Woolf Works - Royal Ballet March 2023

[zxDaveM]

2 minutes ago, JNC said:

In previous runs has it only being Ferri who has taken the role of Virginia? Just wondering as it seems unusual to have only one cast but equally given her expressiveness and skill as a dancer it appears there are big shoes to fill! (But I’m sure Osipova and Nunez are well up to the task to bring their own special take!)

 

No, Mara Galeazzi has also danced the role(s)

 

[Sim]

18 minutes ago, JNC said:

In previous runs has it only being Ferri who has taken the role of Virginia? Just wondering as it seems unusual to have only one cast but equally given her expressiveness and skill as a dancer it appears there are big shoes to fill! (But I’m sure Osipova and Nunez are well up to the task to bring their own special take!)

It will be interesting to see their interpretations.  
 

I would love to see Laura Morera dance it sometime in the future. 

[MildConcern]

22 minutes ago, JNC said:

In previous runs has it only being Ferri who has taken the role of Virginia? Just wondering as it seems unusual to have only one cast but equally given her expressiveness and skill as a dancer it appears there are big shoes to fill! (But I’m sure Osipova and Nunez are well up to the task to bring their own special take!)

In 2015 premier run, that’s right - it was only Ferri as Dalloway/Woolf even though there were two casts and the other roles rotated.

 

Mara Galeazzi covered during 2015 and performed the role during the 2017 revival. She is more similar to Ferri in age and style than either of Osipova or Nunez so it will be particularly interesting to see how a younger dancer interprets the role, with all its retrospective wistfulness and regrets!

[DVDfan]

It appears to my non-technical eye that Alistair McCauley is right about the short comings in McGregor's work. It just doesn't seem to me that it matters. 

[LinMM]

I think I must have missed the 2017 run as saw the very original first night of this so must be further back even than I thought in 2015. 
Im now even more convinced that the ending of the third Act has been changed since then. 
The memory is so strong that I don’t believe I dreamt it!! 
I did remember thinking that it must have been difficult for Ferri to melt down like that and wonder if it has been changed for that reason perhaps in the 2017 revival which I did not see. 
Does anybody else here recall seeing that slightly different ending where a partner did not lay her down she just sort of did so herself. 
I need a phone line to McGregor lol!!! 

[MildConcern]

1 hour ago, LinMM said:

I think I must have missed the 2017 run as saw the very original first night of this so must be further back even than I thought in 2015. 
Im now even more convinced that the ending of the third Act has been changed since then. 
The memory is so strong that I don’t believe I dreamt it!! 
I did remember thinking that it must have been difficult for Ferri to melt down like that and wonder if it has been changed for that reason perhaps in the 2017 revival which I did not see. 
Does anybody else here recall seeing that slightly different ending where a partner did not lay her down she just sort of did so herself. 
I need a phone line to McGregor lol!!! 

I have to say, my recollection of 2015 opening night is Ferri being laid down on the floor by Bonelli… but my memory of events 8 years ago is by no means exact!

[LinMM]

I think that’s what somebody else said unless they were talking about 2017 run so it probably is my memory and don’t know why this feeling is so strong. If I ever find myself standing next to McGregor again I will definitely ask him!! 
Perhaps it’s something else that was different ….I think Sim mentioned something had changed because of the current stage problems 🤔

Edited March 2, 2023 by LinMM

[Emeralds]

4 hours ago, JNC said:

In previous runs has it only being Ferri who has taken the role of Virginia? Just wondering as it seems unusual to have only one cast but equally given her expressiveness and skill as a dancer it appears there are big shoes to fill! (But I’m sure Osipova and Nunez are well up to the task to bring their own special take!)

Ferri performed the lead Virginia Woolf character (Virginia/Older Clarissa in I Now, I Then/Mrs Dalloway of Act 1, the lead woman in Tuesday/The Waves in Act 3) in all the performances in the premiere run in 2015. Mara Galeazzi came to London out of semi-retirement to learn and cover the role (in case of injury/illness/emergencies) but didn’t dance it. In the 2017 run, both Ferri and Galeazzi alternated as the lead character, with Ferri in the first cast. Both received positive reviews. 

Edited March 2, 2023 by Emeralds

[Emeralds]

4 hours ago, Sim said:

It will be interesting to see their interpretations.  
 

I would love to see Laura Morera dance it sometime in the future. 

It’ll have to be soon, Sim, as Laura has announced her retirement! Unless you’re also alluding to the history of Woolf Works where its first two interpreters (Ferri, Galeazzi) both came out of semi-retirement to dance the lead role. 😊 I must admit I was surprised that Laura was not the second cast (or third) for the Ferri role this season, given her dramatic gifts and being noted as an excellent McGregor dancer eg in Chroma, Qualia, etc.

[LACAD]

I almost anticipated Morera to retire performing Woolf Works! I agree that it would be magical to see her as Virginia

[Sim]

3 hours ago, Emeralds said:

It’ll have to be soon, Sim, as Laura has announced her retirement! Unless you’re also alluding to the history of Woolf Works where its first two interpreters (Ferri, Galeazzi) both came out of semi-retirement to dance the lead role. 😊 I must admit I was surprised that Laura was not the second cast (or third) for the Ferri role this season, given her dramatic gifts and being noted as an excellent McGregor dancer eg in Chroma, Qualia, etc.

Yes, I was talking post-retirement!  I’m sadly very aware of her impending retirement.  😢

[AnticaFiamma]

According to his IG, Leo Dixon is Evans tonight and Nicol Edmonds is Septimus

Edited March 3, 2023 by AnticaFiamma

[San Perregrino]

18 minutes ago, AnticaFiamma said:

According to his IG, Leo Dixon is Evans tonight and Nicol Edmonds is Septimus

I don’t know the character name, but Leo will also be performing in a stunning Elizabethan dress in Orlando. Can’t wait 🙂

[art_enthusiast]

20 hours ago, LACAD said:

I almost anticipated Morera to retire performing Woolf Works! I agree that it would be magical to see her as Virginia

 

Indeed!

Just wanted to add that I also thought Wednesday night was phenomenal. Extremely delighted to see Alessandra Ferri, Fumi Kaneko and the rest of course, and Joseph Sissens was absolutely incredible!

[Josette]

Osipova gave an astounding performance tonight. 

[Texan]

Nicol Edmonds as Septimus and Leo Dixon as Evans. I thought I was in my dream. Thank you.

[Rob S]

 

 

 

 

 

 

Edited March 4, 2023 by Rob S

[San Perregrino]

Last night’s performances were outstanding. This is a ´triptych’ of ballet that never ceases to amaze, delight and enthral. Special mention to everyone onstage who danced above and beyond. A spiritual experience. 

[Emeralds]

Fri 3 March: 

 

I Now, I Then (from Mrs Dalloway)-

Natalia Osipova (Older Clarissa Dalloway/Virginia Woolf), David Donnelly (Richard Dalloway), Isabella Gasparini (Young Clarissa), Charlotte Tonkinson (Sally), Reece Clarke (Peter). 

Nicol Edmonds (Septimus), Annette Buvoli (Rezia, wife of Septimus), Leo Dixon (Evans, deceased fellow soldier) 

 

Becomings (from Orlando) -

Melissa Hamilton, Calvin Richardson, and company

 

Tuesday (from The Waves) -

Natalia Osipova, Reece Clarke, Leticia Dias, company and students

 

Having seen only the premiere cast on whom the ballet was created (both on stage and on the tv/DVD, with the only cast change being that of Evans, where Tristan Dyer danced it on stage and Richardson danced it in the tv/DVD recording) it was always going to be a challenge for the next cast to fill the iconic shoes of Ferri, Bonelli, Watson, Lamb and McRae, and I was aware that my familiarity with the first cast might influence my perception and enjoyment of the next one. But when I heard that Melissa Hamilton and Calvin Richardson would be taking the lead roles in Act 2 (the Orlando section) in the second cast this season, I jumped at the chance to see these two McGregor specialists in the roles that were ideal for their gifts. 

 

In the Mrs Dalloway act, Gasparini and Tonkinson were outstanding as the vivacious young Clarissa and her charming close friend Sally respectively. Clarke was also memorable as the charismatic but less reliable Peter - the virtuosity in Peter’s solos suit Clarke. Donnelly is versatile as both the younger Richard Dalloway that Clarissa marries as well as the older, reliable Richard who has been with Osipova’s Clarissa for years. Having not had the chance to see Tonkinson in that many solo parts, it was a delight to see her making such a strong, positive impressions. 

 

In the Septimus Smith storyline, Edmonds’ portrayal came alive in his interactions with his wife Rezia and fallen comrade Evans. Rezia, who is unable to comprehend his shell shock symptoms nor help him, despite her anguished efforts, was powerfully portrayed by Buvoli, who has a haunting and compelling quality in this role. Dixon was memorable as both the memory and the hallucination of Septimus’ fellow soldier Evans, whose death in the trenches haunts him in his shell shock, which ultimately leads to his suicide by jumping out of a window. As in 2015, the set of large rectangular frames doubles up as both the windows that play such an important role in the story, as well as frames and doors that the characters stand at.

 

When I first saw the Becomings (Orlando) section in 2015 and on tv, it felt like a divertissement of bravura dancing in Elizabethan costume, with its fast movements and laser lights, but with Melissa Hamilton taking on the lead female role (presumably Orlando after his metamorphosis into a woman), with her extensive experience performing  McGregor’s vocabulary and her incredible flexibility, precision and speed, she truly looked like the lead character who morphs into Lady Orlando, undertaking various adventures at (and escapes from) the Elizabethan court, and time travelling through centuries. There were also excellent performances from Richardson, Luca Acri and Yuhui Choe. Even the lasers have a dance of their own and contribute to the feel of Lady Orlando time travelling!

 

To the soundtrack and backdrop of a projection of filmed waves accompanied by the Max Richter score, Osipova and Dias, who (as the synopsis on the cast sheet suggests) may represent Woolf and her sister Vanessa, mingle with six children at play who may represent the six protagonists in The Waves, or Vanessa’s three children, or both. Clarke, whose character may represent Woolf’s husband Leonard (addressed in the letter narrated at the beginning of the act) partners Osipova sensitively. Osipova, in Ferri’s role, and Dias, in the role created by Sarah Lamb, make a superb trio with Clarke in Federico Bonelli’s old role, and Osipova clearly relishes the dramatic and emotional riches of the Virginia Woolf character, giving a fine account that was warmly received by both the audience and her fellow dancers, who gave her a round of applause at the end. The company and orchestra were on fine form, but for me, the revelation and delight at this performance came from Hamilton, Buvoli and Tonkinson in their compelling portrayals. Bravi! 

Edited March 4, 2023 by Emeralds

[bridiem]

Rather strange that in Sarah Crompton's review in the Observer (which will no doubt be in tomorrow's Links, and is - quite rightly IMHO - a hugely enthusiastic 5-star review) she describes the ending as it was, not as it currently is. Did she not notice how the ballet ended this time?!

 

[Sim]

2 hours ago, bridiem said:

Rather strange that in Sarah Crompton's review in the Observer (which will no doubt be in tomorrow's Links, and is - quite rightly IMHO - a hugely enthusiastic 5-star review) she describes the ending as it was, not as it currently is. Did she not notice how the ballet ended this time?!

 

That’s weird!  🤔

[LinMM]

What do you mean Bridiem that she described the ending “as it was” not “as it currently is” 

Does that mean the ending has in fact  been changed? 

[bridiem]

1 hour ago, LinMM said:

What do you mean Bridiem that she described the ending “as it was” not “as it currently is” 

Does that mean the ending has in fact  been changed? 

 

Yes - I think it's mentioned somewhere above that because of the problems with the stage it was changed as you noticed. I hope that when the stage has been repaired the original version will be restored (though I do think the current ending is very effective).

[Emeralds]

13 hours ago, bridiem said:

Rather strange that in Sarah Crompton's review in the Observer (which will no doubt be in tomorrow's Links, and is - quite rightly IMHO - a hugely enthusiastic 5-star review) she describes the ending as it was, not as it currently is. Did she not notice how the ballet ended this time?!

 

Just clicked on the review today in the Dance Links entry compiled by Ian and saw that....how funny! Wonder what happened there....lol....wonder if she forgot? Well spotted, bridiem.

 

For those catching the Nunez/Ball cast, there is an interview with Marianela Nunez from The i, in the same links page as well, about her early training, her career, her feelings and reactions when watching Woolf Works, and her experiences and thoughts as she prepares for the Virginia/ older Clarissa role. 

 

I assume McGregor did the new ending as he is listed on the cast sheet and programme as being involved in this second revival (where many choreographers often leave it to one of their assistant coaches or a company repetiteur to supervise). I like both endings; I think the original conveys more of the feeling of her own suicide, while this one feels more like she is saying goodbye to her husband in her mind before she departs.

[Jorgeb]

The New York Times

May 14, 2015

Review: ‘Woolf Works’ by the Royal Ballet

Roslyn Sulcas

«“Tuesday,” the third section of the ballet, opens with a recording of Woolf’s suicide note (read with limpid simplicity by Gillian Anderson). Squawking gulls and high-pitched children’s voices (the sound design is by Chris Ekers) are heard over slow piano chords as Ms. Ferri moves among a large ensemble, a video of the sea (by Ravi Deepres) moving in the slowest of slow motion overhead. Themes of “The Waves” — childhood, the passage of time, the cycle of life — are suggested with remarkable economy until finally Mr. Bonelli gently lays Ms. Ferri down, then retreats with the others into the darkness that awaits her.»

Based on the 2015 description, I can't find a difference between the ending in 2015 - the premiere took place on 11 May 2015  - and the 2017 revival filmed and relayed in cinemas.

Edited March 6, 2023 by Jorgeb

[bridiem]

32 minutes ago, Jorgeb said:

The New York Times

May 14, 2015

Review: ‘Woolf Works’ by the Royal Ballet

Roslyn Sulcas

«“Tuesday,” the third section of the ballet, opens with a recording of Woolf’s suicide note (read with limpid simplicity by Gillian Anderson). Squawking gulls and high-pitched children’s voices (the sound design is by Chris Ekers) are heard over slow piano chords as Ms. Ferri moves among a large ensemble, a video of the sea (by Ravi Deepres) moving in the slowest of slow motion overhead. Themes of “The Waves” — childhood, the passage of time, the cycle of life — are suggested with remarkable economy until finally Mr. Bonelli gently lays Ms. Ferri down, then retreats with the others into the darkness that awaits her.»

Based on the 2015 description, I can't find a difference between the ending in 2015 - the premiere took place on 11 May 2015  - and the 2017 revival filmed and relayed in cinemas.

 

That's strange! What Sarah Crompton has just written is what I remember happening in 2015 (and 2017) but is not what happened last week: 'Ferri then walks away until she is subsumed in a flood of dancers who engulf her in eddying movements that mirror the film of the sea playing above their heads.' 

 

Perhaps in the past she was indeed laid down before being 'subsumed' by the other dancers (though all I remember is her disappearing at the back of the stage); now, she is definitely laid down but at the side of the stage and she is left there very much on her own. 

[Jorgeb]

28 minutes ago, bridiem said:

 

That's strange! What Sarah Crompton has just written is what I remember happening in 2015 (and 2017) but is not what happened last week: 'Ferri then walks away until she is subsumed in a flood of dancers who engulf her in eddying movements that mirror the film of the sea playing above their heads.' 

 

Perhaps in the past she was indeed laid down before being 'subsumed' by the other dancers (though all I remember is her disappearing at the back of the stage); now, she is definitely laid down but at the side of the stage and she is left there very much on her own. 

The 2017 revival was relayed in cinema and later released on a DVD.

I have the 2017 DVD and can confirm that the ballet ends with the pas de deux and Bonelli laying Alessandra Ferri down on the stage.

[Suffolkgal]

this is sort of a non sequitur but my father, aged 20, broke the news of her death to the world - just before he went into the army (from the Home Guard). He was a reporter on the local Sussex paper, and was alerted to it by local contacts. Wartime being what it was he was up all night doing lineage for agencies all over the world. Hers was such an extraordinary life - and ballet such an extraordinary way to portray it. (he went back to the paper after five years of active service on the same wages!)

[LinMM]

Well as previously mentioned I do recall at least one different ending!! 
And Ferri was definitely receding backwards centre stage for that. 
As I said if I’m ever standing next to McGregor ( twice now already lol) again I will definitely ask him. He’s very approachable in that way as I plucked up courage to say how much I had enjoyed Woolf works back in 2015 and he was just so pleasant and pleased I’d enjoyed it etc. I remember thinking I bet he’s nice to work with if a dancer! 

 

 

[Emeralds]

21 hours ago, LinMM said:

Well as previously mentioned I do recall at least one different ending!! 
And Ferri was definitely receding backwards centre stage for that. 
As I said if I’m ever standing next to McGregor ( twice now already lol) again I will definitely ask him. He’s very approachable in that way as I plucked up courage to say how much I had enjoyed Woolf works back in 2015 and he was just so pleasant and pleased I’d enjoyed it etc. I remember thinking I bet he’s nice to work with if a dancer! 

 

 

Perhaps all of us are actually in agreement while thinking we’re not because we’re focusing on different aspects?  While it was only one show eight years ago and I wasn’t watching it with a view to having to memorise the details of a non-dance part eight years later, I do remember the ending looking like Ferri was near the centre back and being subsumed by other dancers (her self drowning was more obvious to me then) while this time it looked to me like Osipova was laid down more to the side, and not so far back as last time, and it looked more like she was bidding goodbye to Leonard in her mind this time. But....I was also sitting in a different part of the auditorium in the first run so I may have perceived she was more to the middle last  time.. 

 

I guess we are all in agreement that Virginia dies in the 3rd act, and whether or not there’s been a slight change in where and when she is positioned, it’s a very moving ending of a powerful and compelling ballet. Interesting to note that since the passage of eight years, many issues in the novels and in Woolf’s own life- mental health, post traumatic stress disorder / shell shock, gender fluidity, LGBTQ matters, the MeToo movement, suicide, etc - have been debated, protested about and brought to the forefront in recent years that the ballet feels very contemporary and relevant to today, even if Woolf (1882-1941) and her novels were from the late 1800s to the first half of the last century.

Edited March 7, 2023 by Emeralds

[postie]

21 hours ago, LinMM said:

 I remember thinking I bet he’s nice to work with if a dancer!

 

And me! I did think, during the Insight event, he is so open and interested and intuitively collaborative, and how that must be a significant facet in his skill set. It's so often such a treat to see creative people at the ROH level, working through their creative processes.

It was the same for the Mayerling Insight. Could have sat there for hours.

[art_enthusiast]

Very much enjoyed tonight’s performance, Melissa Hamilton and Luca Acri are just superb in Act Two. It’s slightly hard to recognise everyone in that Act because of the lighting! Marianela Nunez and Matthew Ball are such an incredibly well matched pairing, as I thought from seeing their Month in the Country. Very glad to see Meaghan Grace Hinkis back! Also hugely impressed with Calvin Richardson and Marco Masciari’s performance in Act One, and Yuhui Choe’s.

[art_enthusiast]

Kevin O'Hare's heartfelt tribute to Lynn Seymour before the performance added a further layer of emotion to the evening.