ENB "She Persisted" Triple Bill at Sadlers Wells - April 2019

[Irmgard]

30 minutes ago, petperj said:

Wow. What a fantastic triple bill! I bought a ticket to see Rite of Spring again, but I was gripped from start to finish.

 

Broken Wings was beautiful, colourful, dark and moving. While I tend to be pretty poor at following ballet storylines, I found it surprisingly easy to follow the narrative and emotional lines of Frida Kahlo's life here, despite knowing relatively little beforehand. I really enjoyed Nora too. Crystal Costa was fantastic, and I thought the exaggerated perspective in the relatively simple staging was really effective. For me, there was one exception: I really wasn't keen on the guy in the mustard suit, Krogstad(?), which felt over-the-top/cheesy to me, but I'm still very new to ballet so may have missed things there.

 

My expectations for Rite of Spring were pretty high and the performance just blew them out of the water. Last time (the Bausch-Forsythe-Van Manen triple bill) we sat around mid-level and this time we went for cheaper, higher 2nd circle seats. It's my first time seeing the same ballet from different places (as I said, still very new here!) and I really enjoyed getting a different perspective. This time, rather than looking from near to the level of the action, we had a more dispassionate gods-eye view. When it started, I wondered if the fact that the edges of the soil were so explicitly visible from this perspective might be a problem (would it be more effective if the edges of the soil weren't visible?) but instead it added to the sense that you were looking onto a world. This higher view a clearer view of the patterns formed by the dancers but also seemed to give a bit more distance (which isn't to say that it didn't pack an emotional punch). I can't wait to go again, perhaps from near the front of the stalls next time.

 

I have one question about Rite: How is the chosen one selected? And why is there more than one red dress? I had assumed that the selection would be done before the performance, but I noticed something slightly odd which was that there were at least two red dresses: Immediately after the chosen one was selected (Emily Suzuki on Saturday) a dancer near the back went to the side and threw the second, unused dress off-stage. If the chosen one was selected on the spot then perhaps duplicate red dresses are necessary because the size of dress isn't known until then. Or perhaps this is simply a way of having a clean red dress, since it will have gotten covered in soil by this point(?)

Are you sure it was the red dress which was thrown off stage?  The 'white' dress she wears up until that point is thrown offstage.  Whoever is dancing the chosen one is informed during the afternoon of the performance by the repetiteurs from the Bausch Foundation (as far as I am aware) although those dancing it in the run are informed during rehearsals, just not which shows they will be doing (a bit difficult on them to let friends etc. know, especially when the shows sell out like they have this time!)  The edges of the soil have to be visible - if they went as far as the side curtains, these would need cleaning after each performance, otherwise there is a chance the dirt would rub off on anyone brushing against the curtains in the other pieces.

[alison]

A red dress was definitely discarded on Saturday - off-hand, I can't remember whether it was thrown into the wings or just on the floor.  It has to be got rid of somehow, doesn't it?  (I was aware when they were playing "pass the parcel" with it that there seemed to be more than one)

[petperj]

4 minutes ago, bangorballetboy said:

The second dress is used to make it easier for the chosen one to put it on (the other one has been flung around, could be inside out, twisted up etc.).

 

The chosen one is notified earlier in the day that they will be performing and the cast know before the performance starts.

Ah okay. Yep, that makes sense. I didn't notice this at all last time.

 

3 minutes ago, Irmgard said:

Are you sure it was the red dress which was thrown off stage?  The 'white' dress she wears up until that point is thrown offstage.  Whoever is dancing the chosen one is informed during the afternoon of the performance by the repetiteurs from the Bausch Foundation (as far as I am aware) although those dancing it in the run are informed during rehearsals, just not which shows they will be doing (a bit difficult on them to let friends etc. know, especially when the shows sell out like they have this time!)  The edges of the soil have to be visible - if they went as far as the side curtains, these would need cleaning after each performance, otherwise there is a chance the dirt would rub off on anyone brushing against the curtains in the other pieces.

Yep, it was definitely red fabric. I didn't notice it happen at all last time, although I was sat closer so may not have noticed.

 

In terms of the soil it's definitely understandable from a practical/clean-up standpoint. But I guess my point is that the effect is different to the video recording where the soil just disappears into the dark rather than being clearly defined by the solid grey floor of the stage.

[Irmgard]

20 minutes ago, petperj said:

Ah okay. Yep, that makes sense. I didn't notice this at all last time.

 

Yep, it was definitely red fabric. I didn't notice it happen at all last time, although I was sat closer so may not have noticed.

 

In terms of the soil it's definitely understandable from a practical/clean-up standpoint. But I guess my point is that the effect is different to the video recording where the soil just disappears into the dark rather than being clearly defined by the solid grey floor of the stage.

I haven't notice the second red dress so far but I have been sitting in the stalls so perhaps that is why.  I shall look out for it tonight!

[alison]

I managed to get a return earlier this afternoon, so it's worth keeping an eye on the website.

[Lynette H]

By the way, on Monday the Grayson Perry frontcloth was not there. Was it only used for the opening night ? Or was Monday a glitch and it has subsequently reappeared ? 

[bangorballetboy]

4 minutes ago, Lynette H said:

By the way, on Monday the Grayson Perry frontcloth was not there. Was it only used for the opening night ? Or was Monday a glitch and it has subsequently reappeared ? 

 

It was there on Friday but raised about 5 minutes before the show started

[alison]

I wondered, because I didn't see it last weekend.

 

So, not only do we have to stay in our seats for the second interval to watch the peat-spreading, but we need to get into them early if we want to see the frontcloth?

[Fonty]

2 hours ago, Lynette H said:

By the way, on Monday the Grayson Perry frontcloth was not there. Was it only used for the opening night ? Or was Monday a glitch and it has subsequently reappeared ? 

 

Well, I saw a front cloth on Monday, and I assumed it was the Grayson Perry one because the programme said it was!   What was I looking at?

 

Edited April 10, 2019 by Fonty

[LinMM]

They took this up five to ten mins before the performance started on Tuesday.

I went in shortly after 7.15 and it went up shortly after that.

 

[Sim]

2 hours ago, Fonty said:

 

Well, I saw a front cloth on Monday, and I assumed it was the Grayson Perry one because the programme said it was!   What was I looking at?

 

Certain bits of the male anatomy...many times over!  😱🤪😄

[Fonty]

7 hours ago, Sim said:

Certain bits of the male anatomy...many times over!  😱🤪😄

 

😄  I only saw the huge face and the creature with antlers.  I didn't even look at the background that closely.  

 

Having looked it up on line, I am now wondering how on earth could I have missed that???  (In my defence, I was deeply absorbed in my book.......)

 

 

 

[capybara]

1 hour ago, Fonty said:

 

😄  I only saw the huge face and the creature with antlers.  I didn't even look at the background that closely.  

 

Having looked it up on line, I am now wondering how on earth could I have missed that???  (In my defence, I was deeply absorbed in my book.......)

 

 

 

 

When that frontcloth was up three years ago, I sat next to a couple who were discussing it without seeing  the many 'representations' at all. So you're not the only one!

[bridiem]

1 hour ago, Fonty said:

 

😄  I only saw the huge face and the creature with antlers.  I didn't even look at the background that closely.  

 

 

Neither did I, Fonty. It didn't appeal to me and so I didn't give it any great attention. Having now looked at it more closely, I think my first reaction was preferable.

[Irmgard]

19 hours ago, petperj said:

Ah okay. Yep, that makes sense. I didn't notice this at all last time.

 

Yep, it was definitely red fabric. I didn't notice it happen at all last time, although I was sat closer so may not have noticed.

 

In terms of the soil it's definitely understandable from a practical/clean-up standpoint. But I guess my point is that the effect is different to the video recording where the soil just disappears into the dark rather than being clearly defined by the solid grey floor of the stage.

Petperj, you are absolutely correct!  There were two red dresses although I don't think we are supposed to notice this.  Certainly from the stalls point of view the dancers take great pains to hide the second dress and I only noticed because I was looking for it specifically after you mentioned it.  I did not see when they fetched the second one (presumably as the girls gathered into the circle) but the girl who throws the 'used' one into the wings (Anjuli Hudson) was was well hidden by the others and the whole thing was done very discreetly (but obviously not discreetly enough for your sharp eyes!).  I was actually quite relieved about this because last week I was thinking how unhygienic it was for the chosen one (another searing performance last night by Precious Adams) to have to put on a dress that has been ground into the dirt by not one but two people lying on it and then tossed around by dancers who are inevitably perspiring a lot by that point!  The ballet as a whole still does nothing for me apart from increasing my admiration for the energy and commitment of the amazing dancers of ENB (something which has been a hallmark of the company for the 40+ years I have been watching them).  I don't think there is anything more I can say about "Broken Wings" except that Khaniukova and Mukhamedov gave another heartrending performance.  Since it has been announced that Lopez Ochoa is creating a full-length version for Dutch National Ballet, I can only hope it will be a co-production with ENB! 

 

With regard to the Grayson Perry frontcloth, this has definitely been there for all the performances and is raised about five minutes before the scheduled curtain-up.  However, as there have been a few delayed starts due to the getting the capacity audiences into their seats, it may be that it has sometimes been raised about ten minutes before the actual curtain-up.  There is a little note at the bottom of the cast sheet to indicate it is by Grayson Perry and was commissioned for the 2016 triple bill (the people behind me last night thought it was by Frida Kahlo!).

[Sim]

I also noticed this (from the stalls) on opening night.

[LinMM]

I really loved Broken Wings on this second viewing ( Tuesday night) by far my favourite of the evening.

Perhaps because I'd been to the ENB masterclass at Markova House with Katja, Barry Drummond, and Irek Mukhamedov( what a treat!) 

I was really into it though some insights gained from this evening may not have been obvious to a general audience....especially regarding the relationship with Kahlo and Rivera. She was some feisty lady which Katja got across really well( even though I think she is a more reserved character naturally) I did think that last time Tamara Rojo was brilliant in this role it really suited her and the contrast after her accident was more generally moving I think .....though this time I was also very moved by the ending in particular.

There was lots more I noticed and enjoyed in the choreography this time apart from the lovely colourful costumes and unique staging of the piece....picking up more humour and pathos from the skeletons this time round too. 

Jia Zhang was outstanding as the stag and that whole scene was very moving. 

I think this could become a real favourite of mine and for me has already stood the test of time.

 

The new Nora piece was very dramatic fast moving and involving but I would need to see it again to pick up all the nuances in the choreography. I didn't get that the husband was that much of a general tyrant ....just that he got really angry over a particular episode....danced superbly by Cirio at that point but Crystal Costa was fantastic as Nora and to keep up that dramatic intensity is no mean feat ....she is also blessed with a very expressive face. 

I'm never sure with Ibsen if he was mainly depicting and reflecting in his male characters the more general oppression of women in Society in his plays than the awful kind of more "controlling personality" type oppression still around today. I did not feel that Torvald was on this level at any rate! Even Krogstad softens by tearing up the piece of paper.....though I think Souza gave off more generosity in his dancing ( lovely) than I imagined this character  Krogstad to be( it's a long time since I read the play and have seen in the theatre) ....somehow much tighter more confined!

There was just a tiny something missing from when Nora leaves. If you knew nothing of the story you might  have felt she'd just had enough of this "row" and was leaving the room not walking out on her husband for ever ......perhaps if he had pursued her to the "door" and collapsed there in the doorway it would have been more obvious ....but perhaps a minor issue.

There is hardly any stillness in this piece so impossible to pick up everything on one viewing so am sure I may have missed a few things! 

But a brilliant first major piece by Stina....what a couple of years she is having!! I do want to see it again so hope it stays in Rep.

 

I don't want to comment too much on the Rite of Spring as I didn't stay right to the end I had to leave early( hence booked end of row seat) 

but only to say that I think this Rite really suits the music and the dancers give so much it makes you feel exhausted too!! 

The first time I saw it was really "blown away" by it as the expression goes ...but knew what to expect this time!

As I've never seen Pina Bausch's Company perform it I can't say whether the dancers were too balletic but the person sitting next to me kept saying after every piece "it's very modern isn't it" to his companion so no doubt he thought the Rite was very modern too!!

A great show by ENB worth every penny.

 

 

 

 

 

 

 

[RuthE]

I was in my seat about 5min before the beginning of tonight’s performance, and the frontcloth went up about two seconds later. I didn’t get a chance to look at it!

 

Now awaiting Nora...

[Nogoat]

Last night’s She Persisted (Wednesday) was not only thoroughly enjoyable, but also excellent value for money; it’s advertised as a triple bill, but of course there’s also a bonus performance thrown in for free (which a lot of people end up missing in their rush for the bar or the loo) as well as an interesting bit of Grayson Perry artwork with a background theme which …err… stands out like a sore thumb once noticed.

Broken Wings: 
This was my first time seeing this engaging, if slightly overlong, potted biography of Frida Kahlo. In hindsight, and in the light of comments in other posts in this thread, I’m glad I read through the background material in the programme. I had heard of Frida Kahlo, and was aware of some of her art, but without the programme I know I would have had problems understanding the on-stage action.

At the other end of the spectrum to my ignorance, there were obviously people in the audience who were totally immersed in ‘Kahlo culture’ (one woman had a large, multi-coloured picture of Kahlo’s head on her upper back – exposed in all its impressive glory by a low-back print dress).

That the performance managed to reach both ends of this spectrum (as far as I could tell from audience reaction) is testament to the skills of the creative team and dancers alike. Despite the hardships Frida endured (some of which were fairly graphically depicted) the story came across as a celebration - a celebration of the human spirit and what it can achieve in the face of adversity.

 

The programme mentions her art style as being naïve, and in representing that style on stage in the form of animal avatars, lush tendrils and stylised skeletons, the overall performance came across more as a primary-colour, caricature-containing comic-strip rather than an in-depth consideration of an artistic life. That may well have been deliberate; for example, the role of the skeletons as ‘unseen forces’ in the background – observing, mediating and interfering in our affairs – reminded me of the ‘ghosts’ in Ghost Dances. But here they were cartoonish and ‘playful’ (when Frida slapped one on the wrist, all four of them shook their hand as if in pain; when four of them danced in line using a ladder as a prop, they seemed to be doing a playful parody of the cygnets in Swan Lake). 
In terms of individual performances, I was really impressed by Khaniukova as a dance-actress; she managed the not inconsiderable task of keeping my focus on her, even with the many colourful distractions occurring elsewhere on the stage. And when she was the central-focus in the ‘confines’ of one of the opened sides of the large cube that was the main prop, she turned that limited space into a world of its own.

I was, however, really disappointed to hear, so soon after Don Q, more pointless on-stage shouting/dialogue during the performance ☹️.

 

Nora: 
Well, if reading the programme helped increase my appreciation of Broken Wings, it was essential to my enjoyment of Nora.

But that is not a bad thing: I would contend that some research/preparation is necessary to get the most out of any narrative ballet, given the limitations of the medium.

So, I knew beforehand that a key part of the plot was that Nora had forged her father’s signature in order to secure a loan from Krogstad, and that this gradually becomes apparent within the play. But how to deal with this in the ballet (which is heavily stripped down in terms of characters)?

It would have been fairly easy to put a brief paragraph (on the cast list, not even the programme) explaining the set-up, but instead of trusting/expecting the audience to behave as anything other than passive recipients of ‘entertainment’, a rather clumsy attempt was made to create a prologue in which recorded, competing voices were heard (yes, the spoken word again! ☹️ ) while Nora wrestled with her conscience(s) on stage. It suggested a lack of confidence by the creative team and frankly seemed a bit of a cop-out.

 

Thankfully, the rest of the ballet overcame this faltering start, greatly helped by Glass’ Tirol Concerto. It was glorious to hear this Philip Glass composition being played live! Minimalist compositions like this fit dance so well: - the limited ‘musical palette’; the simple, quickly-familiar melodies; the repetition; the subtle changes between repetitions; the sudden shifts in ‘mood’; all seem to mirror and complement similar constraints within dance.

Hats off to Stina Quagebeur for creating a choreography that was the perfect accompaniment to the music and which ‘narrated’ the stripped-down story so well.

And Takahashi made a wonderfully expressive Nora – on the cusp between oppression and liberation.

Similarly, Caley played her superficially-loving, but controlling and quick-to-anger husband with effortless ease.

Making up the triangle was Dowden’s Krogstad – about whom not much needs to be said as he does very little.

The incorporation of the five ‘voices’ that follow Takahashi around and help illustrate her internal struggles worked well. Dressed in silvery-grey, they reflected her traumatised psyche by having ‘slashes’ patched into their costumes (Takahashi’s costume also had stylised insets).

 

Bonus performance!:
The preparation of the stage for the Rite of Spring has become a performance in its own right – and it’s open to public view as the curtain is kept raised. Apparently, a view of the stage is also relayed to the TV screens in the bar/public areas (presumably to try to keep bar revenues flowing!), though there’s no substitute for ‘being there’!

For those that haven’t seen it, a time-lapse video can be seen here - https://www.youtube.com/watch?v=Rq4TJf8bstI

Considering what the preparation is for, it’s ironic that the preparation itself has become a ritual – when the dozen or so stagehands line up at the front to rake the peat completely flat, the audience responds with enthusiastic applause and whistling! 😊

 

The Rite of Spring:
The sense of anticipation of audience members around me was palpable as the start of the Rite approached – this is what most of them were here for!

This is the second time I’ve seen this production at Sadlers Wells, and I was equally excited. 

Earth (OK, a special type of peat), men, women, life, death, music, movement, passion, nudity, fear, atavism, tribalism, mob psychology, sweat – what a primitive, raw, heady and effective mix! What an adrenaline-rush!

What I noticed this time around was the degree of individuality shown by the women; each had a definite character they expressed when on their own, though they reverted to synchronised ‘mob behaviour’ at other times – is this something they are encouraged to develop themselves, or are there set characters they are asked to ‘play’?

 

This individuality was much less apparent in the men, but there again the individual to be chosen was not one of them; they would not suffer!

The one male that stands out, of course, is the ‘leader’ – in this case an implacable, solid James Streeter (complete with impressive beard!); he is just fabulous in everything he does!

The one female that stands out, though we only know who towards the end, is the ‘chosen one’; Precious Adams gave a fine performance - though possibly too ‘balletic’ in places. But actually that is being overly-critical (much like Lorenz's ducklings, I think I was 'imprinted' by the first performance I saw, which featured Francesca Velicu)! 

Considering that the 'chosen' dancer has to drive the ballet to its conclusion - effectively on her own, and literally exposed to the audience - I have nothing but lasting admiration for whoever takes on this iconic role in this iconic ballet.😍

 

[LinMM]

Someone who also went on Tuesday night said that at the end of Nora the set sort of de marking a house/room boundary lines collapses at the end when she leaves her husband. 

Well I just didn't notice this!!! So this would signify a more significant leaving than her just leaving the room which I mentioned in my post.

Just shows that mostly its better to see something a few times before drawing any firm conclusions about it!! 

 

 

[RuthE]

1 hour ago, Nogoat said:

effectively on her own, and literally exposed to the audience - I have nothing but lasting admiration for whoever takes on this iconic role in this iconic ballet.😍

 

 

I saw it tonight for the first time (Velicu was the Chosen One) and was trying to work out whether the exposed breast was an inherent part of the choreography or a “wardrobe malfunction” which may or may not happen, arising perfectly organically from the nature of the piece. So is it “hard-coded” in the choreography?

[zxDaveM]

1 minute ago, RuthE said:

 

I saw it tonight for the first time (Velicu was the Chosen One) and was trying to work out whether the exposed breast was an inherent part of the choreography or a “wardrobe malfunction” which may or may not happen, arising perfectly organically from the nature of the piece. So is it “hard-coded” in the choreography?

 

its part of the choreography

[RuthE]

Thanks! I could tell that it wasn’t a mishap, but not whether it was something that would controllably always happen. If that makes sense.

[zxDaveM]

 

they 'make it happen' when they have their back to us, as it part of the look, or so I believe

[Sim]

Yes, there is always an exposed breast. Makes it wild and feral, almost Amazonian.  

[Coated]

Not all ENB dancers performing the chosen one exposed their breast. I think it underlined the wildness and abandon of the piece perfectly, but I'm quite happy to see that there appears to be some choice for the dancer. 

[Sim]

Ah.  Every time I have seen it the breast has been exposed, but I am glad the dancer has the choice. 

[Fonty]

It may have happened on Monday, but I certainly didn't notice if it did.  

[Irmgard]

45 minutes ago, Fonty said:

It may have happened on Monday, but I certainly didn't notice if it did.  

On Monday it was the wonderful Emily Suzuki and she chose not to.  At the 'Creatives' session on Tuesday, the two representatives of the Pina Bausch Foundation did say there was room for interpretation within the choreography.  Quite frankly, I find bearing a breast adds nothing to the performance.  It was very much the trend in the 1970s to feature nudity within new works (strangely, complete nudity for male dancers, apart from Pilobolus, quickly went out of fashion because part of the male anatomy refused to be choreographed, leading to a famous headline by dance writer Deborah Jowitt!) so that element of the piece is very much of its time.  

[Richard LH]

22 minutes ago, Irmgard said:

part of the male anatomy refused to be choreographed

 

Brilliant ! 

 

Its very tempting to continue responding along these lines, on the grounds that  Funny Friday may grant immunity from the normal discretion that, very appropriately,  Forum members normally apply. 

 

However I will resist a) because I can't immediately think of anything funny enough and b) I feel I should not detract from the amazing performances and commitment displayed by all the dancers in Le Sacre du printemps,  with  Francesca Velicu, in particular,  so striking and moving  last night as The Chosen One.  This is such a unique, powerful ballet. 

[LinMM]

A friend who went thought it was a wardrobe malfunction( breast exposure)  but as I remember it happening before I said perhaps it is part of the piece as such...which it appears it is. 

In the context of this piece it is sort of appropriate I suppose ......but personally think it adds nothing so am happy for dancers to choose not to.

The dancing speaks for itself. In fact it is so intense that I can imagine people not being in the mood for it on occasions.

I had to leave slightly early on Tuesday ( not my choice) but I can imagine that it's not something you would want to see if had been going through some very intense stuff in your real life.....which says how powerful it is.

 

 

[alison]

Some £70 tickets for tonight on the website ...

[alison]

Unsurprised to find I got the same "Chosen One" on each occasion