The Royal Ballet: The Nutcracker, London, November 2016

[Jam Dancer]

One of those lucky people is me.

And me!

I am doubly lucky - got carried away and ended up with two tix ( and only one me)

[alison]

Oddly enough, the ROH website claims that there are 20 tickets still available for tomorrow's matinee, but when you try and click to buy them it shows as sold out. That's on two different browsers and operating systems. Huh?

[Ivy Lin]

I'm interested that there's so much fondness for the Nureyev version. I've seen it done by the POB and I have the RB video and find that Nureyev's usual obsession with giving more for the Prince to dance really ruined the work in a way that other works were not ruined as making Drosselmeyer/Prince the same figure gave a sort of creepy, Freudian sexual vibe to the ballet that is not in other versions. 

[Anna C]

Shame that the truly horrible wig is still in place for the SPF.

  

 

I don't think it *is* a wig - at least it's not for Lauren Cuthbertson. She tweeted a photo a year or two ago, having removed the crown and most of her hair pins, and it clearly shows where her hair has been sprayed blonde and glittery. This week she's tweeted a video of her hair being transformed with vast amounts of white, blonde and then glitter sprays. Must be an absolute nightmare to brush and wash afterwards.

 

Same music, and some of the same steps (now for two dancers) but the more stereotypical elements of the choreography and costumes have been expunged.  No more finger pointing, 'cutesy' side to side rocking steps or gurning.  They seem to be playing it straight rather than for laughs.  

 

The new choreography wasn't outstanding but I was very relieved to avoid what was always a very uncomfortable moment.  And if "PC" means avoiding what came perilously close to 'yellowface' then that's fine by me.

Ah, dd and I wondered where the other two dancers - and the parasol! - had gone. The new choreo is better without the clichés but I missed the extra two dancers.

 

We saw Nuñez and Muntagirov on Friday evening, with Meaghan Grace Hinkis as Clara, Valentino Zucchetti as the Nutcracker and Christopher Saunders as Drosselmeyer. Needless to say, Nuñez and Muntagirov were outstanding and made the choreography look effortless and easy. How Vadim is able to jump so high yet land silently is a mystery to me. He and Nuñez were glorious together.

 

Christopher Saunders made a benevolent and smiling Drosselmeyer but unfortunately with none of the mysterious and powerful aura that Gary Avis brings to the role and which draws the eye.

 

Hinkis and Zucchetti were excellent and I preferred Hinkis' more understated acting to Hayward's interpretation of Clara but obviously that is just personal choice.

 

Stars of the show, apart from SPF etc, for me were - in no particular order:

 

The Corps as Snowflakes; more precise and synchronised than they have been in some previous years,

The transformation scene which never fails to move me and give me goosebumps,

The orchestra who got a well deserved cheer,

and Yasmine Naghdi as Rose Fairy. As absolutely joyous as ever, her footwork is exceptional; so neat and precise but she can combine it with such expansive and beautiful epaulement. Kevin O'Hare was sitting a couple of rows behind us and I hope he enjoyed Yasmine's performance as much as dd and I.

 

An excellent cast and all-round lovely performance. We left feeling positively festive.

[LinMM]

I really love Yasmine Anna C ...she is probably my favourite of all the up and coming dancers...by a whisker of course!!

She has stood out for some years now for me but won't be seeing RB's Nutcracker this year.

[Fonty]

Oddly enough, the ROH website claims that there are 20 tickets still available for tomorrow's matinee, but when you try and click to buy them it shows as sold out. That's on two different browsers and operating systems. Huh?

 

I've noticed that a lot recently on the ROH website.  It is most annoying!

[Scheherezade]

Classical Source - Gerald Dowler

 

"The company is now dancing less of the classics and ‘neo-classics’ than at any time in living memory – it is having a visible effect...........

(Sir Peter Wright's) productions and what he represents in terms of core artistic values are precious indeed to the company’s character and history. O’Hare stated that those productions would remain in the repertoire for a very long time; at a time when he is actively pulling away from the company’s past, let us hope that is true… for the sake of The Royal Ballet and its future dancers and audience.I.

 

I imagine that many would agree with the above sentiments set out in Gerald Dowler's recent review of the current RB Nutcracker.

[Lindsay]

There are also many who would disagree with Mr Dowler.  There is a slightly Brexity whiff of "everything was better in the olden-days" about some of these pronouncements and I think the picture is inevitably more complex than many reviewers will allow.  Laments of diminishing classical standards inevitably return to "foot in the ear" extensions and the slowing of pace at the expense of musicality and shaping.  When misplaced, those things are to be regretted.  However, I imagine it would be difficult for many of us, accustomed as we are to today's standards of turnout, precise placing, core strength and powerful jumping to re-adjust to watching some older performances where such things were far less consistently executed across many companies.  

 

This is NOT to deny a need for musicality, thoughtful phrasing and an understanding of the stylistic differences between different works.  And those are all things that young dancers joining a company need to develop/deepen their understanding of, on top of the high base level of technique that graduates of the best schools now bring.  Of course some are more successful in their development than others.  When reviewers and audience members have been watching ballet for many years and seen some of the greatest performers of all time, it is inevitable that many casts will suffer by comparison.  Anyone can perceive a "visible effect" such as Dowler sees, if one's vision is blinkered and selective.

 

So while I have seen many performances over the past few months/years that were less than optimal, that was also true at any time in my decades of ballet watching.  I think we could afford a little more generosity and a few less sweeping dismissals.

 

ps. Dowler's definition of "classical/neo-classical" is also sufficiently vague to back-up any argument he chooses to make.  Is he just including Balanchine and Ashton as neo-classical? Or is it anything danced in pointe-shoes? Where do Wheeldon and Scarlett stand? Depending on how you cut it, you could use those definitions to make the opposite argument.

Edited November 29, 2016 by Lindsay

[Jan McNulty]

Very well put Lindsay.

 

We recently watched a Northern Ballet class given by AD David Nixon.  At one point he said (paraphrased) "It's great you can put your leg behind your head but it is not what I asked for and it is not included in the production we are dancing in".

 

I wanted to cheer!

[Lindsay]

And as an afterthought, while Dowler thinks that O'Hare is "actively pulling away from the company's past" there are many who might complain that he is too strongly tethered to it.  In my view, his revivals of the full-length Anastasia and (more controversially I imagine) Two Pigeons absorbed costs, plus rehearsal and stage time that could have been used in more creatively interesting ways.  Not too mention the commissioning of Scarlett for works that are a pretty pale imitation of McMillan.

 

Either way, there is surely room for debate.

[Tony Newcombe]

This afternoon we saw 3 successive female winners of the Young British Dancers of the year perform in The Nutcracker.

With these dancers I think that things are looking good. Also not to forget A fourth who won the award a couple of years prior to this

[capybara]

This afternoon we saw 3 successive female winners of the Young British Dancers of the year perform in The Nutcracker.

With these dancers I think that things are looking good. Also not to forget A fourth who won the award a couple of years prior to this

 

Come on, Tony, don't be coy! Presumably: Yasmine Naghdi, Francesca Hayward and Anna-Rose O'Sullivan? Also James Hay?

[Tony Newcombe]

Yes indeed, they were the 4 dancers. It was their style that really impressed me.

4 dancers who have come through the complete school system and it showed.

[Nina G.]

I just can't wait for 27th December, Yasmine Naghdi and Matthew Ball as Sugar Plum and her Prince. Wrap them up in Xmas paper and that's my Xmas gift taken care of! 

 

I agree, the dancers who currently REALLY stand out for me are those who have trained throughout the RBS system.  

[bridiem]

There are also many who would disagree with Mr Dowler.  There is a slightly Brexity whiff of "everything was better in the olden-days" about some of these pronouncements and I think the picture is inevitably more complex than many reviewers will allow.  Laments of diminishing classical standards inevitably return to "foot in the ear" extensions and the slowing of pace at the expense of musicality and shaping.  When misplaced, those things are to be regretted.  However, I imagine it would be difficult for many of us, accustomed as we are to today's standards of turnout, precise placing, core strength and powerful jumping to re-adjust to watching some older performances where such things were far less consistently executed across many companies.  

 

This is NOT to deny a need for musicality, thoughtful phrasing and an understanding of the stylistic differences between different works.  And those are all things that young dancers joining a company need to develop/deepen their understanding of, on top of the high base level of technique that graduates of the best schools now bring.  Of course some are more successful in their development than others.  When reviewers and audience members have been watching ballet for many years and seen some of the greatest performers of all time, it is inevitable that many casts will suffer by comparison.  Anyone can perceive a "visible effect" such as Dowler sees, if one's vision is blinkered and selective.

 

So while I have seen many performances over the past few months/years that were less than optimal, that was also true at any time in my decades of ballet watching.  I think we could afford a little more generosity and a few less sweeping dismissals.

 

ps. Dowler's definition of "classical/neo-classical" is also sufficiently vague to back-up any argument he chooses to make.  Is he just including Balanchine and Ashton as neo-classical? Or is it anything danced in pointe-shoes? Where do Wheeldon and Scarlett stand? Depending on how you cut it, you could use those definitions to make the opposite argument.

 

Firstly, please be aware that whereas to some Brexit is redolent of a backward-looking 'whiff', to others it is associated with a forward-looking breath of fresh air.

 

But back to ballet... I think it's very true that we have become gradually accustomed to a different style of dancing over the years and a return to the past (if there were a single 'past' to which we could return, which there isn't) would be for most people very difficult to absorb. I also think that some aspects of the changes have been impressive, and that styles do change over time (though not necessarily in a linear direction). I love many of today's dancers and have been so grateful as one generation of wonderful dancers has been succeeded, almost miraculously as it seems, by another. But it's precisely the gradual nature of the change that is deceiving; I have had a vague sense for a long time that something important was being lost (as well as much being gained), but I couldn't articulate what it was and since I find so many current performances superb in a sense it didn't seem to matter that much. So seeing the two different performances of Voices of Spring (on another thread) was actually quite shocking for me because Park and Eagling were not my favourite dancers and I have always loved Cojocaru and Kobborg; but the difference was so clear, and not in favour of C&K. Sometimes it's too easy to get used to what you see in front of you and accept it without question, especially if it seems in some ways to be an improvement on what went before; so it's quite salutary to be forced to look at it afresh.

 

However, I STILL think C&K are brilliant! I'm just rather more aware now of how they (and others) differ from dancers of 20+ years ago, and where the differences may not always be an improvement.

[capybara]

Still waiting for comments on Francesca Hayward's debut as the SPF yesterday. Was noone (apart from Tony (above)) there?

[WoodlandGladeFairy]

Really enjoyed the matinee performance yesterday of The Nutcracker with Francesca Hayward and Alexander Campbell, a magical afternoon. 

 

Anna Rose O'Sullivan and James Hay made for a delightfully youthful Clara and Hans-Peter/The Nutcracker, a joy to watch.

 

Francesca Hayward's musicality and gestures were crystal clear and she was just beautiful, and very sparkly! 

 

Also adored the Waltz of the Snowflakes, my sister and I had balcony seats so we really appreciated the snowflake patterns of the corps de ballet and the swirl of their skirts.

 

I had a few teary moments of joy as well by the end because it was so lovely, made me feel very Christmassy.

Edited November 30, 2016 by WoodlandGladeFairy

[JohnS]

Wonderful start to Christmas thanks to Francesca, Alex, James and Anna Rose et al. The grand pdd was fantastic - Francesca has that absolute quality of being so on the pulse, like the leader of an orchestra's bow, which she sustained magnificently throughout the (very slow tempo?) introduction. Radiant and I do hope some of the matinee will be included in the BBC documentary for all to enjoy.

 

A special thanks again to Kristen McNally - excelled in the Spanish dance.

 

Not sure what happened to the sleigh at the end of Act 1 - must have got stuck in the London traffic. But no matter, a magical afternoon and many congratulations to all.

 

Will look forward to the cinema relay next week.

[SPD444]

Completely agree with WoodlandGladeFairy above. Totally magical. The whole company danced beautifully. I believe this was Frankie's and Alexander's debut in the role of SPF and her Prince but no notice was give of this was given on the cast sheet. She danced wonderfully; her phrasing is amazing and I look forward to watching many of her performances in the future.

 

Over the years I have noticed that in classical ballets there are a number of people on the stage who do not dance at all but just fill the stage as a crowd, or courtiers or peasants depending on the ballet. I wonder if anyone knows who the actor is who wanders around for most of the first act, mostly in front of the tree, appearing very busy but not actually doing much at all. He carries the chandelier at the end of act one as everyone goes to bed. I have seen him doing this for a good few years now, he never gets in the way of the dancers but manages to keep out of the way. I would love to know who he is, does anyone know?

 

I too wondered about the sleigh, it looks very strange that Clara and Peter just appeared to wander off.

Edited November 30, 2016 by SPD444

[alison]

I believe this was Frankie's and Alexander's debut in the role of SPF and her Prince but no notice was give of this was given on the cast sheet.

They never do indicate debuts. But Campbell danced the role last year, or maybe even the year before that.

[SPD444]

They never do indicate debuts. But Campbell danced the role last year, or maybe even the year before that.

 

Thanks Alison, I thought I had seen either an asterisk or mark next to a name then an explanation given lower down, similar to when a particular character is being sponsored.

[bridiem]

Thanks Alison, I thought I had seen either an asterisk or mark next to a name then an explanation given lower down, similar to when a particular character is being sponsored.

 

I think that's only on booking info - but it would be great if it was on the cast sheet too. (But perhaps some in the audience might then feel short-changed in that they're not getting an experienced interpreter of the role! Don't know why they don't do it.)

[Sim]

They never do indicate debuts. But Campbell danced the role last year, or maybe even the year before that.

They used to, but not anymore.  A shame; it would be interesting for the audience to know when they were witnessing a debut.

[annamk]

Hayward was lovely in what was I think her first principal classical role ? She was not technically perfect but I didn't care because she has the most appealing stage presence. Campbell partnered & danced well, although I've seen him dance better - not all his finishing was tidy. Unfortunately too that costume is ghastly on someone with a less than perfect ballet physique. Both Hayward & Campbell seemed to flag slightly by the coda. Anna-Rose's Clara was delightful, she danced absolutely beautifully as indeed did her partner, James Hay. The four cavaliers (Dyer, Ball, Clarke, Edmonds) were not impressive and three of them will need to up their game considerably for their debuts in the lead role. Yasmine Nagdhi made easy work of the Rose Fairy & didn't let an uncharachteristic slip throw her off course. The corps in the snowflakes looked great - much more together & homogenous than they were a few years ago, coaching has clearly improved here.

[Wulff]

. I wonder if anyone knows who the actor is who wanders around for most of the first act, mostly in front of the tree, appearing very busy but not actually doing much at all. He carries the chandelier at the end of act one as everyone goes to bed. I have seen him doing this for a good few years now, he never gets in the way of the dancers but manages to keep out of the way. I would love to know who he is, does anyone know?

 

 

 

I think it's Oliver Symons.

[capybara]

. I wonder if anyone knows who the actor is who wanders around for most of the first act, mostly in front of the tree, appearing very busy but not actually doing much at all. He carries the chandelier at the end of act one as everyone goes to bed. I have seen him doing this for a good few years now, he never gets in the way of the dancers but manages to keep out of the way. I would love to know who he is, does anyone know?

 

 

 

I think it's Oliver Symons.

 

It is and he's been playing that character for absolutely ever.

[Scheherezade]

There are also many who would disagree with Mr Dowler.  There is a slightly Brexity whiff of "everything was better in the olden-days" about some of these pronouncements .......

Mmm. I am not entirely sure what is particularly Brexity in making what is essentially a statement that neglect fosters a decline in standards and core artistic values should be maintained. I read Mr Dowler's views as suggesting that the excellence inherent in those values should not be cast aside lightly by the RB, not that the RB should stagnate in the past purely on nostalgic grounds.

[Lindsay]

But Scheherezade, that implies that "core artistic values" can be objectively defined and that any modern changes to the way things are done represents a "fall in standards".  That is the view that I believe smacks of Brexity-nostalgia. A view that things in the past were always "better".  Hence my post about HIP performance on the other thread (I think these two discussions interact usefully - although inspired by separate threads).

[MAB]

I never knew the word nostalgia carried political connotations, you know if you hadn't claimed to have been watching ballet for "decades" I would have sworn you were from a sixth form debating class.

[Lindsay]

No need to resort to ad hominem attacks MAB.  Where misplaced, inaccurate or sentimental nostalgia forms the basis of an argument (or even worse sways a vote) then it is undoubtedly political.  Try watching a UKIP (or worse BNP) election broadcast and then conclude that nostalgia for a fantasy past isn't a powerful political tool.

[Sim]

OK folks....this thread has now veered sharply away from discussion about the current incarnation of The Nutcracker at the Royal Opera House.  Please can we get back on track.

[capybara]

 The four cavaliers (Dyer, Ball, Clarke, Edmonds) were not impressive and three of them will need to up their game considerably for their debuts in the lead role.

 

This is interesting as the 4 Cavaliers did not quite 'hit the spot' last Friday either (slightly different line-up). I think that part of the problem is that they are not sufficiently well-matched for height and the ensemble work thus tends to looks a bit scrappy. The costumes and wigs do not help either.

[Lindsay]

I think Cavaliers is a very difficult piece to get well synchronised - I never recall seeing it exactly together and those jumps travelling  across an empty stage towards the audience are very exposed.  Maybe it is partly because the men have less practice at precision ensemble work than the women?  Plus some dancers just aren't meant to fit into a line-up.  I remember always noticing Polunin as a cavalier, or an Hungarian officer.  Even though he was in time and probably jumping no higher than the others, the effortless technique stuck out a mile.....