Royal Ballet mixed bill: Within the Golden Hour / Medusa / Flight Pattern, May 2019

[Bruce]

Foteini Christofilopoulou was at the photocall for Medusa, Within the Golden Hour and Flight Pattern...
 

Natalia Osipova in Medusa
© Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr
 

Ryoichi Hirano and Lauren Cuthbertson in Within the Golden Hour
© Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr
 

Royal Ballet in Flight Pattern
© Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr
 

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Foteini Christofilopoulou: Royal Ballet in Medusa, Within the Golden Hour and Flight Pattern
Courtesy of DanceTabs / Flickr

[alison]

I'm still not sure why Medusa's chinstrap needs to be black ...

[Richard LH]

This  triple bill has set me thinking about what distinguishes contemporary ballet from  modern dance. To me (no expert in technique, and having seen each of the three works just the once) the triple bill seems to represent a progressive transition from the neo-classicism of WTGH, to more or less modern dance (rather than ballet) in Flight Pattern, with Medusa perhaps somewhere in between. But I am prepared to be educated !

[Tatiana]

Could someone do me a favour and tell me a little more about the singing in this performance? I'm going with someone who has a sensory processing disorder and any kind of operatic singing makes them very uncomfortable. Just need to know if I should bring ear defenders or not

[RuthE]

1 hour ago, Tatiana said:

Could someone do me a favour and tell me a little more about the singing in this performance? I'm going with someone who has a sensory processing disorder and any kind of operatic singing makes them very uncomfortable. Just need to know if I should bring ear defenders or not

 

It's not particularly loud, as opera singing goes (I say that as somebody used to hearing much louder voices and orchestrations) but as it's with two high voices both generally quite high in their respective registers, I wonder if the intensity rather than the volume of sound may make your companion wish to use ear defenders.  Without knowing their specific tolerance levels I'm not sure I can be any more specific than that.

 

Please be aware that there is also a brief passage in Flight Pattern involving an operatic soprano's voice.

[jmhopton]

I'm going to see this triple bill at the kino cinema Rye tomorrow if anyone else from the Forum will be there. 

[Jamesrhblack]

36 minutes ago, jmhopton said:

I'm going to see this triple bill at the kino cinema Rye tomorrow if anyone else from the Forum will be there. 

I’m intending to if I can get a ticket ...

[Rob S]

Another fab performance last night

 

 

[Vanartus]

Hope to see it tonight in Valencia!

[bangorballetboy]

[Lindsay]

I saw this last night (sounds from posts here as though cast was mostly the same as opening night) and for me it scored a solid 2 out of 3 on the triple-bill-ometer, which is a perfectly decent average over recent seasons.  As you might guess Medusa was the disappointment  - not a complete failure in concept and execution (looking at you Unknown Soldier) but  "not enough" good stuff so that even Osipova at her slinkiest best (what does that woman have where the rest of us keep our shoulder joints???) couldn't raise it above the average.   The costumes as many have said did not help - the snake headdress and Athena/Princess Leia outfit being particularly unintentionally hilarious, the musical choices seemed to me incoherent, narrative was confused (when you have a concept as interesting as not been able to look the Gorgon in the eye, why not build that into pas de deux choreography??) and despite some good moments of imagery in the choreography, I didn't feel as though it was anything I hadn't seen before.  Professionally done and the dancing was excellent but wouldn't rush to see it again.

 

Within the Golden Hour on the other hand was a delight.  Wheeldon can be such a good abstract choreographer - Stix-Brunell and Muntagirov were particularly delightful in their pas de deux - she really does suit Wheeldon's choreography and the joyful mood of this piece.  I didn't expect to be as moved by Flight Pattern as I was at first viewing, given that I now knew what to expect, but Sambe's solo at the end made me cry.  The expression of pent-up anger and frustration is so powerful - he is really a very special dance-actor - and Pite's pacing and handling of her large ensemble is exemplary.

[alison]

I'm sure Perseus spent even more time looking directly into Medusa's face last night than he did the previous time I saw it!

[zxDaveM]

5 minutes ago, Lindsay said:

 (when you have a concept as interesting as not been able to look the Gorgon in the eye, why not build that into pas de deux choreography??)

 

it was - Perseus spent the whole pdd either moving his face out of line, or with eyes closed

(and the soldiers helmets were so designed to cover their faces so they could not see)

[Lindsay]

Did he? I was near the front of the stalls and didn't get that.  I had thought when he took his helmet off the first time and at several points during the pdd he was looking right at her.  Maybe I need my eyes tested...

[alison]

Mine *have* been - and corrected - yet I still couldn't see that.  Bet it doesn't show from the back of the amphi ...

[JohnS]

2 hours ago, zxDaveM said:

 

it was - Perseus spent the whole pdd either moving his face out of line, or with eyes closed

(and the soldiers helmets were so designed to cover their faces so they could not see)

 

Thanks Dave - will be interesting to see what comes across in the cinema.  But it does seem a bit contrived if audiences need to be on the lookout as to whether dancers are averting their eyes or have their eyes closed.  I saw the Triple Bill from Balcony Stalls earlier and am looking forward to seeing it from much closer on Saturday - I was wanting to see the cinema/Saturday’s matinee before commenting as I’m sure a closer view would help.

[Mary]

Re Medusa I have just seen the live relay and I agree Lindsay that 'the musical choices were incoherent'- or just meaningless/random except for Let me Weep at the end. But Osipova- a dancer I have not always booked for by any means-  I thought quite wonderful. A truly unique performance, mesmerising and one for the memory bank.

It was a shame that the piece as a whole did not feel fully formed or complete as there is clearly the germ of genius in it.

 

I am in a minority perhaps of one but never liked Flight Pattern one bit, so came home.

 

I loved Golden Hour again- but the original costumes seemed better to me:  the men's new leotards looked a bit daft.

 

It seemed a discourtesy to the audience and the dancers to tell us the cast had changed, but then refuse to give names (yet there is always time for meaningless banter.)

 

 

[alison]

What was the cast change, then, please, someone?

[bridiem]

2 minutes ago, alison said:

What was the cast change, then, please, someone?

 

Hayward and Zucchetti replaced Cuthbertson and Hirano in the Wheeldon.

[Guest]

Cuthbertson/Hirano replaced by Hayward/Zucchetti

[Bluebird]

3 minutes ago, alison said:

What was the cast change, then, please, someone?

 

Within The Golden Hour:

Cuthbertson and Hirano replaced by Hayward and Zucchetti

Edmonds and Mock replaced by Dubreuil and Donnelly

 

Medusa

Edmonds replaced by Ella as a Soldier

[alison]

Oh dear - I hope that's not more injuries  

[Bruce Wall]

Also teo dubreuil  and David Donnelly were stunning as the male soloist double in Hour - replacing Nichol Edmunds and Tomas Monk - who last night were equally thrilling.  Edmunds was replaced by Ella as a soldier in Medusa.  

 

.... Oh, dear ... a multitude writing at the same time it seems ...

Edited May 16, 2019 by Bruce Wall

[Guest]

Medusa - utter crap. 

[Anna C]

23 minutes ago, Darlex said:

Medusa - utter crap. 

 

Bit harsh. 😳

 

I liked it a lot; much more than I expected to.  Osipova was outstanding and I rather enjoyed the music too, although I would have preferred a Bass to sing “What power art though”.  Some of the costumes (the soldiers and Athena) were not my cup of tea but I loved the lighting, the design and the chemistry between Osipova and Ball.

 

I loved everything about Within the Golden Hour.  What a joyous piece.   Stix-Brunell was a delight.

 

I hoped to be more moved than I was by Flight Pattern - perhaps better live than in the cinema where it was very difficult to see what was going on.  Sambe and McNally were excellent and I loved the snow but oddly, my overriding feeling was anxiety.  

 

Shame not to see Cuthbertson; I do hope she’s ok.  I was unpleasantly surprised that although “some cast changes” were announced, no effort was made to give us actual names! 

 

 

[bridiem]

I would echo all your words exactly, Anna C!

 

(Though I did enjoy Darlex's post too! Nothing like a robust opinion...).

Edited May 16, 2019 by bridiem

[Vanartus]

I really liked Medusa - even more on second viewing.

 

This is nice too: 

 

[Jan McNulty]

33 minutes ago, Anna C said:

 

Bit harsh. 😳

 

I liked it a lot; much more than I expected to.  Osipova was outstanding and I rather enjoyed the music too, although I would have preferred a Bass to sing “What power art though”.  Some of the costumes (the soldiers and Athena) were not my cup of tea but I loved the lighting, the design and the chemistry between Osipova and Ball.

 

I loved everything about Within the Golden Hour.  What a joyous piece.   Stix-Brunell was a delight.

 

I hoped to be more moved than I was by Flight Pattern - perhaps better live than in the cinema where it was very difficult to see what was going on.  Sambe and McNally were excellent and I loved the snow but oddly, my overriding feeling was anxiety.  

 

Shame not to see Cuthbertson; I do hope she’s ok.  I was unpleasantly surprised that although “some cast changes” were announced, no effort was made to give us actual names! 

 

 

 

I felt as though I was sitting next to you (and all my other friends) in the cinema tonight!!

 

I loved (again) everything about Within the Golden Hour.  The whole cast was excellent.  In the preamble it was described as an abstract piece but I felt waves of emotional connection between Sarah Lamb and Alex Campbell.  I thought they looked fabulous together and I hope they are paired together in the future.

 

Having read so many comments I was unsure about how I was going to feel about Medusa.  I enjoyed it more than I expected to.  I thought Ryoichi Hirano was absolutely magisterial and Olivia Cowley was sublime.  Natalia Osipova was just stunning as Medusa, what an incredibly powerful performance.  I loved her connection on stage with Matthew Ball and I thought some of his close-up expressions were absolutely stunning.  @Sharon and I were sat next to each other in the cinema - she thought Matthew looked at Natalia, I thought he avoided looking at her.  You pays your money and you makes your choice!

 

I was completely, utterly and totally blown away by Flight Pattern.  I found it incredibly moving.

 

I particularly enjoyed the interval interview with Jonathan Lo talking about the music used for Flight Pattern.

 

I am really looking forward to seeing this programme on Tuesday evening.

[Stevie]

I thought that everything about the Christopher Wheeldon production was magnificent. Beatrix, Franky and Miss Lamb, what a treat. As for the other two productions, my mother used to say to me, 'if you don't have anything kind to say, then best not say anything at all', so I will respect her values.

 

Edited May 16, 2019 by Stevie
added

[Stevie]

35 minutes ago, Jan McNulty said:

 

I felt as though I was sitting next to you (and all my other friends) in the cinema tonight!!

 

I loved (again) everything about Within the Golden Hour.  The whole cast was excellent.  In the preamble it was described as an abstract piece but I felt waves of emotional connection between Sarah Lamb and Alex Campbell.  I thought they looked fabulous together and I hope they are paired together in the future.

 

Having read so many comments I was unsure about how I was going to feel about Medusa.  I enjoyed it more than I expected to.  I thought Ryoichi Hirano was absolutely magisterial and Olivia Cowley was sublime.  Natalia Osipova was just stunning as Medusa, what an incredibly powerful performance.  I loved her connection on stage with Matthew Ball and I thought some of his close-up expressions were absolutely stunning.  @Sharon and I were sat next to each other in the cinema - she thought Matthew looked at Natalia, I thought he avoided looking at her.  You pays your money and you makes your choice!

 

I was completely, utterly and totally blown away by Flight Pattern.  I found it incredibly moving.

 

I particularly enjoyed the interval interview with Jonathan Lo talking about the music used for Flight Pattern.

 

I am really looking forward to seeing this programme on Tuesday evening.

The turning to stone thing is just a myth, a Greek one in fact. Modern science tells us that you have to be looking for between ten to twenty minutes before you actually turn to stone, dependent on your resistance, condition and the power of the gaze. The recovery rate is also very good.

[HelenLoveAppleJuice]

Just got home and writing down the fresh hand review. I sat at Row B-9 in Grand Tier tonight. I booked a stall seat for the opening night but could not make it because of a short noticed business trip last week. After a 10+ hour flight, I decided to treat myself at Grand Tier.

Kevin OH sat at aisle in the Grand Tier with his iconic blue suit. 

 

My review for all three programs is... I really doubt if I lost some sights after the long flight. Or it is part of the lighting problem? I find it is very difficult to see clear of the movement sometimes even though I sat at a premium seat. I have not seen any of the 3 pieces of work before.

 

Within Gold hour is nice and delightful. I wish to know more about that the piece is talking about and the background.

Flight pattern: I have to admit that I felt asleep for 5 minutes in the middle of it. It is not my cup of tea. The introduction says that it reflected the refugee problem but I don't really get it. The snowing stage effect at the end was amazing. Could we bring it into the Nutcracker?

 

Medusa: It is the reason why I come tonight. After watching it... I feel a meh. Natalia Osipova is fantastic. Hirano and Ball are wonderful. But like the other reviewers, I feel the story is very plain and not blended well with the music. At the end I felt very sad, not for Medusa but for the dancers. They must have paid a lot of effort for this piece... But it does not work well. Osipova is likely the best or one of the best ballerina in creating modern dance now. She did so many practice and worked so hard with so many newly created work on her. Although she danced her heart but I don't think that any of them is good enough to be called a master piece. (Two feet, Mother, Facada and now Medusa... and many other project). I really don't understand why modern dance has to be filled with struggling,  confusion or temper all the time. All are like to dance the R&J final act multiple times... It is not bad by itself but you need to build the atmosphere and build up the character first and let the audience really soak into it.

 

 

All in all it is an enjoyable night but I won't recommend it to my friends.

Edited May 16, 2019 by HelenLoveAppleJuice

[Stevie]

42 minutes ago, Jan McNulty said:

 

I felt as though I was sitting next to you (and all my other friends) in the cinema tonight!!

 

I loved (again) everything about Within the Golden Hour.  The whole cast was excellent.  In the preamble it was described as an abstract piece but I felt waves of emotional connection between Sarah Lamb and Alex Campbell.  I thought they looked fabulous together and I hope they are paired together in the future.

 

Having read so many comments I was unsure about how I was going to feel about Medusa.  I enjoyed it more than I expected to.  I thought Ryoichi Hirano was absolutely magisterial and Olivia Cowley was sublime.  Natalia Osipova was just stunning as Medusa, what an incredibly powerful performance.  I loved her connection on stage with Matthew Ball and I thought some of his close-up expressions were absolutely stunning.  @Sharon and I were sat next to each other in the cinema - she thought Matthew looked at Natalia, I thought he avoided looking at her.  You pays your money and you makes your choice!

 

I was completely, utterly and totally blown away by Flight Pattern.  I found it incredibly moving.

 

I particularly enjoyed the interval interview with Jonathan Lo talking about the music used for Flight Pattern.

 

I am really looking forward to seeing this programme on Tuesday evening.

Jan, Was it your enthusiastic tweet that I saw up there tonight on our giant Imax screen ?

[Jan McNulty]

6 hours ago, Stevie said:

Jan, Was it your enthusiastic tweet that I saw up there tonight on our giant Imax screen ?

 

Yes it was.