The Royal Ballet: The Nutcracker, 2015-16

[munchkin16]

It is quite amazing the way modern cameras work (to me, anyway.) They are constantly filming for television in our local park, and they always do so after dark, when the park gates are locked and the normal public can't get in. We can, however, see what they are doing from the road. An advert filmed on our bandstand at midnight came out as a wonderful summer's day picnic when we saw it on tv. I just wondered if they doctored it much after filming?

For film they have these rather fabulous giant light boxes they stick on cranes so the light shines over the scene or through a window. It's possible they used one or more of these? I've been inside a house with them shining through the windows and genuinely couldn't believe it had got dark when I looked outside. It felt like early afternoon still! It's possible they had these for the advert so the cameras pick up enough light to give the illusion of daytime even though it's midnight. Very disconcerting though!

[bridiem]

another gripe. Does anyone else find Darcey and her sidekicks irritatingly gushy? Everything is always PERFECT and FABULOUS and THE BEST. We don't need to be told that after we can judge what we've just seen ourselves. I know it's part of the current general culture of hyperbole, but it strikes me as, dare I say it, un-English.  I guess I was brought up to consider it unseemly to do something and then say "Aren't I great???"

 

I'm very fond of Darcey, but she's clearly working to a brief and is actually a lot more effective and less nervous when she's allowed to be more herself. So I wish the producers (or whoever) would be less prescriptive and allow the interviews to be a bit more serious/informative, and as you say let the audience decide for itself whether it's fabulous.

[RuthE]

I agree it's a big problem I had to give up on whatever they showed last Xmas Day as too dark to see.

 

Wasn't it Winter's Tale?  There's a lot of that ballet that is quite gloomily lit even from seeing it in the theatre.

[alison]

Dark areas and sections of action that are too darkly lit to see what is happening and tricksy camera work do not seem to be features of the Bolshoi's streamed performances which I have seen.Perhaps Bolshoi management think that the worldwide audience is more important than the the theatre audience at the performance which is being broadcast..

 

I think Ivan the Terrible had problems with set darkness, IIRC.

[toursenlair]

I think Ivan the Terrible had problems with set darkness, IIRC.

 in my opinion, the less one can see of Ivan the Terrible, the better!

[zxDaveM]

 in my opinion, the less one can see of Ivan the Terrible, the better!

 

Ivan! its terrible!

[penelopesimpson]

I think that the powers that be at the RB need to be told that their streamed broadcasts and subsequent DVDs are not as good as they could be. If they hear nothing they will think that they are doing a good job. Why not put some of the "gripes" on the ROH website where the audience is asked to say how they enjoyed the performance? If they get enough adverse comments they might do something to remedy the situation. You don't need to be a genius to come up with a solution to the problem.Dark areas and sections of action that are too darkly lit to see what is happening and tricksy camera work do not seem to be features of the Bolshoi's streamed performances which I have seen.Perhaps Bolshoi management think that the worldwide audience is more important than the the theatre audience at the performance which is being broadcast..

 

 

There was a problem with the lighting in Cavalleria Rusticana in that some members of the audience couldn't see because of the blinding spotlights reflecting off glass in the set.  They posted comments on the ROH website and received a very polite response and the problem was rectified so it really is worth posting.

[sarahw]

Yes Ruth it was - thank you.

[Colman]

I loved Ivan the Terrible! Possibly in a slightly ironic its-so-soviet-and-so-very-manly way, but I enjoyed it greatly. As just sorry I didn't bring the seven year old to see it. He'd have enjoyed it.

[capybara]

Have just seen the cinema replay of the RB's Nutcracker and, to my surprise, found it rather disappointing and lacking in the sparkle it has when seen in the flesh. The Christmas tree looked initially as if it wasn't lit up properly and the fashion for 'natural' make-up, combined with the soft colour palette of Act 2 in particular, made everyone look quite bland.

 

I agree with the posters above who suggest that there is a lighting issue to be addressed here but, interestingly, the trailers for Two Pigeons at both the start and in the interval seemed well-lit.

[FLOSS]

For those who find the current RB production of Nutcracker less than satisfactory or think that Peter Wright's production for BRB is about the best you can hope to see de Valois' comments on first seeing the Wright production at Covent Garden are worth noting. She is  reported to have said words to the effect that she could not understand why they had got rid of the Nureyev production because it was the best version that she had seen. She did not seem that concerned about how much of that production was dependent on earlier Soviet versions.

[Fonty]

Thanks for that, Floss.  I remember reading that de Valois thought very highly of Nureyev's Nutcracker. 

 

Anybody know why they got rid of it? 

[FLOSS]

I do not think that there is an official version about why the Nureyev production slipped out of the repertory. It could be that its loss was connected with John Tooley's failure to secure the services of Nureyev as A.D. of the Royal Ballet. It could be that it was connected with the fees that Nureyev was or was not being paid.It could simply be that the rights to perform it were not renewed or it could be that the performance standards had slipped.The last performance of the Nureyev production that I saw at Covent Garden was not as well danced as it had been at previous revivals. The dancers in the Chinese dance, in particular, were having difficulties with the choreography. Its loss could be attributable to all, or none of the above. 

 

The Nutcracker was not a fixture in the Royal Ballet's repertory between 1968 and 1977 and it did not become one until Dowell's directorship. I think that it began to loom large in the repertory at the point that significant central government funding declined. At that point the Nutcracker began to function as a cash cow in much the way that it does for ENB and for North American ballet companies. I think that the need  for the company to cover its costs over the season led to conservative programming and the dominance of long runs of full length works and the Nutcracker becoming a Christmas fixture at Covent Garden..

Edited December 28, 2015 by FLOSS

[penelopesimpson]

I do not think that there is an official version about why the Nureyev production slipped out of the repertory. It could be that its loss was connected with John Tooley's failure to secure the services of Nureyev as A.D. of the Royal Ballet. It could be that it was connected with the fees that Nureyev was or was not being paid.It could simply be that the rights to perform it were not renewed or it could be that the performance standards had slipped.The last performance of the Nureyev production that I saw at Covent Garden was not as well danced as it had been at previous revivals. The dancers in the Chinese dance, in particular, were having difficulties with the choreography. Its loss could be attributable to all, or none of the above. 

 

The Nutcracker was not a fixture in the Royal Ballet's repertory between 1968 and 1977 and it did not become one until Dowell's directorship. I think that it began to loom large in the repertory at the point that significant central government funding declined. At that point the Nutcracker began to function as a cash cow in much the way that it does for ENB and for North American ballet companies. I think that the need  for the company to cover its costs over the season led to conservative programming and the dominance of long runs of full length works and the Nutcracker becoming a Christmas fixture at Covent Garden..

 

 

May I just say, Floss, that I hope you will not ever shorten your posts.  They are always a mine of information and I learn so much.  You have a knack of providing the answers to whatever I was wondering about at the time!  Thank you for my ongoing ballet education.

[Don Q Fan]

I agree it's a big problem I had to give up on whatever they showed last Xmas Day as too dark to see.

That will have been my beloved Don Quixote I found it terribly dark in the cinema and on TV especially the beautiful Dream Scene. Such a shame.

[Odyssey]

I do not think that there is an official version about why the Nureyev production slipped out of the repertory. It could be that its loss was connected with John Tooley's failure to secure the services of Nureyev as A.D. of the Royal Ballet. It could be that it was connected with the fees that Nureyev was or was not being paid.It could simply be that the rights to perform it were not renewed or it could be that the performance standards had slipped.The last performance of the Nureyev production that I saw at Covent Garden was not as well danced as it had been at previous revivals. The dancers in the Chinese dance, in particular, were having difficulties with the choreography. Its loss could be attributable to all, or none of the above. 

 

The Nutcracker was not a fixture in the Royal Ballet's repertory between 1968 and 1977 and it did not become one until Dowell's directorship. I think that it began to loom large in the repertory at the point that significant central government funding declined. At that point the Nutcracker began to function as a cash cow in much the way that it does for ENB and for North American ballet companies. I think that the need  for the company to cover its costs over the season led to conservative programming and the dominance of long runs of full length works and the Nutcracker becoming a Christmas fixture at Covent Garden..

Am I right in thinking that Nureyev subsequently produced this version of Nutcracker at Paris Opera? And if so is it still in their repertoire?

[alison]

That will have been my beloved Don Quixote I found it terribly dark in the cinema and on TV especially the beautiful Dream Scene. Such a shame.

 

It was Winter's Tale last year, surely?

[stucha]

Am I right in thinking that Nureyev subsequently produced this version of Nutcracker at Paris Opera? And if so is it still in their repertoire?

 

He did create a new Nutcracker for the Paris Opera Ballet but I am not sure how closely it followed the version he did for RB.  It is no longer in the repertoire of the POB however.  A new version of Casse Noisette is opening in February 2016 and will be broadcast live in cinemas on 17 March.  It boasts 5 choreographers - Sidi Larbi Cherkaoui, Edouard Lock, Arthur Pita, Liam Scarlett and Benjamin Millepied and is directed and designed by Dmitri Tcherniakov.  Hard to know at this stage what sort of beast it will be. 

If you are interested in the Nureyev Nutcracker, it is still in the repertoire of the Vienna State Opera Ballet and can be found complete on the net.

Edited December 29, 2015 by stucha

[zxDaveM]

Enjoyed last night's Nutcracker performance - Fumi Kaneko was an irresistibly gorgeous SPF, her dancing beautifully poised and elegant (making even some of the less elegant lifts in the choreography seem fine). I'm feeling fortunate I have a ticket to see her do it again in January 

[Naomi M]

The Nureyev Nutcracker at Paris Opera Ballet and Vienna State Ballet is not the exactly same one, it is a rather dark one. There used to be a commercially released video of POB starring Elisabeth Maurin and Laurent Hilaire and you can find it on YT. I am not sure if Nureyev Nutcracker has been removed from POB rep because the new one is an experimental one and I am not sure it will be good or not. (I am rather doubtful)

[Fonty]

I am not sure why a ballet such as the Nutcracker really needs 5 choreographers working on it.  I didn't realise it was so complicated!

[alison]

Enjoyed last night's Nutcracker performance - Fumi Kaneko was an irresistibly gorgeous SPF, her dancing beautifully poised and elegant (making even some of the less elegant lifts in the choreography seem fine). I'm feeling fortunate I have a ticket to see her do it again in January 

 

And I'm looking forward to seeing her do it on New Year's Eve   I first saw her dance the role as a replacement for Lauren Cuthbertson, and was extremely pleasantly surprised.

 

That reminds me, in all my busyness of the last few weeks, I don't think I ever managed to record that I had AT LAST managed to catch Lauren's Sugar Plum Fairy.  I think it must have been the fourth time of asking!  I was not disappointed.

[Jillykins]

The magic of the Nutcracker caught me up yesterday. I went to the matinee and so enjoyed the glee of the many tiny members of the audience. Only twice during the performance did I hear a child's sound. They were dancing all the way out of the theatre. So it worked, introduced many youngsters to the joy of ballet. I still remember my first visit over seventy years ago. Les Patineurs. I forget a lot today but that memory is still vivid.

I enjoyed the performance Leticia Stock and Marcelino Sambe were lovely together, although I find her arms rather angular. I was very aware of her elbows! Great to see young talent emerging. I thought Yuhui and Alexander Campbell made a lovely partnership, despite at least one inelegant descent from a lift. I hope to see them paired together again.Alexander lands so silently, like a cat and Yuhi managed those hideously difficult gargouillades so neatly. Please excuse if spelling of steps wrong. So despite minor criticisms it gave great pleasure to so many.

Also thank you to contributors for so much information on history and versions of this ballet and many others. I really do enjoy reading them.

[LinMM]

That's exactly what I thought Fonty.....does seem rather a lot of choreographers (post 252)

I hope it's not going to be a case of too many cooks spoil the broth!!

 

I too enjoyed Nutcracker yesterday and love Fumi Kaneko as she has a sort of radiance about her. I saw her a couple of years ago in another ballet and thought she looked promising then and then she seemed to disappear for ages.....I believe she was injured for quite a while so nice to see her in such good form. You can see she would be very good as a Princess Aurora in Sleeping Beauty I think.

 

Also outstanding last night were Meaghan Grace Hinkis as Clara and Luca Acri as the Nutcracker.....he in particular turning into a fine dancer now.

I did enjoy it as I was in exactly the right mood for it but I cannot say I really like some of the costumes in the second act..... but just a minor grouse ......with that glorious music and the Company generally looking on top form well worth going.

And I think I've found my favourite seat in the Amphitheatre after all these years.... in row F!!.....right next to the exit.

 

 

I do remember Nureyev's Nutcracker for the RB was there on the first night ( as I remember it) but it's an age ago now and couldn't say whether that version is the best I've seen .....but it was interesting and I remember some bits seem to have an awful lot of steps .....almost on every beat of the music ....and it brought a darker more psychological side out.....more adult related as I remember and many did not like this at the time but again very brave of Nureyev to go against the grain a bit with this "children's ballet" as was more thought of as generally.

I think Wayne Eagling has similarly tried to do add some complexity of approach with the current ENB version but I do find all the changes of mask stuff in what was once a lovely pas de deux rather tiresome especially as I love that music!!

Edited December 29, 2015 by LinMM

[MargaretN7]

The magic of the Nutcracker caught me up yesterday. I went to the matinee and so enjoyed the glee of the many tiny members of the audience. Only twice during the performance did I hear a child's sound. They were dancing all the way out of the theatre. So it worked, introduced many youngsters to the joy of ballet. I still remember my first visit over seventy years ago. Les Patineurs. I forget a lot today but that memory is still vivid.

I enjoyed the performance Leticia Stock and Marcelino Sambe were lovely together, although I find her arms rather angular. I was very aware of her elbows! Great to see young talent emerging. I thought Yuhui and Alexander Campbell made a lovely partnership, despite at least one inelegant descent from a lift. I hope to see them paired together again.Alexander lands so silently, like a cat and Yuhi managed those hideously difficult gargouillades so neatly.

 

And besides the delicious Sugarplum of Yuhui Choi we had the delightful Rose Fairy of Francesca Hayward

 

And I second the comment on the excellent behaviour of the young audience. There was a real, excited, chattering buzz before the start, then it all went silent as the lights went down - that magical moment.

[alison]

I too enjoyed Nutcracker yesterday and love Fumi Kaneko as she has a sort of radiance about her. I saw her a couple of years ago in another ballet and thought she looked promising then and then she seemed to disappear for ages.....I believe she was injured for quite a while so nice to see her in such good form.

 

I believe she fell and got injured during the first season of Don Quixote - and wasn't quite recovered enough to dance Kitri in the second, unfortunately.

[zxDaveM]

 

 

Also outstanding last night were Meaghan Grace Hinkis as Clara and Luca Acri as the Nutcracker.....he in particular turning into a fine dancer now.

 

 

 

I think you mean Benjamin Ella (as Nutcracker/Hans-Peter). He was rather good I thought - good to see him delivering, after being plagued by injury in his early RB years

[zxDaveM]

I believe she fell and got injured during the first season of Don Quixote - and wasn't quite recovered enough to dance Kitri in the second, unfortunately.

 

That's sadly right (I was there on the night - it looked like she bent her kneee the wrong way on a landing). SO glad she is back, and dancing so well (she was also superb as the Gypsy in Two Pigeons recently)

[Sim]

My daughter and I went to the 1230 matinee of Nut on Christmas Eve. The audience was FULL of children, so we were prepared for total mayhem during the show. Well....not a bit of it! Not one peep from one child the whole time, even during what would be considered the 'boring bits' for a child. We were so impressed, and it is great kudos to the production, the dancers and the orchestra that these children were so enthralled by what they saw. We didn't even hear "mummy, what's going on now?" once! Bless them all.

[LinMM]

I've run out of likes for the time being but so agree with your above statement Sim .....same here on the 28th!! All kids wonderfully behaved.

The only audience blip was some members of the adult section being over enthusiastic in clapping ......not just too soon....say just before the end of the brill pas de deux .....but in one instant just completely in the middle of the dancing!!

 

I've left my cast list up in London zxDave ......which part did Luca Acri perform then?

[zxDaveM]

 

I've left my cast list up in London zxDave ......which part did Luca Acri perform then?

 

As I recall, he was Clara's partner at the party - and he was excellent in the role!

[zxDaveM]

.

The only audience blip was some members of the adult section being over enthusiastic in clapping ......not just too soon....say just before the end of the brill pas de deux .....but in one instant just completely in the middle of the dancing!!

 

 

As a general thing - why do people start applauding at the end of the duet in the grande pdd, BEFORE they've finished dancing - where they do a couple of 'poses' in time to the music, before it finally ends with a sort of "ta-da" moment? (Same thing happens as Aurora finishes off the Rose Adage variation)

[Jan McNulty]

I think, if you have seen it many times you know it hasn't finished but if it is your first time you may think it has.

 

The late Christopher Gable did not encourage applause during narrative ballets and to this day I tend not to applaud while the dancing is still going on (or while the orchestra is still playing) unless there are clear "take the applause" moments.