The Royal Ballet: New Swan Lake Production, Summer 2018

[bridiem]

Talking of the vision, I do find that part a bit unsatisfactory. Neither Odile nor Rothbart seem at all bothered by the fact that Odette is appearing - Odile goes on smiling, and Rothbart just leads Siegfried away calmly. (Maybe that's good psychology, but it makes for poor drama!). And the vision is still there when Siegfried turns back to Odile, so there's no reason why he shouldn't see it - I think it needs to disappear a little earlier.

[alison]

I've noticed the vision arriving and leaving too.

[capybara]

Finally - Gary Avis properly morphed from one Von Rothbart to another this afternoon. When Siegfried ordered him away in Act !, he didn't just turn and flee, he fled and flew with his arms as he did so.

[alison]

Has Scarlett given any indication as to the reason for Rothbart's dual nature?

 

And the other thing which always bugs me (put in spoiler tags because I know there's another performance tonight, and I know not everyone will appreciate the distraction):

Where on earth does that staircase go???!!!  The architecturally endowed part of my brain always insists it's impossible.  (The problem could always be solved by not vanishing the panel "in front" of it stage left)

[Fiz]

I so wish Gary Avis had danced Von Rothbart in the Tuesday performance. I got rather a Voldemort vibe during the second act and it rather spoiled it for me.

[Richard LH]

9 hours ago, Bruce Wall said:

 

I believe she gave us QUADRUPLES!!! ... and three times so ... just for great measure  and assiduity  !   Even now she's up there with Rojo and Panova!

Wow..I know I was finding it difficult to count!

[Lizbie1]

Genuine question: am I the only one to prefer Gartside's von Rothbart?

[Rob S]

3 minutes ago, Lizbie1 said:

Genuine question: am I the only one to prefer Gartside's von Rothbart?

 

He was better than Thomas Whitehead...at least in the facial expression department

[Josephine]

47 minutes ago, Lizbie1 said:

Genuine question: am I the only one to prefer Gartside's von Rothbart?

Preference shared here!

[RobR]

5 hours ago, Rob S said:

 

He was better than Thomas Whitehead...at least in the facial expression department

 

I watched tonight’s Takada/Bracewell performance. I thought TW excellent as Rothbart. In fact, I thought the whole cast were excellent and gave a splendid performance. 

[Tony Newcombe]

31 minutes ago, RobR said:

 

I watched tonight’s Takada/Bracewell performance. I thought TW excellent as Rothbart. In fact, I thought the whole cast were excellent and gave a splendid performance. 

I agree. I thought Bracewell was outstanding.

[Sim]

8 hours ago, capybara said:

Finally - Gary Avis properly morphed from one Von Rothbart to another this afternoon. When Siegfried ordered him away in Act !, he didn't just turn and flee, he fled and flew with his arms as he did so.

I noticed that too.  Avis is a brilliant actor and always brings something special to a role.   He is my preferred VR in this np, just as he was in the op!

[Josephine]

14 hours ago, capybara said:

Finally - Gary Avis properly morphed from one Von Rothbart to another this afternoon. When Siegfried ordered him away in Act !, he didn't just turn and flee, he fled and flew with his arms as he did so.

 

The arm movement here seemed jarring to me. Scarlett's intention appears to be for Von Rothbart when in human guise to embody a force of evil, as if possessed. Here I think the convulsion and rapid flight alone more potently convey VR's struggle to contain his sorcerer spirit. He flees precisely to prevent his bird guise from being seen.

Edited June 16, 2018 by Josephine

[Lizbie1]

 

33 minutes ago, Josephine said:

 

The arm movement here seemed jarring to me. Scarlett's intention appears to be for Von Rothbart when in human guise to embody a force of evil, as if possessed. Here I think the convulsion and rapid flight alone more potently convey VR's struggle to contain his sorcerer spirit. He flees precisely to prevent his bird guise from being seen.

 

I completely agree.

 

I also preferred the way Gartside died: Avis didn't half thrash around on those rocks, whereas Gartside was (l thought) a lot more realistic in his death throes.

 

Besides that, I guess I just find Gartside a more convincing actor: not a popular view here, but there you are!

[Rob S]

8 hours ago, RobR said:

 

I watched tonight’s Takada/Bracewell performance. I thought TW excellent as Rothbart. In fact, I thought the whole cast were excellent and gave a splendid performance. 

 

I just found his Act 1 face really odd and off putting at times

[RobR]

21 minutes ago, Rob S said:

 

I just found his Act 1 face really odd and off putting at times

 

For me, it’s the pony tail.  

I’ve now seen three Rothbarts, all excellent, all looking very severe (I’m sure it’s acting in character as per Scarlett, rather than their natural demeanour) and IMHO, not a significant difference in any of the performances although I make it clear that I don’t carry any sort of torch for any of the Rothbarts, if I have been defensive or confrontational in any way at all. 

[Sim]

1 hour ago, Josephine said:

 

The arm movement here seemed jarring to me. Scarlett's intention appears to be for Von Rothbart when in human guise to embody a force of evil, as if possessed. Here I think the convulsion and rapid flight alone more potently convey VR's struggle to contain his sorcerer spirit. He flees precisely to prevent his bird guise from being seen.

It isn't seen....except by the audience. Don't forget that most people in the audience aren't necessarily aficionados like us, and I think it's very effective the way Avis makes it clear that VR is turning into the monster and has to scarper, fast. He is telling everyone in the audience that VR morphs into a different being, a reflection of how he makes the swan maidens morph. 

[Sharon]

Call me dumb, (actually please don't ) but why does VR have such power, why do they salute him, even Siegfried, which I find odd?

[MargaretN7]

Well, I suppose if one wanted fuller explanations one could have a pre-prologue where Rothbart gets the king to sign a document making him in charge until the prince is 21, and then kills the king. Or not. 

[alison]

And what is his obsession with stealing people's crowns?  He's already stolen Odette's - is he ruling her people as well?  If so, why the power grab in Siegfried's kingdom too?

[Rob S]

2 minutes ago, alison said:

And what is his obsession with stealing people's crowns?  He's already stolen Odette's -

 

Maybe Von Rothbart is really Geoffrey Munn from the Antiques Roadshow, if he thinks it might be Faberge he'll have it 😆

 

 

[bridiem]

2 hours ago, Sim said:

It isn't seen....except by the audience. Don't forget that most people in the audience aren't necessarily aficionados like us, and I think it's very effective the way Avis makes it clear that VR is turning into the monster and has to scarper, fast. He is telling everyone in the audience that VR morphs into a different being, a reflection of how he makes the swan maidens morph. 

 

Yes - otherwise it does tend to look as if VR is suddenly having a chest pain or some such.

[bridiem]

1 hour ago, alison said:

And what is his obsession with stealing people's crowns?  He's already stolen Odette's - is he ruling her people as well?  If so, why the power grab in Siegfried's kingdom too?

 

If all the swan maidens were princesses, he must have a lot of kingdoms to his name!

 

 

[Lizbie1]

23 minutes ago, bridiem said:

 

Yes - otherwise it does tend to look as if VR is suddenly having a chest pain or some such.

 

IMO his panic and the way he dashes off make it clear that there's more to it than that.

 

3 hours ago, Sim said:

Don't forget that most people in the audience aren't necessarily aficionados like us, and I think it's very effective the way Avis makes it clear that VR is turning into the monster and has to scarper, fast. He is telling everyone in the audience that VR morphs into a different being, a reflection of how he makes the swan maidens morph. 

 

I don't think being an aficionado comes into it, seeing as his appearance in Act 1 is an embellishment of Scarlett's: we were all pretty much on a level playing field on opening night.

 

I'm not saying that Avis is bad or wrong, just that there's more than one way to skin a cat!

Edited June 16, 2018 by Lizbie1
subject/verb disagreement corrected!

[bridiem]

7 minutes ago, Lizbie1 said:

I'm not saying that Avis is bad or wrong, just that there's more than one way to skin a cat!

 

Or feather a swan...

Edited June 16, 2018 by bridiem

[Josephine]

4 hours ago, Sim said:

It isn't seen....except by the audience. Don't forget that most people in the audience aren't necessarily aficionados like us, and I think it's very effective the way Avis makes it clear that VR is turning into the monster and has to scarper, fast. He is telling everyone in the audience that VR morphs into a different being, a reflection of how he makes the swan maidens morph. 

 

The notion of 'telling' the audience is exactly why this moment jars in my view. The 'telling' imposes a layer of theatricality which disrupts the naturalistic flow of this scene, for me.

 

The audience has already seen Von Rothbart morphing in Scarlett's stylised Prologue. VR's convulsion happens in a more naturalistic dramatic context. As he flees I feel that the audience's gaze should be drawn back to Siegfried, the focal figure in this scene, and not be distracted by VR flapping his arms.

 

I'm an aficionado only in terms of enthusiasm! I'm just aware of what works for me when watching, and of course this is subjective for each of us in the audience.

 

[Josephine]

6 hours ago, Lizbie1 said:

I also preferred the way Gartside died: Avis didn't half thrash around on those rocks, whereas Gartside was (l thought) a lot more realistic in his death throes.

 

Besides that, I guess I just find Gartside a more convincing actor: not a popular view here, but there you are!

 

I agree with both Lizbie1's statements, although I think Bennet Gartside has rightly received many appreciative responses at various times on BalletcoForum. I am remembering Prince Rudolf and Leontes in particular.

 

I do think it is hugely important for any production to allow space for varied dramatic interpretation by individual artists, obviously not just in the case of Swan Lake or Von Rothbart! However my impression here is that because Von Rothbart in the old Royal Ballet production seems so deeply loved by both audiences and critics as one of Gary Avis's signature roles, there appears to be resistance to reinvention.

 

Von Rothbart is significantly reinvented by Liam Scarlett and for me Bennet Gartside's profoundly sinister reading most emphatically communicates Scarlett's bleak vision of an utterly evil force fracturing the human world.

 

Obviously this is a personal response. As mentioned above, I think there should be space for some variety in dramatic interpretation, and likewise space for a range of audience responses.

Edited June 16, 2018 by Josephine

[bridiem]

20 minutes ago, Josephine said:

However my impression here is that because Von Rothbart in the old Royal Ballet production seems so deeply loved by both audiences and critics as one of Gary Avis's signature roles, there appears to be resistance to reinvention.

 

 

Given that, as you say, there is space for a range of different audience reactions, I'm not sure why you should interpret a preference for Avis as 'resistance to reinvention'. That seems to be imposing your own interpretation of motivation on other people's opinions. It's entirely possible to dislike, or welcome, the adapted role for VR, and to prefer either Gartside or Avis's interpretations, on all sorts of perfectly valid grounds.

 

[Riva]

I’ve now finished a Swan Lake-tastic week and the 2017/8 season 😪 having seen three performances - Osipova/Ball, Nunez/ Muntagirov (big screen) and Takada/Bracewell. 

 

I came away from my first experience of the new production quite disappointed - whilst it LOOKED beautiful it didn’t move me emotionally, which I think I really look for in ballet. Enjoyed the second performance at the big screen more, and by curtain down yesterday evening I was properly engaged and rooting for Siegfried and Odette. 

 

I’m not quite sure what made the difference, why my appreciation grew with each performance, perhaps being glued to the binoculars last night so that I could see more of the dancer’s expressions. 

 

Overall, I’ve been really impressed with the whole company and orchestra. Thought the corps during acts II and IV were in sync, delicate but also powerful. My biggest gripe is that I felt the musicality was a little off in each of the Neapolitan dances I saw. The set of act III really is stunning - every time I saw the reveal I gasped at it’s beauty! 

Edited June 16, 2018 by Riva

[Josephine]

1 hour ago, bridiem said:

 

Given that, as you say, there is space for a range of different audience reactions, I'm not sure why you should interpret a preference for Avis as 'resistance to reinvention'. That seems to be imposing your own interpretation of motivation on other people's opinions. It's entirely possible to dislike, or welcome, the adapted role for VR, and to prefer either Gartside or Avis's interpretations, on all sorts of perfectly valid grounds.

 

 

A fair point indeed.

 

I meant a resistance to the choreographer's reinvention aside from individual interpretations in the new production, but have not expressed this clearly enough. My comments relate to views posted e.g. on ROH feedback pages in which people appear to want to revisit Gary Avis's VR interpretation from the old RB production without (in my view) acknowledging the context of Liam Scarlett's intentions in his reimagined version.

 

Gary Avis, Bennet Gartside and Thomas Whitehead all indeed present reinvented interpretations of VR in the Scarlett production. I have stated above which one is most effective for me and of course other viewers will have different opinions, both of individual interpretations and of the function of the reimagined role.

 

For the record, I saw Thomas Whitehead's interpretation only at General Rehearsal.

Edited June 16, 2018 by Josephine

[J_New]

5 hours ago, Lizbie1 said:

IMO his panic and the way he dashes off make it clear that there's more to it than that.

 

I kind of assumed that he realised that Siegfried was on his way to shoot 'his' swans and that he needed to be there ...

 

 

Edited June 16, 2018 by J_New
Spelling ....

[JohnS]

Double Swan Lake yesterday and the final opportunity for me to see performances in the theatre.  It has been a hugely enjoyable run and many congratulations to the Royal Ballet for creating such a fabulous production.

 

Yesterday’s Matinee was the Natalia Osipova/Matthew Ball cast and the third time I have seen this cast.  I find Natalia superlative: her Odette captures all the pain and anguish of her predicament and I think she has made the most of Act 4 where she plumbs the depths of sorrow, but has the strength of resolve to forgive Siegfried in that parting embrace before her self-sacrifice.  It was sad that she slipped on her entrance for the Act 3 pdd so not surprisingly the pdd was a little tentative at the outset but she quickly recovered and her panache was simply irresistible in seducing Siegfried - and I do like those fabulous pique turns rather than fouettés.  I do think Natalia presents the most contrasting Odette/Odile, although I wish I’d been able to see Yasmine again as I could only make her debut and will be very keen to see posts on Monday's performance.

 

The evening cast was Akane Takada/William Bracewell and I hadn't seen them before.  I loved Akane and so much of her dancing was a delight, with fabulous balances, but I don't think she had Natalia’s extraordinary contrasts and risk taking.

 

Matthew Ball was very impressive and I’ve really enjoyed seeing how he has become more assured with each performance.  I also was very much taken with William Bracewell’s Siegfried.  But when thinking of the performances I’ve seen, Vadim brings that extra special dimension to Siegfried.  It’s not just because of the dazzling jumps but he seems to know much more what to do when not dancing the pyrotechnics.  It may be that the choreography was created for Marianela and Vadim, so they've had more involvement in the narrative but I just get a much more convincing sense of dynamic from his Siegfried.  In contrast some Siegfrieds have looked a little lost when not dancing.  Some of this may be a consequence of the production.  Siegfried’s isolation is established in Act 1 when he is often not on stage.  And in Act 4 he can come across as weak: far too readily giving up his search for Odette having not found her in the first swan groups and not bothering to look in the larger swan group and of course he is unconscious for a fair bit of the closing moments so hasn't greatly contributed to Von Rothbart’s demise.  It’s very much Odette and Swan power that brings that about.  But despite the obvious weaknesses in Siegfried’s character, Vadim seemed to me much more purposeful than other Siegfrieds.  I’m very tempted to go to a cinema encore tomorrow to see if there’s any corroboration for my recollections.

 

There is such strength in depth in the Royal Ballet.  I’ve liked all the Bennos and whilst some sisters might have been better matched, I’ve been delighted to see the Benno/sisters pdds.  Last night Marcelino Sambe, Anna Rose O’Sullivan and Mayara Magri were delectable.  

 

I do like what Liam Scarlett has done with the National dances although I still have a bit of a bugbear about the Neapolitan dance which hasn't convinced me.  It's not just the tambourine being either half hearted or behind the beat or both: if the choreography includes clapping, as it does in other dances, again it has to be strong and on the beat.

 

I was very pleased to see Olivia Cowley back on stage in the Spanish dance yesterday evening as she’d missed some performances.  She brings a real frisson of excitement to the stage in these roles.  

 

A dancer who tends not to get much mention on the Forum but who I admire greatly is Elizabeth Harrod - such an accomplished, finely honed dancer, and good to see her in a number of roles during the run.

 

We’ve had fabulous big swans and cygnets and the Corps de Ballet has become such a polished ensemble, so consistently dependable, providing the perfect foil for the drama and of course more than making its collective mark on the action.

 

As I said at the outset many congratulations to the Royal Ballet and thank you all for such a stimulating series of posts, both anticipating the new production and reflecting on the performances.

 

[Fiz]

There’s impressive black sky outside and my husband just said “I am expecting Von Rothbart and his swans at any moment”!