The Sleeping Beauty, Royal Ballet 2023

[Guest]

Another review that may not receive universal agreement;

 

https://slippedisc.com/2023/01/alastair-macaulay-when-beauty-shows-its-wrinkles/

[LinMM]

Some of the choreography in the vision scene was definitely different back in the mid 1970’s to now. 
I remember I hadn’t seen Beauty ( or any ballet) for years and when I finally saw it again I was really disappointed that it seemed different. I don’t know whether this was particular to Fonteyn and Nureyev or whether the Beauty now is an entirely different production. 

[LinMM]

Actually looking at Fonteyns performances in Sleeping Beauty between 1969 and 1974 it does say the choreography was revised by Frederick Ashton so perhaps the vision scene was different for a while. 

[alison]

I thought the vision choreography *was* Ashton?

[Meetmeatthebarre]

13 hours ago, Ian Macmillan said:

Well, David Jays is first up with a decidedly cool review in today's Standard - see Links.  "Decorous but dull." 

 

If it's of any consolation, I've rarely seen comments to the ES reviews, let alone ones which are so decisively critical of the critic. 

 

My viewings of the RB's Beauty alone must run into the teens, and I still can barely wait for the late runs for which I have booked (O'Sullivan/McRae and Takada/Sambe).

[Rob S]

 

 

 

[Fonty]

10 hours ago, LinMM said:

Some of the choreography in the vision scene was definitely different back in the mid 1970’s to now. 
I remember I hadn’t seen Beauty ( or any ballet) for years and when I finally saw it again I was really disappointed that it seemed different. I don’t know whether this was particular to Fonteyn and Nureyev or whether the Beauty now is an entirely different production. 

 

It could be that the dancers dance the same steps differently now?  When I look at earlier performances on Youtube, usually by Fonteyn although there are snippets of others, she dances with a speed and joy that no dancer today seems to match.  IMO of course, but is it the age old complaint about the tempi of the music, or is it the different style now?  Today everything seems to be much more carefully placed,  and consequently less exciting.  The fifth positions might be perfect, the turnouts immaculate, but something seems to have been lost as well.  

 

 

Edited January 18, 2023 by Fonty
Spelling mistake....

[Jan McNulty]

4 minutes ago, Fonty said:

 

It could be that the dancers dance the same steps differently now?  When I look at earlier performances on Youtube, usually by Fonteyn although there are snippets of others, she dances with a speed and joy that no dancer today seems to match.  IMO of course, but is it the age old complaint about the tempi of the music, or is it the different style now?  Today everything seems to be much more carefully placed,  and consequently less exciting.  The fifth positions might be perfect, the turnouts immaculate, but something seems to have been lost as well.  

 

 

 

I don't think it's only that.  I've noticed that the same steps can look different on taller dancers than shorter.

[Fonty]

13 minutes ago, Jan McNulty said:

 

I don't think it's only that.  I've noticed that the same steps can look different on taller dancers than shorter.

 

I suppose that's true, but having said that aren't female dancers today generally bigger all round? While there are still dainty dancers, my perception is that their physiques are different - they seem to be more muscular, broader of shoulder, and overall just look stronger than the dancers of the past.  

Edited January 18, 2023 by Fonty

[Jan McNulty]

4 minutes ago, Fonty said:

 

I suppose that's true, but having said that aren't female dancers today generally bigger all round? While there are still dainty dancers, my perception is that generally their physiques are different - they seem to be more muscular, broader of shoulder, and overall just look stronger than the dancers of the past.  

 

I suspect you are right.  I don't think the ladies (or the gentlemen)  in the past necessarily did all the extra general fitness training that seems to be expected these days.

 

Which doesn't mean to say that we don't still see brilliant performances they just look a bit different even with the same steps.

[Balletfanp]

I remember seeing a video somewhere of Beryl Grey dancing the Lilac Fairy and noting how much faster the tempo was - and indeed, how much easier it must have been to dance that very difficult variation like that. I don’t think the slow tempi these days do anyone any favours and I have seen even very technically experienced dancers struggle with that solo and I’m pretty sure it’s largely down to how slowly it seems to be played these days.

 

Likewise elsewhere - I find myself gritting my teeth when I see a dancer having to slow themselves down to a dragging speed and often struggling - after all, there is only so long even the highest leaper can stay in the air when the music is played very slowly! I thought the conductor was supposed to watch he dancer(s) and adapt the tempo to them, not the other way round.

[Blossom]

It appear that there were a lot of new people in the building, potentially as a result of struggling to sell and it was wonderful to hear the hum of excitement as people were asking for directions and filing into the theatre. There was an exceptionally positive response around the house during the wedding scene as people laughed in all of the right moments in the fairytale variations and enjoyed the stellar performances of Anna Rose O Sullivan and Steven McRae in the grand pas de deux.  The performance brought in quite a few families, but a conversation overheard on the way out (something along the lines of the performance contrasting with the difficult conversations they have to have everyday) suggests that perhaps a ticket offer was extended to NHS workers. I'm keen to see how the ROH harnesses the high on which people exited the building to get them back again! In contrast, the couple next to me who were new to the ROH stuck it out for the first 2 parts of the performance but disappeared before Act 2/3.

 

That final point leads well into my summary of the performance. From where I was sitting, with Alastair McCauley's latest scathing review in my ear (and seems that now he is continuing to pick apart performances one by one on Instagram), I did think that the Prologue and Act 1 seemed to be a little sparse on such a large stage, but I do wonder if this was just down to my position on the balcony.

 

It's wonderful to see so many dancers rising the ranks and/or starting to get the opportunity to dance meatier roles. It was obviously Annette Buvoli's debut last night but such a shame that this wasn't highlighted on the cast sheet for posterity. It's always lovely to see someone new in the role - and getting those bigger opportunities - and she seemed to get better and better as the performance progressed.

 

Last time I saw Anna Rose O'Sullivan in the full length SB, it was her debut and I saw her Swan Lake debut after that, so it was lovely to see her return to a role with an assured confidence. She sparkled throughout the performance, from the Rose Adage to the grand pas de deux and reminded me why I love seeing her so much!

 

This was the first time I've seen her paired with Steven McRae and the first time I've had the opportunity to see him since his injury pre Covid and he didn't disappoint. I sometimes find that you can really feel the pull of gravity in the Prince's solo in act 2 (and particularly did not enjoy seeing this performed at the Nureyev gala back in September), but McRae's strength - particularly upper body strength - really seemed to lift his performance so that it seemed more like an open, emotional out-pouring vs an ungraceful, weighted depression.  I did hold my breath a little for his solo in the grand pas de deux and pleased to see he was on spectacular form. Having tracked his recovery on Instagram, it is so good to see him fighting fit.

 

In terms of other performances of note, I always love to watch Leticia Dias and she didn't disappoint as Fairy of the Golden Vine or Florine and look forward to seeing her continue to rise the ranks. I noted that Joonhyuk Jun appeared to hover in mid air as her Bluebird partner.  Florestan and his sisters was danced by David Donnelly, Ashley Dean and Mariko Sasaki who gave assured performances. Sophie Allnat and David Yudes got all of the laughs from the audience as Puss in Boots and white cat. Enjoyed the performances of many others but don't want to write a shopping list, but as a final note, Kristen McNally has such an impressive and graceful stage presence, in this performance as the Queen. 

 

 

An initial mishap meant that the loose chair I had booked on the balcony wasn't there and had to be squeezed into a smaller space than usual (as everyone else had spread out) only moments before the performance started, which was a bit of a dampner... It was lovely however to meet @Sim and have a chat in the second interval and also to meet @bangorballetboybriefly. Last night was my 'expensive ticket' night and unfortunately with the current economic climate it's proving tricky to get people to invest in seats of a certain price which means going it alone!

[art_enthusiast]

I agree last night was brilliant - O’Sullivan was spectacular, perfect balances and both she and McRae were explosive in the final grand PDD, they both seemed to be enjoying it so much. I loved the pairing of Joonhyuk Jun as Bluebird and Leticia Dias as Princess Florine. Of course the role of Bluebird is just perfect for him! Hope to see them together more often in future. 

[Sharon]

22 hours ago, Sim said:

So would I.  I will never forget seeing Agnes Oaks dance Aurora at the Coli.  In the Rose Adagio you could have gone out to the bar, had a drink, come back and she would still be balancing en pointe, on one leg.  It was stunning.  The house roared its approval at the end of the adagio...one of the most sustained rounds of applause I can remember hearing during a ballet.

 

I too love this production.  

She was such a lovely ballerina... I wonder where she is now?

[Jan McNulty]

35 minutes ago, Sharon said:

She was such a lovely ballerina... I wonder where she is now?

 

A google search indicates that she has been involved in the Prague ballet masterclasses and something similar in Estonia so perhaps she is teaching.

[Sim]

I am happy to be able to echo everything that Blossom said.  A lovely, bright and delightful Aurora from Anna-Rose O'Sullivan, with the Act 3 Vision scene sandwiched in between the bubbly 16 year-old and the joyful but noble princess on her wedding day...here, she was remote and alluring and beguiling; how could Florimund resist?  

 

As Florimund, Steven McRae made his feelings very clear from the beginning:  he was bored and downhearted with his situation, he is not in love, he wants something else in life.  After 'meeting' Aurora in the vision scene his ardency was felt up to the rafters; his impatience and delight to finally meet her really matched the crescendo in the music.  In the grand pdd in Act 3 he literally barrelled around the stage and tweaked the choreography elsewhere to suit him.  As with his Rudolf in Mayerling, I think that all the struggles he has gone through these past few years have manifested themselves in much more depth of acting and character than was present before.  

 

Annette Buvoli made a lovely debut as Lilac Fairy.  She manged to achieve all those dastardly Italian fouettes and then place her turns really accurately.  It's a nerve-wracking solo at the best of times, but for a debut this was very assured.  She was then a gracious and graceful fairy, bestowing calm and happiness in turn.  I loved the way she smiled broadly in the Vision scene each time she stopped Florimund from getting too close to Aurora..."don't be impatient, you will get there", she seemed to be telling him.  Rant warning....why doesn't the ROH let us know wider casting until one or two hours before the show?  This doesn't give us time to buy flowers for the non-principals should we wish to do so, and it's a shame, especially for a debut (which again, they don't mention in the cast list).  In the 'old days' they used to give wider casting information in advance, and they would also let you know in advance when someone was debuting (with an asterisk and a 'debut in role'.)  Why have they stopped doing these things??  Ok rant over....

 

Leticia Dias and Joonhyuk Jun were perfectly cast as Florine and Bluebird.  Beautiful dancing from both of them...he literally flew like a bird and landed softly as a sparrow, and she fluttered her arms like a gorgeous bird's wings.  Watching her, I was imagining her graduating from a bluebird to a swan in a couple of years to come.  I am sure that she is destined to become a Principal one day.   

 

Elizabeth McGorian made a quietly malevolent Carabosse, understatedly evil which in a way is more scary!  Great to have her back dancing these character roles as she is such a good actress.

 

Another debut was Gary Avis as Catalabutte, as always imbuing even the smallest role with an intensity not usually seen.  His gestures, his way of standing, were the epitome of dance and grace in the court of Louis XIV (as seen in paintings).

 

I am very happy to see that (apart from A. Macaulay, who rips the RB to pieces at almost every opportunity) this production has been given four or five stars by most of the other critics apart from David Jays.  I might disagree with Macaulay on virtually everything, but at least he knows what he is talking about.  I don't read his stuff anymore, but skimmed over his review of opening night as someone went to the trouble of posting it up.  To each their own, but the audience is really enjoying the performances...and that's what matters.

 

Finally, it was lovely to meet @Blossom   Always great to put faces to names of our lovely forum members!

 

 

[AnticaFiamma]

According to his instagram, Calvin Richardson is making his debut as the Bluebird tonight alongside Melissa Hamilton 

[Candleque]

44 minutes ago, Sim said:

Rant warning....why doesn't the ROH let us know wider casting until one or two hours before the show?  This doesn't give us time to buy flowers for the non-principals should we wish to do so, and it's a shame, especially for a debut (which again, they don't mention in the cast list).  In the 'old days' they used to give wider casting information in advance, and they would also let you know in advance when someone was debuting (with an asterisk and a 'debut in role'.)  Why have they stopped doing these things??  Ok rant over....

Totally agree. Makes no sense.

For tonight, Calvin Richardson announced on Instagram that he is making his Bluebird debut. Dancing with Melissa Hamilton, which is a treat I didn't expect 💙

[alison]

4 hours ago, Fonty said:

 

It could be that the dancers dance the same steps differently now?  When I look at earlier performances on Youtube, usually by Fonteyn although there are snippets of others, she dances with a speed and joy that no dancer today seems to match.  IMO of course, but is it the age old complaint about the tempi of the music, or is it the different style now?  Today everything seems to be much more carefully placed,  and consequently less exciting.  The fifth positions might be perfect, the turnouts immaculate, but something seems to have been lost as well.  

 

I tend to agree with you, Fonty, and have been becoming more conscious of this in recent years: maybe immaculate technique, but still a certain je ne sais quoi missing, to my mind.  Not that Nuñez (or Muntagirov, for that matter) on Monday night was lacking in joy (her renversés in, is it her first act solo following the Rose Adage?, were absolutely glorious), and they both seemed to be having so much fun, and egging each other on, in the grand pas de deux.  I almost commented on Monday night that I got a feeling that they'd just been released from Covid lockdown (but without the loss of form that might involve), so much did they seem to be relishing it.

 

3 hours ago, Blossom said:

I sometimes find that you can really feel the pull of gravity in the Prince's solo in act 2 (and particularly did not enjoy seeing this performed at the Nureyev gala back in September),

 

That was, of course, the Nureyev choreography, not the RB's.

 

I had wondered if they might try offering the tickets to NHS workers this time - possibly someone else for tonight's performance?  I did actually bring a newbie on Monday night myself, but since I was the one who booked the tickets the ROH won't be able to add her to the list of hoped-for returners.

[Blossom]

7 minutes ago, alison said:

 

That was, of course, the Nureyev choreography, not the RB's.

 

I had wondered if they might try offering the tickets to NHS workers this time - possibly someone else for tonight's performance?  I did actually bring a newbie on Monday night myself, but since I was the one who booked the tickets the ROH won't be able to add her to the list of hoped-for returners.

 

On the Prince's solo - yes of course, not my finest moment!!!

 

On the new audiences/offers front, there should be some sort of member get member scheme. Bring someone new, get a great ticket deal for both of you but with some sort of data exchange a a condition to enable onwards contact. 

[FLOSS]

I don't think that the problem with the Royal Ballet's current production of Sleeping Beauty lies with the text being danced or the sets and costumes, although I would argue that the ballet would look much better in theatrical terms if the designs owed considerably more to Oliver Messel and a lot less to the insipid efforts of Peter Farmer which are  wishy washy in comparison with the Messel originals. Where Messel's set designs for act 3 evoked the grandeur of the baroque and made architectural sense  Farmer's vague indications of structure seem to give up the struggle and fail to establish a sense of structure,splendour and stability. But then Messel had the good sense to allude to theatre designs by the great seventeenth century theatre designers such as Tortelli and the Bibiena dynasty when he set out to create the palace of King Florestan XIV. I know that we are not going  to get a new Bibiena inspired backcloth but perhaps we could lose Farmer's anemic Pearl and Dean inspired front cloth.

 

I don't think that criticism of the fairy variations for their lack of variety and contrast is undeserved. It certainly does not amount to "ripping" into the company.Indeed the one thing you could argue is that what was missing on the first night was any real sense of individual character or qualities among the prologue fairies and an Aurora and Prince who while they were perfect exponents of their choreography were unable to offer the artistic interest and interpretative excitement which dancers like Sibley, Park, Penney, Wall, Dowell and Jeffries brought to the roles they danced in this ballet. Nunez and Muntagirov ought to be able to give us much more than technical perfection. Perhaps O'Sullivam and McRae managed better on the second night. I hesitate to throw Fonteyn's interpretation  into this as I never saw her in the theatre and only know of her qualities in the role from recordings of sections of the ballet 

 

I think that any problem there may be with this revival  lies with a failure to recognise that the roles in this ballet whether Prologue fairies or the divertisements of the third act call for more than  drilling which dwells on the accurate reproduction of a role's choreography. They require coaching which emphasises musicality, interpretative skills and artistry which  reveals rthe range, variety and individuality of these roles.In other words something more than gym mistress style drilling and the ability to get the requisite number of dancers stage ready is required if the company is to avoid dull uniformity in the prologue fairies and elsewhere. This means that those involved in preparing these roles have to bring to rehearsals knowledge of the historical context in which the ballet was created and the clear understanding that the ballet was never  intended as a simple star vehicle for a foreign guest dancer and that the plethora of soloist roles it contains were intended to be a show case to display the  artistry and contrasting talents of the Imperial company's own dancers, This means that even today  it  is not enough simply to get the show on stage with everyone knowing their roles in time.

 

I seem to recall an ENB revival of Beauty a few tears ago that had the benefit of two former Royal Ballet dancers as coaches. David Wall and Alfreda Thorogood  who had the ballet in their blood and possessed the artistic imagination and the cultural  and historical sensitivity and understanding of the work hey were reviving whuch enabled them to give the dancers they were coaching the sense of stylistic and artistic uniformity which enabled them  to make ENB's dancers look more entitled to lay claim to the work than the Royal Ballet's own dancers did at the time. Pehaps it is this which some have found lacking in this revival. A satisfying revival of this ballet requires much more than a technically impressive Aurora and Prince which is why it is regarded a touchstone by which to assess the depth of talent and the artistic health of a company.

 

 

[Sim]

53 minutes ago, FLOSS said:

 

I don't think that criticism of the fairy variations for their lack of variety and contrast is undeserved. It certainly does not amount to "ripping" into the company.

 

 

I assume you are referring to my words here.  You have either misunderstood or are misinterpreting.  Of course I wouldn't say that if that were his only criticism.  What I actually said was that he rips into the company most of the time, not only in this review.  I was NOT just referring to that one sentence.  I further said that everyone is entitled to their opinion.  His just happens to be negative against the RB most of the time. Again, that's his opinion, to which he is entitled.  I was simply pointing it out.

[emmarose]

1 hour ago, FLOSS said:

Nunez and Muntagirov ought to be able to give us much more than technical perfection.

 

I will just say, on this line, they gave us much more than technical perfection from where I was sitting, much more. 

[Candleque]

Claire Calvert doing Lilac Fairy tonight. So pleased 💜

[Blossom]

I actually think @FLOSShas hit a nail on the head. It’s pretty lovely using the many soloist roles as an opportunity to elevate lots of dancers within the company, but the challenge with doing this is that they don’t all have the maturity in terms of artistry. I could only comment that the stage did not feel quite full enough, I guess in terms of the dancers’ ability to project -and add a bit more sparkle, something not evident in all of last night’s fairies, to keep it as vague as possible, but something which Anna Rose O’Sullivan has in buckets and vastly outshone everyone (as you would expect from a leading lady). Perhaps it’s a case of getting a better balance - give opportunities to one or 2 younger dancers, but focus the majority of these roles on the more experienced dancers who can deliver and shine. 
I am interested to draw some comparisons tomorrow night so hopefully some different fairies (or rather dancers in the roles) as I am sitting in roughly the same place which is somewhat higher up than in previous runs, but I note that this was pre-Covid and with quite a different set of established dancers (with the added bonus that casting was geared towards a cinema relay).

[JennyTaylor]

4 hours ago, Candleque said:

Claire Calvert doing Lilac Fairy tonight. So pleased 💜

And she was wonderful!

[Rob S]

 

 

 

 

 

 

[Dawnstar]

I feel as though everyone I'd like to see as Princess Florine & the Bluebird is dancing when I'm not there. First Dias & Jun then Hamilton & Richardson. By the time I see it tomorrow evening it'll probably be dancers I'm less interested in seeing because all the dancers I like will have already been used!

[Jan McNulty]

7 hours ago, Rob S said:

 

 

 

 

 

 

 

 

 

 

Thanks for the lovely photographs.  Mr Campbell's debut as the Prince at Birmingham Royal Ballet was truly unforgettable and I am sure he and Ms Hayward must have been stellar last night.

[JNC]

Just to quickly say I thought Hayward was exquisite last night. 
 

her smile lit up the stage in act 1, her rose adagio was very assured and charming, and just lovely - she really captured the character of a young princess. (I know sleeping beauty doesn’t really have too much of a plot but Hayward brought it as much as possible!) Her act 2 and 3 Aurora’s were a lot more cool and elegant, although some more grown up smiles in act 3 for the grand pas. 

 

Campbell was very solid and a great partner as always, I always like the little sort of raised eyebrow expressions he does during/after his solo which also brings a bit of characterisation and you can tell he’s enjoying doing a sterling job. 
 

And Gary Avis - he is an excellent character dancer, so much brought into such small scenes on scene as Catabutte! 
 

some other standouts for me were Marino Sasaki as one of the fairies, Mica Bradbury as the white cat. 
 

Calvert was a solid lilac fairy and always brings a very graceful feel to proceedings. I agree with another comment that the prologue solo felt quite slow and I wish they had sped it up so everything flowed a bit better. 
 

Richardson’s debut as the bluebird was interesting - when he started I was impressed by the height of his jumps and the overall light/airy floaty atmosphere of his movements. I thought maybe he would be the next male principal! However by the end I had totally changed my mind, it felt the floaty arms had been taken too far and too wispy - I like a bluebird that is light like a bird but still strong and structured in their movements if that makes sense? So had some mixed thoughts there. Hamilton is a technically strong dancer but I felt the opposite to her about Richardson - I wish she could have brought a bit more lightness to the role as at times I thought she was a bit stiff/rigid in the back/torso particularly. 
 

I speak as someone not versed in the technical side of things and also I’m not sure what the “correct” way to dance it is, but my favourite bluebird/florines in the past have been O’Sullivan, Naghdi and Sissens from memory. 
 

Overall a lovely and solid evening, mainly due to Hayward who I didn’t catch at the last run as she had one or two performances she missed due to illness. So I’m glad I finally saw her. I do think some of the overall corps in the prologue and act 1 needs a bit of tightening up, I would say this may come with more performances but it didn’t feel as “on point” as when I saw it back in 2019/early 2020.

[LinMM]

I can only really afford one Beauty this year (though might be about to make it two) but will have to miss Francesca this time around in that but I think she may well be the go to dancer for Cinderella so will definitely book her for that. 

[emmarose]

7 hours ago, Dawnstar said:

I feel as though everyone I'd like to see as Princess Florine & the Bluebird is dancing when I'm not there. First Dias & Jun then Hamilton & Richardson. By the time I see it tomorrow evening it'll probably be dancers I'm less interested in seeing because all the dancers I like will have already been used!

 

I think there'll be a lot of combinations that are worth seeing, I'm sure you'll get an excellent pairing.

[art_enthusiast]

I agree Francesca Hayward was brilliant last night. Have never seen her in the role before - a very impressive and technically strong performance, and acting/facial expressions throughout the Rose Adagio/final PDD. I found her much more assured and confident in this role compared to Swan Lake, which I saw her in last year.
Nice to see Claire and Alexander Campbell interacting on stage as well, in the vision scene! Claire’s mime was beautiful. I thought Calvin Richardson was an extremely light and buoyant Bluebird. Melissa Hamilton I thought was superbly strong as usual - one of my favourite RB dancers. Also great debut from Amelia Townsend as one of the Prologue fairies.