Royal Ballet: The Two Pigeons, Monotones I & II, November 2015 & Rhapsody January 2016

[Fonty]

I tend to read biographies with a large dose of healthy scepticism, particularly those written long after the subject is dead.  I haven't read the Kavanagh biography on Ashton, but I have read a couple of biographies about Fonteyn, both of which seemed to be hell bent on proving that she was having an affair with Nureyev. The theories were long on gossip imparted by nameless individuals, and very short on any facts. 

Edited November 27, 2015 by Fonty

[zxDaveM]

I've never associated ballet gypsies with anything other than happy, exhuberant dancers, what am I missing?

 

At the start of act 2, they are portrayed as villainous thieves, beguilling then robbing, and then using threatening behaviour, towards some well-to-do passers by. Then the jolly dancing begins, and their 'nature' only re-emerges when they boot out the Young Man from their camp.

[Lindsay]

To be fair to Kavanagh, she uses Ashton's own letters, rather than gossip.  Actually to the point of tedium - I couldn't get through the lengthy quotes from his various missives to objects of his affection.

 

But I absolutely agree with you that the whole Fonteyn/Nureyev affair debate is exceedingly boring and irrelevant.

[Sim]

Aileen I wasn't joking about the pigeon- it really is on the menu.

Makes you wonder doesn't it.

From the Monotones/Two Pigeons Amphi Restaurant Menu:

 

Parsnip and cox apple soup

Westcombe ricotta, butternut squash, toasted pine nuts

Cured salmon, tartare sauce, rye toast 5.00 supplement

Smoked duck, ham hock, pistachio terrine

Slow cooked wood pigeon, quince, baby watercress

 

I mean....who on earth thought that this was a good idea??!! Quite tasteless, methinks (the concept, not the food; I wouldn't know about that!).

[LinMM]

I agree with bridiem post 224 whatever kind of love it portrays (2 pigeons) it's still a theme about loyalty and temptation etc etc reconciliation after an affair whatever and one can appreciate it from that feeling level.

 

I'm not sure about the gypsies and what they represent.

I think in Thomas Mann (nothing to do with ballet) there is always this conflict in his work about the "artist" and the "conventional" person who follows the rules etc and is at ease in society.

Ironically it is the conventional types who can dance and enjoy dancing so to speak in his books (Tonio Kroeger is a particular example)

The artist is the "watcher" of Life not the "doer" in Mann's world.

 

I haven't seen 2pigeons for years and have to wait till 30th January (as wanted to see Rhapsody) but unless the gypsies are really shown in some awful perjorative way I don't think I will have a problem but will see on the 30th!!

[LinMM]

Yes Sim it is a bit tasteless... but unfortunately there's a dark bit of my soul that also finds this a bit funny!! I wouldn't dream of eating pigeon myself ....far too fond of the "woodies" in my garden for that but somebody at the ROH must share a bit of a dark sense of humour.....as it surely cannot be coincidence!!

[zxDaveM]

not a coincidence - the ROH restaurants have themed menus, depending what's on stage at the time quite often. Not that I'm a customer - just seen it on the booking pages

[Sim]

LinMM.....I too think it's hilarious!!

[Balletfanp]

One wonders what happens to those pigeons after the performance...

[zxDaveM]

goat's head soup a must, when Sylvia is back!

[MAB]

I tend to read biographies with a large dose of healthy scepticism, particularly those written long after the subject is dead.  I haven't read the Kavanagh biography on Ashton, but I have read a couple of biographies about Fonteyn, both of which seemed to be hell bent on proving that she was having an affair with Nureyev. The theories were long on gossip imparted by nameless individuals, and very short on any facts. 

 

The authors of these biographies are very selective with those they quote, as you say many are anonymous and thereby worthless.  I once spent an evening chatting to a German former dancer, now resident in Spain, about Nureyev.  He had worked with Nureyev in his declining years and knew not just the dancer himself but many of his close inner circle, he was highly articulate but also dispassionate about Nureyev.  His name does not appear in any of the biographies though surely a thorough researcher would have contacted him, which leaves me wondering if biographers have a preconceived idea about their subject and how that subject is depicted and will only quote those people whose views reinforce their own.

 

It isn't the relationship between Fonteyn and Nureyev that intrigues me, but the relationship between Fonteyn and Ashton.  She was his muse for decades and after reading the Kavanagh biography and discovering that in his youth Ashton was actively bi-sexual, I did start to wonder if their relationship had ever been a physical one and if not, why not.  I suppose it is artistic creation that fascinates me more than actual performance,  Clearly Fonteyn was Ashton's inspiration so is it too much to ask why this question was never investigated as enthusiastically as her relationship with Nureyev?

[bridiem]

Not much evidence of Tchaikovsky discussing his sexuality with the orchestras premiering his works either but there is a pretty large body of analytical writing which discusses its impact on his work.  Authorial intent doesn't need to be express, or even consciously known to the creator.  It can however be an interesting way of thinking about a work.  

 

And no one is being MADE to think about it that way.  I can't see why the fact that others might be interested in doing so should ruin the work for anybody.

 

Thinking further about this whole discussion, I think it turns on whether ballet merits serious consideration and analysis (of the kind that music, theatre, writing and contemporary dance enjoys) including of its historical, social and political context.  I would say that discussing ballet in that way is a mark of respect for its creators and practitioners - thinking of their work as a serious art form rather than simply something 'safe', 'innocent' and escapist that one takes the children to see at Christmas.  

 

But I would reiterate, that this should not be seen as a threat to anyone who simply wants to enjoy ballet in an escapist way.  There is nothing preventing you from doing so!

 

I fully agree that historical, social, political and personal contexts can all provoke interesting ways of discussing works of art, including ballets - I do think that ballet merits the same level of analysis as other art forms, though perhaps by its nature it's more elusive and at least in some cases somewhat less open to such contextual interpretations. What I don't agree with is defining a work by one or other of its possible contexts, or considering that it's 'escapist' to view the work on it own terms, as finally presented to the audience by the creator. Respect is due to the creator in that sense too.

[Vanartus]

Well it could be worse - Coq au vin during a run of Fille; 24 baked in a pie for Raven Girl; and voucher at Nandos for Peri Peri chicken during Firebird...

[aileen]

Aren't the pigeons actually doves?

[Vanartus]

And on a more serious note - Lindsay I agree with what you say. And if people are starting to think there's a "gay Mafia" take over - please join the conceptual and life-style choice dots between MacGregor, Wheeldon, Corder, Page, Ashton and (please forgive Lady M!) "elements" of the same sensibility chez MacMillan. Then think about what remains of the RB rep...

[Vanartus]

...and Cranko!

[FLOSS]

I think that ballet is a serious art form but does that mean that every ballet staged at Covent Garden has to have obvious contemporary significance or that a choreographer's work can only be serious if it contains certain types of subject matter?It is interesting that while we are allowed regular access to that part of the MacMillan repertory that fits the carefully tended image of MacMillan the outsider,the innovator who portrays challenging subject matter and the man in conflict with the powers that be at Covent Garden we are rarely shown MacMillan the choreographer who loved and respected the Petipa classics.

 

While it is possible to analyse the works of some of the major twentieth century choreographers it is not possible to analyse the entire output of any of them and there are some, such as Nijinska few of whose works survive.Analysing some of the oldest works in the repertory must be particularly problematical since they rarely,if ever,come to us from a single untainted source.Giselle for example comes to us via Petipa and there has long been a debate about how much of what we see is Coralli/ Perrot and how much is Petipa? This debate is further complicated by the knowledge that originally the ballet contained far more mime than now and that over the years this has been cut and that the nature of the named characters and their relationship to each other altered and some of them reduced to walk on parts.Then there are the Petipa/ Ivanov ballets all said to be carefully preserved by a number of eminent companies and yet each version strangely different from one another and probably few, if any of them, recognisable to their creators.

 

I recall once answering an exam question about whether it helped the reader of Tobias Smollet's novels to know that he was a doctor and a Scot. The answer was not very much. In the same way it does not really enhance or alter my enjoyment in watching Ashton or Balanchine's works to know about their sexual preferences while I do think that knowing that they both worked in the commercial theatre helps explain their ability to produce works that are theatrically effective and don't outstay their welcome.

Edited November 27, 2015 by FLOSS

[Lindsay]

You're absolutely right Floss, but I would say that performance practice in older works is exactly the area of ballet where there is an ongoing healthy discussion - see for example Ratmansky's "restoration" of an "authentic" Sleeping Beauty, and all the surrounding debate on what "authenticity" means, (whether it is the way the steps should be danced as well as the steps themselves, whether ballerinas should be doing huge extensions as Aurora, whose version should we take as "original", what is the evidence for discovering exact steps danced before the era of filmed performance etc etc.)

 

It's a fascinating discussion, paralleling the Historically Informed Performance (HIP) movement in early music (e.g. the argument that Bach, Mozart - and for some people anyone before Beethoven - should not be performed on modern instruments, finding evidence for the tempo of performances before metronome marks were regularly given).  I am very happy to see that discussion happening in ballet. 

[Sim]

One wonders what happens to those pigeons after the performance...

Now we know why they've all been behaving so well this run....if they don't, it's the casserole pot for them!!

[Ann Williams]

'... The gay sub-text is quite clear as is the similarity to the ballet of the Prodigal Son by Balanchine. Ashton used the scenario he did for convenience and  because it wouldn't cause any ructions with the Board …’

 

(The above quote is taken from Douglas Allens' posting of 26 Nov.). 

 

Douglas, what are you talking about?  Most of us dewy-eyed innocents here just go to ballet performances to see the dancing, not to discover any 'sub-texts' (gay or whatever).   We can hardly avoid knowing that Ashton was gay because we're reminded so frequently in everything written about him, but perhaps you knew him personally and he actually told you about these sub-texts himself?

 

Also, about the Balanchine's 'Prodigal' 'sub-text' - that's really stretching it, isn't it, since it’s such a familiar scenario?  We can see that the young man's chastened return to his innocent sweetheart can  be likened to the Prodigal's similar return to his loving father and we can see that his meetings with some rough types are similar  (though not quite as naughty, of course) as the Prodigal's in the underworld, but again, perhaps Sir Fred confided in you, Douglas?    (BTW, I love ‘Prodigal’, as strange as it is; it’s full of the most dazzlingly inventive choreography –has there ever been  such a realistic yet dancerly fight scene  as that between the two ‘Grotesques’?.  Not sure if the Royal have ever done ‘Prodigal’ , but if so, this could surely be one for revival.

[Sim]

Yes, the Royal did Prodigal a few years ago, famously starring Carlos Acosta who was fab.

[Lindsay]

Ann, are you saying that sub-text can only exist if the author says it does?  That would cause some issues for Shakespearean scholarship and you might want to tell Tamara Rojo to stop analysing Swan Lake.

[capybara]

Yes, the Royal did Prodigal a few years ago, famously starring Carlos Acosta who was fab.

 

And Ivan Putrov who was also FAB!

 

Before that, didn't Irek Mukhamedov also do it?

[Jane S]

They've been doing Prodigal Son off and on since the 1970s - Nureyev was the first, then David Wall.

[Ann Williams]

Wow! I stand corrected.  And actually, I think I remember Mukhamedov doing it - at least, I remember worrying  that he'd never be abler to shift his bulk ove that little gate...

[alison]

(BTW, I love ‘Prodigal’, as strange as it is; it’s full of the most dazzlingly inventive choreography –has there ever been  such a realistic yet dancerly fight scene  as that between the two ‘Grotesques’?.  Not sure if the Royal have ever done ‘Prodigal’ , but if so, this could surely be one for revival.

 

I love Prodigal - it's on my list of ballets to revive (didn't KOH dance it, or was it Michael?).  And yes, the Royal have done it, but not for over a decade, unfortunately

[loveclassics]

Aileen I wasn't joking about the pigeon- it really is on the menu.

Makes you wonder doesn't it.

 

Well it is Autumn - maybe the caterers are just being seasonal?  That's what modern cooking is all about and they may know more about food than ballet.   I suspect that may be the case with me as I certainly didn't pick up on the 'gay sub-text' despite reading Kavanagh's biography. 

 

I will re-read the book when I get a free moment but from what I remember of her descriptions of the men Ashton loved, I really cannot see any parallel with the characters in his ballets.  All the 'heroes' in the Ashton ballets I have seen are curiously passive - people to whom things happen rather than those who initiate action. 

 

But sadly, I have not had the opportunity to see as much of his work as I would like and if the AD of the company most connected with Ashton is more interested in contemporary dance, there's not much chance for anyone now, is there?

 

Linda

 

Linda

[Two Pigeons]

I love Prodigal - it's on my list of ballets to revive (didn't KOH dance it, or was it Michael?).  And yes, the Royal have done it, but not for over a decade, unfortunately

I only remember Michael O'Hare dancing it

[Mary]

I thought Monotones I was much better tonight than when I saw it on Tuesday.

 

I was sorry Maguire was not dancing but, Dyer, Naghdi,Magri were excellent: in time, fluid, musical. Monotones II was also very good- and Christina Arestis was a revelation. She had great presence  .

 

The pigeons behaved well, perhaps under threat of appearing on the menu,  although when he carried the pigeon downstairs Steven did seem to be rather clutching it for dear life...

He and Salenko are so well matched and for me that made a better pairing in some ways than Muntagirov /Cuthbertson. They certainly played the humour well. They also both have the fast foot work needed for this choreography. But the final pas de deux was genuinely moving tonight-it seemed to me they inhabited the roles at this point and made the Swan lake references really work-e.g. the way he entwines and folds her arms back  -it just worked physically better tonight-in my view.

 

I thoroughly enjoyed the gypsy camp in every sense. (Rather missed Sambe- his solo really was super on Tuesday. )

 

 

Why is this ballet not being shown on BBC2 on Boxing Day?It would be absolutely ideal with a very large sherry and a tin of Quality Street.

.

[capybara]

- and Christina Arestis was a revelation. She had great presence  .

.

 

Of course, Christina performed this piece at the RBS performance in Holland Park in 1994 - with Ed Watson and David Makhateli, I believe.

 

However, since then, she has seemed to have been a 'cover' more than actually being cast to dance.

[FLOSS]

I wonder how much freedom of movement the AD actually has as far as programming is concerned? He has to ensure that the company breaks even at the end of the season which means he can't afford to schedule too many mixed bills or full length works for which tickets have to be sold at"popular prices" or discounted.He has to try to keep his dancers happy and all of his present company were recruited to be part of a classically based company rather than a contemporary one.I imagine that the AD is expected to maintain the company's reputation as one which produces work of quality which sustains its reputation.Having regard to what happened to Ross Stretton the AD has to act in such a way that Lady M. does not feel compelled to intervene or is not encouraged to do so.

 

I imagine that an AD who is able to demonstrate that he/ she has the ability to programme seasons which are successful financially and artistically is given more freedom than someone who fails to do so,even if it is only a single season which raises questions about competence in this area.At the end of the day although the powers that be would never admit it I suspect that it is financial considerations that loom largest when it comes to judging success or failure.I can't help wondering what has prompted this sudden interest in what the core audience would like to see revived. Perhaps it is the fact that the company has not had a very successful year artistically.It has had more than its fair share of turkeys in 2015.From what I have read the American tour was not an artistic success. The critics were not impressed by Acosta's Don Q and its week in New York was not a great success either particularly the programme of recent works. Perhaps the interest in the ballets which we would like revived is genuine and prompted by nothing more than the wish to please the audience and curiosity about works that were never part of the SWRB/BRB repertory.Perhaps it has something to do with ticket sales and adverse critical reactions to programmes both here and abroad."Inept", "incompetent" and "insipid" are words that were applied with some relish to works in the last two mixed bills.The current mixed bill has received plaudits from pretty much everyone that counts and has been rapturously received by the audience.

 

However cynical we are inclined to be about this exercise in "reaching out to the audience" we won't get if we don't ask so it is up to each of us to decide whether or not to participate. I shall certainly add my contribution to those already on the ROH website.

 

Anyone who wants to see Helpmann ballets revived needs to remember that they were created pre Benesch notation. The "revival" of Miracle in the Gorbals was more of a reimaging by Gillian Lynne than a true revival, The only Helpmann ballet which has been revived at Covent Garden in the last forty years, and so almost certainly notated, is Hamlet and Monica Mason said she had considered reviving it but had dismissed the idea because of the cost.

Edited November 28, 2015 by FLOSS

[Beryl H]

Second chance to see this programme last night, I enjoyed Monotones much more this time, the music seemed to be a little faster, it probably wasn't as the running time was the same but both ballets looked smoother, especially Monotones 2 which had a fabulous cast, Arestis, Hirano and Kish were perfectly matched in height and elegance, beautiful!

 

A different cast for Two Pigeons too and I equally liked this one, Iana Salenko in particular was lovely, she looks so frail, soft and birdlike, very touching at the end too, thinking about booking for her Giselle now. 

 

The ballet overall seems slightly old fashioned, rather light I suppose, but this is a refreshing change and contrasts with the dark ones(what a different bird ballet to Raven Girl), there is a lot of good choreography especially in the second act.

 

Did the ROH give away tickets last night or were there last minute offers, the amphi looked full, certainly hope it will become popular again.

[FLOSS]

I suspect that any ballet based on a fable by Fontaine is going to look a trifle old fashioned  much as a ballet based on a story by Longinus does.The choice of late nineteenth century ballet music gets in the way of Pigeons having any chance of being modern,relevant or challenging. I find that  the main obstacle  to this ballet being at all modern in feeling or tone is that it was created by a choreographer who had a firm grasp of narrative, theatrical effectiveness and classical choreography.All in all it is rather refreshing after some of the pretentious dance works and inept storytelling we have been subjected to this year..We don't want too much of the sort of thing that Ashton dishes up or someone might mistake RB for a classical ballet company that dances "real ballets". So what I  am going to say about MacMillan's ballets needs to be kept secret. Several  of MacMillan's non narrative ballets,which haven't been staged for years also show great inventiveness with the classical vocabulary and a curious lack of desire to challenge or shock. Perhaps that is why we don't get to see them, Could it be that Lady M. does not approve of them because of their content or rather their lack of content.? It would be a bit difficult to make the case for a choreographer being an outsider because of the challenging nature of the subject matter of his ballets if the company which is the main shop window for his work  were to insist on staging his pure dance works.

Edited November 28, 2015 by FLOSS