Northern Ballet : Victoria by Cathy Marston, First Run

[toursenlair]

2 hours ago, Bruce Wall said:

 

I so hope that this ballet is taken up by major ballet companies much as Jane Eyre has rightly been (Think ABT, think the Joffrey -and think that for but next season alone).

 

 

 

 

As it is a coproduction with the National Ballet of Canada, I expect NBOC has exclusive N American rights to it for the next five years. That seems to be how the copros work (eg Ratmansky  R&J and Wheeldon Alice and Winter's Tale.)

[Ian Macmillan]

There was an interview with Cathy Marston and Dramaturg Uzma Hameed on BBC4 Woman's Hour this morning.  It's available on podcast here, running from 8:38 to 19:38.

 

 

[Bruce Wall]

11 hours ago, toursenlair said:

 

As it is a coproduction with the National Ballet of Canada, I expect NBOC has exclusive N American rights to it for the next five years. That seems to be how the copros work (eg Ratmansky  R&J and Wheeldon Alice and Winter's Tale.)

 

Well, then ballet companies outside of the North American agreements .... Why not?  There are a goodly few methinks ... 

[alison]

I saw this tonight, and thought it very effective.  It's not a "traditional" ballet - I don't think any of Marston's are, from what I've seen - but if you're prepared for that I think you'll be fine.  I thought the cast sheet was useful insofar as it told me there were an awful lot of characters, who the main ones were, and prepared me for the fact that there were a lot of overlapping roles, so that I wasn't totally confused to see physically very distinctive dancers who'd been playing specific characters earlier on suddenly reappearing e.g. as members of the corps.  I decided I didn't really need to know which prince or princess was which, or who they were married to.  The synopsis is a bit complicated, but did at least serve to put everything into context for me (unfortunately, Bruce, my history education saw fit to omit the Victorian era entirely - I've started finding that the TV series is quite useful for filling in parts of what I missed out on!) - although I must admit that I still missed spotting Lord Melbourne smoking opium, and a few other things.  There were some things that weren't 100% clear - for example, I found myself considering whether it was at all possible (since there hadn't been any attempt to achieve a historical likeness with any of the politicians) that the character who appeared early in Act II might be Prince Albert rather than Lord Melbourne.  Several of the pas de deux were very effective, if unconventional, and in fact one of the sections I liked most was the one showing the conflict between the married couple, with Albert wanting to become involved in matters of state, and Victoria resolute that she was the Sovereign and that they were for her and her Prime Minister alone.  If you'd told me that could be expressed in dance terms, I'm not sure I'd have believed it before I saw this. 

 

I'd like to see it again sometime, and indeed was very pleased to hear that this evening's performance was being recorded for the cinema broadcast: I think the cinema audience will really be able to benefit by seeing closeups of the characters, Beatrice especially, which I rather found myself missing from the farther reaches of the auditorium.

[Tony Newcombe]

I have just seen the matinee performance and thought it was stunning. I don’t know the company dancers that well and the leads this afternoon were more junior but outstanding. Minju Jang (Victoria), Ayomi Miyata ( Young Beatrice) and Nina Queiros da Silva (Older Beatrice). da Silva was always in my eye and I thought the scene where she was reading her mother’s diary re the wedding night was superb. Wonderful acting.

[alison]

I've come to the conclusion that being close enough to see Older Beatrice's expressions is vital - another reason why I think this will come over very well on-screen.

[Ian Macmillan]

I'd say that Tony was right to keep the Older Beatrice 'always in his eye' - this is her story and, whatever else is happening, she is always in some way part of it.  And as that will be Saturday night's cast, when I hope to see it again, I'm delighted to hear that they work well together.

[Jan McNulty]

7 hours ago, Ian Macmillan said:

I'd say that Tony was right to keep the Older Beatrice 'always in his eye' - this is her story and, whatever else is happening, she is always in some way part of it.  And as that will be Saturday night's cast, when I hope to see it again, I'm delighted to hear that they work well together.

 

Hope to bump into you again Ian!

[Ian Macmillan]

As Northern Ballet continue touring Cathy Marston's Victoria, just a few words from me after seeing the final London performance on Saturday evening.  I am entirely persuaded by it as a piece of narrative dance theatre.  There is a good deal to take in, but the basic premises are clear.   Victoria's relationship with John Brown and Beatrice's with Liko, her husband, dominate Act 1, as does Victoria's relationship with Prince Albert in Act 2 - and throughout, the Older Beatrice narrates, comments, and participates.  There is also a good deal of supporting incident, giving some idea of what was happening during that lengthy reign, most of which I think I have now interpreted.  I seem still to have missed Lord M smoking opium, remarked upon by others; and I rather wonder about the pistol shot that appears to end John Brown's life.  That, I believe, is factually wrong but does it refer in some way to the attempt on the Queen's life shown in Mrs Brown, when Brown intercepted the attacker?  In any event, it's of no great consequence to the main thrust.  

 

My impression was that, some 3 weeks after opening in Leeds, the company now has the piece pretty much in its bones, and I was pleased to see that most critical reaction of the London run was favourable.  I'll happily see it again when screened in cinemas on 25 June and, I hope, in future runs.

 

 

 

[Jan McNulty]

A review from To the Pointe:

 

https://tothepointemagazine.wixsite.com/tothepointemagazine/single-post/2019/04/02/Northern-Ballets-Victoria

[Ian Macmillan]

Now that's a fairly perceptive review from TTP.  I'll know where to look for the opium smokers next time - and she has served to make the point that Cathy Marston's work often has detail happening in corners that add depth to the main story but, should you miss them, you will not lose the main thread. 

[Jan McNulty]

I was at Milton Keynes for both performances on Saturday.  We were treated to two outstanding performances by the company.

 

The Company has really grown with this ballet and I found both performances the most moving yet.  From the premiere the "Red People" have been retitled "Archivists" and that single word difference makes much more sense of their role as chorus on the stage.  I still loathe the red chiffon skirts they wear and the 3/4 length sleeves of some of the male characters but I do like the rest of the costumes.  Both sets of leading dancers have really added depth to their characterisations and made the production even more satisfying.

 

In the afternoon we saw Minju Kang as Victoria with Nina Queiroz da Silva as mature Beatrice and Ayami Miyata as young Beatrice.

 

In the evening we saw Antionette Brooks Daw as Victoria, Mariana Rodrigues as mature Beatrice and Rachael Gillespie as young Beatrice.

 

The audience was very enthusiastic at both performances.  I gather, from talking to friends, that Abigail Prudames' cast on Friday night was stupendous.

[Ian Macmillan]

Janet:  I never did see a Cast List at the premiere in Leeds so was blissfully unaware of the Corps being "Red People," but thought it pretty clear that they were varyingly archivists, courtiers and even items at The Great Exhibition.  

[DanJL]

I had a wonderful time seeing the Antoinette Brooks-Daw cast in Cardiff last night. Such an innovative and effective way to tell the story. Great drama and stifling sadness in the first act, which I enjoyed but was glad of the beautiful romance of young Beatrice to break it up - highlighted by the incredible trio dance with both Beatrices and Liko.

 

I did find it a very dark and intense first act though, reflecting Victoria's mourning. Which is why I think the order of storytelling was so clever - with much more joyful and beautifully danced episodes in the second act, until the death of Albert which gave such clear context to act 1 and finally the incredibly touching resolution between Beatrice and Victoria.

 

Wonderful dancing and choreography throughout. Very impressed with Rachael Gillespie's young Beatrice in act one and the lead couple (Antoinette Brooks-Daw and Sean Bates) in act two. And I felt that by the end the story was actually very clear (although some finer details were maybe helped by familiarity from the television series!). Enjoyed it so much I just bought a ticket for Friday night!

[jmhopton]

Just come back from Northern ballet's Victoria at the cinema and not really sure what to make of it. Some very good choreography, excellently danced, but I would have liked not to spend so much time wondering who everyone was! For example in the first act I wasn't sure for a while if the young girl was the young Beatrice (turned out she was). Also who were all those people dressed in red skirts who were flitting about throughout the ballet? I was quite mystified. They seemed to be to do with the archives but (speaking as a librarian for 40 years) they didn't look like anyone I'd ever seen in a library! Also the men in the second act; as none of them had moustaches I wasn't sure which was Albert until she was getting married. I preferred the second act to the first as the choreography seemed more inventive; I suppose there was more scope for a young Victoria. The Victoria/Albert pas de deux was stunning in it's explicit and implicit sexuality even though Beatrice showed her disapproval by ripping several pages of the journal out after seeing it! Congratulations especially to Pippa Moore as Beatrice and Abigail Prudames as Victoria who were both excellent.

 

One thing that really put me off at the start was the fact it seemed to be treated as a film rather than a live broadcast. Consequently, the 'trailers' just advertising the Company and sponsors were mega loud and made me remember why I'd stopped seeing films at the cinema. I only go and see the RB broadcasts, and speech, music and ROH trailers are at normal levels. I am mystified as to why cinema broadcasters assume their audience are deaf (if you're not when you go in you might be when you come out!) and watching in somewhere about the size of the Albert Hall, hence the need for massive sound amplification. The reality is most screens are very small these days compared to the large ones in the 50s and 60s and there is no need for massive amplification at all.

 

Perhaps I need to see Victoria again. I see at the end there was an advert for a dvd/Blu Ray (date unspecified). I will go and see Dracula on 31st October (make a welcome respite from the doom and gloom of Brexit!) though I wish it was the Christopher Gable production.

[SusanR]

I saw this in Worthing & I have to say that I was very disappointed! I had been looking forward to seeing it so much. Firstly, myself & others sitting near me, were totally confused as to who was who, apart from John Brown & we only recognised him because of the kilt.... Surely it wouldn't have been difficult to show the dancers & the roles they were dancing at the beginning of the film? I found the choreography to be very unattractive. What is it with modern choreographers that they can make beautiful bodies look so ugly? Kenneth MacMillan managed to choreograph beautiful pas de deux  & one could feel the emotion but Cathy Marston had to show Victoria & Albert in a very explicit pas de deux, which I found very embarrassing! In the interval C Marston, when describing the choreography, said that the V shape was very powerful & sexy!!!! Does she really believe all that rubbish she was spouting?

Sorry if I have offended anyone. I admire the dancers very much but that ballet is pants.

[bridiem]

23 minutes ago, SusanR said:

What is it with modern choreographers that they can make beautiful bodies look so ugly?

 

Now that's a very good and pithy question...

 

I haven't seen Victoria, for various reasons, but have been reading the reviews and discussions with interest.

[Anna C]

I really enjoyed the live stream last night.  There were no cast sheets/synopsis available which was disappointing as I don’t know the company.  I recognised the marvellous Pippa Moore and Abigail Prudames but had to wait until the end to find out who danced everyone else.  

 

I found the “Red people” rather confusing and thought that trousers would have worked better than chiffon skirts because when the corps was representing politicians and courtiers they looked frankly bizarre wearing waistcoats and frock coats over skirts.  I guessed Melbourne, Victoria’s Mother, Disraeli but not Gladstone (?), wondered why Albert had no moustache and had no clue what was going on in the scene where Victoria’s children try to persuade her into rejoining public life. 

 

When I “got my eye in” I was able to really enjoy Marston’s choreography and it flowed beautifully.  There were some truly beautiful touches; the pas de troix between Old Beatrice, Young Beatrice and Liko was gorgeous and really moved me.  Likewise Young Beatrice being dressed in her mourning garments by Victoria; a reversal of Beatrice disrobing her Mother to reveal the young Victoria.  

 

The evening flew by and after the first 15 minutes of slight confusion I was completely absorbed; jolted back to my surroundings only when the cinema lights came up 5 minutes too early which spoilt the ending slightly.

 

Now I know what’s what and who’s who I think I’ll buy the blu ray as I’d like to see it again.  Another vote for Cathy Marston to get a main stage commission at the ROH. 

[Jan McNulty]

21 minutes ago, Anna C said:

I found the “Red people” rather confusing and thought that trousers would have worked better than chiffon skirts because when the corps was representing politicians and courtiers they looked frankly bizarre wearing waistcoats and frock coats over skirts.  I guessed Melbourne, Victoria’s Mother, Disraeli but not Gladstone (?), wondered why Albert had no moustache and had no clue what was going on in the scene where Victoria’s children try to persuade her into rejoining public life. 

 

 

On the cast sheets for the first few performances they were described as "Red People" but by the end of the run they were described as "Archivists", which made much more sense to me.  I didn't like those costumes at the start and by the end of the run I absolutely loathed them!  I agree, black trousers would have been much better.

 

I wasn't able to get to the cinema last night and was disappointed that there don't seem to be any encore showings.  Needless to say I'll be buying the DVD.  How wonderful for Pippa Moore that her final and great creation has been filmed for posterity.

[alison]

People who were asking about casting: it's very difficult, simply because of the fact that so many dancers swap in and out of parts.  I think I was there for the performance which was filmed, and trying to reproduce the cast sheet would have been something of a nightmare (incidentally, I could wish they hadn't run the credits centrally, as they obscured the dancers who were taking their bows).  I was a little late to the cinema, so if there was any preliminary introduction I missed it.  I think someone provided a link to the synopsis in this thread, didn't they?  I know I certainly needed it.

 

10 hours ago, SusanR said:

but Cathy Marston had to show Victoria & Albert in a very explicit pas de deux, which I found very embarrassing!

 

I wondered if that was actually the point?  From everything I've gathered, I believe Victoria was quite explicit (for Victorian times, at least!) in her diaries about sex, so I wonder if we were supposed to be experiencing something of what Beatrice felt which caused her to tear those pages out of the diary?

[Anna C]

Absolutely; Moore was marvellous.  I agree about the 3/4 length sleeves for the men, by the way.  A proper military jacket with a long sleeved shirt underneath would have looked much better for Liko.

[FrankH]

I'm looking forward to seeing this later on today at the local Curzon. They didn't show the live screening "live".

 

Is there a link anywhere to the cast list for the screening?

Edited June 26, 2019 by FrankH

[Sharon]

I have always enjoyed Cathy Marsden's ballets, I love her narrative approach and I find her choreography highly inventive and individual. This was displayed especially in the Victoria/Albert pdd and the pas de trois in act 1. Some of the lifts were amazing. Someone wrote that they found the pdd embarrassing??  I found it to be 'real'. But that comment made me laugh -remembering the outraged audience in Paris when they saw Nijinsky's  Faune humping the nymphs shawl. 1912 -2019, some things never change.😂

The alarm went off during the film and the lights came on, before any of us had the chance to moan, a woman announced that we had Beatrice in the audience. Then Pippa Moore introduced herself, explaining since she was from Liverpool she had decided to watch the film -for the first time, here with us. We then had a spontaneous question/answer session with her. As usual she was delightful and answered all questions and even explained the storyline to those who were confused. I was greatly relieved when she told us she is in fact remaining with the company to coach and pass on her roles to the younger company members. If that's what happens when the film is interrupted - I'm ok with that! Thank you Pippa.

Was this the best ballet I've ever seen by Cathy Marsden? No. I've enjoyed her others more. But there were undeniable moments of pure brilliance and creative ability that is astounding. Which is why I will always go to see any/all of her ballet's and I eagerly await the next one!

[Sharon]

35 minutes ago, FrankH said:

I'm looking forward to seeing this later on today at the local Curzon. They didn't show the live screening "live".

 

Is there a link anywhere to the cast list for the screening?

It wasn't shown 'live' anywhere - Pippa Moore told us it was filmed when they were at Sadlers Wells...

Edited June 26, 2019 by Sharon
Typo

[Sharon]

3 hours ago, alison said:

People who were asking about casting: it's very difficult, simply because of the fact that so many dancers swap in and out of parts.  I think I was there for the performance which was filmed, and trying to reproduce the cast sheet would have been something of a nightmare (incidentally, I could wish they hadn't run the credits centrally, as they obscured the dancers who were taking their bows).  I was a little late to the cinema, so if there was any preliminary introduction I missed it.  I think someone provided a link to the synopsis in this thread, didn't they?  I know I certainly needed it.

 

 

I wondered if that was actually the point?  From everything I've gathered, I believe Victoria was quite explicit (for Victorian times, at least!) in her diaries about sex, so I wonder if we were supposed to be experiencing something of what Beatrice felt which caused her to tear those pages out of the diary?

I was also late - having to jump up quickly and escape when Toy Story 2 started!

And yes I agree with your point about the 'explicit' 😁 pdd Alison.

[Jan McNulty]

The performances on 27th and 29th March 2019 at Sadler's Wells were the ones that were filmed.

 

I was there on the Friday evening, here is the cast sheet from that night.

 

[Pulcinella]

6 hours ago, FrankH said:

I'm looking forward to seeing this later on today at the local Curzon. They didn't show the live screening "live".

 

Is there a link anywhere to the cast list for the screening?

 

I found the following cast sheet and synopsis on the Empire Cinemas website. It was obviously supplied for the screening so why the cinemas could’t have printed them off I don’t know.

 

https://www.empirecinemas.co.uk/_uploads/media/1862_The Northern Ballet - Victoria Handout.pdf

[Alice Shortcake]

Interesting to hear that there will be a DVD of 'Victoria', but not of 'Casanova', which was also filmed.

[Jan McNulty]

I expect it was different production companies.  Casanova was filmed by Sky but I don't know who the production company was for Victoria.

 

Casanova turned up again on Sky Arts a couple of months ago so worth looking out for on repeats.

[jmhopton]

The Preston Odeon printed off cast list/plot synopsis for us. However, the 2 gentlemen sitting next to me left in the interval saying it was 'absolute rubbish'.

The Cast list mentioned a website www.cinemalive.com who describe themselves as 'one of the world's leading producers and distributors of Premium Event Cinema'. They also list NB Dracula and other ballets by Australian Ballet including The Merry Widow and Spartacus as well as more pop based and also theatrical events.

[SusanR]

33 minutes ago, jmhopton said:

The Preston Odeon printed off cast list/plot synopsis for us. However, the 2 gentlemen sitting next to me left in the interval saying it was 'absolute rubbish'.

The Cast list mentioned a website www.cinemalive.com who describe themselves as 'one of the world's leading producers and distributors of Premium Event Cinema'. They also list NB Dracula and other ballets by Australian Ballet including The Merry Widow and Spartacus as well as more pop based and also theatrical events.

Well, I have to agree with the two gentlemen! I nearly walked out after the first act but decided to persevere & to be fair, the second act was better, but nothing would induce me to see this ballet again.

[SusanR]

9 hours ago, Sharon said:

I have always enjoyed Cathy Marsden's ballets, I love her narrative approach and I find her choreography highly inventive and individual. This was displayed especially in the Victoria/Albert pdd and the pas de trois in act 1. Some of the lifts were amazing. Someone wrote that they found the pdd embarrassing??  I found it to be 'real'. But that comment made me laugh -remembering the outraged audience in Paris when they saw Nijinsky's  Faune humping the nymphs shawl. 1912 -2019, some things never change.😂

The alarm went off during the film and the lights came on, before any of us had the chance to moan, a woman announced that we had Beatrice in the audience. Then Pippa Moore introduced herself, explaining since she was from Liverpool she had decided to watch the film -for the first time, here with us. We then had a spontaneous question/answer session with her. As usual she was delightful and answered all questions and even explained the storyline to those who were confused. I was greatly relieved when she told us she is in fact remaining with the company to coach and pass on her roles to the younger company members. If that's what happens when the film is interrupted - I'm ok with that! Thank you Pippa.

Was this the best ballet I've ever seen by Cathy Marsden? No. I've enjoyed her others more. But there were undeniable moments of pure brilliance and creative ability that is astounding. Which is why I will always go to see any/all of her ballet's and I eagerly await the next one!

I'm so sorry you found my comment about the pas de deux between Victoria & Albert so amusing Sharon! In my world, less is more. I would much rather see such moments in my imagination, but these days everything is on display. So crass. By the way, the name is Marston......

Edited June 26, 2019 by SusanR
Forgot to add something

[maryrosesatonapin]

9 minutes ago, SusanR said:

I'm so sorry you found my comment about the pas de deux between Victoria & Albert so amusing Sharon! In my world, less is more. I would much rather see such moments in my imagination, but these days everything is on display. So crass. 

I saw this a couple of months ago and agree with SusanR.  There were a number of moments which were unintentionally risible IMO.  It isn't a matter of being prudish but rather of taste. L'apres Midi is one of my favourite ballets and I find its sensuality completely appropriate.  Not so Victoria.  Also some of Victoria's steps made her seem rather comical.  I enjoyed some of the ballet but certainly wouldn't see it again, and was surprised at its having so many excellent reviews.