LIKE WATER FOR CHOCOLATE: RB June 2022

[bangorballetboy]

Not quite the same thing but we did have a loyal jubilee toast, proposed by Alex Beard, at the post-performance dinner.

[ImmySE]

How was the ballet?! Can’t wait to read the reviews. 😊 

[annamk]

Interesting to see enthusiastic comments kicking off this thread and sad to say I didn't feel the same myself, I found the insights intriguing and I was hoping to enjoy it. 

 

On the positive side I thought the complex story was well told, mostly the ideas and events were pretty clear although I had read the detailed synopsis. The staging and lighting are in large part slick, attractive and inventive; the ending in particular is beautiful and original. 

 

The choreography, though largely classical, has elements of generic Broadway musical in the large numbers for the corps - I am thinking of the wedding scene and the revolutionaries. I didn't feel generally that the choreography gave any real insights into the characters and I found the big pdd unsatisfying and often ugly in places, particularly some of the lifts in the final pdd. There were certain flashes of quality choreography but far too little and far too much "frollicking" and "dance theatre".

 

Overall I thought there were too many boring and mediocre scenes and too few genuinely good ones. The highlight for me was the telling of the tragedy of young Mama Elena (Morera) and her lover Jose (Sissens). The lowlight was the transformation of Gertrudis (O'Sullivan) into a revolutionary tart to be carried off on a bucking horse by Juan Alejandrez (Corrales). It was just embarrassing and in my opinion demeaning. 

 

I suppose given the same design team as Alice and Winter's Tale it isn't surprising to find echoes of those ballets here. The ghost of Mama Elena bears more than a passing resemblance to the Red Queen in Alice, the ambience and scenery in Act 2 invoked Winter's Tale to me. 

 

The biggest problem for me was the music, but I admit I have an unsophisticated tin ear when it comes to music. Yes, it had some melodic moments with some echoes of Mexican music but overall it was very recognisably Talbot doing what he's done for Alice and Winter's Tale.  It often had little connection with the emotional content of the story that was being told on stage, for example, the music for the pdd between Tita and Pedro didn't tug at my heartstrings like Tchaikovsky. LWFC is a tragic story of unfulfilled love and death but the music doesn't tell it in a way that made me care or actually feel any emotion at all. 

 

Of course, all the dancers gave committed performances and did their best with the material they were given. 

 

 

 

 

 

 

 

 

[balletfanatic]

I haven't got tickets to see this ballet but have watched lots of extracts online. The thing I've realised I don't enjoy about most modern ballets is there are too many complex lifts one after the other which look clunky or difficult rather than beautiful and effortless like in older ballets. That really put me off getting tickets for this ballet. Sounds like I made the right call 

[EVWS]

Overall I enjoyed it and thought that the story was told very well - but you needed to have read the synopsis. All the dancers were on top form particularly Francesca Hayward and Laura Morera. The scene where Tita and her mother have their fight leading to Tita’s breakdown was very good. 
 

I liked the choreography for the most part but also came away feeling that until the final pas de deux, there hadn’t actually been much dancing throughout the evening. I felt that the end of the scene with O’Sullivan and Corales was very unsubtle - but then again I ride horses so find any insinuation like that very narrow minded and lazy. 

 

My biggest problem was with the music and set design. Both were too similar to both Alice and The Winters Tale I thought - there was even a big tree in Act 2. It did feel at times that they had got the scores and set designs for both their previous ballets, changed a few of the notes and costumes and that was that. If you aren’t familiar with either of those ballets then I don’t think it would bother you like it did me and my companions. The music for Mama Elena’s ghost and her huge costume could have been transplanted directly form The Queen of Hearts in Alice. 
 
I would definitely like to see it again and I think it’s one of those ballets that with repeat viewings will grow on you as you notice different things happening in the very busy scenes. I do feel though that while the the trio of Wheeldon, Talbot & Crowley work well together, maybe it would have produced a more standout piece if Wheeldon had worked with a different composer and/or designer. 

Edited to add that I also found it disappointing that they didn’t acknowledge the Queen or the Jubilee either. It’s the Royal Opera House, the Royal Ballet etc etc. I know it started late but the national anthem is hardly a long piece of music and it was the first day of the Jubilee Celebrations 

 

Edited June 3, 2022 by EVWS

[Sim]

I agree with the comments above from AnnaMK and EVWS.  Although there were things to enjoy in the piece, I find that Wheeldon’s ballets are becoming formulaic. The music, sets and choreography are too reminiscent of his previous works, and I too think that working with a different creative team might be beneficial.  
 

Despite various tragic events happening in the story, my heart strings were never pulled, nor even gently tugged.  Events moved from one to the other at such a pace that there was no time to absorb any of them, nor for any character development.  The most clarity of the evening for me was Laura Morera and Joe Sissens giving the mother’s backstory to us.  
 

The ending of the ballet is spectacular and I only wish that that feeling of awe and wonder could have come at the beginning and stayed with me for the duration.  Alas, it wasn’t to be.  I am seeing the other casts so maybe I will get more from repeat viewings.  

[SissonneDoublee]

I loved it!

 

Having taught the novel for years as an A Level Spanish teacher, I felt that the magical realism of the novel was captured perfectly. The rapid progression from one event to another is very true to the story, and casting-wise I wouldn’t have made any changes at all.

Gertrudis’s scandalous flight from the ranch had the mix of comical and lascivious, which is exactly how it comes across in the book, and the exit on horseback is exactly as it is written. I love a traditional ballet, but felt that the choreography in LWFC conveyed the feel of the novel better than a more traditional style. The Mexican feel and sensuality of the piece might have been lost with the precision of such measured and controlled movements.
 

My A Level students were in the audience too, first trip to a ballet for all of them, and first trip to the theatre for several. They loved it, and are planning to return to watch the nutcracker at Christmas!

 

It would have been nice to include the national anthem before the performance, but the omission was not the stand-out memory of the evening for me.

[Suffolkgal]

Really great to have all these comments that’s what I used to enjoy with my group of amphi regulars years ago. We often agreed to disagree and this forum is so valuable in giving a place to share all these views. I’m there tomorrow afternoon and anticipating the dancing more than anything to be honest 

[capybara]

I'm sorry to say that, whilst I enjoyed LWFC (who could not with that amazing line-up of dancers), I have problems with it after rehearsal and opening night viewings.

The complex story is well told but I am left feeling that the balletic content was quite slight. The music is very obviously Joby Talbot but without the melodies to underpin the drama and stir the soul; the sets are inventive, some of the costumes are sensational. I was moved by Mama Elena's back story (Laura Morera astonishing as always) and Dr John Brown's situation (nicely judged by Matthew Ball), but not fully emotionally engaged elsewhere despite some stunning portrayals. That might, of course, come with further viewings and different casts - except that Cesar Corrales as Gertrudis's lover will be hard to beat.

 

While modernising its output, The Royal Ballet needs to distinguish itself from, say, New Adventures or a West End Musical and its questionable whether LWFC is doing that. 

 

[Silke H]

My curtain call photos. Apologies in advance, everyone moved very fast hence not many great still moments for good photos.

 

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Instagram - 02/06/22 premiere

[Suffolkgal]

Just musing on all the above and thinking we were pretty spoiled with Ashton and Macmillan tbh

[Jeannette]

53 minutes ago, Silke H said:

My curtain call photos. Apologies in advance, everyone moved very fast hence not many great still moments for good photos.

 

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Instagram - 02/06/22 premiere

Thank you, Silke. I love the conductor’s suit, inspired by mariachi outfits…great idea! 

[Silke H]

Just now, Jeannette said:

Thank you, Silke. I love the conductor’s suit, inspired by mariachi outfits…great idea! 

Ms de la Parra actually wears this kind of suit every time, it's her "uniform", she wore a very similar one for the R&J's she conducted

[Sim]

17 minutes ago, Suffolkgal said:

Just musing on all the above and thinking we were pretty spoiled with Ashton and Macmillan tbh

They are the difference between genius, then everyone else.

[DanJL]

8 minutes ago, Sim said:

They are the difference between genius, then everyone else

But also the advantage of hindsight. I believe many ballets which are now seen as classics were received less favourably initially. I think if we compare every new piece to the past, we're perhaps setting them up for failure? Time will tell of course 🙂

[bangorballetboy]

8 minutes ago, Silke H said:

Ms de la Parra actually wears this kind of suit every time, it's her "uniform", she wore a very similar one for the R&J's she conducted

 

Yes, wears the same for concerts too

[Sim]

3 minutes ago, DanJL said:

But also the advantage of hindsight. I believe many ballets which are now seen as classics were received less favourably initially. I think if we compare every new piece to the past, we're perhaps setting them up for failure? Time will tell of course 🙂

I think it was pretty obvious during their lifetimes.  I am not comparing this new piece to the past; I am looking at it as its own work and on its own merit.  There is nowhere that I have compared it to the past.  I just said I wasn't particularly enamoured of it.

[capybara]

9 minutes ago, DanJL said:

I think if we compare every new piece to the past, we're perhaps setting them up for failure? Time will tell of course 🙂

I don’t think that anyone is doing that, Dan.

[DanJL]

Apologies Sim, I didn't mean to insinuate that, it was Suffolkgal who brought up the comparison, but I quoted you as the most recent comment on the theme. 

[DanJL]

5 minutes ago, capybara said:

I don’t think that anyone is doing that, Dan.

Then further apologies if I also misunderstood Suffolkgal. 

[postie]

1 hour ago, capybara said:

I'm sorry to say that, whilst I enjoyed LWFC (who could not with that amazing line-up of dancers), I have problems with it after rehearsal and opening night viewings.

The complex story is well told but I am left feeling that the balletic content was quite slight. The music is very obviously Joby Talbot but without the melodies to underpin the drama and stir the soul; the sets are inventive, some of the costumes are sensational. I was moved by Mama Elena's back story (Laura Morera astonishing as always) and Dr John Brown's situation (nicely judged by Matthew Ball), but not fully emotionally engaged elsewhere despite some stunning portrayals. That might, of course, come with further viewings and different casts - except that Cesar Corrales as Gertrudis's lover will be hard to beat.

 

 

This reflects my thoughts. I don't mind losing the plot a little as long as the movement and/or music is captivating. Some scenes were strong, some subtle, a few beautiful, but a few more crescendo moments would have been nice.

 

I'd mention magic realism seems to be largely represented by a roaming spirit. This he/she contribution reminded me a little of Bez from the Happy Mondays*, whose contribution was also ... etherial. I wondered if magic is either overplayed in the promo literature or underrepresented in the piece, and whether Bez was otherwise engaged.

 

I don't know how you convey the importance of food, the love of preparation, or its significance in relation to Tita and I'm unsure the choices made here were entirely successful

 

* partly joking

 

 

[Richard LH]

2 hours ago, Sim said:

Despite various tragic events happening in the story, my heart strings were never pulled, nor even gently tugged.  Events moved from one to the other at such a pace that there was no time to absorb any of them, nor for any character development.

Well that sounds very much like the  book, with which I  was not particular enamored.

Major, serious events, such as when  Chencha is raped and  Mama Elena is attacked and paralysed trying to "defend her honour" (an inappropriate   phrase,  as if somehow it is the victim who loses honour by this crime) are glossed over in a couple of sentences. 

The style,  which includes relatively little exchanges of dialogue,  didn't enabled me to engage or empathise  with the characters. Perhaps something is lost in translation; anyway I am still looking forward to Monday's performance, and trying to keep an open mind for that!

[Sophie_B]

I really enjoyed it as an overall performance, between music, dance, set, costumes, lighting... The first night had truly luxury casting, everyone really fantastic, I only wish Mayara Magri's role had had a bit more dancing. It'll be a tough ask for other casts to come close tbh, but I'm looking forward to seeing how they interpret it. 

 

Overall, I find the modern story ballets a little annoying sometimes because too much time is spent on exposition and driving the story forward and too little on "ballet dancing". I did have that feeling at times yesterday, but I guess it's just what you have to do if you want to faithfully translate a fairly complex book onto the stage. Like other commenters, I think the flow between "story" and "exploring emotions" was overall not quite there. It was like there wasn't time to let the action stop for long enough to let the characters fully sink into the emotions? And yes, the last PDD was perhaps the first time that that really happened. Other memorable bits were Anna Rose O'Sullivan / Gertrudis's showgirl scene (yes, it was OTT and obvious and I was laughing out loud by the end, but frankly if they're going to do "sex" on stage I vastly prefer this to a MacMillan rape scene), Cesar Corrales as whirlwind dashing soldier, several scenes where literal ghosts of the pasts appear (Laura Morera being particularly great of course but also Christina Arestis), and Joseph Sissens also really seemed to be having FUN in the wedding scene in the corps. The more subtle scenes, like the two leads finding each other in the laundry room, were also quite beautiful and their dancing and acting was spectacular throughout, but in my memory the choreography of those is drowned out by the bigger and bolder scenes. Repeat viewing might well change my mind. I actually enjoyed the big set pieces of wedding and revolutionaries (with the music for the wedding reminiscent of Westside Story's Mambo, as my companion remarked) - it may not have been as technically demanding as a classical ballet corps dance, but it was really joyful.

 

I've only seen Alice and Winter's Tale once each, streamed, so I'm not familiar enough with those ballets to find LWFC repetitive but the echoes were certainly quite obvious to me (the tree and Elena's ghost). I loved the costumes in the beginning - calaveras that turn into... were they meant to be Fates? Hovering above the wedding feast especially? Reminded me of Goya's Atropos somehow. All the costumes were great (though period-appropriate long skirts meant you could barely see feet at times from the amphi), though I didn't like the "lust" corps costumes in Gertrudis's scene. 

[TSR101]

My two cents. I found this a pretty average ballet, enjoyable evening but nothing one would see again in a hurry. I agree with the posters that Wheeldon (and Talbot) are starting to repeat their own work - the use of music for jealousy/anger in The Winter's Tale is almost identical here again as violence (sorry Talbot just isn't very good full stop and doesn't live up to the level of music in other ballets - I challenge anyone to hum or whistle his scores).

 

The staging was that of a reasonable touring ballet - quite simple, small and easily movable - how often do you want to use the same generic table or simply change the colour of the back screen of the set. This isn't what Royal Ballet productions should be. The much maligned Frankenstein had vastly superior staging, and of course R&J/Swan Lake etc also do. Ballet is about more than just dance - its about the whole dancing, staging, musical acting, all brought together for me. 

 

The dancing/choreography was pretty average also - not because of the dancers - but because they were given so little to do and very little actual ballet. Lots of this was just west end dancing. you didn't actually need some of the best ballet dancers in the world to dance it - in fact in many cases you didn't even need ballet dancers. Anna Rose O'Sullivan and Cesar Corrales were given the most to do in the actual ballet, and did a really good job as you would expect but there roles were limited in duration. Mayara didn't really have any dancing at all, neither did Matthew Ball. The pas de deux at the end just felt bolted on - as though the choreographer had realised at the very end he hadn't actually given the main characters any proper dancing to do. In general, there was very little opportunity for virtuosity from any dancer in this ballet. 

 

During this, I actually couldn't help think what a loss Liam Scarlett was. Yes his ballets weren't the finished thing yet, but he had the promise to one day deliver the level of ballet we have been spoilt with from MacMillan and Ashton. 

[MJW]

Very interesting to read all the reviews from last night - I shall see for myself Saturday afternoon.

 

A very positive four star review from Mark Monahan in the Telegraph (link below - behind paywall)

 

https://www.telegraph.co.uk/dance/ballet/royal-ballet-like-water-chocolate-review-covent-garden-hayward/

[capybara]

25 minutes ago, MJW said:

Very interesting to read all the reviews from last night - I shall see for myself Saturday afternoon.

 

A very positive four star review from Mark Monahan in the Telegraph (link below - behind paywall)

 

https://www.telegraph.co.uk/dance/ballet/royal-ballet-like-water-chocolate-review-covent-garden-hayward/

 

I've just read this review and it exemplifies how differently we all see things. Monahan feels that too much choreography is given to Gertrudis at the expense of Tita and he wanted more of Hayward (very much a favourite of his IIRC). OK, the first Gertrudis segment borders on the pornographic, but I welcomed that and the other breaks from Tita (and the ballerina playing Tita probably did too). especially as they afforded  a change of pace and mood.

 

 

 

Edited June 3, 2022 by capybara

[LinMM]

Sorry not on the ballet yet …but the reviews are riveting so far though and already food for thought…..

but I just want to say that I think it was poor judgement or at least very short sighted of the ROH not to organise the playing of the National anthem yesterday. 
Here was a brand new ballet coinciding with the first big day of the Jubilee celebrations!!! 
Im no raging monarchist but do think the Queen deserves at least this degree of respect in this special year. 

It seems lacking in any sense of History on their part to me. 
What a shame. 
Now back to the reviews…….
 

[Pas de Quatre]

Definitely agree LinMM, it is the Royal Ballet performing at the Royal Opera House!

[bangorballetboy]

54 minutes ago, TSR101 said:

 I challenge anyone to hum or whistle his [Talbot’s] scores).

 

I’m humming the waltz from Alice right this very minute.

[theorist]

The orchestra was heavily amplified throughout, which I found extremely alienating, especially as I was in the Stalls: it was very difficult to get emotionally involved in music that seemed to be coming from somewhere above my head. It wasn't at all clear to me why it was felt necessary to amplify at all. Perhaps the singer needed amplification for purposes of balance, but why the whole orchestra? If you go to West End musicals a lot, you may be inured to this, but I confess that I am not. The score also seemed in the most part very bland and repetitive to me. As others have indicated, if you've seen Act 2 of Winter's Tale, you'll know what to expect. As for the choreography, there were some superb moments, including the ending, but there were also longeurs (although perhaps for me these were more the fault of the music). I found the characters somewhat uninvolving.

[alison]

23 minutes ago, bangorballetboy said:

I’m humming the waltz from Alice right this very minute.

 

*£&"*# earworm!

[zxDaveM]

1 hour ago, theorist said:

The orchestra was heavily amplified throughout,

 

some of the wind instruments are tradionally made instruments, and would have been drowned out. If 'amping up' those, the rest needs to be as well to balance the sound (applies to the singer too)

[Richard LH]

3 hours ago, Richard LH said:

I am still looking forward to Monday's performance, and trying to keep an open mind for that!

In this respect I am encouraged by the largely positive  online reviews from a diverse range of critics...and by the obvious enthusiasm of the dancers themselves as shown on social media, not to mention the super RobS curtain call photos which show some great costumes.