Odyssey Posted January 13 Share Posted January 13 It occurs to me that Kevin O’Hare is now entering his 12th year as artistic director of the Royal Ballet. A tenure that, although considerably shorter than Madam ( Dame Ninette ), is quite a few years longer than any other director. I would be interested to know people’s thoughts on the advantages and disadvantages of having someone at the helm for this length of time. I should add that no way is this meant to be disrespectful to Mr. O’Hare, who has undoubtedly achieved a great deal. 3 Link to comment Share on other sites More sharing options...
Emeralds Posted January 13 Share Posted January 13 (edited) Ooh....coming up close to Anthony Dowell's 15 years! It doesn't feel like 12 years, but I think the pandemic closures make it seem shorter. Umm, he's done quite well I guess, but would have preferred more runs and performances of classical works like Ashton, MacMillan, Cranko etc and shorter runs of unpopular modern creations. However, brownie points to him for reviving The Two Pigeons. Edited January 13 by Emeralds 7 Link to comment Share on other sites More sharing options...
Odyssey Posted January 13 Author Share Posted January 13 I should correct my opening remarks. Yes, Sir Anthony Dowell did serve for 15 years . 1 Link to comment Share on other sites More sharing options...
Cayetana Posted January 13 Share Posted January 13 45 minutes ago, Emeralds said: I think the pandemic closures make it seem shorter. this is very true, I think. In posts of this responsibility and overarching complexity, I think that some continuity is important to make a real impact eg commissioning of new works, nurturing of dancers etc - but the post also needs to be scrutinised regularly in-house and from the outside, as Emeralds does above. I think some of the runs of the classics are too long, even if I enjoyed them! would like to see even more variety of old works and new arrivals. 2 Link to comment Share on other sites More sharing options...
Ian Macmillan Posted January 13 Share Posted January 13 Helgi Tomasson was Director over in San Francisco for some 37 years, I believe, and I was never aware of complaints that he served for too long. Just a thought. https://www.sfballet.org/a-tribute-to-helgi-tomasson/ 3 Link to comment Share on other sites More sharing options...
Paco Posted January 13 Share Posted January 13 (edited) 7 hours ago, Emeralds said: It doesn't feel like 12 years, but I think the pandemic closures make it seem shorter. Agree. At Paris Opera, Serge Lifar stayed 19 years, so did Brigitte Lefevre. Regarding Mr O'Hare, his mandate is a very complex one, having had to go through the pandemic years and, just after, the financial pressure due to the ROH post-Covid difficult situation + the inflation. 12 years: From my spectator point of view it seems shorter, but perhaps from his point of view it seems a century, he must be exhausted after those crisis in such a short time! If it were a piece in 3 acts, I think KOH has completed Acts 1 & 2, and Act 3 has not started yet, last and current seasons being kind of an "interval": Act 1 was to uplift the company from an already very good one to a stratospheric one, comparable only to Bolshoi or Mariinsky, and this Act has been a huge, tremendous success, regarding both the corps de ballet and the new generation of Principals and Soloists. Act 2 was to refresh some classic productions, which he initiated with the new Swan Lake, and to create new full-length, like Winter's tale or Woolf Works. Act 3, for me, would be to create other new classic ballets (enlarge the repertoire) and/or new full-length, but this has obviously been interrupted by the two crisis and I am pessimitic about his ability to raise sufficient money to develop ambitious programs. I am afraid he will be constrainted into seasons like the current one, with looong runs of blockbusters in the main hall + a few contemporary works at the Linbury. But I hope I am wrong and too pessimistic. Edited January 14 by Paco 6 Link to comment Share on other sites More sharing options...
jmhopton Posted January 13 Share Posted January 13 I think Kevin has done a great job in nurturing young dancers and not rushing promotions until the dancers are ready. I do believe the RB is going through a second golden age of dancers, with great strength and depth at all levels. Not to take anything away from the RB school where many of the dancers now come from, even if its just a couple of upper school years. No need these days to hire well known dancers from other countries to supplement our own principals. In fact, these days the traffic is more likely to be the other way, with RB dancers guesting all over the world. I suppose the 2 areas I'd take issue with his directorship are seat prices and rep. OK, seat prices are probably not directly to do with him, more of a corporate Alex Beard sort of decision, but surely Kevin must have some imput in what he thinks balletgoers are willing to pay. Will be interesting to see if he got it right as many on this forum say they can't afford to come as often as they'd like or they'd used to, or they'll buy cheaper tickets if they do come. One of the reasons SCS have become so popular (and scarce) is the rising price of seats. The question of rep has already been well addressed by Emeralds and Cayetana and I agree with them. The RB is a bit inconsistent as one hand the ROH is always pleading poverty, while on the other hand the RB commissions new full length modern ballets by choreographers with little or no ballet training that are usually priced quite cheap (in relation to classical ballets). This appears to increase the price of classical ballets to cover the shortfall in ticket sales which in turn prices out classical balletgoers (see above). These new ballets also cost in terms of production and stage/rehearsal time. While acknowledging we need modern ballets I don't see why we need so many when the RB has one of the richest and most diverse back ballet catalogues in the world and is in danger of losing much of it through non use. The Ashton Foundation five year celebration of the work of Frederick Ashton is a great initiative to promote the work of its founder (and possibly greatest) choreographer and get dancers more used to dancing the Ashton style which is also in danger of disappearing. Also, it will hopefully promote works that are in danger of being forgotten and bring back works into rep that should never have been neglected for so long such as Fille, Sylvia and Les Patineurs. However, there are other choreographers who are also neglected such as Robbins, Tudor, Cranko and Balanchine to name just 4 and it would be great to see more ballets by them and less new commissions even if its just for a year or 2. It could always be justified by having to balance the books post covid. To many balletgoers they would be like new ballets anyway as they're seen so rarely. Slightly shorter runs of the classics would be good too and a more balanced Christmas rep with a mixed bill to go with a Christmas full length classic. Despite these criticisms I think on the whole, Kevin is doing a great job and I'd be happy for him to carry on for quite a few more years yet. 18 Link to comment Share on other sites More sharing options...
Paco Posted January 14 Share Posted January 14 9 minutes ago, jmhopton said: I think Kevin has done a great job in nurturing young dancers and not rushing promotions until the dancers are ready. I do believe the RB is going through a second golden age of dancers I totally agree 3 Link to comment Share on other sites More sharing options...
Sophoife Posted January 14 Share Posted January 14 David McAllister's tenure at AusBallet was from July 2001 to January 2021. Maina Gielgud directed the company from 1983-1996. Lucia Chase founded and directed ABT from 1940-1980. Oliver Smith joined Chase in 1945 and remained until 1980. Kevin McKenzie was AD at ABT from 1992-2022. 2 Link to comment Share on other sites More sharing options...
Paco Posted January 14 Share Posted January 14 (edited) I think one of the great accomplishment of Mr O'Hare directorship is the mindset that he developed at the company: a team-spirit, a kind of excitement to dance, energy, an amazing synchronisation of movements in the corps de ballet and in the pas de deux, a way to dance the ensemble with a goldsmith precision. It was not the case before his direction, it is really his "marque de fabrique". Last year and even recently I have seen excellent ballets in Amsterdam, la Scala, Paris. However it has nothing to compare with the Royal Ballet in terms of precision and excellence of the ensemble. The Royal Ballet stands just in another planet, where Bolshoi used to be (I don't know now). Even yesterday, I was amazed while looking at a short insta video of a gala in Barcelona with Osipova and Clarke. The arms and legs movements from both were so amazingly synchronized and homogeneous : arms heights totally similar, head moves like siamese... One would say "hey it's normal, it's Osipova, and Clarke is a good partner". No it's not that: it's just Royal Ballet! Nowhere would you find such precision, such amazing attention to details, even at outstanding partnerships like Smirnova-Tissi or Manni-Andrijaschenko. Edited January 14 by Paco 8 Link to comment Share on other sites More sharing options...
Geoff Posted January 14 Share Posted January 14 5 hours ago, jmhopton said: No need these days to hire well known dancers from other countries to supplement our own principals. Thank you for an interesting post. Just on this point though, am I the only person who misses the preBrexit time when it was easier (and cheaper) to bring in occasional stars from overseas? 1 Link to comment Share on other sites More sharing options...
Geoff Posted January 14 Share Posted January 14 (edited) 6 hours ago, Paco said: Act 2 was to refresh some classic productions, which he initiated with the new Swan Lake Refresh? The new Swan Lake sets are stupendous. But the sooner this awful production gets - what’s the polite word in the circumstances - reviewed, the better for ballet. I went to nearly every performance in the first run (those were the days when such commitment was affordable) and ended up hating just about every one of its dull innovations. Just because the man responsible subsequently died tragically is surely no reason to hold on to what doesn’t work. People will always book for Swan Lake but that’s no reason to be complacent. Edited January 14 by Geoff 1 Link to comment Share on other sites More sharing options...
TSR101 Posted January 14 Share Posted January 14 Personally I think O'Hare's major accomplishments has been creating a contented company (there have been no major losses of company stars at their peak/many scandals since he really got into the job - even the Scarlett affair caused seemingly little issues within the company), and a continued drive to create new full-length works. He has as others have said had to deal with a lot of external factors - covid/inflation etc that will have made the jobs particularly difficult too. That said - I agree the runs for classics are too long - and his drive for contemporary work risks damaging the company in the long term. Since the loss of Scarlett, there is limited backing for nurturing classical/neoclassical choreography which is the backbone of the company. There has also been an unnecessary emphasis placed on what I guess can be best described as political correctness (albeit this is a something that is far more widespread than just RB/ROH) and if this leads to classics such as La Bayadere being dropped this will be a huge loss for British ballet. There is no company I prefer in the world to the RB but I do feel that some of the above comments on the quality of the dancers is a bit over the top/shows a home bias. They are obviously very talented but I don't think they are particularly more talented that the other top companies - and by historical standards this isn't the most impressive principal line-up. Beyond Nunez/Osipova they aren't 'names' either which doesn't help drive ticket sales. Unlike the above poster, I think not bringing in talent from outside the company is not really a show of strength - no one ballet school is going to provide all the best/most talented dancers - at worst its a demonstration of a lack of ambition and at best its a policy chosen to support harmony in the company by offering more opportunities. However, where would the historical legacy of the RB be if it had not brought in Nureyev, Guillem or Acosta for example? That's before you even move on to the Cojocarus, Kobborgs, Mukhamedov etc. Of the two star names and best ticket sellers - Nunez basically came straight to the company by way of RBS due to employment law, and Osipova was an external recruit (not sure how above poster can claim Osipova as an example of RB excellence for this reason - if anything although she is still wonderful she is not at her 2009-2014 prime imo). Even Vadim is arguably only the Vadim we have because he moved to ENB where they instantly starting giving him principal roles - he had already done the main male role in Swan Lake, Giselle, Cinderella, Nutcracker and more in his first 12 months! Ten years on the RB still needs to be willing to go and bring in the best talent. 2 hours ago, Geoff said: Thank you for an interesting post. Just on this point though, am I the only person who misses the preBrexit time when it was easier (and cheaper) to bring in occasional stars from overseas? I don't think there is a factually basis for this assertion on Brexit - it would be very easy for them to bring in guest principals if they wanted too. They have a huge principal roster now that has grown hugely/doubled in size over the past 15 years which covers most roles and when they don't use them, they very often put junior dancers into major roles (which seems more about having a policy of providing opportunities within the company to boost morale and provide a talent pipeline). Plus it saves money not too. 6 1 Link to comment Share on other sites More sharing options...
capybara Posted January 14 Share Posted January 14 (edited) 3 hours ago, Geoff said: Thank you for an interesting post. Just on this point though, am I the only person who misses the preBrexit time when it was easier (and cheaper) to bring in occasional stars from overseas? Please NO! The RB’s Principals get far too few shows as it is and, at this moment in time, having guests could appear to devalue the Royal’s illustrious roster. Reference is made above to the RB’s stars not being ‘names’. They never will be if ‘outsiders’ are shipped in. Edited January 14 by capybara 7 Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 14 Share Posted January 14 David Nixon was the Artistic Director at Northern Ballet for 21 years and Sir David Bintley was at the helm of BRB for 24 years. 3 1 Link to comment Share on other sites More sharing options...
RobR Posted January 14 Share Posted January 14 3 hours ago, Geoff said: Refresh? The new Swan Lake sets are stupendous. But the sooner this awful production gets - what’s the polite word in the circumstances - reviewed, the better for ballet. I went to nearly every performance in the first run (those were the days when such commitment was affordable) and ended up hating just about every one of its dull innovations. Just because the man responsible subsequently died tragically is surely no reason to hold on to what doesn’t work. People will always book for Swan Lake but that’s no reason to be complacent. Well, that’s a perspective but I have to say that I positively prefer the Scarlett production. I have never missed the tutor dancing with the children, Siegfried’s friends getting ‘tiddly’, the six dancing princesses …. Oh, I could go on but ….. 10 Link to comment Share on other sites More sharing options...
Geoff Posted January 14 Share Posted January 14 8 minutes ago, RobR said: Well, that’s a perspective but I have to say that I positively prefer the Scarlett production. I have never missed the tutor dancing with the children, Siegfried’s friends getting ‘tiddly’, the six dancing princesses …. Oh, I could go on but ….. Indeed RobR. I made no comment on any past RB productions, just hope that one day someone will stage a production worthy of the new tremendous sets (which have gone a long way to distract from other things: the clumsy magic, the odd new narrative, the dull new ensembles, Benno’s deeply uninteresting - and distracting - “character development”, the faux pdd, Oh, I could go on, but …) 1 Link to comment Share on other sites More sharing options...
Fonty Posted January 14 Share Posted January 14 25 minutes ago, Geoff said: Indeed RobR. I made no comment on any past RB productions, just hope that one day someone will stage a production worthy of the new tremendous sets (which have gone a long way to distract from other things: the clumsy magic, the odd new narrative, the dull new ensembles, Benno’s deeply uninteresting - and distracting - “character development”, the faux pdd, Oh, I could go on, but …) Yes, I found the increased focus on Benno rather odd. A bit like doing a new production of Giselle, and focusing most of the attention on Hilarion in Act 1. I think Mr O'Hare has done ok. My main criticism is his choice of programming. It would seem that it is now compulsory, apparently, to put on one of the 3 major full length MacMillan ballets every year, taking up a huge part of the season. Fond as I am of them, I don't think they should be given such preference over everything else in the back catalogue. Also, I do not like the fact that he seems reluctant to nurture a new classical ballet choreographer. Monica Mason employed MacGregor for reasons that escape me, but why he is still there after all this time baffles me. In fact, another interesting question would be regarding the tenure of the resident choreographer, who has been in post coming up for 18 years now. 15 Link to comment Share on other sites More sharing options...
Sim Posted January 14 Share Posted January 14 The occasional guest star does still appear with the RB. For example, they are bringing in Roberto Bolle to dance with Marianela in Manon. They brought in Alessandra Ferri to dance in Woolf Works. 7 Link to comment Share on other sites More sharing options...
Geoff Posted January 14 Share Posted January 14 4 minutes ago, Fonty said: Yes, I found the increased focus on Benno rather odd. Those familiar with Liam Scarlett’s life might hazard an explanation - but this is not the place for such speculations. 1 Link to comment Share on other sites More sharing options...
TSR101 Posted January 14 Share Posted January 14 2 minutes ago, Sim said: They are bringing in Roberto Bolle to dance with Marianela in Manon. They brought in Alessandra Ferri to dance in Woolf Works. TBH I think Ferri is McGregor's choice rather than KOH. Bolle presumably because of longstanding relationship with Nunez and her power to get a partner of her choice (plus injuries Corrales, McRae etc). 1 minute ago, Geoff said: Those familiar with Liam Scarlett’s life might hazard an explanation - but this is not the place for such speculations. I find comments about this forum like this so odd - of all the places in the world, internet forums are literally the place for speculation lol - oh well! 1 Link to comment Share on other sites More sharing options...
Geoff Posted January 14 Share Posted January 14 1 minute ago, TSR101 said: I find comments about this forum like this so odd - of all the places in the world, internet forums are literally the place for speculation lol - oh well! Apologies. But I am familiar both with the law of defamation and the rules of this Forum so wish to say no more on the subject. 2 Link to comment Share on other sites More sharing options...
TSR101 Posted January 14 Share Posted January 14 2 minutes ago, Geoff said: Apologies. But I am familiar both with the law of defamation and the rules of this Forum so wish to say no more on the subject. TBH my comment was really aimed at the rules of the forum and I didn't expect you to expand on what you said but surely defamation laws are irrelevant - notwithstanding any other defence - since the person you named is no longer with us. 1 Link to comment Share on other sites More sharing options...
Geoff Posted January 14 Share Posted January 14 3 minutes ago, TSR101 said: TBH my comment was really aimed at the rules of the forum and I didn't expect you to expand on what you said but surely defamation laws are irrelevant - notwithstanding any other defence - since the person you named is no longer with us. Thank you. To repeat, I know the law of defamation. And also to repeat, I am not going to say any more. 2 Link to comment Share on other sites More sharing options...
LinMM Posted January 14 Share Posted January 14 Please can we not go into a discussion about Liam Scarlett and just what you may like or dislike about his Swan Lake! Or perhaps why if Kevin O Hare does have any influence at all why the prices for the Swan Lake this season are just SO over the top!! 3 Link to comment Share on other sites More sharing options...
Sim Posted January 14 Share Posted January 14 16 minutes ago, TSR101 said: TBH my comment was really aimed at the rules of the forum and I didn't expect you to expand on what you said but surely defamation laws are irrelevant - notwithstanding any other defence - since the person you named is no longer with us. The rules of this forum were established because we also know and understand defamation laws. 3 2 Link to comment Share on other sites More sharing options...
Sim Posted January 14 Share Posted January 14 10 minutes ago, LinMM said: Please can we not go into a discussion about Liam Scarlett and just what you may like or dislike about his Swan Lake! Or perhaps why if Kevin O Hare does have any influence at all why the prices for the Swan Lake this season are just SO over the top!! I don’t think Kevin has anything to do with pricing. 4 Link to comment Share on other sites More sharing options...
Geoff Posted January 14 Share Posted January 14 7 minutes ago, LinMM said: Please can we not go into a discussion about Liam Scarlett and just what you may like or dislike about his Swan Lake! I agree LimMM and apologise for drifting from the topic. One Swan Lake issue is relevant: the extent to which this production is - or is not - evidence supporting what one hears occasionally, ie that KOH, for all his self-evident strengths, is less interested in / fearful of / feels himself not competent in making judgements in detail on choreography and new productions. 1 Link to comment Share on other sites More sharing options...
LinMM Posted January 14 Share Posted January 14 (edited) Actually re reading my post it could be confusing! I meant yes definitely talk about Liams Swan Lake but not just about him!! Sim I wouldn’t have naturally thought Kevin would have much input into prices but a poster was asking this previously however if indirectly through his seasonal programming this is causing the Swan Lakes and Sleeping Beauty’s to almost out price many people in going then there could be an issue there but obviously not solely his. Edited January 14 by LinMM 1 Link to comment Share on other sites More sharing options...
jmhopton Posted January 14 Share Posted January 14 (edited) Several good points been made. I like TSR101 comment about a contented company. Perhaps this is partly at least due to Kevin's flexibility in letting dancers guest abroad as long as it doesn't interfere with their RB performances, (Though I do worry about injuries and fatigue). But he must also create a good, relaxed atmosphere where dancers largely want to spend their career, not use it as a stepping stone to move on. This, despite that not all dancers seem to get the stage time they deserve, which again is the result of being in such a strong company. Also strongly agree about the RB being a great team and all the ballets being a great team effort. It's never all about the principals (amazing as they are) but everyone on stage. The role of character actor has been elevated to great heights by the RB and they add so much to every performance to the extent that I check to see who is dancing Drosselmeyer, M. GM etc when I book a performance. I know all companies have a roster of character actors but the RBs are especially fine and are an integral part of the Company. We tend to take them for granted but I'm sure it doesn't just happen;it must be part of the company's ethos and values and that's down to the AD. Edited January 14 by jmhopton 8 Link to comment Share on other sites More sharing options...
zxDaveM Posted January 14 Share Posted January 14 1 hour ago, RobR said: Well, that’s a perspective but I have to say that I positively prefer the Scarlett production. I have never missed the tutor dancing with the children, Siegfried’s friends getting ‘tiddly’, the six dancing princesses …. Oh, I could go on but ….. Yes, the National Princesses leading their national dancers is way better than having 6 prospective brides clashing in the same dress!! My only problem (a small one) is the ending. But then many other SL's falter there - so much plot to get into a short stretch of magnificent music 5 Link to comment Share on other sites More sharing options...
capybara Posted January 14 Share Posted January 14 (edited) 1 hour ago, Sim said: The occasional guest star does still appear with the RB. For example, they are bringing in Roberto Bolle to dance with Marianela in Manon. They brought in Alessandra Ferri to dance in Woolf Works. Neither necessary in my view, although Ferri is an extraordinary artist (requested by McGregor) but now contributing more widely to the RB’s output. Generalisations about the overall atmosphere in a Company are tricky. But best not to ‘go there’. Edited January 14 by capybara 1 Link to comment Share on other sites More sharing options...
LinMM Posted January 14 Share Posted January 14 I also think dancing on the same stage all the time must make a difference to the overall quality of performances. It’s difficult for Companies like ENB and Northern for example to compete with this but do amazingly well in the circumstances. The AD must make a huge difference in how long dancers want to remain with a Company so in this respect Mr. O Hare is doing very well. There’s always room for guest appearances of dancers from other Companies though …but maybe more like swaps …we get the occasional ( note the word occasional!) guests from other major Companies and the RB principals guest elsewhere too. 4 Link to comment Share on other sites More sharing options...
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