English National Ballet - The Forsythe Evening

[Sim]

What a wonderful evening tonight.  Fun, uplifting, spontaneous joy.   I did feel a pang of sadness seeing Cirio and Hernandez share the stage, just the two of them, for a minute.  A reminder of what we will be missing. The company looks great so I am sure they will step up to the plate and fill in the gaps just fine.

 

 Can’t wait to see it again tomorrow!  

[alison]

3 hours ago, Bluebird said:

Indeed, Anna. I only just thought to check their twitter feed and found the tweet below. Clearly a case of the left hand not knowing what the right hand is doing!

 

@TfL

Hi Chris, thanks for getting in touch and sorry for any disruption to your journey. Angel station is closed due to the temporary unavailability of station staff. Thanks, Sue.

 

Glad to know I wasn't going mad!  But there was absolutely no information anywhere.  PA announcements of problems on multiple lines, but then you checked the website and everything was allegedly all right apart from the Victoria line (and the Circle line, but I think that was scheduled).  I had to abandon any attempt to get to Victoria, and take a really convoluted route to get where I was trying to get to.  Very poor.

[Scheherezade]

I saw this again last night - so good I had to see it twice! - and if anything it even surpassed the first viewing. Just wonderful and a fabulous ensemble show. A company absolutely at the top of its game. And, yes, their departing dancers and artistic director will be very much missed. Let’s hope that we will have the chance to see them again here in the UK. 

[Emeralds]

On 08/04/2022 at 08:37, Irmgard said:

Having attended two exhilarating and joyous performances of the Forsythe Evening (a bit of a misnomer for the matinées!), it seems a bit churlish to have any niggles but I do have a couple. With the excellent ENB Philharmonic available, it seems a shame that both pieces were danced to taped music, especially as I personally found James Blake’s music for the first piece on the bland side and, to be perfectly honest, completely unmemorable.  I do not know the whole canon of Forsythe’s work but surely he must have choreographed something to live music!  Also on the subject of music, I found it sad that ENB did not follow the lead of other large performing arts institutions and play the Ukrainian national anthem as a mark of respect, at least at the start of the opening night performance, instead having an anonymous voice read out the very brief statement which appeared on the cast sheet and even this had disappeared by the Saturday matinée.  As the ENB Philharmonic had made a wonderful recording of the anthem, I asked ENB’s executive director why it was not played and I received the response that it was going to be played but an artistic decision was made on the day to just concentrate on the statement about donating to DEC.  I do feel that the omission of the anthem was out of step with the mood of the general public and, in particular, the UK’s artistic community.

 

I have absolutely no niggles about the dancing, which was a joy from start to finish.  “Blake Works” owes a lot to Balanchine, with its motifs of hips thrust forward and spiky hands, along with the fast and furious dancing in most of the numbers, highlighting the strength and talent of the company as a whole. I can just see the Paris Opéra Ballet, for whom it was created, dancing it with their usual mix of arrogance and insouciance but ENB dance it with a generosity of spirit which is immediately and totally engaging, and my eye was continually caught by Ivana Bueno who epitomised this.  In the opening number, the three leading ladies were perfectly matched physically, with their long limbs and beautiful feet, and it was good to see Angela Wood as one of them, bringing her innate elegance to the choreography, as she did in the pas de deux in the fifth number (“Waves Know Shores”), partnered by the equally elegant Ken Saruhashi.  She is a dancer I have admired since she enchanted me in one of the intensely moving pas de deux in “No Man’s Land” in 2014 but whose undeniable talent has not been nurtured since then by the current artistic regime, in my opinion.  Emma Hawes and Emily Suzuki were also captivating, with Suzuki displaying such refinement and beauty of movement in the adagio “The Colour in Anything”, partnered by Isaac Hernàndez, that I feel sure she is ripe for promotion to one of the soloist levels. Likewise, Hawes and Aitor Arrieta brought elegance and graciousness to the final pas de deux.  It is almost impossible to single out any of the men for particular praise in this piece because they were all breathtaking in their technical abilities, as they were in the extended version of “Playlist”, now entitled “Playlist (EP)”, but of course I must mention the phenomenal Jeffrey Cirio who is sadly making his last London appearances as a member of ENB in this double bill.  His unique talent will be very much missed.  Apart from the aforementioned Hawes and Suzuki, who also appeared in ‘Playlist’, Precious Adams sparkled in the quirky “Location” and in the final number, “This Will Be”.  The evening ended with an impromptu dance party onstage and it was wonderful to see all the dancers thoroughly enjoying themselves and still entertaining us with their infectious exuberance.

 

I returned for the matinée on 2 April, which featured an almost complete cast change from opening night.  It was lovely to see Alison McWhinney, sadly absent during the Coliseum season, back on top form and bringing a wonderful lyricism to the pas de deux in the fifth number of “Blake Works”, partnered by the equally impressive Rentaro Nakaaki. Again, the highlight of this piece for me was “The Colour In Anything”, this time danced by Shiori Kase and Junor Souza with a chemistry that was almost palpable. On opening night, I had thought that the technical abilities of the male dancers were much better served by Forsythe than those of the female dancers.  However, at this performance of “Vegas”, the all-female number in ‘Playlist’, the diminutive Katja Khaniukova burst onto the stage like a human dynamo, with a dazzling smile and a heady mix of sassiness, sexiness and glamour (very Vegas!), as well as her flawless technique, (always a credit to her training at the Kyiv State Choreographic Institute), making the choreography her own and lifting it to a completely different level.  Her charisma and technical brilliance were well matched in “Sha La La…” by the mercurial Rhys Antoni Yeomans, and the two sparked off each other to create real electricity in a highly entertaining display of bravura. Angela Wood impressed again, this time in the “Location” pas de deux partnered by the always watchable Daniel McCormick, bringing to it a different quality from that of Precious Adams but equally compelling. 

 

Although there was no dance party onstage after this performance, and the audience was not as vocally appreciative as on opening night, nevertheless the huge ovation demonstrated how much we had enjoyed this immensely entertaining and fabulously danced programme and I, for one, had no issues with the shortness of the programme, due to the third advertised piece being withdrawn, and I look forward to being able to see two more performances before the end of its run on Sunday.

Sorry to quote the whole thing for speed, Irmgard, but just to answer your question about live music, Forsythe has used :

1) the legendary Bach Chaconne from Partita no 2 in D minor for solo violin, in Artifact, which has been presented as a short one act work, Steptext (sadly no longer in the Royal Ballet’s repertoire), or as a condensed suite, Artifact Suite, or an updated version for Boston Ballet called Artifact (2017)

2) the final movement of Schubert’s Symphony no 9 in C Major for The Vertiginous Thrill of Exactitude (still occasionally danced by the Royal Ballet)

3) He has also used Beethoven’s music for part of Impressing the Czar, his full length ballet commenting on the history and pitfalls of ballet, which is an extension of In the Middle, Somewhat Elevated.

 

(It’s not a complete list, as he has choreographed so many ballets.)

 

One may have noticed here that Forsythe is quite fond of “sequels” and extending previously made ballets into longer works. 😊Eg there is a part 2 of Blake Works being created for another company, and ENB’s Playlist (Track 1,2) itself was extended to Playlist (EP) for Boston Ballet, which ENB is now performing. His most used composer is his frequent collaborator, Thom Willems (electronic music, most forum veterans not fans of it!)

[Emeralds]

So we finally got to a Forsythe Evening matinee (unfortunate choice of title, haha) and a Forsythe Evening evening to catch two different casts, especially with Jeffrey Cirio, Isaac Hernandez and (if my intel was correct) Anjuli Hudson leaving for the US. 

 

The dancing was spectacular, both from the leaving-after-this-season  dancers as well as the rest of the company, who really are currently at the top of their game, just like the Royal Ballet. Everyone was outstanding, but just some standouts to mention: - 

1) Fernanda Oliveira and James Streeter brilliant in the Colour in Anything pas de deux with effortless mastery and subtle artistry

2) Emily Suzuki and Isaac Hernandez dancing the same pas de deux with equal brilliance but a different vibe, emphasising the drama of the song

3) Alison McWhinney elegant, musical and impeccable in both ballets, bringing out the different styles of both works with charisma and grace

4) Erik Woolhouse once again charismatic in the opening solo of the Impossible section of Playlist - now expanded from Track 1,2 to EP - in both shows, with tour de force spins, leaps and hip hop moves

5) the smiley ladies of the corps graceful with sleek lines in Blake Works I and energy and charm in Playlist (EP)

6) the male principals , soloists and artists all breathtaking in their virtuosity and musicality in Playlist (EP) as they had been on the original shorter  version created on them.

 

The programme, it has to be said, is all about the dancers- and it was bittersweet to say goodbye to Cirio, Hudson and Hernandez who are still dancing on top form this season. The choreography, while definitely easy on the eye, and possessing mass appeal, is not Forsythe’s most innovative, apart from the Track 1,2 sections of Playlist- it is definitely nostalgia for Forsythe, as the ideas, movements have all been done in the 1970s and before by Balanchine, Ailey and Joffrey (Forsythe trained at Joffrey Ballet School). The opening tableau of Blake Works I is reminiscent of Balanchine’s Serenade, and the group dances rather like a modern day Bournonville’s Konservatoriet and Concerto Barocco, but set to pop music. I thought there might have been some delight that an English singer songwriter, James Blake, was having an eponymous ballet danced by English National Ballet, but no? Never mind. 😊

 

Despite this and the EP part of Playlist all being very seventies and pre 1970s rather than standard Forsythe, it was still enjoyable to be see the whole company being able to show off their virtuosity and technical skill, which admittedly is hidden under a shade if most are being courtiers in Swan Lake or party guests in Romeo and Juliet or Nutcracker. In particular, it was lovely to see Angela Wood out of the corps ensembles  being given a featured part in  the Location pas de deux of Playlist EP and performing it like a seasoned principal. 

 

Sadler’s Wells felt a rather dour place after the friendliness and warmth of ROH and Coliseum when it came to help with tickets, and the expressions of support for Ukraine. Irmgard has mentioned it in her post above, and I echo what she said. Friends who found out we were going on the same day asked the box office if they could sit with us (seats still available) weren’t allowed to exchange their tickets and pay the difference - they were told they’d have to buy extra tickets and leave their seats empty. So of course they didn’t and spent the money meeting us after the show at a nearby restaurant instead. 

 

The ticket prices are too steep at £75 maximum for a one hour show plus interval and even many of the top price seats are cramped and uncomfortable compared to ROH, Coliseum and Royal Albert Hall. Not very inclusive either as prices start at £18.50 because of the £3.50 booking fee- if the company or the theatre are hoping to attract new or young audiences, this isn’t the way to do it. Had it not been for the fact that I’d not seen many of the dancers due to Covid cancellations in their Christmas season, I probably would not have gone.

 

That said, two things made each show worthwhile going (even with the nightmare of the Northern line and Angel station closures): 

1) Katja Khaniukova dancing the Vegas and Sha la la sections like a megastar- those incredible turns and that megawatt smile! She has charisma in spades, and for me, made the EP section look much better than it otherwise might. (Also lovely that Katja brought out the Ukraine flag in her curtain call, cheered on by fellow dancers, as I thought the theatre management had done far too little.)

Perhaps we’ll be getting a new principal soon in form of Katja-she was also a wonderful Henriette in Raymonda in January.

2) ENB has a new ballerina in the making - Emily Suzuki. We knew in previous seasons that she could act and portray drama. But in the Blake Works I pas de deux and Forest Fire and I Hope My Life sections she showed she could carry off a lead role with the virtuosity, artistry and command of a leading dancer. I hope we’ll see her in more featured classical roles soon, and promoted to soloist and eventually principal one day.

Edited April 10, 2022 by Emeralds

[Emeralds]

18 hours ago, Bruce Wall said:

 

Question:  Does anyone know whether or not this was the last London performance of Joseph Caley?  The only reason I ask is twofold - (a) he certainly danced tonight as if it was - augmenting - brilliantly it has to be said - his choreography and smiling with delight at his considerable achievement in Playlist - and (b) he and Cirio were the two brought forward in front of the men - with all the company applauding during the final call .... and Cirio then moved to Caley pointing - it seemed rather knowingly.  Perhaps all this was just my imagination .... You never can tell.  (Had a nightmare journey trying to get to the Wells.  They shut down Angel tube while I was on the Northern Line - at King's Cross no less - because of 'a lack of staff'.  I only just made it, huffing and puffing - nay panting - beneath three masks.)  

 

Was this just happenstance - i.e., the Caley front call?  Grateful for those in the know to inform ... if they can that is.  

 

Cirio will be SO missed.  I will very much look forward to seeing him with Boston - both he and his sister are such brilliant artists there. 

I think Caley was just called to the front because he dances a principal part in Playlist, like Cirio, but wasn’t in the closing section, so both had to come out specially. Hernandez is the other departing principal. They will be missed! 

[annamk]

1 hour ago, Emeralds said:

I think Caley was just called to the front because he dances a principal part in Playlist, like Cirio, but wasn’t in the closing section, so both had to come out specially. Hernandez is the other departing principal. They will be missed! 

It seems Caley is leaving, Emily Suziki put this on her instagram 

 

"I’ll definitely miss performing it but it won’t be the same because it was also those amazing dancers @chapulo7 @jeffreycirio and @joe_caley22 and @anjhuds ‘s last shows in London. "

[Dawnstar]

ENB have posted it was Hudson's final performance but no mention of any of the men. Perhaps because they're going to be doing Creature next month and she (presumably) isn't? If ENB really are losing 3 out of 4 male Lead Principals at once then that has to be a bit of a blow for them. I hope they've recruited some good replacements. Fabulous though Frola is - and if I had to pick one Lead Principal to keep then he'd be my pick - they do need more than one leading man!

 

 

[capybara]

Joseph Caley is cast for the 7th May as Albrecht in Khan’s Giselle in Barcelona.

 

Isaac Hernandez and Jeffrey Cirio are also dancing there and, reportedly, in New York.

 

There is now a gap of over 23 weeks before ENB performs in the UK again. That is arguably too long for a company supported by Arts Council England Funding and, indeed, in terms of keeping its supporters interested, not least financially.

[Sim]

18 hours ago, Emeralds said:

I think Caley was just called to the front because he dances a principal part in Playlist

No, he was called to the front because he is leaving the company. 

 

[Irmgard]

Returning for the last weekend of this effervescent programme, the Saturday matinée was my only chance to see the company’s exquisite leading ballerinas, Fernanda Oliveira and Erina Takahashi, in “Blake Works I”, having inexplicably only been given two performances, the dates of which were not even announced until last weekend! They gave the first number their ballerina sheen and, as with everything she does, Oliveira added her unique touch of glamour to it.  She also added a new dimension to “The Colour in Anything”, highlighting the delicate hand gestures and infusing them with emotion.  She then danced up a storm with fellow Brazilian Junor Souza in the fourth piece (‘I Hope My Life’), bringing a touch of Rio’s Carnival to the proceedings. Erina Takahashi brought the ballet to a close with a very wistful performance of   ‘Forever’, partnered by Joe Caley. Ivana Bueno impressed once more, particularly in the sizzling “Put That Away And Talk To Me”, replacing an injured Isabelle Brouwers. 

 

If I could give a prize for best male performance in dance, it would have to go to the entire male contingent of ENB for their fabulous dancing in both these Forsythe pieces at all the performances I have seen but, if I had to choose just a few of them as truly outstanding in this afternoon’s show, it would have to be Rentaro Nakaaki, Matthew Astley, Fernando Carratalà Coloma, Rhys Antoni Williams, Erik Woolhouse and, above all, Francesco Gabriele Frola whose astonishing corkscrew turns in ‘Playlist’ drew audible gasps and whoops from the audience.  Overall, as per last Saturday’s matinée, it was Katja Khaniukova who captivated me and the entire audience in ‘Playlist’, not only for her electrifying dancing, especially with Rhys Antoni Yeomans, but also for bringing on the Ukrainian flag for the bows, applauded by her colleagues who persuaded her to take a solo bow with it, a testament to their love and admiration for all the tireless work she is doing on behalf of her homeland, through raising awareness and funds, while turning in superlative performances.  

 

Booking the Sunday performance far in advance of the casting being announced meant that I saw the same cast as Saturday’s matinée, apart from Shiori Kase and Junor Souza returning to dance “The Colour in Anything” and Haruhi Otani dancing ‘Forever’ with Joseph Caley. In ‘Playlist’, the company pulled out all the stops with a wonderfully friendly rivalry amongst the men to be the most dazzling.  Of course Woolhouse won whoops and cheers for his solo at the beginning of ‘Impossible’ but the loudest cheers went to Frola once again, for his extraordinary pirouette into an extremely fast corkscrew turn.  Khaniukova and Yeomans once again won the hearts of the audience with the cheekiness and nonchalance with which they threw off their fiendishly difficult choreography, and Angela Wood and Daniel McCormick added an extra sensuality and flirtatiousness to their pas de deux “Location”.  It has been truly wonderful to see Wood have the chance to blossom over this run of performances and I hope she receives the recognition from the artistic team that she so richly deserves.  But this was the final performance of junior soloist Anjuli Hudson after fifteen years with ENB, and her colleagues made sure she knew how much they value her by organising a flower throw from the auditorium (carried out not only by those not in the last piece but also by former members of the company who were at the performance especially to pay tribute to her) and pushing her to the front of the stage to take solo bows.  She was also presented with a bouquet by her fiancé, Jeffrey Cirio.  This lovely tribute ended with her being surrounded by all onstage and tossed joyfully the air. She told me it was her wish to give her last performance in London, rather than on tour, before beginning her new career rehearsing works instead of performing in them. Hudson is one of those delightful artists who always give their all – and more, whether in the corps de ballet or in a featured role, evidenced by her sparkling performance this afternoon.  I personally found her to be an absolute joy to work with on Mary’s Skeaping’s “Giselle” from the moment she joined in 2007 and I, like everyone else who has the privilege to know her, will miss that sunshine smile very much. 

 

It is very sad that ENB has no more performances scheduled in the UK until September but at least their London season has ended on such a high with this thoroughly entertaining programme which has highlighted so much talent within the company, especially of those dancers who have not previously been featured very much.

[FionaM]

Did I miss an announcement on where Joe Caley is going?

[capybara]

6 hours ago, FionaE said:

Did I miss an announcement on where Joe Caley is going?

Nothing official yet, but news is circulating!

No doubt something will be said after his last ENB show on the 7th May.