more...
Set from DanceTabs: ENB - Lest We Forget
Courtesy of DanceTabs / Flickr

[Jan McNulty]

I've moved John's post to this thread.

 

 

Just to mention that the previous thread from last year's programme is here.

Edited September 9, 2015 by John Mallinson
Additional info

[aileen]

I saw this last night. I felt that the audience was rather cool towards the first two pieces but Dust received huge applause after a stonking performance by Tamara and James (Streeter). Some people have wondered whether the piece was a vehicle for Akram Khan but I can confirm that James owns this part. He and Tamara worked very well together indeed. Seen from the First Circle the image of the 'rope arms' is one of the most striking images in dance that I have seen.

 

The first two pieces were still too dark in places. I felt that No Man's Land got off to a bit of a slow start (not helped by the dark lighting) but Max (Westwell) really impressed in his tricky pdd with with Crystal Costa (her debut). Alina's pdd with Junor (Souza) in Second Breath was beautifully fluid; I don't know how they manage this with such a huge height difference.

[Mary]

I agree with all Aileen's points. It was my first viewing of this programme

I  would only add that the overall standard of dancing by ALL the dancers seemed to me very high indeed -and, in Dust, exceptional, and I was really impressed. A moving evening.

 

The very powerful choreography for the corps women in Dust was one of the best such things I have seen. Khan found a way to represent tremendous inner strength  and dignity yet with great emotional sway that was quite unlike anything else I've seen. What a good change that was.

By contrast, though I liked a lot about No Man's Land especially some parts of the pas de deuxs, it seemed rather old fashioned in the way women's role was represented. The munitions workers were very feeble in comparison with Khan's and their transformation into the traditional floating angels seemed a bit cliched to me.

 

Agree James Streeter and Max Westwell were superb-what strong lead men ENB have now. Rojo and Cojocaru seemed ideally cast in roles that really showed off their strengths.

 

The dim lighting throughout the evening was very frustrating indeed as I just wanted to be able to see more and more clearly.

[Bruce Wall]

Thought this ENB programme was fine - very fine - 'magnificent' as Dave says - as it was when it was originally presented at the Barbican.  My comments would very much remain the same now as reported here then.

 

All three scores - especially the two 2014 commissioned ones - remain mesmerizing.  It may be because of late I have been going to concerts that have proved so richly vibrant in that wooden jewel box of wax, the Wanamaker Playhouse - now my favourite venue for music in London - but the sound last night was frequently rendered unnecessarily harsh and remote - sometimes as unnecessarily dim as some of the lighting - by the mesh of concrete and steel that is today's Sadler's Wells.  As ever, Gavin Sutherland was a sterling force for good in the lead of his talented forces.  I, myself, think the acoustic may well have played a part in Aileen's feeling that the audience's response last night to the first two works sounded 'cool'.  Even the determined (and deserved) cheering at the end had to break through certain chilly/austere environmental restraints at least as perceived from the cheap(er) seats at the back of the second ring.  I'm sure this won't be the case when ENB builds their own performing space out East.  

Edited September 9, 2015 by Bruce Wall

[aileen]

You make interesting points about the music and acoustics, Bruce. I usually find the ENB Philharmonic very good with a rich, lush sound but last night the sound seemed rather thin to my ears and actually a bit too quiet in places (the beginning of the piano solo in the Scarlett and some of the recordings in the Maliphant).

[Sim]

I hope that someone from ENB is reading all these comments. PLEASE do something about the dimness of these pieces. I know that war is, to put it mildly, an extremely unpleasant experience and perhaps doesn't therefore merit bright garish lighting, but it is also unpleasant for the audience to have to struggle to see.

 

What is it with modern choreography and dark lighting? Don't the choreographers want us to see their work? Is it cool for everything to be dark? Does this add to some kind of pseudo-existential vibe that is supposed to be emanating from the stage???

 

OK, rant over.

[capybara]

So agree. The faces of dancers are so important at all times but, perhaps especially, in pieces like these.

[Beryl H]

I'm pleased to read the comments about the ridiculously low level of lighting for the first two ballets, can only add my wishes for more light to see the dancers by, the most frustrating part is that at the end we actually see them when it's all over! I was so fed up that I left after Second Breath, also train problems for the return journey helped that decision, I have another ticket for Friday but don't feel much enthusiasm, I'm sure the lighting wasn't so bad at the Barbican? The photos are quite clear too, perhaps last night was particularly bad and things will improve during the week, keep posting!

[Mary]

So agree. The faces of dancers are so important at all times but, perhaps especially, in pieces like these.

 

Faces If only...At times I was lucky to catch a glimpse of a limb or two and even then was sometimes left wondering which bit of the anatomy it was!

[aileen]

I recall that the lighting was also very low at the Barbican. Dave's photographs give the impression of a more brightly lit stage; perhaps the stage doesn't seem as dark if you are sitting fairly close to it. I'll be seeing the programme again from the stalls and I'll be interested to see if that makes a difference. I've said it before: get someone to watch a rehearsal from high up and far back. Better still, it should be someone who isn't familiar with the work(s) as it's all too easy to convince yourself that you can see the dance if you are closely involved with its creation or staging (I'm happy to volunteer!).

[zxDaveM]

modern cameras when used with large aperture lenses, are almost 'see-in-the-dark' - plus a bit of lightening in Photoshop! You won't hear any of the photographers disagreeing with there not being enough light though, that's for sure!!

[johnross]

All of the above posters are quite right. My heart sinks when I see Michael Hulls has done the (lack of) lighting. As Dave says, thank goodness for the modern digital cameras which allow ASA's to go to limits not imagined with the old film speeds. Yes all my pictures were lightened as well. I hope more people complain to the companies as when we (the photographers) do, we are accused of winging.

[capybara]

The photos show the works just how they could (and should) look.

[aileen]

Camera lenses are clearly more powerful than the lenses in my eyes.

[Bruce Wall]

Have read two reviews of the performance last night ... the Arts Desk and the Telegraph ... Both praise the lighting.

 

'Expertly lit from start to finish' says the Telegraph ...   http://www.telegraph.co.uk/dance/what-to-see/lest-we-forget-sadlers-wells-review/

 

Quelle difference ...

Edited September 9, 2015 by Bruce Wall

[aileen]

Yes, I had a chuckle when I read that comment in the Telegraph review. I wonder where the critics sit in the theatre.

[Bruce Wall]

Maybe the lighting 'thang' (or rather the lack of it) is an older person's problem?  Here is a paragraph from a 'Younger' critic (i.e., one who writes for a website called 'A Younger Theatre') which suggests this.

 

Second Breath has a moving strength and darkness to it, particularly as the setting is in almost literal darkness, inspiring a feeling of the dreamscape. I did overhear an older gentlemen complain that the lighting was too low and as he couldn’t see some of the dancer’s movements he wasn’t getting his money’s worth, however I’d imagine designer Michael Hulls did this intentionally. When dancers do hit the light it is truly beautiful and haunting.

 

The full review can be found here.  

Edited September 9, 2015 by Bruce Wall

[alison]

It's true that as we get older we perceive less in low-light conditions.  Perhaps we should go for octagenarian lighting designers?

[zxDaveM]

generally speaking, I think most of us want to see the dancing, rather than the lighting effects

[Douglas Allen]

In general, I subscribe to the Robert Morley view of lighting. I remember when , years ago, on a chat show he expressed a fond appreciation of subtle lighting effects so long as lighting designers remembered that when Morley was on stage the instructions should be "Let there be light, more light and yet more light".

[Jillykins]

I so enjoy reading all the different views expressed on the forum. Thanks to all contributors for sharing views and opinions. I am always nervous about expressing my views but feel I can do so here. I went to the dress rehearsal at Sadlers wells and am aware that is not the same as a performance so my response is to a rehearsal. I enjoyed No Mans Land and Dust. I was amazed at the way two ballerinas have developed and the fact that I do enjoy modern works so much. I didn't enjoy Second Breath as I really couldn't see it! I am one of the older generation who need more light although at times there is need to create atmosphere. It would be good if the lights could be sneaked up once mood has been established. I was interested in my husbands comment in the choreography he said he could always see the partners preparing for a 'big lift'. It does seem as if male dancers in these pieces were like male dancers of years gone by when most of their work was partnering. However the men in all three pieces were excellent. I would so like to see the Khan piece again.

[zxDaveM]

In general, I subscribe to the Robert Morley view of lighting. I remember when , years ago, on a chat show he expressed a fond appreciation of subtle lighting effects so long as lighting designers remembered that when Morley was on stage the instructions should be "Let there be light, more light and yet more light".

 

Yes, not even our Dylan raging against the dying of the light, seems to have got the message home...

[capybara]

I was nearer to the stage last night and found the lighting much improved. I think that, from further back, one also has the atmospheric 'smoke effect' blotting out some of the minimal light that there is. Another factor, perhaps, is that, this time around, some of the men - step forward James Forbat and James Streeter for example - have kept their beards on and that seems to throw their faces into darkness.

 

It does seem a pity that the poor level of lighting has caused so many of the comments on a marvellous programme like this to be focused on a negative when there is so much to rejoice about.

 

I am a particular admirer of No Man's Land - perhaps because of the juxtaposition of the 3 wonderful pdd and corps work, the clear storylines, the casting, and the dramatic Liszt music. I don't think that I 'get' Second Breath. If all the falling is about being slain in battle, what are the women doing there? And the lengthy pdd doesn't seem (to me) to tie in with the rest of the piece. Dust, especially the snaking arms and the rhythm and freneticism of the working women, is very affecting but its pdd goes on a tad too long for my taste.

 

Anyway, I'm really glad that ENB has brought this programme back and it seems ideally suited to the Sadlers Wells environment and the mixed audience it attracts.

[aileen]

Just to be clear, I do really like this programme. I find the choreography and scores very varied and interesting. It is a shame that some people's enjoyment has been negatively affected by the low lighting (Second Breath is the worst in this respect) but there were plenty of comments about the lighting when the programme was first staged and neither ENB nor the choreographers and lighting designers have paid any heed to them so I don't have much sympathy. I'm going again tonight when I will be sitting much closer to the stage. My husband is also going and he will be sitting towards the back of the stalls. I will be interested to see what he makes of it as he has not seen the programme before. The many very positive comments on Twitter suggest that other people haven't had a problem with the lighting and so I'm wondering whether some of us on here have a particular view about how dance should be presented (ie we should be able to see all the dancers plus their faces clearly all the time) which is not shared by the majority of dance watchers.

[Irmgard]

I saw the Thursday matinee of this programme and, for me, it was much better suited to the shape of the Sadler’s Wells auditorium in comparison to the Barbican.  It also benefitted from much better volume control of the pre-recorded soundtracks, as I found these to be an assault on the ears at the Barbican.  With several dancers still recovering from last season’s injuries and a few casualties in the first couple of weeks of the current season, the remaining dancers work very hard indeed in this physically demanding programme.

Liam Scarlett’s “No Man’s Land” remains my favourite of the three works, primarily for its strong dramatic narrative and the beauty of the pas de deux, danced to the sumptuous Liszt orchestrations by Musical Director Gavin Sutherland who also conducted, bringing out glorious tone from the orchestra.  New to me were Shiori Kase and Fernando Bufala in the first pas de deux, admirably portraying the anger and pain of separation.  This contrasted very well with the sublime beauty of the second pas de deux.  The charming Angela Wood was the embodiment of youthful innocence and she and Fabian Reimair gave a performance that was joyful and bittersweet with its tender yearning.  But the highlight of the piece was the debut of Begona Cao, woefully underused since her return from maternity leave over eighteen months ago.  She is a dancer whose every fibre expresses emotion and the moment when she stood surrounded by the other six couples, gradually realising that she is alone, was heartbreaking.  As the ghost of her lover, Junor Souza perfectly matched her both physically and emotionally and their final pas de deux, to a piano solo sensitively played by Julia Richter, was a searing elegy to lost love.

“Second Breath” by Russell Maliphant has grown on me since the Barbican and I found the opening sequence of the group of girls surrounded by a semi-circle of men all moving as if in slow motion, reminiscent of Tai Chi, mesmerising in its beauty.  The next section reminded me of trust exercises, with dancers climbing onto the shoulders of others and then falling backwards into the arms of their colleagues – an apt reflection on soldiers’ reliance on each other.  As the pre-recorded soundtrack kicked in, the final section showcased an outstanding pas de deux from Tamarin Stott and Joshua McSherry-Gray.  Stott brings a seamless elegance to everything she dances – a perfect quality for this pas de deux – and McSherry-Gray proved a worthy successor to Nathan Young, her partner for the Barbican performances, who is now dancing with Maliphant’s own company.

“Dust” proved to be the audience favourite, judging by the volume of applause, and a good deal of the credit must go to Fabian Reimair for the breathtaking opening minutes in which he gives a truly shocking portrayal of the effects of shell-shock on the body, bringing to mind the few film clips from the period that document this awful condition.  As he then manipulates the two ‘arms’ of dancers on either side of him in an ever more frantic manner, it is as if he is trying to take flight from his anguish.  As previously, his character is taken over by James Streeter who also gives a harrowing portrayal of a lost soul unable to communicate properly with his lover, alternately shrinking from her touch or reacting violently to her.  Tamara Rojo gave little away emotionally, apart from a steely determination to bring him back from the brink but the very poignant final moment when she dances by herself as he goes ‘over the top’ suggests her defeat. During the ecstatic curtain calls, I was very surprised that Reimair was not invited to take a bow with Streeter and Rojo and was not given a solo bow for his very remarkable performance, for which he is single-cast during this run.

It is perhaps fitting that these performances mourning lives lost too soon are dedicated to Austen Haffenden, a member of the technical crew who died suddenly following the company’s China trip – a special man, always with a smile for everyone.