The Royal Ballet: Anastasia, October 2016

[Colman]

Immediate reaction: Wow. Huh. I may have to think about this one.

 

What was going on with the men's dancing in the first act? Was it meant to look snatched?

[Mary]

Just back from the live screening and-though I admit to not being at all a great admirer before-  I thought Osipova was simply wonderful. This is a role just right for her and in Act 3 she was mesmerising.

 

I did very much enjoy in Act  1 Alexander Campbell-and Arestis all the way through: a vision of poise and hauteur; also, Watson- a joy to see him in a classical role, and he was, I thought,  a great partner for Osipova.

 

The ballet as a 3 act piece was much better than my memory of the last time I saw it in 2004, though still doesn't quite add up to more than the sum of its parts and some moments are a bit awkward.

[cavycapers]

Christina Arestis is so elegant, when she is onstage I can hardly look at anyone else. I kept having to pinch myself that there were so many world class dancers on stage at one time. Poor old Osipova's feet though. They are almost as bad as Cojocaru's. Seeing them in close up at the cinema is unfortunate.

[Two Pigeons]

I have waited over 30 years to see the whole work, having seen act 3 with Lesley Collier and Genesia Rosato. My impressions were -

 

Wonderful committed performances by the cast

Lovely frocks

Act 3 has changed a lot

What load of inaccurate historical tosh in Act 2

Darcey should not be allowed to do interviews (but then I always think that)

I will happily not see it for another 30 years

 

Not Macmillan's finest work

[Vanartus]

Saw it at the Barbican- first time at a live relay. So glad I went. Was really useful to address my own doubts from first night at CG. I got an incredible amount from the screening- the close ups particularly at the start of act 3 were a revelation. Wow. I feel truly privileged to have seen this performance in two ways. Amazing.

[alison]

Those who weren't at the cinema screening will be interested to know that:

 

1) Vincenzo got a credit at the end

 

2) The cameramen cheated   We got a side-on view of Osipova and the nurses while they were watching the film.  I hope they were all warned about the possibility beforehand.

 

3) It was *very* dark.  I mean, the first act looked as though they were on an evening cruise.  Mind you, in all the first-cast performances it's seemed to me that there was less of an autumnal glow about Act I.

[Gargouillade]

I have been a long-time reader of this section of the forum, and I have learnt tremendously from some of your posts. Tonight I felt brave enough to pen my thoughts about Anastasia, and I hope sharing this link is permitted: https://gargouillade.wordpress.com/2016/11/03/the-royal-ballets-anastasia-2016/

[Sim]

Thanks for your excellent review, Gargouillade, and I agree with every word you say (Alison said above that Vincenzo did get a credit - good, he deserves one!).

[Gargouillade]

Thank you for your kind words Sim, and for pointing me to Alison's post! 

[penelopesimpson]

Hmm.

 

Just back from my first Anastacia.  Was it worth the ten hour round trip - not really but I'm glad I went.

 

Overall assessment:  Tried hard but could do (a lot) better.

 

I've read the history and the programme and am familiar with Anna Anderson's travails, non of which make the slightest difference to my view of Anastacia as a deeply flawed work.  Yes, ACT 3 is hot stuff, but wonderful though it is, a lot of its impact is because of the lacklustre Acts which precede it.  Seems to me there are two solutions;  either present Act 3 as a one-off short piece of work or persuade Lady Macmillan to agree to drastic revisions of Act 1 and 2.  I feel the ballet falls between two stools.  It presents as historical narrative yet the 'plot' is poorly strung together and well-nigh invisible at times, and, for me, the choreography is not dramatic enough to be put on as a modern take on a theme.

 

Yes, Osipova is outstanding.  Her energy and commitment are breathtaking and yet somehow the brilliance of her performance serves only to put the rest of the ballet in the shade.  The male parts are underwritten and largely forgettable and one wonders why Rasputin is included at all when, for the most part, he simply stands around as a prop which somebody thought should be included as an essential part of Romanov history.  We get a lot of soldiers doing not much and the only corps work that is convincing is the very short revolutionary piece.

 

Ed Watson conducts himself impeccably as always but its not much of a role and if I hadn't read the programme I wouldn't have realised he was Anastacia's husband.  Ryoichi Hirano seemed to be suffering from tight costume syndrome and Thiago Soares I felt phoned it in - and who can blame him.  Apart from the breathtaking Osipova, the standout performance for me was Christina Arestis who reminded me so much of Zenaida Yanowsky in Winter's Tale.  The other princesses do a lot of skipping about that doesn't amount to much, despite the fact they include Naghdi and Stix-Brunell.

 

Marianela Nunez seems to have escaped from Swan Lake as she appears as a faultless Odile but she and Bonelli did not convince as the young flirtatious ballerina and her paramour.  As for the sitting around watching movies, I wanted to shout 'enough now' and wondered why nobody had.

 

So what is wrong?  I am not knowlegeable enough to give anything other than a layman's perspective but this work is just not good enough to stand alone.  To quote an Irish friend, I wouldn't start from here: even the music seemed wrong. Yes, Tchaikovsky is wonderful but for the first Act when we are meant to see the carefree world of the Russian Royal family, the music is heavy and downbeat so that when the news comes of war breaking out there is no contrast.  Act 3 begins so powerfully due in no small part to the wonderful music which suits the mood.

 

People have been critical of the sets but not having seen the ballet before, I quite liked them, although I couldn't help wondering why Anastacia's coming-out ball appeared to be taking place in the street outside the winter palace beside a huge heap of sand which I presume was meant to be snow.  Again, if you hadn't read the programme, you wouldn't especially know what was happening as, perversely, we don't see Anastacia being formally introduced until the end of the Act so the point of her debut is lost.

 

The man beside me fell asleep and the woman on my right left after Act 2.  The applause was okay but underwhelming although Osipova received a warm reception.  I am left feeling hungry for some real ballet this season and wonder at the programming.  We had endless performances of Fille (very nice but once every five years is more than enough), followed by what looks like a million performances of Sleeping Beauty/Nutcracker.  The only real meat is Anastacia which is a big disappointment and five performances of the new triple bill which I haven't managed to get a ticket for.  Disappointing.

Edited November 3, 2016 by penelopesimpson

[Aruna S]

My two cents after watching the cinema relay.

 

The story of the last Tsar has fascinated me since seeing "Nicholas and Alexandra" as a child, so I knew the background. I've been following the forum thread, and that obviously influenced me a bit. I prepared for the performance by watching clips of the Insight evening and rehearsals. I tried to keep an open mind although I was leaning towards not being wowed.

 

I absolutely loved the ballet, from beginning to end, the music, the costumes and the sets. Well, maybe not the swimsuits. Osipova gave a great performance, haunting as Anna Anderson and charming as the young Grand Duchess. Arestis and Cowley also stood out for me among the women. Nunez's Kschessinskaya was very Odile, and I thought Bonelli seemed a little off. I agree that Darcey isn't terribly good at interviews, and she seems to have a real problem remembering names. Ketin erm Kenneth? Come on!

A very encouraging sign was that there was a large audience at my local cinema, in Perugia, despite the ongoing aftershocks of last week's earthquakes. 

[Two Pigeons]

Two more thoughts from last night and I apologise if I am just one of several to mention these.

 

The first is that I am really sorry the cast list did not give the names of the other 3 Grand Duchesses, especially Marie who was so prominent in act 3.

 

My second point was that I was staggered by the complexities of the role of Anastasia and I thought, not for the first time, what a truly gifted as a dancer (let alone actress) Lynn Seymour was to have had such a work created on her. I see from the ROH archives that in the initial run of 10 performances she did them all. Her stamina must have been pretty amazing.

 

I was a bit concerned last night that she wasn't going to get a mention but she did in the chat between Viviana and Darcey in the second interval. I say chat, it was mainly Darcey with Viv getting the occasional word in. Could someone please have a quiet word with her and say when you ask a question dear please do listen to the response and not talk over it. She is a lovely person but not right for this function.

 

Last thought, Viviana looked really good. It was great to see her.

Edited November 3, 2016 by Two Pigeons

[Two Pigeons]

P.s. did no one point out to Macmillan that Rasputin had been dead for nearly a year when the revolution started?

[alison]

P.s. did no one point out to Macmillan that Rasputin had been dead for nearly a year when the revolution started?

I wondered that, as well. Which in turn led me to wonder whether this is another "improvement" introduced later? I couldn't remember whether he was in this act when I saw it back in 1996 or not, and I don't have access to my programmes from that era at the moment, so can't check for any indications. In the current version, he's certainly something more than just a ghostly presence - although I could understand it if he's been "shoehorned" into the choreography, because there's little where he isn't extraneous.

[Jane S]

He was always there, from the first night - Anna/Anastasia getting her memories scrambled?

[JohnS]

Isn't the point that Acts 1 and 2 are Anna's 'memories' and are not supposed to be true historic accounts?

[penelopesimpson]

P.s. did no one point out to Macmillan that Rasputin had been dead for nearly a year when the revolution started?

Well, quite and he just didn't seem to have any role last night, more of a prop

[Two Pigeons]

While this is undoubtedly true i cannot imagine her ever seeing her father flirting with a woman who may have been his mistress but that was over longer before she was born. All this happening at a ball which never took place.

 

They key point is definitely what Deborah Macmillan said when she pointed out that when he took over the RB Macmillan had to find work for the company to do. Had the ballet been a better work (no slight intended on any of the performances here) these things would not jar so much.

Edited November 3, 2016 by Two Pigeons

[penelopesimpson]

While this is undoubtedly true i cannot imagine her ever seeing her father flirting with a woman who may have been his mistress but that was over longer before she was born. All this happening at a ball which never took place.

 

They key point is definitely what Deborah Macmillan said when she pointed out that when he took over the RB Macmillan had to find work for the company to do. Had the ballet been a better work (no slight intended on any of the performances here) these things would not jar so much.

I so agree with your point.  The fact that the ballet is questionable as a full length work gives the audience a great deal of time to mull over details which may seem nit-picking.  Last night I found myself wondering about the sand pyramid, the netting on the head-dresses and Osipova's haircut!  I think this ballet needs to revert to being one superlative Act rather than the weak creation it is at present. 

 

I was also unsure of whether Anastacia ever came out.  Was she not too young?

Edited November 3, 2016 by penelopesimpson

[Vanartus]

Would love to see

/Would have loved to have seen Viviana in Woolf Works.

[Two Pigeons]

I so agree with your point. The fact that the ballet is questionable as a full length work gives the audience a great deal of time to mull over details which may seem nit-picking. Last night I found myself wondering about the sand pyramid, the netting on the head-dresses and Osipova's haircut! I think this ballet needs to revert to being one superlative Act rather than the weak creation it is at present.

 

I was also unsure of whether Anastacia ever came out. Was she not too young?

No, she didn't. Not least as there were no balls in 1917 due to The Great War. This point has been made by a previous poster. I think Anastasia was only just 17 when she was killed.

 

This is a period and a story I care about. I have no great interest in Anna Anderson but have much in the story of the Romanov family. I could marvel at the dancing and some of the choreography but the aspects of the overall production grated for me.

Edited November 3, 2016 by Two Pigeons

[Beryl H]

Glad I went to the cinema but not as good as being there, prefer my view from the amphi, although filming Natalia Osipova's and the nurses' faces from the wings during the film sequences was better than looking at their backs for several minutes!

 

Thought the interviews were good, the emphasis on act 3 being completely different prepared the audience, and liked Darcey Bussell's new partner.

 

Technical quality not good, especially low level sound, probably the reason I didn't feel as involved as I have at the ROH.

[Aruna S]

Two more thoughts from last night and I apologise if I am just one of several to mention these.

 

The first is that I am really sorry the cast list did not give the names of the other 3 Grand Duchesses, especially Marie who was so prominent in act 3.

 

 

Was it supposed to be Marie or Olga? In one of the rehearsal clips with Gary Harris and Viviana Durante they speak of her as Olga.

[Two Pigeons]

Was it supposed to be Marie or Olga? In one of the rehearsal clips with Gary Harris and Viviana Durante they speak of her as Olga.

I had assumed it was Marie as her hair was down. Olga and Tatiana being the elder two, 'the big pair' seemed to have their hair up.

 

Either way, I would have loved to know who the dancers were.

[Sim]

Yasmine Naghdi, Beatriz Stix-Brunell and Olivia Cowley were the three GDs.  Do you mean to say that they didn't get credited at the end??

[Two Pigeons]

Indeed they did but my point was they should have been included on the cast sheet.

[Sim]

Really?  They weren't credited on the cast sheet?  How weird.  As you say, for those who don't know the dancers well it would be really good to know while they are dancing who they are (even though it isn't clear from the choreography which one is which!).  Who does the cast sheets for the cinema broadcasts?  Is it the ROH?

 

I really don't understand why, on the ROH cast list, the role of Anastasia's husband's brother is named, when all he does  is push the cart on and off the stage, and Vincenzo, the twirling peasant who has a lot more to do, isn't!  Truly bizarre....

[alison]

Yes, the cinema cast sheets are frequently (and often unfairly) curtailed.  I definitely think that Olivia Cowley's sister (whichever one she may be) deserves the credit - she has quite a bit more to do than the others.

[Bruce Wall]

 

 

I really don't understand why, on the ROH cast list, the role of Anastasia's husband's brother is named, when all he does  is push the cart on and off the stage, and Vincenzo, the twirling peasant who has a lot more to do, isn't!  Truly bizarre....

 

It is the same case with the flute boy in Fille, Sim - and yet the RB credits the actuary on the cast lists for the Ashton  Go figure.  

Edited November 3, 2016 by Bruce Wall

[Mummykool]

Was it supposed to be Marie or Olga? In one of the rehearsal clips with Gary Harris and Viviana Durante they speak of her as Olga.

It was Olga and was danced by Olivia Cowley. The other sisters were Yasmine Naghdi as Marie and Beatriz Stix-Brunel as Tatiana.

 

All the sisters were on the list issued at the ROH. Interestingly the cast sheet had changed from opening night to include Vincenzo di Primo. People power does work (occasionally).

 

I can't really add anything to what has already been said. Osipova was truly outstanding and, as someone else previously said of her, worth every petal of her large bouquet. The whole cast really raised their game apart from poor Federico Bonelli who looked very under par (again). If they do issue a DVD, (and I hope they do), they need to use his performance from Saturday night as it was so much better than his showing last night.

 

Can't wait to see all the close-up shots at the cinema encore on Sunday.

[penelopesimpson]

It was Olga and was danced by Olivia Cowley. The other sisters were Yasmine Naghdi as Marie and Beatriz Stix-Brunel as Tatiana.

 

All the sisters were on the list issued at the ROH. Interestingly the cast sheet had changed from opening night to include Vincenzo di Primo. People power does work (occasionally).

 

I can't really add anything to what has already been said. Osipova was truly outstanding and, as someone else previously said of her, worth every petal of her large bouquet. The whole cast really raised their game apart from poor Federico Bonelli who looked very under par (again). If they do issue a DVD, (and I hope they do), they need to use his performance from Saturday night as it was so much better than his showing last night.

 

Can't wait to see all the close-up shots at the cinema encore on Sunday.

So it wasn't just me who wondered about Bonelli.  He seemed completely off pitch

[nycitybird]

Bonelli seemed off when I saw him on Saturday as well. I've never seen him be anything less than impecable before. I agree with previous posters that the pas de deux looked uncomfortable and Nunez didn't shine in it for me either. I felt uneasy watching it.

[Fiz]

Perhaps he is unwell?