Woolf Works - Royal Ballet March 2023

[LACAD]

Last night’s performance was phenomenal, Nuñez really proved her acting chops in the principal role adding a great sensitivity particularly when she was not dancing. Her little looks and subtle gestures built a fully realised and very human character. It was wonderful getting to see her in such a visceral style of movement whenever she was in action.

 

Melissa Hamilton was equally assured in the second act, she seemed to attract all focus on her which isn’t easy in an act as full of action as Becomings. Leticia Dias also showed confidence beyond her years as the second lead woman in Becomings (danced by Lamb in the recording). 
 

Having only seen said recording I can fully say Woolf Works is not to be missed in person if possible. It’s a ballet that feels incredibly intimate, and the second act’s lighting fills the entire auditorium becoming a truly immersive event. 
 

I’m very excited to see Ferri on the Saturday matinee!

[postie]

So am I!

 

Since the rehearsal, I've acquired a copy of the 2017 production and look forward to playing spot-the-difference on Saturday. Fwiw, I suspect the screened media is different in the first section but we'll see ... I hope to see the rest of the 2017 production later today.

Edited March 9, 2023 by postie
extra bit at the end

[Rob S]

 

 

 

 

 

 

 

 

Edited March 10, 2023 by Rob S

[emmarose]

On 09/03/2023 at 01:38, art_enthusiast said:

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

 

Did he come out and say something? There's a reviewer who is saying it was a poor show of the RB not to say/do anything in her memory.

[emmarose]

On 08/03/2023 at 22:55, art_enthusiast said:

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.

 

I love Nunez and Ball and feel they're far too underused together, in Month they moved together beautifully.

[bridiem]

19 minutes ago, emmarose said:

Did he come out and say something? There's a reviewer who is saying it was a poor show of the RB not to say/do anything in her memory.

 

He was talking about the next night; I did reply to his tweet to say that I understood there had been a tribute the previous night (as mentioned above).

[Sim]

So it was the young people’s performance on the 8th that was dedicated to Lynn?  

[Rob S]

The cast sheet for the 8th March performance said: The 21st performance by The Royal Ballet at the Royal Opera House. This performance is dedicated to the memory of the great Royal Ballet ballerina, Lynn Seymour, and her unique dramatic gifts.

[San Perregrino]

it's been puzzling me. in 'Tuesday', the character beautifully danced by Matthew Ball/William Bracewell/Reece Clark appears to have opaque black tights at the start of the piece but when he returns later on the tights appear translucent. i

has there been a costume change or is it just a trick of the light? 

[art_enthusiast]

2 hours ago, emmarose said:

 

Did he come out and say something? There's a reviewer who is saying it was a poor show of the RB not to say/do anything in her memory.

Yep, he said that they’d just received the information then apparently, probably a short time before the performance started.

[Sim]

I thoroughly enjoyed last night's performance.  It is the first time I have seen anyone other than Ferri take the lead role, and Marianela Nunez stepped into those hallowed pointe shoes and made the character her own.  She was marvellous; intelligent perception, emotional interpretation, lovely dancing.  Matthew Ball matched her in every way.  A caring and attentive partner, he feels everything very deeply whether it's coming from within himself or from his partner.  His dramatic abilities are always of the highest calibre, and that was evident here as well.  Yuhui Choe was heartbreaking as Septimus' wife Rezia. Septimus was again played by Calvin Richardson, this time partnered with Marco Masciari as Evans.  Richardson reprised the role beautifully, but my goodness was I impressed with Marco!  A young and inexperienced dancer, the intensity and clarity with which he felt and danced the character of Evans really choked me up.  I have admired his dancing since he joined the company, but last night he proved that he can and will develop into an all-round performer who will be able to bring something meaningful to the dramatic roles.  He has a great future ahead of him, and huge kudos to Wayne McGregor for giving him this chance to shine.

 

In Becomings, Melissa Hamilton was stunning.  This is really her type of choreography and movement and she expresses it so well.  Luca Acri was also on top fettle here, and together they were incredibly exciting.  

 

I now look forward to seeing what Miss Osipova makes of the role, but have to wait with bated breath until the 23rd.  

[alison]

2 hours ago, Sim said:

Septimus was again played by Calvin Richardson, this time partnered with Marco Masciari as Evans.  Richardson reprised the role beautifully, but my goodness was I impressed with Marco!  A young and inexperienced dancer, the intensity and clarity with which he felt and danced the character of Evans really choked me up. 

 

Me too.  Hugely impressive.

[Richard LH]

In addition to the excellent dancers mentioned by Sim I would add that I was impressed with Ashley Dean as a very graceful Young Clarissa. She is really coming into her own now as a Soloist. 

[Sim]

2 minutes ago, Richard LH said:

In addition to the excellent dancers mentioned by Sim I would add that I was impressed with Ashley Dean as a very graceful Young Clarissa. She is really coming into her own now as a Soloist. 

Yes, I forgot to mention her but I should have.  She was indeed very impressive.  

[Sabine0308]

1 hour ago, alison said:

 

Me too.  Hugely impressive.

Marco Masciari graduated from Académie Princess Grace in 2020 after winning Prix de Lausanne the same year. APG certainly is one of the best schools worldwide, nurturing and training very talented dancers ❤️

[postie]

Yes, I also loved Ashley Dean at the rehearsal - huge energy and great confidence, and rightly so. I am going to say gusto. There.

 

RE Rob's photos above, I don't know what the answer is but those pants are a bit M&S Christmas briefs-ish.

 

Maybe it's just my weird associations.

[MJW]

Very pleased to see the positive reviews thus far of this run of Woolf Works. I’m going to my first performance Saturday lunchtime as my cold has thankfully passed and which caused me to cancel going to the general rehearsal. Very much looking forward to it especially as I haven’t even seen a screened recording before.

[alison]

13 hours ago, PeterS said:

it's been puzzling me. in 'Tuesday', the character beautifully danced by Matthew Ball/William Bracewell/Reece Clark appears to have opaque black tights at the start of the piece but when he returns later on the tights appear translucent. i

has there been a costume change or is it just a trick of the light? 

 

I've always assumed it was a trick of the light.

[annamk]

Hot on the heels of Tiler Peck joy at Sadlers Wells comes an utterly dispiriting afternoon at the RoH.

 

I didn't love Woolf Works in previous runs but wanted to give it another try so I saw the rehearsal and Parts 1 & 2 this pm. 

 

IMO when Wayne McGregor burst onto the dance scene he was original and interesting but it has been some years now since he has morphed into a choreographer who is all style and no substance. Strip away the artful staging and attractive lighting and I find I am watching tedious choreography full of tropes that tell me nothing about the characters. 

 

But by far the worst thing about WW that left me and my 25 year old daughter angry and upset this afternoon was the manner in which the female dancers in Orlando are endlessly manipulated by the men into a succession of one splayed and open crotch pose after another. Some of the positions are demeaning to the women and frankly downright embarrassing to watch. In 2023, the age of "me too" and more empowerment for women, how on earth is this appropriate on the stage of the Royal Opera House ? How does it make sense that ballets like Bayadere and Fille are unlikely to be performed in London in future because of cultural and other modern sensibilities and yet, and yet, this style of partnering is apparently fine ? 

 

[LinMM]

I know what you mean annamk and I’ve said before McGregors Pieces can go on for that bit too long so certain moves do come a bit repetitive but I wonder as the Orlando section is pure dance really so it’s sort of just “bodies” almost “de humanised”

moving through Space and Time whether some of those more extreme positions are quite so “bad” in a sense as the dancers are not really portraying people so much as they are in the first and third Acts. 
If these positions were more prominent when a dancer was portraying a real character perhaps it would be slightly less acceptable or seen as a little more gratuitous. And at least they weren’t wearing just knickers and vests as they are in some pieces. 
A pity you didn’t stay for Act three as I think that’s the most moving Act in the Ballet. 

[Richard LH]

32 minutes ago, annamk said:

by far the worst thing about WW that left me and my 25 year old daughter angry and upset this afternoon was the manner in which the female dancers in Orlando are endlessly manipulated by the men into a succession of one splayed and open crotch pose after another. Some of the positions are demeaning to the women and frankly downright embarrassing to watch.

Yes I found this aspect quite uncomfortable, seen live....somehow I had not noticed it on the 2017 recording. Much of the movements seemed more redolent of pole dancing than ballet! Apart from the questionable taste, a   lot of the choreography could be criticised for laziness in terms of its repetitiveness.

 

Pleased that the Tiler Peck went well though...I checked out tickets for tonight but it was sold out.

Edited March 11, 2023 by Richard LH

[LACAD]

Just back from the matinee performance with Ferri’s cast. The first act was so touching and strong with absolutely everyone stepping to the plate.

 

Becomings I felt wasn’t as strong as the previous cast I saw led by Hamilton, this cast seemed a bit tired perhaps or not making full use of the fluid McGregor style. Joseph Sissens is a notable exception to this, what a dancer!

 

Tuesday nearly moved me to tears, Ferri made even the simple act of walking appear like the most profound act on stage. Throughout the ballet she was just magnificent, a living legend. Mayara Magri also was a wonderful presence in the final act, so tender and caring. 
 

What I will say in response to annamk’s very valid reaction to the women in Becomings, McGregor generally as a choreographer is more interested in the construction of bodies together, something that is usually sexless and architectural. However in Becomings, which is based on Orlando, it’s no secret that there is a layer of sexuality in it. The book’s title character has many dalliances, I see this as why there is a certain sexual tension in many of the pas de deux. However to me it doesn’t always feel as if the woman are manipulated and degraded, there is manipulation, but in some instances the woman decides to wrench her leg up or to wrap her arms around her partner.

[LACAD]

It was also lovely to see some of the dancers from Tiler Peck’s programme in the foyer earlier! I spotted KJ Takahashi, Quinn Starner, and a very happy Lauren Lovette (I wonder if she was enjoying the performance).

[postie]

Others, can and will, be more eloquent than I could be about this afternoon  but I do want to say I never imagined seeing Fumi as she was in Beginnings. She was transcendent.

 

In Tuesday, I got slightly excited when it struck me Alessandra Ferri is a 59-year old professional artist, here playing a 59-year old professional artist. At the risk of a spoiler, I'd say one of them has, literally, the legs for many more.

 

I wonder if I was too overpowered at the rehearsal for the full effect to take hold. Today I just feel exhilarated.

 

Mcgregor and Richter have created a work of art that allows fellow artists to fly as high as they dare. It's a wonderful gift.

[postie]

1 hour ago, annamk said:

 

But by far the worst thing about WW that left me and my 25 year old daughter angry and upset this afternoon was the manner in which the female dancers in Orlando are endlessly manipulated by the men into a succession of one splayed and open crotch pose after another. Some of the positions are demeaning to the women and frankly downright embarrassing to watch. In 2023, the age of "me too" and more empowerment for women, how on earth is this appropriate on the stage of the Royal Opera House ? How does it make sense that ballets like Bayadere and Fille are unlikely to be performed in London in future because of cultural and other modern sensibilities and yet, and yet, this style of partnering is apparently fine ? 

 

 

Interesting. Fwiw, I saw men in tutu's and women not, as well as both n tutu's and neither. I saw men with their masculine bits tied down somewhere and virtually no bulge at all. I saw a lot of ungendered dancing in singles and in pairs.

 

I just didn't see what you saw. But i do have a cheap and cheerful standing ticket and will take care to note any open crotches.

Edited March 11, 2023 by postie
tuto/tutu

[Cescablue]

Just back from the matinee.  Alessandra Ferri was amazing - as expected - and it was dream come true stuff to see her after being a fan for more years than I care to mention.

 

The company really is amazing at the moment - so much talent.

 

Felt totally spoilt to see, as well as Ferri, Naghdi, Hayward, Bracewell, Richardson, Magri.  Joseph Sissens though, both as Evans and in Becomings - an absolute stand out, so talented! (and I always notice his beautiful soft arms!). 

 

 

[Cescablue]

5 minutes ago, postie said:

 

Interesting. Fwiw, I saw men in tutu's and women not, as well as both n tutu's and neither. I saw men with their masculine bits tied down somewhere and virtually no bulge at all. I saw a lot of ungendered dancing in singles and in pairs.

 

I just didn't see what you saw. But i do have a cheap and cheerful standing ticket and will take care to note any open crotches.

 

I agree, Postie.  It just didn't strike me as sexual at all (I have no knowledge of the source material, so maybe that could be considered a flaw of the choreography as others have suggested it has a layer of sexuality), but I only saw extremely athletic and impressive dancing. Funny how we all take different things away from the same choreography., though I guess we all take different perspectives to it.

 

And now a totally daft question no doubt - where in the ballet does the soprano sing?! I didn't notice it today, and have never noticed it when watching the DVD either....  Thanks in advance! 

[Sim]

32 minutes ago, postie said:

Others, can and will, be more eloquent than I could be about this afternoon  but I do want to say I never imagined seeing Fumi as she was in Beginnings.

Becomings...

[Sim]

3 minutes ago, Cescablue said:

 

I agree, Postie.  It just didn't strike me as sexual at all (I have no knowledge of the source material, so maybe that could be considered a flaw of the choreography as others have suggested it has a layer of sexuality), but I only saw extremely athletic and impressive dancing. Funny how we all take different things away from the same choreography., though I guess we all take different perspectives to it.

 

And now a totally daft question no doubt - where in the ballet does the soprano sing?! I didn't notice it today, and have never noticed it when watching the DVD either....  Thanks in advance! 

She sings in Act 3.

[Cescablue]

Just now, Sim said:

She sings in Act 3.

Thank you!  I think I was just too absorbed by the dancing today - will have to return to the DVD to check it out.

[Silke H]

On 10/03/2023 at 10:56, PeterS said:

it's been puzzling me. in 'Tuesday', the character beautifully danced by Matthew Ball/William Bracewell/Reece Clark appears to have opaque black tights at the start of the piece but when he returns later on the tights appear translucent. i

has there been a costume change or is it just a trick of the light? 

I noticed the change too and believe he wears regular men's ballet tights at first and then the sheer version towards the end

[capybara]

48 minutes ago, postie said:

Others, can and will, be more eloquent than I could be about this afternoon  but I do want to say I never imagined seeing Fumi as she was in Beginnings. She was transcendent.

Fumi Kaneko seems to be able to ‘do anything’! She was outstanding in Becomings.

 

But, then, Yasmine Naghdi also displayed her incredible versatility as the young Clarissa.

 

In a week where amazing tributes are being paid to the great Lynn Seymour, I wonder whether we, today’s audience, are appreciating what we have today enough. (I could, of course, add in other names but, in addition to Ferri, it was the star talent of Fumi and Yasmine which grabbed me this afternoon.)

 

 

Edited March 11, 2023 by capybara

[postie]

Folks! It's Becomings. Becoming, Becomings! Thank you, thank you.

 

It is vey UNbecoming; can I please plead overtiredness from todays exertions ..