Royal Ballet - The Cellist, Dances at a Gathering

[MJW]

4 hours ago, MJW said:

Some more pictures from The Cellist

 

https://photos.alastairmuir.com/Ballet/Royal-Ballet/The-Cellist/

 

And from Dances

 

https://photos.alastairmuir.com/Ballet/Royal-Ballet/Dances-at-a-Gathering/i-Tgz4vKB

[Richard LH]

Thanks MJW... what beautiful photos of "Dances" from Alastair Muir!

However looking at the Cellist photos reminds me that there were a few positions in the choreography for du Pre that looked unnecessarily awkward and even made me feel uncomfortable in terms of their being potentially inappropriate.

Edited February 19, 2020 by Richard LH
Grammar

[zxDaveM]

7 hours ago, Sim said:

Exactly my point:  I think a narrative piece should be able to explain the story clearly onstage, not on the cast sheet...

 

I had no problem following the goings on, even though I forgot to read the note on the cast sheet, or the programme (I splashed out on one), and the only thing I knew about her was that she played the cello and died young. Until the masterclass, I didn't know it was MS, or that she married Barenboim (my fave Beethoven interpretor for orchestra or piano). 

As an aside, I did laugh out loud at the record player, and the standard lamp 'gags'. 🙂

[Jan McNulty]

In case you hadn't guessed from my post higher up the thread I was at the performance last night.

 

I have long wanted to see Dances at a Gathering and I was thrilled when this was programmed with The Cellist.  I thought it was a delight from start to finish, beautifully danced by a stellar cast.  From Alex Campbell's sublime opening solo I was utterly captivated.  I never wanted it to end.  Thinking about it in the cold light of day I wonder if I would feel the same about it's length on repeated viewings but I suspect I probably would.  Of the stellar cast Alex Campbell and Laura Morera stood out for me.

 

I have admired Cathy Marston's story-telling abilities since she created A Tale of Two Cities for Northern Ballet in 2008.  She seems to have the ability to sketch in a believable character with just a few moves.  So I'd seen a bit on line and a couple of newspaper previews about The Cellist as well as knowing a bit about Jacqueline du Pré but that was as far as it went.  I scanned the note in the programme and, of course, I had read this thread.  I decided to tackle watching The Cellist in the same way that I had watched Victoria and just concentrate on the inter-relationships between the leading characters and not worry too much about who the others were.  This worked for me with The Cellist too.  I've got to admit that I thought the concept of the set was excellent but the rotating elements got a bit too much.

 

I loved the concept of having a dancer as The Cello and Marcelino Sambé was just GLORIOUS and so very believable in the role.  His duets with the young Jacqueline, where her love was growing for her cello were really touching.  The young lady who danced the young Jacqueline was incredibly expressive.  His duets with the adult Jacqueline were scintillating initially and became increasingly poignant - almost as though he were willing her to go on.  Lauren Cuthbertson was a tour de force as the adult Jacqueline, giving a joyful interpretation that gradually became more tragic and moving as this dreadful condition took hold of her.  Matthew Ball has developed an enormous stage presence and was terrific as Daniel Barenboim.  His early interactions with Cuthbertson were palpably joyous (I loved the wedding scene).  I thought Kristin McNally gave a lovely, tender performance as Jacqueline's mother.

 

As the work moved on from du Pré's earlier life and her frenetic career to the diagnosis of multiple sclerosis the piece became intensely moving and was just heartbreaking by the end.  When Barenboim set her down in a sturdier chair and arranged her around her beloved cello I was completely gone.  As I was filing out of the auditorium I could see a lot of people wiping their eyes and the cast absolutely deserved the thunderous response from the audience.

 

The three leading dancers were absolutely outstanding in this piece and brought so much to it.  Cathy Marston's story-telling abilities did not desert her and I found this work to be a deeply satisfying and intelligent portrayal of the effects of multiple sclerosis on a vibrant young woman.  I wish I could see it again and am hoping to get to the cinema next week.  It definitely is a keeper.

 

So I thought that overall last night was a very rewarding evening of ballet.

 

 

[Sim]

Well, having read this whole thread, I look forward to my next viewing of The Cellist on Tuesday.  I am sure I will glean much more from it.

 

In any case, I think the best thing for me is to follow Jan's advice and just concentrate on the three main characters, which is really what I did on opening night, so the others were mostly just a swirl.  I don't think any of the others are particularly important per se (with the exception of her mother) in the piece, but it will help me to know who they all are and what they are supposed to be doing!

[JohnS]

 

9 minutes ago, Sim said:

In any case, I think the best thing for me is to follow Jan's advice and just concentrate on the three main characters,

Whilst I’m sure you’re right to focus on the three main characters, there’s also a wealth of interest in the Corps, not simply as the record player or light etc, but fully engaging in what is presented. These photos give an indication of that real involvement.

 

 

I think the ballet will reveal significantly more on repeat viewing - it certainly has for me and I’m sure the cinema relay will be fascinating. I can’t help thinking how cavalier one or two critics are to dismiss a work on one viewing.

 

[Sim]

Thanks John.  Have any critics dismissed this work?  All the reviews I've read have been very good or excellent!  Or are you talking generally?  I guess this is the problem with anything that's presented to critics: you have only one chance to impress them...until the next outing, if there is one.  But thank goodness, gone are the days where a show can open and close in one night because of poor reviews. 

 

Telegram from George Bernard Shaw to Winston Churchill:

Inviting you to first night of my new play.  Bring a friend.  If you have one.

 

Reply from Churchill:

Can't make first night.  Will come second night.  If you have one.     

 

[annamk]

Gerald Dowler, Classical Source, gave it 1* (and I have to say I agreed with every word) but I don't think one can describe his detailed and thoughtful review as "cavalier", any more than one would say that about the critics who gave it 5*

 

[Jan McNulty]

It never ceases to amaze me how differently we all see things and I revel in that difference!

 

I disagree with Gerald Dowler's view of The Cellist but agree with every word of Mark Monahan's review (interesting in itself because I don't usually!).

[JohnS]

Thanks Sim and Annamk. It was Gerald Dowler who I had in mind as he’s pretty scathing and concludes The Cellist irredeemably dull and I think one or two early reviews were a bit lukewarm. Yes, Gerald Dowler puts forward reasons for his view but many points could be countered, for example and very simply we have three musical friends to perform The Trout quintet and the Corps are significantly more than items of furniture, and on second hearing I found the score much more coherent. I had some questions after the first performance but was very taken with the whole ballet on second viewing. I’m very pleased that I don't have any need to reach a conclusion on one performance.

[Sim]

1 hour ago, annamk said:

Gerald Dowler, Classical Source, gave it 1* (and I have to say I agreed with every word) but I don't think one can describe his detailed and thoughtful review as "cavalier", any more than one would say that about the critics who gave it 5*

 

Ah ok, I haven't read his review yet.  I will search it out.

Yes, amazing how we all perceive things differently.  Vive la difference!! 

 

[bridiem]

I'm not seeing it until the live screening (and a live performance of the second cast thereafter), so I'm intrigued that the reviews have ranged from rave to pan and everywhere inbetween. My only thought so far is that the idea of 21 scenes in 65 minutes strikes me as rather an odd way of structuring a one-act work. But I'm looking forward to seeing it (and Dances at a Gathering - as an Alexander Campbell fan, I was delighted to see one reviewer describe him as 'drop-dead magnificent' in this!! Must be rather nice to get a comment like that!!).

[ninamargaret]

As someone who was slightly lukewarm about the ballet I do wonder if some of the more enthusiastic reviews, particularly on this forum, were from people who had perhaps known only a little about Jaqueline Du Pre, and were rightly fascinated by her story. If this is so, then I think the ballet is wholly successful. As someone who was born a little before her ( we shared the same birthday) I enjoyed the parts of the ballet that focused on her artistic career - I just felt I could have done with a bit less of family, teachers, doctors, etc etc. But I'll look forward to seeing it again with the second cast. 

[LinMM]

I’m now going to the live screening in Brighton on Tuesday. Although I have a ticket for March4 th ( which I thought originally was going to be the first cast) I had also arranged for a 2nd ticket with a Forum member for Tuesday at ROH  but am now unable to attend as have early hosp appt on the Wednesday morning so can’t stay over in London.....however I’ve never actually been to a live screening before so am looking forward to this now as at least will get to see this cast and then the second cast in March. So all is well!!

Thanks for your Shaw/Churchill post Sim .. loved that and what a Churchillian reply!! 

[Jan McNulty]

10 minutes ago, ninamargaret said:

As someone who was slightly lukewarm about the ballet I do wonder if some of the more enthusiastic reviews, particularly on this forum, were from people who had perhaps known only a little about Jaqueline Du Pre, and were rightly fascinated by her story.

 

Or perhaps because they like and admire Cathy Marston's works that they have already seen!

 

I didn't actually book for this until the programme was changed.  I absolutely loathe Oklahoma! and, no matter how enticing anything else on the programme may have been, there is no way on wasting money on something I would hate.  (My reason for loathing Oklahoma! has nothing to do with the quality of the musical and everything to do with me BTW).

[jm365]

Oh thank you, thank you, thank you Gerald Dowler!  I couldn't agree more.  I had no idea the corps de ballet were being furniture as well as an orchestra and an audience.  I was totally unmoved by any of the emoting, and found what someone up this thread so rightly called 'air cello' merely embarrassing.  I do hope the ballet vanishes as quickly as some of the others Dowler mentions

[Ian Macmillan]

As I recall, Clement Crisp once gave advice on the Critic's role as being to "kiss or kill."  As I opened Classical Source for Links this morning to find that Gerald Dowler had a review of Monday night up already - he's often quite late - I'd a feeling, born of some 10 years doing Links, as to what I'd find.  So no great surprise to find it a little on the dyspeptic side and, were Mr Crisp still reviewing for the FT, I'd venture to say he'd have written in a similar vein.

 

And I'd have disagreed with him too.  

[Richard LH]

1 hour ago, bridiem said:

as an Alexander Campbell fan, I was delighted to see one reviewer describe him as 'drop-dead magnificent' in this!!

 

He really is - indeed he seems to be on top form this year! 

Perhaps a silly question, but is this the first time he has ever danced a duet with Nunez? 

[ninamargaret]

1 hour ago, Jan McNulty said:

 

Or perhaps because they like and admire Cathy Marston's works that they have already seen!

Yes, you could be right. As I've said my only other experience of he work is Victoria on tv, so it could be that i 'm just not keen on her style of choreography. Having said that I loved  her work for the three main characters - beautiful. And I still think that DAAG should be longer!

[Jan McNulty]

5 minutes ago, ninamargaret said:

Yes, you could be right.

 

 

I know I'm right because that's why I went to see it!

[alison]

What's Oklahoma got to do with anything?

[Beryl H]

The name of Liam Scarlett's new ballet that was to be performed with The Cellist, I was surprised too

[zxDaveM]

3 hours ago, Jan McNulty said:

 

I didn't actually book for this until the programme was changed.  I absolutely loathe Oklahoma! and, no matter how enticing anything else on the programme may have been, there is no way on wasting money on something I would hate.  (My reason for loathing Oklahoma! has nothing to do with the quality of the musical and everything to do with me BTW).

 

Even THIS version of it???

 

 

[Peanut68]

Re: The Cellist....Quick Q - is the music all played live or are there actual segments using actual du Pre recordings in the ballet?

Have really enjoyed reading everyone’s reviews/comments.... almost like a guilty pleasure & I must confess I feel like ie cheated for an exam....& now regret it a little! I can only get to cinima screening (🤞🏻I make it to this) I kind of wish I’d gone in ‘blind’ as curious to know if Id have easily picked up on some of the (more debated) elements such as what the set & corps at tunes represented. All sounds clever imagery....but I hope not clever for clever sake.....sometimes this can appear a little too trite & force feeding? 

Loving the fact that debate on this forum has already stirred me up before I’ve watched a single step! Am avoiding now looking at any pictures/clips so I can immerse myself with the ‘whole’.... if only it were in the actual ROH but ever grateful for the live screenings - lucky us!

Edited February 20, 2020 by Peanut68
Typi

[Ian Macmillan]

The score is played live, without recorded extracts.

 

Edited to add: I see that Chicago's Joffrey Ballet has just announced its 20/21 Season.  It is to include a new work by Cathy based on Steinbeck's "Of Mice and Men."  Those appalled at The Cellist being twinned with Dances at a Gathering may shudder at the prospect of the new work being twinned with Balanchine's Serenade.

[alison]

 

[Bruce Wall]

1 hour ago, Ian Macmillan said:

The score is played live, without recorded extracts.

 

Edited to add: I see that Chicago's Joffrey Ballet has just announced its 20/21 Season.  It is to include a new work by Cathy based on Steinbeck's "Of Mice and Men."  Those appalled at The Cellist being twinned with Dances at a Gathering may shudder at the prospect of the new work being twinned with Balanchine's Serenade.

 

It may just be me --- but if The Cellist had been paired with Serenade I think there may well have been more tonal diversity somehow in the double bill for many people ... but, of course, no one would have known that in advance.  That said I do SO love the many life enriching aspects of DAAG that I really am delighted it is as it is just now.  I look forward to seeing The Cellist again. Someone told me tonight that the second performance was 'brighter'.  

Edited February 21, 2020 by Bruce Wall

[alison]

People I spoke to who'd seen both nights seemed to think the second night was better.

[Geoff]

18 hours ago, annamk said:

Gerald Dowler, Classical Source, gave it 1* (and I have to say I agreed with every word)

 

I just looked out his review (1* reviews are often instructive even if one doesn’t agree, which I don’t):—

 

http://www.classicalsource.com/db_control/db_concert_review.php?id=17085

 

The concluding list of RB recent pieces he didn’t like made me think:—

 

>>Wayne McGregor’s dreadful Raven Girl and Christopher Wheeldon’s half-baked Strapless through the dull predictability of Hofesh Shechter’s Untouchable, Arthur Pita’s ridiculous The Wind and Sidi Larbi Cherkaoui’s laughable Medea – all gone, we fervently pray, but not forgotten, to serve as a warning to future generations

 

He’s forgotten Acosta’s head-in-the-hands embarrassing Carmen (and it was Medusa not Medea) but one gets the point. The generally low standard makes Cathy Marston’s achievement stand out even more. IMHO. 

 

Edited February 21, 2020 by Geoff

[JohnS]

8 hours ago, alison said:

People I spoke to who'd seen both nights seemed to think the second night was better.

I certainly found the second performance much more compelling but I think that was because I knew more of what was coming. The first night I was a bit worried by the more literal depictions of playing the cello but seeing the second performance these seemed to take less time and readily gave way to the more abstract presentation of the spirit of music. The stance both Jacquelines use when sitting to play the cello is very ‘unballetic’, particularly when there is no cello, but on second viewing it didn’t seem overdone. And some of the more literal depictions I thought worked well - Lauren Cuthbertson holding Marcelino Sambe’s neck when taking to the concert platform to be mirrored when Hetty Snell came on stage for her so well deserved bow at curtain call. Similarly the score worked better for me on second hearing although I’m still not sure about the recurring four note motif that Philip Feeney introduces.

 

I have since wondered why we see a young Jacqueline and her sister but only a full sized cello. I recall struggling with my half size cello back as an 8 year old in primary school, which seemed as big as me then, but I guess Marcelino Sambe as well as dancing the cello is also the narrator.

[Ian Macmillan]

John, down the years, I have generally found that I've got more from Cathy's work on each repeated viewing.  There is usually a lot of detail to absorb in the telling of complex stories and it can pay to be aware of what's happening to the side or back of the stage.

[bridiem]

Excellent and surprising (to me) review of The Cellist by Will Gompertz, the BBC Arts Editor, on the BBC website. He starts with the thought that the concept of beauty suffered under 'the relentless march of modernism with its frigid less-is-more dogma and strict no-frills dress code', and that classical ballet was one of the victims of this; he considers this 'a shame' (which is a rather milder verdict than I would pass, but never mind). I'm not sure how often he goes to ballet, or why The Cellist in particular should have brought produced this epiphany for him, but he does go to the heart of the matter when he says 'beauty should be cherished not banished. It is not uncool or naff, it is an ideal worth believing in and striving for and appreciating'. Amen to that!

 

See https://www.bbc.co.uk/news/entertainment-arts-51591280

[Ian Macmillan]

Bridie: You must have found it just as I was doing so for today's Links, and I agree that it has a very special quality to it.  Will Gompertz has written preview/interview pieces from time to time but, In 10 years of doing Links, I can't recall his having put up a review before.  The Cellist certainly seems to have made an impression on him.