Is it time for an Ashton Festival?

[Rina]

The Ashton Foundation included the following statement in its accounts for 2020 filed with the Charity Commission: "Sadly, early plans made in conjunction with the Royal Ballet for an Ashton Festival at the Royal Opera House over the anniversary period [i.e. the 10th anniversary of the Foundation] are unlikely to materialise, a consequence of the pandemic and its aftermath."

 

At the beginning of the recent documentary by Lynne Wake, David Bintley said, "He [Ashton] is a true innovator. There is genuine originality in his work. You want the world to continue to see his ballets." Fellow trustee Lynn Wallis said, "Everything must be passed on" by which I take her to mean everything that will assist in performance of his ballets which are still revivable, in whole or in part. I don't know whether the Foundation is still planning a festival but it could provide the impetus for a fresh start as far as Ashton's place in the UK and international repertory is concerned. Sarasota Ballet chose 2014 for its Ashton Festival - the 110th anniversary of Ashton's birth - so 2024 seems a good date to have the next festival, this time in the UK, not that we need an anniversary to justify it. Can we help build a momentum towards it? How would members of the forum like it to be?

 

Bintley referred to Ashton as Ballet's Shakespeare and I'd like to see that as the tag or by-line for the festival - a chance to bring fresh eyes to the incredible diversity in his output. As an aim I'd like to see the revelation of his work to new audiences, to build up a future audience for Ashton ballets - as the Foundation indicated in the title of its recent insight evening. I'd also give priority to ballets which have not been seen for longest. It would be good to involve both RB companies and the Royal Ballet School - a RBS programme with Capriol Suite (1930) and Nursery Suite (1986) - Ashton's earliest surviving and last ballets, plus some solos and pdd would be satisfying. ENB school could repeat their version of Les Rendezvous. Perhaps other schools could also contribute. How wonderful it would be if the festival could be dovetailed with a visit from Sarasota Ballet to Sadler's Wells, ensuring the broadest possible coverage! 

 

There is something exciting about a festival. It raises one's spirits and creates a sense of occasion and enthusiasm. People come from far and wide to it. It can create ripples of creativity around it. As well as performance I'd love to see some new books on Ashton  - something substantial from Alastair Macaulay would be excellent. Or DVDs and events - something on Ashton's inspiration from myth and dreams - on Ashton the modernist - his inspiration from black dancers - his experiments with text - his movement work for opera - his ventures into contemporary styles, etc etc. Let's generate some ideas - and let the RB and the Foundation know! 

 

 

 

 

[zxDaveM]

at least we have the Ashton triple bill in the Spring, so something to look forward to

[Bruce Wall]

To my mind, it's ALWAYS time for an Ashton Festival.  Certainly Ashton's works are always festive - in one way or another - in and of themselves.  

 

 

 

 

Edited November 28, 2021 by Bruce Wall

[bridiem]

That all sounds terrific, Rina. There are so many possibilities for events - you suggest some excellent ones. And maybe: Sylvia - Fonteyn to Bussell; Ashton and his designers; Losing the Plot (Ashton's abstract works); West End to Covent Garden (the influence of his work in musicals on his ballets); Ashton and Balanchine; Ashton's Muses; etc.

[Blossom]

Macmillan had a whole anniversary run involving lots of other companies around the UK. It’s such a shame we are unable to have the same for Ashton, although I am guessing there is far more at play than simply the pandemic. It would have been the perfect year to bring back Cinderella but is that ever going to actually happen?!

[Emeralds]

It has been time for an Ashton Festival for the last ten years. Still waiting. 😀

[Dawnstar]

6 hours ago, zxDaveM said:

at least we have the Ashton triple bill in the Spring, so something to look forward to

 

I'm already worrying about how hard it might be to get tickets, given there are only 7 performances. I suppose that will mean 3 casts. I hope they arrange it so it's possible to see all 3 (or however many there are) casts in the same number of performances. The only piece I've seen before is Month In The Country so I'm interested to see the other two, which I gather are more abstract.

[Rina]

4 hours ago, bridiem said:

And maybe: Sylvia - Fonteyn to Bussell; Ashton and his designers; Losing the Plot (Ashton's abstract works); West End to Covent Garden (the influence of his work in musicals on his ballets); Ashton and Balanchine; Ashton's Muses; etc.

 

I like "Losing the Plot"! I was wondering which work would best begin the festival and came up with Illuminations (1950). I can see myself now sitting there as the curtain rises to Britten's opening fanfare and setting of Rimbaud's words (in French): "I alone hold the key to this savage parade". A work almost entirely composed of dream-like dance images rather than narrative, story or plot. Made not in England for the Royal Ballet, but in America for NYCB. America - where Ashton often felt his ballets were better received than at home. Homoerotic in theme when such a life was illegal, based on the life and poetry of Arthur Rimbaud whom Ashton read in the original French which he spoke fluently - and a ballet largely neglected in the UK. Designs that some hated but others praised, such as Geraldine Morris in her "Frederick Ashton's Ballets", who calls for a reappraisal of this ballet. A challenge, a gauntlet to throw down. 

 

This ballet also has running through it a theme which will crop up time and again - aspects of love. In Illuminations it is sacred and profane love, in Capriol Suite it's courtly love and communal friendship, in Daphnis and Chloe it's innocence and experience in love. How often do Ashton's ballets pair apparently opposing aspects of love. Perhaps I should have titled this thread "If you were the producer of an Ashton Festival, how would you go about it?" I'm glad everyone thinks it's time for one!

[alison]

7 hours ago, bridiem said:

And maybe: Sylvia - Fonteyn to Bussell;

 

Not so sure about that one: were there actually many ballerinas between the two?

 

I think the problem with an Ashton festival - as with most all-Ashton bills - is that it's difficult to cast all the ballets appropriately without overworking a select group of dancers and leaving others underused.  That, or somewhat throwing the style out of the window ...

[capybara]

There is only one possible answer to this question: YES!

[Diandri]

4 hours ago, Rina said:

 

I like "Losing the Plot"! I was wondering which work would best begin the festival and came up with Illuminations (1950). I can see myself now sitting there as the curtain rises to Britten's opening fanfare and setting of Rimbaud's words (in French): "I alone hold the key to this savage parade". A work almost entirely composed of dream-like dance images rather than narrative, story or plot. Made not in England for the Royal Ballet, but in America for NYCB. America - where Ashton often felt his ballets were better received than at home. Homoerotic in theme when such a life was illegal, based on the life and poetry of Arthur Rimbaud whom Ashton read in the original French which he spoke fluently - and a ballet largely neglected in the UK. Designs that some hated but others praised, such as Geraldine Morris in her "Frederick Ashton's Ballets", who calls for a reappraisal of this ballet. A challenge, a gauntlet to throw down. 

 

I very clearly remember seeing Ashton's Les Illuminations in 1996 with Jonathan Cope as the Poet, Darcey Bussell as Sacred Love & Benazir Hussain as Profane Love; it was 23 minutes of my life I will never get back & it ranks in my top 5 worst dance experiences in 30 years, some of the audience agreed & didn't come back after the interval for Symphonic Variations or The Dream. Visually Beaton's costumes had dated poorly especially the Poet's stripey trousers & Sacred Love was lumbered with multiple costume changes & an unflattering ruff (she seemed to spend most of the ballet running offstage for the next change). The music & poetry was lovely (but todays audience would probably need English surtitles to understand the text in relation to the stage happenings- especially the scenes touching on Rimbaud's life). My notes mention several nice choreographic touches, including Bussell being held by 4 cavaliers in floating, high arabesque & the idea of Profane Love wearing only one pointe shoe was interesting & the eroticism was decidedly polite & charming as one would expect from Ashton. The biggest issue would be if newcomers to ballet saw Illuminations in this version it might reinforce the worst stereotypes of ballet. Quite frankly it is not one of Ashton's better ballets & there must be others in his back catalogue more worthy of exhumation. 

[bridiem]

8 hours ago, alison said:

Not so sure about that one: were there actually many ballerinas between the two?

 

 

I was thinking more in terms of how different Fonteyn and Bussell were as ballerinas, and yet how effective Ashton's choreography remained when danced by both of them.  

[Odyssey]

I know this topic has been touched on previously in other threads here, but what is ‘the elephant in the room’ regarding the revival of Cinderella? I am aware of the ownership, but how is this currently impeding the revisiting of a work that so desperately needs to be performed while a significant number of dancers who were coached by Ashton are still able to teach it?   What is the likelihood the situation might change in the near future? This would be a wonderful focus ( and potential marketing tool) for any future Ashton festival.

[Emeralds]

7 hours ago, Diandri said:

 

I very clearly remember seeing Ashton's Les Illuminations in 1996 with Jonathan Cope as the Poet, Darcey Bussell as Sacred Love & Benazir Hussain as Profane Love; it was 23 minutes of my life I will never get back & it ranks in my top 5 worst dance experiences in 30 years, some of the audience agreed & didn't come back after the interval for Symphonic Variations or The Dream. Visually Beaton's costumes had dated poorly especially the Poet's stripey trousers & Sacred Love was lumbered with multiple costume changes & an unflattering ruff (she seemed to spend most of the ballet running offstage for the next change). The music & poetry was lovely (but todays audience would probably need English surtitles to understand the text in relation to the stage happenings- especially the scenes touching on Rimbaud's life). My notes mention several nice choreographic touches, including Bussell being held by 4 cavaliers in floating, high arabesque & the idea of Profane Love wearing only one pointe shoe was interesting & the eroticism was decidedly polite & charming as one would expect from Ashton. The biggest issue would be if newcomers to ballet saw Illuminations in this version it might reinforce the worst stereotypes of ballet. Quite frankly it is not one of Ashton's better ballets & there must be others in his back catalogue more worthy of exhumation. 

I never got to see this due to clashing schedules, but I know the Joffrey Ballet had Les Illuminations in their repertoire for years and I remember wishing I could see them perform it as their company photos looked so interesting- including their star, Beatriz Rodriguez, as Profane Love, with one shoe off (no tights). For some crazy reason, the description makes me want to see it even more now....lol. I can think of a lot of RB works over the years that have also made me think “x minutes  (or hours, yikes) that I’ll never get back”.  😉

[Fonty]

1 hour ago, bridiem said:

 

I was thinking more in terms of how different Fonteyn and Bussell were as ballerinas, and yet how effective Ashton's choreography remained when danced by both of them.  

 

They certainly were different, and I never thought that Bussell looked entirely happy dancing Ashton's choreography.  

[Rina]

7 hours ago, Diandri said:

it was 23 minutes of my life I will never get back & it ranks in my top 5 worst dance experiences in 30 years

 

I am so sorry you had a bad experience like that Diandri. Ones I've had - admittedly not with Ashton or this ballet - have been toxic if not traumatic and do act as a deterrent, for a while at least. I only saw Illuminations once and was intrigued by it but was so far away from the stage and my seat was at a poor angle. Sadly I don't remember much about it except for the pistol shot! but the clips and photos from Sarasota look enticing. It is one of those ballets that need the famous second viewing. The reviews online are mostly favourable. There is a fascinating segment on the BBC Sounds (Type in "Ashton Illuminations" and it'll come up) with brief interviews with Ashton and Ashley Page who danced the Poet in the 1981 revival.

I didn't know it but Sarasota's opening programme of their festival was Birthday Offering, Illuminations and Facade in that order. They also included Illuminations in the closing programme. I think this is significant - one of the aims of the festival would be to bring out the full range of Ashton's work - including the unexpected, "untypical", and even unwelcome - very different from the choreographer presented by the handful of works in the RB's current repertory. 

[bridiem]

3 minutes ago, Fonty said:

They certainly were different, and I never thought that Bussell looked entirely happy dancing Ashton's choreography.  

 

I'm sure it would have taken more adaptation for her than for some other dancers, but I thought she was excellent in quite a few Ashton roles including Sylvia, Cinderella, Monotones, etc.

[Emeralds]

We are also overdue another Sylvia revival and I wished they’d done one in the 2018-19 season, in the year of Fonteyn’s birthday centenary. Box office numbers would not be a problem as I remember the December 2017 performances were sold out very quickly and I couldn’t get an extra ticket that I really wanted. 

I remember Doreen Wells, Beryl Grey and Monica Mason, to name just three ballerinas, were cast as Sylvia after Fonteyn, from archive photos. When Darcey Bussell was cast in the revival, I thought, well, that’s definitely a very different style and type of dancer from Fonteyn ! There seems to be an insistence of casting only dancers of tall or medium height as Sylvia nowadays, although Fonteyn and Wells were not tall ballerinas. 

Edited November 29, 2021 by Emeralds

[Fonty]

11 minutes ago, bridiem said:

 

I'm sure it would have taken more adaptation for her than for some other dancers, but I thought she was excellent in quite a few Ashton roles including Sylvia, Cinderella, Monotones, etc.

 

I actually saw Bussell in Sylvia, and although she did her best I didn't think it suited her at all. I don't think it was a question of height, more a question of style.  On the other hand, I would have thought Monotones II would have been perfect for her (I assume it was II).  That slow tempo would have suited her long limbs to perfection.   In fact, did Fonteyn ever dance Monotones? I can't find any images for her performing it, although that doesn't mean to say she didn't.

I adore both Monotones, and think it is high time there is another performance of both of these.  Instead, whenever Ashton is part of a triple bill it seems to be either a Month in the Country or Marguerite and Armand.  I have seen the former so many times I have got a bit bored with it.  Can't say the latter is one of my favourites either.  

[Lizbie1]

40 minutes ago, Rina said:

 

I am so sorry you had a bad experience like that Diandri. Ones I've had - admittedly not with Ashton or this ballet - have been toxic if not traumatic and do act as a deterrent, for a while at least. I only saw Illuminations once and was intrigued by it but was so far away from the stage and my seat was at a poor angle. Sadly I don't remember much about it except for the pistol shot! but the clips and photos from Sarasota look enticing. It is one of those ballets that need the famous second viewing. The reviews online are mostly favourable. There is a fascinating segment on the BBC Sounds (Type in "Ashton Illuminations" and it'll come up) with brief interviews with Ashton and Ashley Page who danced the Poet in the 1981 revival.

I didn't know it but Sarasota's opening programme of their festival was Birthday Offering, Illuminations and Facade in that order. They also included Illuminations in the closing programme. I think this is significant - one of the aims of the festival would be to bring out the full range of Ashton's work - including the unexpected, "untypical", and even unwelcome - very different from the choreographer presented by the handful of works in the RB's current repertory. 

 

I'm reminded of the famous Balanchine quote: “Mr Ashton and I may make bad ballets, but we never make incompetent ballets.” 

 

Maybe I've stumbled on another theme - Ashton's bad ballets!

[alison]

Do feel free to start a thread

 

I saw Illuminations twice, I think, once with Cope and once with Adam Cooper in the lead role.  I liked it better with Cooper, certainly, but I'll admit to struggling with the whole thing.  Possibly quarter of a century on I might think differently, of course.

[CHazell2]

Hi there.

 

Sorry for not posting on here for a long time. 

 

9 hours ago, Odyssey said:

I know this topic has been touched on previously in other threads here, but what is ‘the elephant in the room’ regarding the revival of Cinderella? I am aware of the ownership, but how is this currently impeding the revisiting of a work that so desperately needs to be performed while a significant number of dancers who were coached by Ashton are still able to teach it?   What is the likelihood the situation might change in the near future? This would be a wonderful focus ( and potential marketing tool) for any future Ashton festival.

I would love to see Cinderella again. What designs should be used though? The Walker designs or the last ones?

[alison]

Definitely not the last ones.  Which I think is where the problem lies?

 

I suspect the Walker designs will have been sold elsewhere, or something, by now.

[Emeralds]

On 29/11/2021 at 18:10, CHazell2 said:

Hi there.

 

Sorry for not posting on here for a long time. 

 

I would love to see Cinderella again. What designs should be used though? The Walker designs or the last ones?

I liked the Walker ones, but wouldn’t mind a new designer if legal reasons prevent the use of them. 

 

I discovered (belatedly!) the clip of Anna Rose O’Sullivan and others dancing Ashton’s choreography to Glazunov’s music for Raymonda, called Raymonda Variations (or something like that). I’ve love to see that in an Ashton Festival! 

 

Also, I’d love to see Daphnis and Chloe, Birthday Offering and Les Rendezvous. 

Edited December 1, 2021 by Emeralds

[Fonty]

On 29/11/2021 at 18:53, alison said:

Definitely not the last ones.  Which I think is where the problem lies?

 

I suspect the Walker designs will have been sold elsewhere, or something, by now.

 

I remember reading somewhere that there was an issue with costumes, but what is the problem?  Who owns the rights to Cinderella now?  

 

I think we have the same discussion on this forum every year when Christmas is coming up.  Along the lines of "Wouldn't it be nice to have Cinderella rather than the Nutcracker one Christmas".  When was the last time the ROH actually performed it?  I think the last time I saw it, Yoshida was dancing the main role, and it wasn't in the Opera House.  Which must be a long time ago.

[zxDaveM]

37 minutes ago, Fonty said:

 

I remember reading somewhere that there was an issue with costumes, but what is the problem?  Who owns the rights to Cinderella now?  

 

I think we have the same discussion on this forum every year when Christmas is coming up.  Along the lines of "Wouldn't it be nice to have Cinderella rather than the Nutcracker one Christmas".  When was the last time the ROH actually performed it?  I think the last time I saw it, Yoshida was dancing the main role, and it wasn't in the Opera House.  Which must be a long time ago.

 

The costume problem is that the owner won't allow any changes, as I understand it. This prevents any sort of revamp design wise, to modern sensibilities so to speak.

 

Miyako Yoshida danced the title role as her last performances at ROH, back in 2010. I *think* that run was its last appearance, as memory serves

[bangorballetboy]

43 minutes ago, Fonty said:

 

Who owns the rights to Cinderella now?  

 

 

Wendy Ellis Somes.

[Fonty]

12 minutes ago, zxDaveM said:

 

The costume problem is that the owner won't allow any changes, as I understand it. This prevents any sort of revamp design wise, to modern sensibilities so to speak.

 

 

I am always a bit wary about costumes being redesigned because of modern "sensibilities."  On the other hand, I have seen many a criticism on here regarding new costumes and sets.  I still remember the horrendous ones for Les Rendezvous.  How anyone came up with the design, let alone thought they were an improvement, is beyond my comprehension.  

 

 

Edited December 1, 2021 by Fonty

[bridiem]

14 minutes ago, zxDaveM said:

 

The costume problem is that the owner won't allow any changes, as I understand it. This prevents any sort of revamp design wise, to modern sensibilities so to speak.

 

Does this mean no changes from the 2003 production, which was itself a redesign? (And greatly inferior, I thought, to the David Walker designs.)

[maryrosesatonapin]

Incidentally, POB have some Ashton programmed currently: https://www.operadeparis.fr/en/season-21-22/ballet/ashton-eyal-nijinski

[Blossom]

An interesting read from Alastair Macauley addressing some of the elephants described above.

 

For Ashton’s Ballets, the Future May Be Perilous - The New York Times (nytimes.com)

[Emeralds]

5 hours ago, Fonty said:

 

I remember reading somewhere that there was an issue with costumes, but what is the problem?  Who owns the rights to Cinderella now?  

 

I think we have the same discussion on this forum every year when Christmas is coming up.  Along the lines of "Wouldn't it be nice to have Cinderella rather than the Nutcracker one Christmas".  When was the last time the ROH actually performed it?  I think the last time I saw it, Yoshida was dancing the main role, and it wasn't in the Opera House.  Which must be a long time ago.

I remember seeing it in April 2011, with Tamara Rojo and David Makhateli as Cinderella and the Prince, as it was the week before William and Kate’s royal wedding, and thinking, what a coincidence, royal wedding on stage (sort of), and the same in real life! There could have been another run shortly after April, but I definitely don’t recall any by the Royal Ballet at Covent Garden in the last 9 years.  

[Emeralds]

2 hours ago, maryrosesatonapin said:

Incidentally, POB have some Ashton programmed currently: https://www.operadeparis.fr/en/season-21-22/ballet/ashton-eyal-nijinski

Ooh- Rhapsody! Very nice.