Christmas TV and New Year dance programmes - discussion 2016

[FrankH]

I watched the Nutcracker programme on my PC. Despite the constant stops for "buffering", I found it interesting and enjoyable.

 

I cannot agree that it was a mistake, from the programme's viewpoint, to dedicate some attention on one particular dancer, Francesca Hayward. This was not a programme on BBC4 aimed just at dedicated ballet-lovers. Both the channel it was put on, and the timing of the broadcast, suggest that a rather wider audience was being considered, hence the "human interest" angle. And for that Francesca was the obvious choice. Not only is she clearly one of the most outstanding young dancers at the RB, but she was to dance the SPF in the performance highlighted in the programme. But even this wouldn't have been enough had the other parts of the human interest angle, such as her family (grandparents), her first ballet teacher etc., not agreed to take part - and proven good TV programme material. I can see why some might wish more attention to be given to other principals as well. But that would have made the programme much longer, and at one and a half hours, it was already quite a bit longer than the average length for a TV programme.

 

However, Mary makes a good point in wondering if getting this sort of exposure is good for Francesca. Not so much, in my opinion, because it punctures any mystique. We learnt that Francesca seems a nice, well-balanced young woman, with kind and supportive grandparents, and a first ballet-teacher who immediately recognised that she had a special charisma and aura about her. We really didn't learn anything much deeper about her.

 

But this sort of attention can indeed be a mixed blessing, perhaps even sometimes a curse. The fields of the performing arts, and sports, will provide many instances of young performers who have been "hyped" intensely, but have failed to live up to their early promise. I suspect that in many cases the reasons for this are not so much physical, as mental. It needs a personality which is both strong and sensible to weather this sort of attention. The RB have promoted Ms Hayward at a very fast rate, because she is a dancer of exceptional talent. If some posters on this forum are correct, and the RB have also been responsible for the degree of exposure she is getting, it can only be (one hopes) that they are confident that she will not be spoiled by it.

 

It seems to me that while this sort of attention might be a danger for Francesca, it is actually a help to her contemporaries at the RB and elsewhere. In particular, it is perhaps a benefit for Yasmine Naghdi. She has also received quite a bit of publicity, just not as much as Francesca. Similarly, she has also been promoted through the "ranks" at a meteoric rate, just not quite as fast as Francesca. Perhaps the fact that the spotlight has been more intense on Ms Hayward, means that the situation is less stressful for Ms Naghdi, as to some extent the heat is off her.

 

Incidentally, the live transmission of the Nutcracker in early December, seeing which made me realise that much of the hype for Francesca is absolutely justified, had her dancing the secondary role of Clara, while Lauren Cuthbertson danced the SPF. This suggests to me that the RB are neither promoting Francesca unduly rapidly, nor are they responsible for any unjustifiably high level of publicity that she may be getting.

Edited January 1, 2017 by FrankH

[thewinelake]

Just looking on a freeview site that suggests that a channel called London Live is showing some Margot Fonteyn right now, and so does the London Live website itself, yet it's actually showing a Ray Winstone movie - not even close! Anyone know what's going on there?

[bridiem]

Just looking on a freeview site that suggests that a channel called London Live is showing some Margot Fonteyn right now, and so does the London Live website itself, yet it's actually showing a Ray Winstone movie - not even close! Anyone know what's going on there?

 

No, but that really made me laugh! Probably a first for Margot Fonteyn and Ray Winstone to be mentioned in the same sentence!!

[Fonty]

I caught the rerun of the Fonteyn programme, and I found it an enjoyable programme on the whole.  Even though it didn't really give that much information about Fonteyn the dancer, I did find the little snippets of information interesting.  For example, the detailed book of expenses written by her at the farm during her last years seemed very poignant, and I loved it when MacLeary talked about seeing Margot's feet and exclaiming in horror, before realising who they belonged to.  I thought Darcey seemed more relaxed in front of the camera than she usually does, and was a pleasant presenter.  

 

Unfortunately, yet again programme makers were more concerned about showing us the commentators, rather than the subject.  When Bussell shows an early clip of Margot performing Giselle to Sir Peter Wright, we didn't get to see the whole of what was described as a very short film.  Instead, the focus of the camera is on the two of them viewing it.  

 

And I thought it was awful to play a film of Fonteyn performing the last balances in the Rose Adagio, cut away while the music continues, show Darcey talking in front of her burial place, and then cut back to the last arabesque at the end of the RA.  What was the editing team thinking? Did they believe that the average viewer would lose interest if they were shown about one minute and 30 seconds at the end of the programme of the great lady herself actually dancing something?

[Pas de Quatre]

Re the accounts book - I think this may be a generational thing, although I agree it was poignant. My mother and her sister kept detailed records of expenditure just like that. I tried to when I left home, but it didn't last long. However I do keep personal bank account records and do a proper reconciliation at the end of each month!

[thewinelake]

No, but that really made me laugh! Probably a first for Margot Fonteyn and Ray Winstone to be mentioned in the same sentence!!

Yes, me too!

BTW - I think that their website has an issue, as the Fonteyn triple bill was indeed showing on the TV version of the channel.

[cavycapers]

Having just caught up with the last of the programmes, Darcey at the BBC (which I thoroughly enjoyed), on the whole, I think the Christmas treats the BBC has given us this year has been the best for a long time, and I would like to commend them on this. What a lovely selection of sweets we were offered, from the Dairy Milk box of the Fonteyn programme, to the Hotel Chocolate riches of the Peter Wright programme. I shall be dipping back into these all year. I too wondered at there being no complete preformances this year, but these are easily available on DVD, unlike these documentaries, Thankyou BBC. (By the way, having worked for 20 years as a Film Editor, using archive material that had to be paid for by the second if it wasn't the property of the BBC, it might help explain why there are so many shots of presenters walking, etc. Also, it is a format that has long been tried and tested to 'hang' a programme on one dancer, like Francesca, to see all areas from their perspective. It usually gives a much more satisfying structure than randomly dipping into an institution here and there).

Edited January 3, 2017 by cavycapers

[Pas de Quatre]

I did notice on the credits for the Peter Wright documentary there was an Intellectual Property Lawyer listed. It is the first time I have seen this on a ballet film, but with so many different clips it is not surprising.

[Geoff]

(By the way, having worked for 20 years as a Film Editor, using archive material that had to be paid for by the second if it wasn't the property of the BBC, it might help explain why there are so many shots of presenters walking, etc.

 

I did notice on the credits for the Peter Wright documentary there was an Intellectual Property Lawyer listed. It is the first time I have seen this on a ballet film, but with so many different clips it is not surprising.

Cavycapers is indeed correct: the cost of showing a few seconds archive film on network television can be prohibitive. This has led to the expansion of what is variously called Fair Use or Fair Dealing, which essentially relies on the legal right to quote from copyright works for eg the purposes of review. A lawyer checks that the commentary supports the fair use of the clip, and also that the length of the (in such a case) free clip is not excessive.

 

Many contemporary documentaries - including some of those shown over Christmas and discussed on the Forum - rely heavily on Fair Use, indeed otherwise they would probably not have been made, or at least not in the form we have been able to enjoy. Sometimes a few seconds of archive will be all that is possible, but better than nothing I suppose.

Edited January 3, 2017 by Geoff

[Jamesrhblack]

Just caught up properly with The Nutcracker programme as half watched through an anti biotic haze on Christmas Day and thoroughly enjoyed.

 

I'd agree with Mary that Alexander Campbell was Man of the Match (an analogy I think he'd like) and enjoyed seeing the involvement of the school at all levels.

 

With regard to the emphasis on Francesca Hayward, I can absolutely understand those who feel that, in particular, Yasmine Naghdi was overlooked. Indeed, in years to come, it may well be that Ms Naghdi moves ahead as with her slightly longer lines she seems a more obviously classical dancer and it's interesting that both her Beauties are sold out whereas tickets remain for Hayward's second. Not having seen her in a full length I'm really looking forward to that, especially as her partnership with Matthew Ball seems by all accounts very special indeed.

 

Interesting too how these (not rivalries) pairs of dancers seem to emerge, Bussell and Bull, Rojo and Cojocarou, that can serve as real mutual inspiration as well as being exciting for audiences. That's not to forget Calvert and Stix-Brunell, of course....

 

However, Francesca Hayward's story was ideal TV. Inspired as a very young child to dance here she is dancing the role of her inspiration in the production that inspired her coached by the (wonderful) dancer who she first saw dancing it. You'd need to be a curmudgeon of the first degree not to find that seasonally heart warming.

[Jane S]

But both Naghdi's performances are Saturday matinees and you'll notice that all the matinees are sold out, whoever is dancing - and there are exactly 4 tickets left for Hayward's Monday night performance and lots more than that for nights when Nunez or Osipova dance  - don't think you can deduce much from all that!

[bangorballetboy]

Actually, I'm not keen on MB's Sleeping Beauty either (I saw it live last year).

 

I'm in this camp too.

[alison]

I see Jane's beaten me to it.  And having weekend matinees makes it easier for the half-amphi-full of Liverpudlians (or that's what it's felt like at Ball's previous debuts), I'm sure   Hopefully they don't clash with BRB performances, either.

[Jamesrhblack]

But both Naghdi's performances are Saturday matinees and you'll notice that all the matinees are sold out, whoever is dancing - and there are exactly 4 tickets left for Hayward's Monday night performance and lots more than that for nights when Nunez or Osipova dance  - don't think you can deduce much from all that!

There seemed rather more than that when I was booking other tickets over New Year. My comment was not intended as a slight on Hayward (and with Campbell dancing it was my immediate go to performance) but an observation on the interest also being generated in Naghdi and Ball.

[Jan McNulty]

I see Jane's beaten me to it.  And having weekend matinees makes it easier for the half-amphi-full of Liverpudlians (or that's what it's felt like at Ball's previous debuts), I'm sure   Hopefully they don't clash with BRB performances, either.

 

 

 

I'm there for the matinee on 18th ... but I'm in the stalls and not in the amphi!

 

I would also have gone on 16th (for obvious reasons) but that does clash with my BRB season tickets sadly.

[FLOSS]

Just to revert to the Nutcracker documentary for a moment. Its structure and title suggests that those responsible for making it started out with one story and then found that they had another more interesting one to tell.I suspect that when it was commissioned it was simply intended to be an account of getting ready for the RB's annual revival of Sir Peter Wright's Nutcracker which is what the title suggested it would be. It would contain some nice heartwarming footage about the White Lodgers involved in the revival; something about the involvement of Upper School students and the preparation and coaching involved in staging the Grand pas de Deux but that would be it. At that point the fact that there was a debut was an added bonus rather than an essential element of the film.

 

When those involved in making the documentary got under way they discovered that they had a more interesting story for their audience than their original one. A story which tied the whole thing together in a way which they had not anticipated about the development of a dancer and the hard work,aspiration, and the constant striving for perfection which it involves,which included a former dancer handing on the baton. A documentary in which you see dancers at each stage of their development, hopeful, enthusiastic children, who the viewing audience hope will make it; a final year student getting her first taste of professional life who hopes to get into the company; a young, newly promoted principal, who knows she is not fully fledged and has a lot of work to do. and the retired dancer, turned coach, who kindled the young principal's interest in ballet when she was little more than a toddler, fulfilling the duty which Markova said was owed by older dancers to the young, that of handing her knowledge on to the next generation. It seems to me that while this might not have been what was initially intended by the documentary maker that is what we were given.

Edited January 3, 2017 by FLOSS

[Bruce Wall]

FLOSS what you are describing is just garden variety documentary making - having made a few myself.  You start with an agreed premise and then - in making it - you find the hook.  Standard practice; no more; no less.  

[Jamesrhblack]

I'm Balcony for the matinees on 16 and 18 Janet

[Shya100]

I find all this talk about the Nutcracker documentary a bit sad. They made a lovely documentary about the royal ballet which appeals to a broad spectrum. This is what was needed and they needed a human angle too because otherwise there will be no audience. They obviously choose Campbell and Hayward because they are new principals and they obviously have hopes for them. They also had an extremely kind and supportive coach. They all are not like this... as we know. I am suprised people are being begrugeon about it. There are many dancers there that they did did not make it about, including the other two new principals. I do not see it as a slight, I see it as business savvy from the ROH. They are young and they have hopes for them. There are many ways of promoting dancers and partners.

[Mary]

Being very very slow to catch up I have only just watched the Darcey Bussell programme, but very much enjoyed it:  it brought back so many memories.

 

Some have commented that she was not the best actor or the most emotional dancer.

I do remember very vividly her last performance in Song of the Earth and it was the most compelling performance I have seen of that ballet. She was wonderful.

 

I so much enjoyed seeing something of the lovely Johnny Cope. Tryst was a very fine piece and would make a good revival-  watching it now it seems ahead of its time, and it certainly had a lot of publicity and was a great success I think.  Perhaps more could have been made of their partnership as it was a long one, central to the RB for years,  and they were perfectly matched in physique. Their exchanges in rehearsal - and one poignant interview before her last performance-showed a very down- to- earth relationship quite unlike the popular image of ballet dancers-maybe that is why that documentary won't get made!

 

It would have been interesting to hear a bit more about Bussell's own role models and mentors.  The programme gave rather the impression that she did it all herself.

 

The programme did give us a lot of ballet, and not too much feeble chat.  It wasn't perfect of course.... to cut away from that sublime work Symphony in C, to show Bussell hugging Mr Blobby...........words fail me.

 

But I am very grateful to the BBC for these enjoyable documentaries this Xmas.

[alison]

Hello, Shya100, and welcome to the forum.  Yes, I agree they needed a focus, and why not pick Hayward and Campbell, especially given the back story.  I haven't watched it properly yet, having been otherwise occupied for part of it, but my impression was rather that they focused on Sugar Plum to the detriment of Drosselmeyer, Clara and Hans-Peter, though (and they could have remarked that H & C were also dancing the other two roles).  Perhaps I'll change my mind when I watch it properly.

[Fonty]

Personally, I thought it was good that they just concentrated on the two principals.  I felt we really got to know them.  They did devote quite a lot of attention to the students as well, but if they had filmed all the other roles, then it would have been a very bitty programme.  

Edited January 3, 2017 by Fonty

[Shya100]

Hello, Shya100, and welcome to the forum. Yes, I agree they needed a focus, and why not pick Hayward and Campbell, especially given the back story. I haven't watched it properly yet, having been otherwise occupied for part of it, but my impression was rather that they focused on Sugar Plum to the detriment of Drosselmeyer, Clara and Hans-Peter, though (and they could have remarked that H & C were also dancing the other two roles). Perhaps I'll change my mind when I watch it properly.

Thank you. I don't mean people were talking about the other characters they didn't highlight but the other dancers who weren't promoted in this film. They couldn't do everyone and this was the choice and it made sense since they are two of the new principals and I thought all the talk about who it wasn't about missed the point. It wasn't about some 60 plus other dancers. I thought they did a good broad spectrum and engaging documentary.

 

I remember watching one, when I was young which concentrated on young girls, presumably from white lodge, who were playing Clara, and being just spellbound about it. Couldn't have told you then who the other characters were but that wasn't the point of the documentary.

Edited January 3, 2017 by Shya100

[alison]

Well, I've just caught up with Hans Christian Andersen - needed some light relief - which I don't think I've actually ever seen before, although I certainly seem to know the songs from somewhere.  Fascinating to see Bruhn, Petit and Jeanmaire - I hadn't realised there was quite so much ballet shoehorned (no pun intended) into this film - but highly disconcerting to see the Little Mermaid ballet being danced to bits of Liszt I'm more used to hearing in relation to Mayerling

[Sim]

I didn't miss the point, and nor did I say that it should be about 60 dancers. I liked the programme but for me and others it would have been interesting to at least mention that three newly-appointed First Soloists were also learning this difficult role. It would also have been useful for the newbies to have a brief synopsis of the story to put all the hard work being shown into some kind of context. None of the other three main roles even got a mention, and considering that the title of the programme implied that it was about The Nutcracker, I don't think that's unreasonable, or makes me 'begrudge' the programme which, as I have said, I enjoyed.

[Shya100]

I didn't miss the point, and nor did I say that it should be about 60 dancers. I liked the programme but for me and others it would have been interesting to at least mention that three newly-appointed First Soloists were also learning this difficult role. It would also have been useful for the newbies to have a brief synopsis of the story to put all the hard work being shown into some kind of context. None of the other three main roles even got a mention, and considering that the title of the programme implied that it was about The Nutcracker, I don't think that's unreasonable, or makes me 'begrudge' the programme which, as I have said, I enjoyed.

It would have been nice to do many things but I don't think a casual viewer even knows what a first soloist is. We all understand the word principal. It would have been interesting to mention that many people train to do the same part and each only do a few performances. To be honest it would have been lovely to have a programme about how the RB works. They did briefly mention the overall story. Many kids now know the Nutcracker story through many wonderful picture books and the ever popular Ella Bella series. I do it ever year with my class as one of the Christmas stories and they adore the interactive music books.

[cavycapers]

I wonder at the discussion about the programme makers choosing Hayward over Naghdi as the focus of their programme. I can't imagine for a minute that they phoned the Royal Ballet and said we want to feature your dancer, Francesca Hayward. In my experience, it is far more likely that the RB were asked to suggest a dancer to base the programme around, and they suggested Francesca, for what could be all sorts of reasons, and surely they are the ones who know their dancers best.

Edited January 4, 2017 by cavycapers

[Sim]

I didn't say anywhere that they should have chosen Naghdi (or anyone else) over Hayward.  All I am saying is that a mention that three other dancers were also working hard to learn the same role would have been welcome.  And Shya, just because people don't know what a First Soloist is doesn't mean that they can't learn. There is more to a ballet company than the principals.  The whole point (which I seem to have missed) about programmes like these is to educate whilst entertaining.  Your students are lucky;  there are many people out there who like ballet but have no idea about the actual stories and characters they are watching.  I have friends who like ballet but if I asked any of them to tell me the story of the Nutcracker they wouldn't be able to.  They would know the music, and that's about it.

[Quintus]

My personal favourite 'behind the scenes' ballet documentary  (though I haven't seen that many) remains the Agony and Ecstasy series from a few years ago about ENB. That also featured a Nutcracker preparation and the makers of the BBC RB documentary would doubtless have been aware of that and wanting to take a different angle.

Edited January 4, 2017 by Quintus

[Fonty]

 (By the way, having worked for 20 years as a Film Editor, using archive material that had to be paid for by the second if it wasn't the property of the BBC, it might help explain why there are so many shots of presenters walking, etc.

 

With regard to my comments on the Fonteyn programme, and the failure to show even the last balances of the Rose Adagio in full, the BBC recently broadcast their original film of the Sleeping Beauty in 1959. I am not sure what version they used in the tiny amount shown in the Bussell programme, but they do have their own material they can access, surely?

[rowan]

The Fonteyn programme wasn't made by the BBC, it was made by an independent production company. While independent production companies may use the BBC archives, they're not free. And even if the programme had been made by the BBC, I think there would still be an internal charge. The BBC has a paragraph here about how the use of the archive is charged:

 

http://www.bbc.co.uk/commissioning/tv/production/articles/production-resources#archives

 

But I still take the point - they could have showed the last balances of the Rose Adagio in full!

[RuthE]

Hello, Shya100, and welcome to the forum.  Yes, I agree they needed a focus, and why not pick Hayward and Campbell, especially given the back story.  I haven't watched it properly yet, having been otherwise occupied for part of it, but my impression was rather that they focused on Sugar Plum to the detriment of Drosselmeyer, Clara and Hans-Peter, though (and they could have remarked that H & C were also dancing the other two roles).  Perhaps I'll change my mind when I watch it properly.

 

I thought exactly the same, Alison.

[Shya100]

I didn't say anywhere that they should have chosen Naghdi (or anyone else) over Hayward.  All I am saying is that a mention that three other dancers were also working hard to learn the same role would have been welcome.  And Shya, just because people don't know what a First Soloist is doesn't mean that they can't learn. There is more to a ballet company than the principals.  The whole point (which I seem to have missed) about programmes like these is to educate whilst entertaining.  Your students are lucky;  there are many people out there who like ballet but have no idea about the actual stories and characters they are watching.  I have friends who like ballet but if I asked any of them to tell me the story of the Nutcracker they wouldn't be able to.  They would know the music, and that's about it.

It would be wonderful for people to learn. I think it would be wonderful to have a programme or series about how the RB works. Wasn't this programme though but it seems to have been widely popular so hopefully in the future there will be more programmes about the RB.

 

The Nutcracker is widely part of dance programmes for young children in schools. A lot of kids now know alot about it while their parents quite happily or not know very little.