The Royal Ballet, The Winter's Tale, April 2016

[Scheherezade]

I saw the first cast last week. Last run I saw the second cast. The first and third acts felt different this time round although I'm not entirely sure what the changes were. During the latest run, however, the narrative in these acts felt more focused and driven which, for me, moved the pace along and enhanced the emotional involvement. These acts were wonderfully danced and emotionally gripping.

 

Unfortunately, I didn't feel the same about the second act, which didn't really seem to go anywhere.  Lots of jolly dancing but no sense of tension, danger or emotional pull, not even when Polixenes appeared. We knew that he disapproved of Florizel's love for Perdita because he looked cross but this did not register in any other way. All successful narrative needs conflict for the protagonists to overcome. It didn't feel as though there was any here, or not through the dance medium. I think that Act 2 needs a narrative re-think rather than pruning. And Florizel needs more flattering trousers.

 

Having said that, I did enjoy the evening overall and with a re-worked Act 2, Winter's Tale could satisfy from start to finish.

[RobR]

I'm still puzzled by the (mild) criticism of Act 2 by various correspondents.

 

I've seen WT three times this run - with different casts.

 

Whilst I enjoy and appreciate the drama of Acts 1 & 3, and the 'acting' ability of the dancers, I find Act 2 positively exhilarating - I almost want to skip out of the auditorium at the interval.

[aileen]

I'm not seeing WT this time round but I recollect that after an incredibly atmospheric opening to some very haunting music (and of course there is the vision of the marvellous tree - a highlight in itself) there was just too much very similar 'peasant' dancing which seemed to go on and on. I agree with Scheherezade that perhaps Act 2 needs substantial reworking. Florizel's costume is bizarre: straight out of the seventies.

[Timmie]

I'm still puzzled by the (mild) criticism of Act 2 by various correspondents.

 

I've seen WT three times this run - with different casts.

 

Whilst I enjoy and appreciate the drama of Acts 1 & 3, and the 'acting' ability of the dancers, I find Act 2 positively exhilarating - I almost want to skip out of the auditorium at the interval.

On my part it is only very mild criticism, I guess I wanted to stay in the dramatic mood that Act one had put me in. Normally I would expect to like the dancey part of a ballet the best but somehow the WT had taken me somewhere I don’t usually get to and I was reluctant to change the mood.

[Balletfanp]

I saw it last night. I had previously seen it on TV a couple of years ago at Christmas, and enjoyed it more than I thought I would, so I was looking forward to seeing it live.

 

Nunez and Gartside were so moving - I agree with Capybara that Gartside really made you feel for Leontes. What really choked me up was at the end where he went to the status of his son in the hope that he may have been alive too.....

 

I adored Act 2! Like RobR I found it exhilarating to watch - the combination of the set, the colours, the lighting, and of course wonderful joyous dancing from all concerned, all contributed.

 

I suppose the role of Florizel could be said to be a slighter one that that of Albrecht - but as ever Muntagirov didn't disappoint. He always dances anyway as though it is his reason for living, so the joyful choreography (which really suited him, I thought) played to his strengths perfectly. I know it was created on McRae, but Vadim showed that you can be tall and fleet footed as well. And as usual his characterisation was just beautiful and spot on. Stix-Brunell was a lovely Perdita and was a good match for Vadim. I'd like to see them dance together more.

 

Itziar Medizabal was impressive as Paulina (more so than Myrthe, I thought), dignified, wise and compassionate. I thoroughly enjoyed the evening.

[alison]

I agree with Capybara that Gartside really made you feel for Leontes. What really choked me up was at the end where he went to the status of his son in the hope that he may have been alive too.....

 

 

Now, that's interesting.  When I saw the cast earlier in the run, I definitely got the feeling that he was simply taking a moment to mourn his dead son, rather than hoping he might also have been alive as the play indicates.  I felt the same with Soares' debut, too.  This time, it definitely felt more like what you indicated.

[alison]

I'm copying over most of FLOSS' comments from the RB Period 4 casting thread, as they seem very pertinent here, too, even if they do repeat some of what has already been said:

 

 I was very pleased that management resisted the temptation to give the fans the Nunez,Soares  cast which it had announced for 2014. It would, in my opinion, have been detrimental to the development of this ballet as both the second and third casts bring new insights to the work in performance. Like every other new ballet of any real worth it will grow in performance as new dancers appear in it. I suspect that the first and third acts work more effectively, in part, because the audience is more attune with the narrative but also because it has been tweaked so that more is made of the jewel which Leontes gives to Hermione when it is put in Perdita's basket; when she is discovered; when the old shepherd gives it to her and in the recognition scene when Paulina sees the jewel and recognises Perdita as Leonte's lost heir.

 

I still think that the second act is the weakest of the three because all the sheep shearing  jollifications go on for far too long. I'm afraid that the choreographic invention runs out long before the music does. The ballet captures the essential action of that part of the play but, for me, it lacks the choreographic equivalent of the verse  which sets Perdita and Florizel apart from the peasantry. It's far too full of movement and lifts which are novel for novelty's sake rather being either expressive or beautiful. When I first saw the ballet I was so impressed by what Wheeldon had achieved in the first and third acts that the fact that the second act is emotionally flat did not worry me that much.

 

Now  I am disappointed that Wheeldon has not seen the need to do something about the second act . It is all very slick but the choreography is too much like one of his abstract works. Having created choreography and movement that is capable of carrying the story in the outer acts of his ballet in act 2 he seems to have reverted to the unconvincing style of the pas de deux that he created for the final section of Alice. We have choreography which displays technique rather than emotion, it is all very clever but far too slick and far too dependent for its effect on the personalities of the dancers on whom it was created. You don't notice its inherent weaknesses when it is danced  by Lamb and McRae.When you see Muntagirov and Stix-Brunell and Hay and Hayward dance the choreography it becomes very clear that it has no emotional depth or truth to it.  I don't expect an Ashton pas de deux at this point but the ballet needs the sort of emotional truth that Ashton, Tudor, Cranko  and, MacMillan on a good day,were able to make an integral part of their choreography often by incorporating ordinary body language into the movement. All of them knew the power that simple, natural movements can have in ballet and were not afraid to use them.  In this act it as if Wheeldon is afraid of doing something simple and is hiding behind the technical skills of the dancers on whom he created the roles and in particular on McRae's bravura approach to the choreography.

 

This might sound like heresy but I think that not only should he cut the act but he should re-choreograph it on a pair of dancers who might inspire him to instil an element of lyricism and emotion into the text. Considerably less "big production number" novelty and  cleverness and a bit more naturalism and simplicity would transform the act.

[alison]

Some (expensive) returns have popped up for the last night of this.

[alison]

I see there are some returned standing - and other - tickets for this afternoon's matinee.

[alison]

As there are for the evening

[Jamesrhblack]

Looking forward to this afternoon, although I've been invited in a professional capacity by the conductor and I understand my seat reflects this ....

[zxDaveM]

Looking forward to this afternoon, although I've been invited in a professional capacity by the conductor and I understand my seat reflects this ....

 

You sitting in the orchestra pit or something?  ;-)

[RuthE]

Maybe he's in the onstage band...

[zxDaveM]

a horse called Mamillius ran in the 3.15 at Salisbury today, at 11/1.

Sadly I didn't notice until AFTER it had won....

[RuthE]

a horse called Mamillius ran in the 3.15 at Salisbury today, at 11/1.

Sadly I didn't notice until AFTER it had won....

 

I'd have been disinclined to back a horse named after a character who drops dead really near the beginning!

[Jamesrhblack]

Maybe he's in the onstage band...

The company box right over the pit.

 

It's certainly a partial view but great to be able to see the dancers so closely whilst, of course, keeping an eye out for the conductor ...

[SPD444]

On a similar note, I saw for the first time that the percussion/brass are now separate from the rest of the orchestra with what appears to be something of a partition closing them off. Is this in recognition of some legal action being taken by one of the orchestra who has complained of losing some of his/her hearing or another piece of H and S.

[alison]

I think it's only for The Winter's Tale, which does have some rather loud percussion sections, I think (although Alice might be worse?).

[alison]

BTW, the question I've thought about in every performance so far, but have never got around to asking ... has anyone deciphered the semaphore?!

[mshovelt]

On a similar note, I saw for the first time that the percussion/brass are now separate from the rest of the orchestra with what appears to be something of a partition closing them off. Is this in recognition of some legal action being taken by one of the orchestra who has complained of losing some of his/her hearing or another piece of H and S.

I noticed that too. I normally have a quick peek in the orchestra pit before I sit down and I haven't noticed it for any of the other performances I have attended recently. The percussion section was *massive* compared to normal though so I thought it was just for that reason.

 

(edited for formatting)

Edited June 8, 2016 by mshovelt

[bangorballetboy]

On a similar note, I saw for the first time that the percussion/brass are now separate from the rest of the orchestra with what appears to be something of a partition closing them off. Is this in recognition of some legal action being taken by one of the orchestra who has complained of losing some of his/her hearing or another piece of H and S.

 

It has been like that since the first performance (and Alice is similarly set out).

[mshovelt]

So, I went to see The Winter's Tale for the first time last night (having, in retrospect, rather recklessly skipped over it two seasons ago). All I can say is: "wow!". Now I wish I'd got tickets for more performances. That said, I think I'd want to see the same cast again as I just can't see anyone other than Edward Watson in the role of Leontes; maybe Vadim, but not for another 5-10 years! What a dramatic performance, especially in the first act, ably supported by Lauren Cuthbertson who has all of the grace and dignity required and more. The second act was just pure joy and it is always great to see Steven Mcrae doing what he does best: tearing up the stage. The final redemption and reconciliation of the third act left me elated, my trainers feeling extra springy as I bounced off down Floral Street after the performance.

 

Great performances all round; Beatriz Stix-Brunell, Zenaida Yanowsky and the ever-wonderful Gary Avis deserve a mention. As does Sarah Lamb as Perdita (btw, would love to see Francesca Hayward in this role). The orchestra played brilliantly and I really liked the music. This show just reminded me why I love ballet.

 

 

[zxDaveM]

BTW, the question I've thought about in every performance so far, but have never got around to asking ... has anyone deciphered the semaphore?!

 

I don't know about deciphered, but I always thought it symbolised their wedding vows

[Mary]

I entirely agree mshovelt. I was skipping down Floral st so it's amazing we didn't bump into each other.

 

I thought Cuthbertson- whose perfomance I first saw in 2014 has really rounded out the role and got better and better at portraying the extremes of emotion, the contrasts in each Act. I have seen other Leontes but Watson will always be there behind this role. It was almost painful to watch last night- the inner writhings made manifest.

Mc Rae was on scinitillating form and I felt all the excitement of young love between him and a radiant Sarah Lamb.

I am one of those who love Act 2 and with Gary Avis stamping and swirling through it, it was elating last night

 

I am sorry to think  I won't see this again for some time.

I think it is a classic. Especially after seeing Frankenstein recently,  I really felt the power of the narrative ( granted this is slowed down in Act 2 ) - the special effects kept in their place- they just provide short moments of highlighting as they should. The focus on what matters is kept before us. The opportunities for dance acting so rich. The interesting varied music that works to help tell the story and heighten the emotions at the right moments..

[bangorballetboy]

That said, I think I'd want to see the same cast again as I just can't see anyone other than Edward Watson in the role of Leontes;

 

I'd have recommended seeing Bennet Gartside who brings a different but valid and exciting interpretation to the role, but he's done his shows now.

[penelopesimpson]

Well, that's three of us dancing down Floral Street!

 

A fabulous evening when it was good to be alive and privileged to watch a great Ballet Company right at the top of their game.  This is my third time at Winter's Tale and it just gets better. Ed Watson - is there anyone like him? The poison of jealousy seemed to ooze out of every pore.  Lauren Cuthbertson was all light happy innocence and Zenaida Yanowksy was magnificent.  I wish I had seen her in more roles, she is so expressive and elegant.

 

Some, I know feel Act 2 needs pruning but for me I just love this demonstration of exuberant dancing. This is absolutely Macrae's role and he certainly owned the stage.  And Sarah Lamb is all pert youth and just right for his part.  I am not Lamb's biggest fan but she was terrific as was Valentino Zucchetti.  I didn't think Stix-Brunell quite matched him, but that is a small quibble.

 

This ballet has everything, not least the chance for so many wonderful dancers to use their talents in roles that exactly suit them.  Please revive again soon.

[RuthE]

BTW, the question I've thought about in every performance so far, but have never got around to asking ... has anyone deciphered the semaphore?!

 

If you are specifically referring to the sequence of arm movements that is shared between Leontes and Hermione right at the beginning, and then again at other points including when Hermione expresses her forgiveness in the final scene, then I do know the answer to this from the most reliable of sources.

 

As zxDaveM stated, it is a statement of their wedding vows.

 

When a studio performance of the Act 3 pas de deux was streamed online as part of the Shakespeare 400 day in April, I messaged Lauren Cuthbertson on Twitter to ask what it meant.  Her response was that Ed Watson had nicknamed it the "port de marriage".

 

(This conversation was public on Twitter rather than by DM, but I think she may have deleted it since as I can't find it in her feed to link to.)

Edited June 8, 2016 by RuthE

[alison]

Okay, so I was in the right direction ...  Thanks.  I was also thinking of Paulina's, though.

 

And silly me, I should have put "semaphore" in inverted commas in my original post

 

Agree with BBB's comment that Gartside was also well worth seeing in this role.