Chéri: Royal Opera House, September 2015

[Vanartus]

J'adore!

[Ian Macmillan]

Martha Clarke, presumably, and not Dior.  And I take it too that you have seen the interview that went up on DanceTabs yesterday?

 

http://dancetabs.com/2015/09/martha-clarke-director-and-choreographer-on-cheri/

[alison]

I think it's Le Piat d'Or, actually, isn't it? (she says, dragging it out of the depths of her memory)

[bangorballetboy]

I think it's Le Piat d'Or, actually, isn't it? (she says, dragging it out of the depths of her memory)

J'adore = Dior perfume brand

The French adore Le Piat d'Or [always makes me think of a Frenchman relieving himself in a doorway ]

[Vanartus]

LOL - I think one of us ought to write a short review, otherwise we'll be told off for wasting virtual space and time ;-)

[Jacqueline]

LOL - I think one of us ought to write a short review, otherwise we'll be told off for wasting virtual space and time ;-)

Yes, please do. I am unable to go much to my disappointment so would love to read any thoughts on the production.

[zxDaveM]

Was at the photo call held in the afternoon before opening night, so here are a couple of photos:


Alessandra Ferri, Francesca Annis, Herman Cornejo
© Dave Morgan.
Courtesy of DanceTabs / Flickr


Alessandra Ferri, Herman Cornejo
© Dave Morgan.
Courtesy of DanceTabs / Flickr

See more...
Set from DanceTabs: Chéri
Courtesy of DanceTabs / Flickr
By kind permission of the Royal Opera House

[Bruce Wall]

Wonderful pictures, Dave.  Truly.  Wonderful too that there was light ... even amongst the shadow.  One could see without feeling guilty.  This Cheri is a very personal sense of film noir from that period when cinema itself was first being developed and shots were oft found focused on the European horrors that were WWI.  It is all VERY Martha Clarke in that it is wholly theatre movement.  It is vividly intimate and sufficiently diverse.  Everything seemed to be in close up ... which here was fitting ... and the combination of Ferri/Cornejo - two fine dance actors - made this potent and the hour and ten minutes feel full.  They were just so well cast as was the always enchanting Francesca Annis.  So wonderful to be in her presence again.  You could - and did - relax in their magical hands/voices much as in those of the knowingly sensitive pianist Sarah Rothenberg.  It must have especially spectacular lodged within the core intimacy of NYC's Signature Theatre.  You would have almost been in their laps.  At the Linbury too you could actively sense the Colette.  It was a gentle treat .. one never more than it was meant to be.  

 

A trailer from the NYC/original production can be seen here with Amy Irving in place of Annis.  

Edited September 30, 2015 by Bruce Wall

[alison]

J'adore = Dior perfume brand

The French adore Le Piat d'Or [always makes me think of a Frenchman relieving himself in a doorway ]

 

Oh yes, you're right, BBB - thanks.  (Except that I found out when I went out there that that's not true at all :-) )

 

Sorry, will try and get this thread back on track after this evening

[Don Q Fan]

I saw the matinee yesterday. I don't know much about the writings of Colette or Clarke's choreographic work but had read up on the storyline for this piece. Sadly the dance did nothing much for me at all, at least not from the upper gallery, typical modern stuff rolling on the floor and various lifts etc I didn't feel much emotion. The saving grace was the wonderful Francesca Annis. What a treat to see her. Oh well can like them all.

[Beryl H]

I saw the matinee yesterday. I don't know much about the writings of Colette or Clarke's choreographic work but had read up on the storyline for this piece. Sadly the dance did nothing much for me at all, at least not from the upper gallery, typical modern stuff rolling on the floor and various lifts etc I didn't feel much emotion. The saving grace was the wonderful Francesca Annis. What a treat to see her. Oh well can like them all.

 

 

I felt a bit disappointed too last night, more movements than actual dancing, apart from a short solo for Herman Cornejo at the end, and much too short.  Brilliant set design though.

[capybara]

Plain boring, I'm afraid.

 

Where was the early passion? Where was the physical repulsion when Cheri returned to Lea? And where, indeed, was the contrast between the youth of Cheri and the maturity of Lea?

 

Agree with others about the set, however. Fabulous - oh, to live in an apartment like that.

[Nina G.]

It was not my cup of tea either but I liked the set too.