United Ukrainian Ballet Giselle by Alexei Ratmansky- Netherlands tour various venues, August 2022 and London Coliseum season 13-17 September 2022

[alison]

Worth mentioning that the programme is good value at £5, too.

 

I was fascinated at the differences from other versions of the ballet - if somewhat confused by some of the mime at times.  I particularly appreciated the experience of really seeing the Wilis sent in waves against the cross/Giselle's tomb in the fugue in Act II: something I'd read in relation to the Mary Skeaping production but never really registered in English National Ballet's production, so I guess I must have been sitting in the wrong place each time.  Also interesting to see that not only did Albert/Albrecht keep returning to the sanctuary of the cross on the tomb, but actually held onto it - almost for grim death, you might say.

 

Looking forward to seeing it again tonight.

[Emeralds]

3 hours ago, JNC said:

@Sim I agree Leicester Square is much closer if you’re coming by tube (I find trying to exit Charing Cross tube is a warren of passages that seem to have you walking for ages!). 
 

I hope London doesn’t get too crowded…
 

If anyone does have any more reviews for Shevchenko please do comment - I’m booked to see Alina (very excited) but on the fence about trying to pick up an extra ticket for Saturday evening. 
 

I might wait until I see Friday evening’s performance to see how I like the overall production and decide. But I would also be swayed if there are any more last minute deals which I don’t think have appeared for Saturday yet so grateful if people could share if they see any! 

In the midst of trying to share any helpful info (maybe they weren’t all that helpful....lol) about travel, tickets and casting (and getting a few urgent tasks done) like the Lilac Fairy, I didn’t get round to giving my review yet. 😁

 

Probably rather predictably, as a Bournonville, Romantic Era and historical detail fan, I loved this production. It’s colourful not just in the Hayden Griffin costumes and sets loaned by BRB, but the action, the movement and details each character has. Hilarion gets quite a lot of mime at the beginning telling the audience how much he loves Giselle and all the going ons he’s observed (including Albrecht). There are lots of details that are different to the Royal Ballet’s version, eg Albrecht has been told that Bathilde is in the vicinity, Hilarion guesses Albrecht is royal from the way Wilfred the squire addresses him and not from breaking into Albrecht’s cottage. Giselle’s mum Berthe has the long passage of mime warning against the wilis and against dancing too much. It all fits and somehow seems more coherent to a first time viewer.

 

The action and choreography also moved much faster and there are more interesting steps for all the dancers, which I suspect were dropped over time in Russia (then exported in the altered form to the west) to focus on more photogenic (we would call it Instagrammable nowadays), slower poses favoured by Vaganova - and Grigorovich took the Vaganova style he learnt to the Bolshoi too. I always found Giselle a bit slow going in parts of Act 1 as a result (even though I love the ballet) but here the tedium is gone! 

 

Some choreography gems- anyone ever seen supported pirouettes done with only one hand? No, me neither but apparently Petipa tried these out when he inserted the Peasant Pas de deux into Coralli’s ballet. It looks a little like the beginnings of a fish dive but into a supported pirouette. I can’t imagine how difficult it must be for the man, yet Nikita Hodyna had to do all of them one handed, with his left hand! Then it finishes off with him holding his partner with two hands. That was really thrilling - I couldn’t believe it.

 

And to think we are always told technique nowadays is “better” when clearly they attempted more wild innovations in Petipa’s day that quietly got dropped over time. Hodyna also has the most difficult choreography in the whole ballet in his peasant pas de deux variation- more difficult than Albrecht’s Act 2 solo.  There are batterie and jetes with change of weight onto the other foot...it’s mind boggling. It would have been really easy for Ratmansky to ditch these in favour of something more simple, easy on the eye and flattering, but no, in the name of authenticity, it stayed in! I’d like to see what Frola and Corrales would make of these unusual steps.

 

The woman’s solo is very similar to the Cecchetti style one with lots of fast footwork performed at RB & BRB, but almost foreign to Russia and the United States, where the easy slow Vaganova solo with different music is generally used. (Ratmansky did use this solo for the Bolshoi reconstruction though, which they managed well.)

 

There are also slight differences (for the better) in Giselle’s solo, where the steps are faster, more intricate and more in keeping with Giselle’s personality, and less like a divertissement for showing off.

 

Bathilde’s character and “script” is also very different. Instead of being a haughty spoilt aristocrat who is rather condescending to Giselle, here she is a friendly and kind young noblewoman who makes friends with Giselle. Instead of giving her the necklace to show off, Bathilde (portrayed by Ksenia Novikova) gives her the necklace when Giselle is admiring her robes and dress, like young girls might swap accessories. It’s charming and a refreshing change. When they talk about Giselle’s love, they mime, “I’m in love with a handsome man, and I’m going to marry him”, “I’m also in love with a handsome man, and I’m going to marry him too” and both giggle with delight.  Berthe is in this scene and her reaction is “Wait, what?! Marriage? Really?” (She knows Giselle isn’t referring to Hilarion). As the viewer, it makes the outcome more dramatic when you're aware of the irony of Giselle and Bathilde both describing the same man. 

 

The dancers, as expected, all inhabit their characters with 100% commitment and are compelling to watch. Shevchenko and Tiutiunnykh make an attractive and sweet couple, and this version emphasises that Albrecht really does love Giselle rather than being a cad having just a fling with her. The corps de ballet, a mix of teens still in the final stages of ballet training and more experienced dancers from different companies across Ukraine, have neat footwork, elegant lines, lovely musicality, and none of the mannered affectations in hands and face that you often see in dancers trained to the east of Ukraine. They’ve clearly worked hard on the synchronicity and lines to be a polished ensemble. 

 

Act 2 has a lot more differences, especially with regard to the villagers and the royal party appearing in it. I won’t give the ending away, suffice to say it’s very different from most of the ones we know at RB, BRB, ENB, etc. The villagers turn up in at the grave side at the beginning  -it’s not the desolate lonely scene as in most productions. The villagers’ fear of the wilis is constantly emphasised.  There’s also some flying work here from Myrtha and Giselle (I won’t give the game away about how it’s done) which is very beautiful but seldom used in British productions- reminds me of La Sylphide....so ethereal and suits the music so well. Myrtha and the wilis’ dances include the extended fugue section we know from Mary Skeaping’s production, and the “cross” or “plus sign” formation Ratmansky used for the wilis in the 2019 restoration. The dances for Myrtha are quick and neater than what we generally see at ROH. Elizaveta Gogidze is a perfect, chilling Myrtha, with powerful leaps and turns, and authoritative without looking like a Halloween harpy. The wilis, despite there being only 18 of them, manage to look like there are more, and are both menacing and stunning in their arabesque hops and slow turns as they lure Hilarion to his end. 

 

Shevchenko has danced both Giselle and Myrtha at ABT, so the demands of Act 2 are no problem for her, and Tiutiunnykh is equally adept at tossing off the pyrotechnics as Myrtha compels him to dance, while still managing to lift and partner Giselle, emphasising her “weightlessness”. I must say the production is gorgeously lit, not too dark, with beautiful colours that enhance Giselle and the villagers’ colourful costumes. And can I give a shoutout to the incredible ENO Orchestra, conducted by Viktor Olinykh, playing Giselle for the first time (possibly this orchestra’s first full length ballet in recent memory)- how gorgeous they sound, as though they play this score every year! 

 

It’s a more action packed version  than most Giselle productions usually performed in London, the mime and differences make it much easier for newcomers to follow the plot, and one newcomer near me was so keen on it that she decided to give them a standing ovation at the end, to the chagrin of the patrons seated behind her! (We did all get up for the national anthem eventually anyway.) I loved it. Shevchenko and Tiutiunnykh are both believable as the doomed couple, with Shevchenko especially heartrending in the Mad Scene without being too histrionic, as well as being a gentle and ethereal wili whose humanity and forgiveness contrasts with her older fellow wilis. 

 

It’s also a very attractive production where the harvest celebrations (with four children, portrayed by the offspring of dancers) and pastel colours of Act 1 are a soothing tonic after a lot of grey, gritty, edgy and dark productions we’ve had of late. The singing of both national anthems (something we have never had before, and hopefully something that will not be repeated for the same reasons again) was extremely moving- I don’t know if we will get the ENO Chorus for every show; I suspect not, but we will be very lucky if we did. Would be curious to know if forum members going tonight do see them again. 

 

I had gone expecting perhaps I might get a performance a little rough and messy around the edges given the trials and hardships many of the dancers have gone through to get to The Hague, but instead they presented a classy production and performance no different to that of a top ballet company dancing at the Met, ROH, London Coliseum, Sadler’s Wells, Birmingham Hippodrome, Paris Opera or La Scala. Their commitment to preparing this production has been absolute, and Alexei and Tatiana Ratmansky, Vladimir Malakhov, Igone de Jongh and all their coaches and teachers - and most of all, the dancers themselves, are to be commended. Highly recommended and I’m looking forward to seeing the next cast. 

Edited September 14, 2022 by Emeralds

[Peanut68]

Should've been there tonight but various issues keep me away....😢

Pleased another Forum member is using my tickets though! ☺️

[Emeralds]

3 hours ago, bridiem said:

 

I was in the Upper Circle and asked for one, which was produced from under the table. So may be worth asking even if they're not being offered.

The sweet young lady (maybe she’s new) selling me the programme at the Upper Circle either wasn’t supplied any or had no idea what they were. 😆 It’s ok, though- I found the board and later on, a printed cast list. 😁 The programmes are a bargain at £5! 

[Emeralds]

21 hours ago, Geoff said:

So the scheduled cast for Saturday evening

Yes, apart from Gogidze (it’s Vladislava Kovalenko listed as Myrtha on Saturday evening).

[alison]

Curtain came down about 9:50 this evening - my guess is it'll be the same more or less for the rest of the run.  Oh, and it was the standard national anthem, and no speech.

[JNC]

@Emeralds what a great and really insightful review thank you! 
 

seems like more “changes” than I thought to the choreography we are used to - which from your review sounds like a good thing! 

Edited September 14, 2022 by JNC

[Angela Essex]

Brilliant performances by Alina Cojucaru and Alexandr Trusch as Albrecht. The Corps got a lot of very well deserved appreciation from the audience too. First time I’ve ever seen Alina dance and she was just beautiful.

 

In the video linked above one of the dancers explains that in the mad scene the hunting party stay on stage in this production whereas they leave in others. I loved this as the devastation that follows Giselle learning of Albrecht’s betrayal is witnessed by all the key players and you can see the effect it has on each character which acts to intensify the heartbreak. Nearly cried. 

 

God save the King was played by the orchestra at the start of the evening and then the stage crew came on at the end with Ukrainian flags. Alina and Alexandr wrapped themselves in one of the flags then the Ukrainian National Anthem was sung by everyone on stage. Very moving.

 

There were quite a few empty seats which was sad to see, but I moved from back row of the dress circle to the front in the interval so enjoyed the latter half of the performance closer it the stage than I can usually afford which was magical. 
 

There were no curtain calls at all which was a little odd. I was thinking after the curtain came down that individual dancers would come out to take a bow but no-one showed. I’ve not been to see ballet anywhere except ROH and locally so maybe that’s how things are at the Coliseum idk? Still I would’ve liked to applaud some more as they were amazing.

Edited September 14, 2022 by Angela Essex

[Tango Dancer]

Well that was very lovely indeed.  I had a thoroughly nice time and am so glad I went. 

 

I thought they were collectively amazing.  Given they're not a company so have people from different places with different training they were incredibly cohesive and integrated.  I loved the costumes and sets, they're so classic and stylish.  

 

Alina Cojacaru was amazing.  She made Giselle really come to life and gave her such a lovely character, really engaging and dynamic.  I like Alexander Trusch and he seemed to partner her really well and they made a really compelling couple.  I thought the peasant pas was also lovely.  I don't know if the dancers (Vladyslav Bondar and Maria Shupilova) have danced together before but I thought they really worked well as a pairing, she was really graceful and he had some very nice jumps indeed.  

 

I also really liked Vladyslava Kovalenko as Myrtha.  I don't know anything about the dancer but she had lovely technique and beautiful arms and brought a lot of character to the part.  

 

Overall it worked very well.  The anthem at the end was moving but if they provide the words so we can sing, they also need to turn the lights up so we can see them.  Still apart from that minor amusement it was excellent.  By the way, anyone else get the words to the UK one wrong - I still sang "send her victorious" - it's going to take a while to adjust.  

 

I'd definitely recommend it to anyone wanting to go as it's an amazing cause and some really talented dancers.  

[Bruce Wall]

Thought it was entirely sublime - I adored the sense of vivid community throughout - and how Ratmansky saw that it all came together as one.  So appreciated the lack of any cardio concern for Giselle - as much as the additional adagio for her and Albrecht in the first act - which gratifyingly ensured that the mad scene -  rendered here entirely by a romantically BROKEN heart - was visceral.  Loved that fact that the score was played to tempi - (at so many locales this is not always the case) - and the choreography to the musical fugue was electric.  Everything played through to a searing end which ensured that the collaborative lights which had already been lit in our hearts well and truly burst unto redemptive joy.  A treat for ALL.

Here is a clip of a Coliseum stage rehearsal from tonight's dedicated cast - 

https://www.reuters.com/lifestyle/bombs-ballet-russian-choreographer-leads-ukraine-dancers-giselle-2022-09-14/

[Rob S]

 

 

 

 

 

[LinMM]

So nice to see your piccies again Rob S brought a tear to my eye as everything seems to at the moment but especially as had to miss it tonight. 
Very glad a friend could enjoy my seat though which made up for things considerably. 

[Sim]

A wonderful and very moving night.  Even more emotional turmoil in an unbelievable week.  More tomorrow when I have collected myself.  But what I will say now is that if you can go…go.  It’s so worth it.  

[Candleque]

Wow just wow. As far as I am concerned, they should rename the ballet Alina. She just owns the role. And Alexandr Trusch is like getting an extra present at Christmas. Perfect for Albrecht. I loved them together at the Nureyev gala and am so glad I got to see them in Giselle.

The whole company was wonderful. Agree with the comments above and the emotion of the anthems. The acting was excellent, with some nice details. At one point, while he is dancing to his death, Hilarion (Danylo Butenko) glanced down at his leg as he couldn't believe it was moving against his will. And I didn't have to wonder if Albrecht was a cad; his love was real 🤍

[Ian Macmillan]

There are 12 First Night reviews in today's Links - and I think that may be a record.  And the critics liked it.

[capybara]

It's just wonderful to read on here of people discovering Alina Cojocaru and her wondrous Giselle for the first time...........

[alison]

1 hour ago, Ian Macmillan said:

There are 12 First Night reviews in today's Links - and I think that may be a record.  And the critics liked it.

 

There wasn't one in the Evening Standard last night - I hope that's been rectified online.  I'll have a look later.

[Tango Dancer]

18 minutes ago, capybara said:

It's just wonderful to read on here of people discovering Alina Cojocaru and her wondrous Giselle for the first time...........

 

Yes I've not seen her as Giselle before and now I see why people rave over her so much.  It's just the perfect role for her and she seems to suit it so exactly as though she really inhabits the role.  I've seen her in a couple of other things and thought she was good, but this is on another level entirely.  

[alison]

Did anyone else who has seen Cojocaru dance Giselle in other productions find it slightly disconcerting to see her in this one?  I hadn't registered the difference in style and execution so much on the first night, but it was rather more obvious on the second night with a "familiar" Giselle.  Mind you, she's danced in so many different productions of it over the years that she must be used to adapting.

 

(And on a side note, did ENB have 2 runs of the Skeaping production while she was with them?  I thought she was pregnant for one run)

[Peanut68]

Thank you all for lovely reviews & RobS for beautiful photos…..

now even more gutted I couldn’t go!
Thank you to Lachlan (who was able to use my tickets) for lovely message & photos - much appreciated! 
I just knew Alina would be an all time special Giselle! 💜

 

Edited September 15, 2022 by Peanut68
Typo

[Sim]

I booked to go last night just so I could see Alina reprise her defining role, and what a pleasure it was.  I have watched her dance the role for about 20 years and I never, ever tire of seeing her.  Just the opposite, in fact.  This production suited her perfectly; none of the technical fireworks that were required in other productions when she was younger, but instead subtle, gentle and beautiful choreography that she executed with delight, depth and melancholy.  

 

I just loved seeing this stripped-back version of one of my favourite ballets.  It is always fascinating to me to see how ballet has developed over the years and decades; indeed, when I watch some of the big names from the past on film I often think that they wouldn't even get into the Royal Ballet School these days.  As someone else pointed out, it has become much more athletic and technically demanding, so to see it in its pure form as interpreted by the wonderful Alexei Ratmansky was truly a breath of fresh air.  It was also so interesting to see the story in what is probably the closest to the original that we can get.  I won't go into it too much here as there are others who have yet to see it and I don't want to give up the ghost (sorry!) here.  

 

The company, who have only been dancing together for a few months, were well drilled and very impressive.  Act II was beautiful, with a moody, gorgeous, beautifully lit backdrop that really enhanced the ethereal goings-on in the woods.  The corps de ballet worked in gorgeous time and whilst they and Myrthe were perhaps not as menacing as we have come to expect, it was different to see a version where Myrthe has more of a hold over Giselle, and keeps pulling her away from the safety of the cross to do her bidding.  Vladyslava Kovalenko was a regal Myrthe, imperiously vindictive without the iciness .  Her lovely long, slim and pretty feet reminded me of the paintings of Carlotta Grisi in the role, with those very pointed early pointe shoes.  This gave even more gravitas to the original that Ratmansky tried so hard to reproduce here.  

 

Sadly I wasn't able to get to the Nureyev gala so was very pleased that Alexander Trusch stayed on to partner Alina here.  I really liked his Albrecht both technically and dramatically and I could see that he could explode if given the chance in a more modern production.  He is a powerful dancer but knows how to nuance the role and hold back where necessary.  

 

The emotion of the evening was generated not only by the performance, but by how it was bookended by the two national anthems.  I felt very moved both times, and it was weird singing the UK anthem in the masculine form for the first time. After the applause at the end, I had a real lump in my throat watching the dancers and staff stand on stage, hands on their hearts, wrapped in their flags, singing their lungs out for love of their country.  That they could dance the way they did, knowing the death and destruction that have been meted out to their homeland, is a true reflection of the determination of the Ukrainian people not to let anything beat them.  For this, they deserve all of our respect and admiration.  They certainly have mine.

 

[alison]

41 minutes ago, Sim said:

it was different to see a version where Myrthe has more of a hold over Giselle, and keeps pulling her away from the safety of the cross to do her bidding. 

 

Literally, in both cases: one of the (many) things I meant to mention was that she actually grabs Giselle by the wrist (or hand?) - it's very physical.

 

It's also interesting that this production appears rather less class-conscious than most I've seen: Albert doesn't appear to be bothered by Giselle's lowly status, or see any reason - barring his high-born fiancee, of course - why they shouldn't be together, and Bathilde and Giselle approach each other, after the preliminary curtsey from Giselle, pretty much as equals.  Yet at the same time there are quite a few references in the mime to what I take to be Albert being aristocratic, with the hand raised in a flourish and the other hand on the hip.  More a case of being fairly much equal, but different - no better, no worse?  Interesting that it seems to reflect comments I've heard made in the last few days about the late Queen Elizabeth II and the way she interacted with people - it's had me wondering whether it was another of those Christian influences which have become more diluted in later versions.

[LinMM]

That’s a lovely post Sim…. Thankyou 

[Pas de Quatre]

In the photo where Alina offers Alexandre Trusch a flower, I was interested to see the position of the crossed wrists of the dancer immediately behind.  This is what I understand to be the correct position, but in recent years in many productions the hands seem to be lower so they are at waist level and the back of the hands almost parallel to the floor.  Has anyone else noticed this? 

Edited September 15, 2022 by Pas de Quatre
sp

[LinMM]

You’ve got me thinking now!
As far as I remember in Amateur versions I’ve learned the above position is correct as far as I remember being taught!!  The hands should be on the heart level not the waist level when placed in that position. 

 

[Sim]

24 minutes ago, LinMM said:

You’ve got me thinking now!
As far as I remember in Amateur versions I’ve learned the above position is correct as far as I remember being taught!!  The hands should be on the heart level not the waist level when placed in that position. 

 

Yes.  If the theory that the crossing of the lower arms represents the babies the Wilis will never have and where they would be in their mothers' arms, then they should definitely be up by the breast/heart.  On the other hand, when the Wilis first appear in this version they have just been raised from their graves so their arms are crossed as a dead person's usually are when they are laid out, as the girl in the right of the referenced photo, immediately behind Trusch, demonstrates.

[Dawnstar]

4 hours ago, Sim said:

This production suited her perfectly; none of the technical fireworks that were required in other productions when she was younger

 

Does that mean that you think she's not a good technically as she used to be? As soon as Act I ended the 2 men sat one side of me started saying to each other that they thought that. I'd thought her first act performance was excellent but as my knowledge of ballet is near-zero, and I've never seen her do the role before, I realise I must be the one who's wrong. It was just rather depressing to be moved to have tears in my eyes then immediately have it punctured.

 

Having just gone through all the first night reviews, it's interesting to see in the accompanying photos that Tiutiunnyk was wearing different first act costume compared to Trusch last night. Would guest dancers be likely to bring their own costumes?

Edited September 15, 2022 by Dawnstar

[alison]

It may simply be that the choreography and execution is different, Dawnstar: it certainly seemed less "jumpy" than in other productions.  Unfortunately, I wasn't really alert enough to such considerations on the first night to check.

[Sim]

23 minutes ago, Dawnstar said:

 

Does that mean that you think she's not a good technically as she used to be? As soon as Act I ended the 2 men sat one side of me started saying to each other that they thought that. I'd thought her first act performance was excellent but as my knowledge of ballet is near-zero, and I've never seen her do the role before, I realise I must be the one who's wrong. It was just rather depressing to be moved to have tears in my eyes then immediately have it punctured.

I think the reality of any dancer, male or female, is that most can't do at 41 what they can do at 21 (not many of us can!!).  There are exceptions, of course.  Also, older dancers often bring a much deeper understanding and interpretation of a role such as Giselle, which to me is much more important.  Whenever I cry at the end of a ballet, it's never to do with how good the fouettes were, or how high the jumps were, or how complicated the lifts.  It's to do with how the dancers pull my heartstrings and stir my emotions.

 

And you are right, Alina's first act was indeed excellent, and so was her second act.  And never forget, there is no right and wrong in ballet...it's all about how YOU perceive it and how it makes YOU feel!  Like you, I was also moved to tears...so something was definitely going right!!  

 

Yes, guest dancers often take their own costumes to galas or performances where they are performing for just one or two shows.

[San Perregrino]

Lovely as he may seem and remorseful after the event, in Act 1 Albert has still been a deceitful smooth cad who got found out. Betrothed to one woman and chasing another. To the extent that when Bathilde is on the verge of telling Giselle that Albert is her fiancée, Albert goes over Giselle’s head to try to silence Bathilde. 
 

Edited September 15, 2022 by PeterS

[Lizbie1]

26 minutes ago, Dawnstar said:

 

Does that mean that you think she's not a good technically as she used to be? As soon as Act I ended the 2 men sat one side of me started saying to each other that they thought that. I'd thought her first act performance was excellent but as my knowledge of ballet is near-zero, and I've never seen her do the role before, I realise I must be the one who's wrong. It was just rather depressing to be moved to have tears in my eyes then immediately have it punctured.

 

Having just gone through all the first night reviews, it's interesting to see in the accompanying photos that Tiutiunnyk was wearing different first act costume compared to Trusch last night. Would guest dancers be likely to bring their own costumes?

 

The last time I saw Cojocaru dancing Giselle (with ENB in January 2017) the run of hops on pointe in Act 1 was truncated, unless I misremember. (It didn't bother me.) I don't know if that was a one-off, but perhaps that's the kind of thing they were referring to.

 

[alison]

One thing that did strike me, watching the two performances almost back-to-back, was the difference in interpretations.  I thought the dancers, especially Albert, even did different choreography in parts, although that may just have been because I was watching the two from opposite sides of the auditorium.  It would be interesting to hear from those going tonight, and to other casts.

[Emeralds]

19 hours ago, Angela Essex said:

Brilliant performances by Alina Cojucaru and Alexandr Trusch as Albrecht. The Corps got a lot of very well deserved appreciation from the audience too. First time I’ve ever seen Alina dance and she was just beautiful.

 

In the video linked above one of the dancers explains that in the mad scene the hunting party stay on stage in this production whereas they leave in others. I loved this as the devastation that follows Giselle learning of Albrecht’s betrayal is witnessed by all the key players and you can see the effect it has on each character which acts to intensify the heartbreak. Nearly cried. 

 

God save the King was played by the orchestra at the start of the evening and then the stage crew came on at the end with Ukrainian flags. Alina and Alexandr wrapped themselves in one of the flags then the Ukrainian National Anthem was sung by everyone on stage. Very moving.

 

There were quite a few empty seats which was sad to see, but I moved from back row of the dress circle to the front in the interval so enjoyed the latter half of the performance closer it the stage than I can usually afford which was magical. 
 

There were no curtain calls at all which was a little odd. I was thinking after the curtain came down that individual dancers would come out to take a bow but no-one showed. I’ve not been to see ballet anywhere except ROH and locally so maybe that’s how things are at the Coliseum idk? Still I would’ve liked to applaud some more as they were amazing.

I think the company felt that singing the anthem was their curtain call, so to speak- and certainly at the performance I saw, they were all very moved by the warm and rapturous response they received. Alina herself would have felt very much an “honorary Ukrainian” during the anthem, as even before the invasion, she had felt very grateful to Kiev, the nation of Ukraine, and her ballet academy at Kiev (she devoted about 12-15 minutes of her tour programme in 2019 to airing a documentary film paying tribute to her teachers and the school) for giving her all her ballet training- on a full scholarship. At the Ukraine gala in March, she said “I owe Ukraine my career”- and she’s right. 

 

That said, when ENB performs its yearly Christmas season at the Coliseum (always Nutcracker followed by another full length classic in January), they do exactly the same as what UUB did- featured soloists run out to bow, two or three bows for the company, one walk forward to thank the orchestra, then poof! - curtain down and lights on immediately - in sharp contrast to the multiple lingering red runs (bows in front of the curtain) and curtain calls, bouquet presentations and even hugs in front of the curtain for the Royal Ballet. (BRB do something halfway in between- not as many bows in front of the curtain, but more than what ENB/UUB do).

 

There are a few possible reasons for this: a) UUB & ENB dance nightly in these seasons - sometimes twice a day, and multiple calls mean some dancers will get home very late (possibly missing more frequent buses, tubes etc) and leaving them exhausted the following day and prone to injury. In contrast, RB is a repertory company, alternating shows with the Royal Opera, so they don’t perform as many shows per week, giving the dancers more time to rest in between, b) the contracts for some artists or crew might contain overtime wages that the company have to pay if multiple curtain calls mean they run into overtime, c) company policy/tradition, d) a mixture or all of the above. I have learnt that I have to be super quick if I want to take a post show photo for ENB! 

Edited September 15, 2022 by Emeralds