Royal Ballet: Rhapsody/Tetractys - The Art of Fugue/Gloria: February 2014

[billboyd]

Didn't Frederick Ashton have only one cast for Margaurite and Armand - but understudies at the ready?

[John Mallinson]

McGregor's company, Random Dance, only has 10 members so, like most modern dance companies, no possibility of double casting there. It's maybe coming from that ethos that he hasn't usually had more than one cast for his Royal Ballet works. I think it's pretty clear that he does choreograph to the individuality of the dancers but that hasn't stopped him having two casts for Chroma and Raven Girl, and staging Chroma with other companies.

 

I guess, as usual, we won't know the full story of why things went so awry last night.

[zxDaveM]

Random Dance almost certainly has the one cast - his own company only 12 strong I think. Whatever the exact number, from what I've seen, the entire company is the cast, for each work. I have no idea how they cope with injury or sickness. Perhaps they do what they did in the dress rehearsal, and just leave someone out (which generated some quite peculiar 'marking')

There are now generally 2 casts for Chroma, with some other swops (so two and a half casts, as it were), which gives plenty of opportunity for more dancers to experience dancing in the McGregor style - which the dancers do seem to relish. On this occasion, it seems the short notice (a few hours at best) rather than no stand-in cover led to the cancellation. However, had there been a proper full 2nd cast so that each did a show each on the same day, then this scenario far less likely to have arisen.

Perhaps a focus of mind for more than a single cast (especially when shows so close together in the schedule) would be if the refunds bill for Saturday evening came out of his wages, rather than the ROH's funds....

[aileen]

I don't think that we need to know 'the full story'. The fact that the RB - a company of 90 odd dancers - could not put on a third of its triple bill last night because two dancers were indisposed and could not be replaced speaks for itself.

[aileen]

Is it likely that Osipova will be fit to dance on Tuesday? I understand that her injury resulted in some concussion.

[penelopesimpson]

Views of an amateur.  I go as often as I can but have little technical knowlege.  For me yesterday's matinee was a lovely affair.  I was rapturous about Rhapsody.  Francesca Hayward, ravishing.  Is this lady a successor to Cojocaru, maybe?  Rhapsody had a wonderful reception and the audience were touched by the central couple.

 

Wayne Macgregor's works baffle me but I am never sure if I am meant to understand them.  It worked for me on many levels but how much of that was because of the sensational cast left me suspicious of how effective the piece is. I loved the lighting and the staging but found the costume changes irritating and confusing.  As an amateur I enjoy working out who is who and changing costumes rather spoilt this enjoyment.  Athletic, challenging and complicated certainly.  Heart and emotion completely absent.

 

My first time at Gloria and I would like to see it again.  I found it effecting, dramatic and moving.  But I need greater exposure.

 

Have just learnt of the cancellation of the evening performance.  This would seem to me, wearing my commercial hat, to be a spectacular own goal.  

Edited February 9, 2014 by penelopesimpson

[Ian Macmillan]

John, Dave:  When Cathy Marston had the company in Bern, it was normally circa 13/14 strong, and I know that there were second casts for all the works that I saw there, and that she brought here.  And I see that the ROH News item still reads as last night re Tuesday - ie 'hopeful that the cast will have recovered.'  To me that does not sit easily alongside having covers unable to integrate at short notice.

[Bruce Wall]

 I understand that her [Osipova] injury resulted in some concussion.

 

Having made this statement - and I had not heard this and was present at both of the presentations of this piece - I wondered where you drew your source from Aileen vis a vis 'some concussion'.  Was a specific diagnosis published in an official report?  

Edited February 9, 2014 by Meunier

[Jane S]

Didn't Frederick Ashton have only one cast for Margaurite and Armand - but understudies at the ready?

I think I've read somewhere that Ashton hated having to prepare a second cast and only did it because de Valois insisted. And later, didn't they have to cancel the 2nd performance of Month in the Country because Seymour was ill? Though the recompense then was not a refund but an extra perormance, squeezed in in the early evening one day the next week, with Serenade (the opening number of the bill) as well, free for all ticketholders of the original programme.

[Jan McNulty]

It was on twitter yesterday.

[Fonty]

Regarding Marguerite and Armand, wasn't it only ever supposed to be danced by Fonteyn and Nureyev?  Does anyone know who the understudies were? (Bit of a long shot, I know, it was quite a long time ago!)

 

It is interesting that everyone seems to have rave reviews for Rhapsody.  When was the last time the RB performed this? 

[Bruce Wall]

Ah, Twitter ... I see.  Thank you, Janet.  Did it say who specifically published such on Twitter, Janet?  Sorry to be pedantic, but I personally  feel if a specific report of someone's personal health - which is surely a private affair - is to be made public then the specific sources of such information - and not just the medium itself - (e.g., 'on television') should be made public.  I would very much hope that such had the approval of the wonderful Ms. Osipova herself.  As the RB's resident choreographer said of her, himself:  'She is endlessly creative'.  I found her detail - so different in its immaculate response at both of the performances I was privileged to attend of The Art of the Fugue - endlessly fascinating.  I was entranced by the drama she instilled in her assigned 'factoring' in this piece.  

Edited February 9, 2014 by Meunier

[aileen]

Meunier, I read this somewhere on Twitter. Folks, just ignore my last post. Tuesday will reveal how serious Osipova'a injury is.

[Jan McNulty]

Meunière I read it on a twitter feed yesterday. I can't remember which Twitter feed.

[Bluebird]

Ah, Twitter ... I see.  Thank you, Janet.  Did it say who specifically published such on Twitter, Janet?  Sorry to be pedantic, but I personally  feel if a specific report of someone's personal health - which is surely a private affair - is to be made public then the specific sources of such information - and not just the medium itself - (e.g., 'on television') should be made public.  I would very much hope that such had the approval of the wonderful Ms. Osipova herself.  

 

It was already in the public domain, Meunier.  Kevin O'Hare came out on stage to make the announcement of the cancellation and it was he who used the word 'concussion'.  

[annamicro]

It was already in the public domain, Meunier.  Kevin O'Hare came out on stage to make the announcement of the cancellation and it was he who used the word 'concussion'.  

and also said that the doctor that visited her recommended 48 hours of rest... definitely not lack of details :-)

Edited February 9, 2014 by annamicro

[bangorballetboy]

Ah, Twitter ... I see.  Thank you, Janet.  Did it say who specifically published such on Twitter, Janet?  Sorry to be pedantic, but I personally  feel if a specific report of someone's personal health - which is surely a private affair - is to be made public then the specific sources of such information - and not just the medium itself - (e.g., 'on television') should be made public.  I would very much hope that such had the approval of the wonderful Ms. Osipova herself.  As the RB's resident choreographer said of her, himself:  'She is endlessly creative'.  I found her detail - so different in its immaculate response at both of the performances I was privileged to attend of The Art of the Fugue - endlessly fascinating.  I was entranced by the drama she instilled in her assigned 'factoring' in this piece.

 

I said it on twitter, moments after Kevin O'Hare announced the same from in front of the curtain. Is that enough certainty of source for you?

[loveclassics]

Could the lack of a performance-ready second cast be due to the fact that McGregor's style of dance is so radically different from classical ballet?  I remember reading somewhere that dancers risk damaging their bodies if they are rehearsing and performing in both a modern piece and a classical one during the same time period.  Guillem (predictably) was very outspoken about this issue and refused to perform in a classical ballet (I think it might have been Giselle) in the same month that she was dancing Mat Eks' Carmen.   And the potential risk to the company is increased because McGregor uses so many principals in one cast.

 

Just a thought, could be totally wrong.

 

Linda

 

Ed for punctuation.

Edited February 9, 2014 by loveclassics

[Bruce Wall]

I said it on twitter, moments after Kevin O'Hare announced the same from in front of the curtain. Is that enough certainty of source for you?

 

Thanks so Bangorballetboy.  It is simply knowing the source.  That is excellent, not just for me - but surely for BalletcoForum.  On behalf of all, thank you:  Indeed, thank you to ALL responders.  I, myself, was not present at last night's ROH outing having seen the previous two performances.  Thank you for the information. I pray Ms. Osipova will have a very speedy recovery indeed.  

Edited February 9, 2014 by Meunier

[Jane S]

Regarding Marguerite and Armand, wasn't it only ever supposed to be danced by Fonteyn and Nureyev?  Does anyone know who the understudies were? (Bit of a long shot, I know, it was quite a long time ago!)

 

It is interesting that everyone seems to have rave reviews for Rhapsody.  When was the last time the RB performed this?

 

Seymour and Gable were the understudies, I think.

 

It's about 3 years since the last run of Rhapsody. - Macrae/Cojocaru and Polunin/Morera. Polunin was just amazing.

[chrischris]

I have very mixed feelings over this.  It's fine for people who are regulars and can go more than once.  I would have been somewhat disgruntled if this had been my one ROH treat of the year and I was only able to see 2/3 of the programme, especially as I have enjoyed the Wayne McGregor pieces I have already seen.

 

Exactly, and it's just unfortunate that it was a Saturday night performance, as I imagine that is when a lot of non-regulars go.

[chrischris]

This is the time of year as well when everyone has colds or the flu and people feel generally rubbish, so the lack of a second cast is so bizarre. I think I remember reading Ratmanksy say putting on 24 Preludes for the RB this time last year was tough as there wasn't much rehearsal time and everyone was sick (and there was an almost complete switch in cast for one of the performances) so you'd think they would prepare for the possibility.

[zxDaveM]

dib, dib, dib - be prepared!

 

and all that

[Fonty]

 

It's about 3 years since the last run of Rhapsody. - Macrae/Cojocaru and Polunin/Morera. Polunin was just amazing.

 

Was it really such a short while ago?  I remember seeing it, but I thought it was much earlier than that.  Where does the time go?

[ElleC]

I thought this triple bill made an interesting programme.  Given that I’m not really a Wayne McGregor fan and I also have a real bee in my bonnet about expensive lighting installations that distract me from the dancing, it rather surprised me that I actually quite liked Tetractys, finding the costumes and lighting (not at all distracting!) attractive and the choreography much more balletic and musical than usual.  The dancers (as always) were wonderful, and both Osipova and Nunez in particular moved with grace and elegance even when being wound and twisted into the most extreme positions.  Nicol Edmonds also stood out for me.  I think the purpose behind it probably went over my head somewhat but, for me, this was definitely one of McGregor’s most enjoyable pieces. 

 

I never fail to find Gloria moving - that combination of the barren, smoked-filled landscape filled with ghostly women and war-torn soldiers combined with the powerful music make such an impact.  Both casts were very effective in creating a sobering but spiritual atmosphere, although the Acosta/Lamb/Soares cast edged it for me, and Sarah Lamb was mesmerising as a serene, other-worldly being.   

 

I’ve deliberately left Rhapsody until last because it is the highlight of the programme for me.  I have now seen all three casts, and each one of them was really terrific whilst all being completely different.  Laura Morera has such an affinity for Ashton, zipping through the incredibly fast footwork with ease, whilst looking serene and elegant in the slower sections, and Steven McRae is just stunning – his speed and precision almost beyond belief!  He also has such charisma in this type of role.  Yuhui Choe and Valentino Zucchetti both made  wonderful debuts last night – Yuhui has such musicality and, like Laura, you feel any role is safe in her hands (and I mean safe in a reassuring, “I can relax”, type of way, and not boring!).  This role suits Valentino very well – he has all the tricks, and can carry off the devil-may-care confidence with aplomb.  And then we had Francesca Hayward and James Hay in their joint debuts at yesterday’s matinée …  Both these dancers have been favourites of mine since they were at the Royal Ballet School, and so I was feeling very nervous for them – not because I didn’t think they would be good but because these are iconic roles which I’m sure must have felt like a very big deal for them, and I was absolutely willing them to do well.  I really needn’t have worried!  As soon as the curtain opened and James started to dance, I could tell it was going to be fine (more than fine!).  He too has wonderful musicality and timing, and played it with an elegant confidence.  When Francesca bourréed on at the back, I just came out in goosebumps.  It was beautiful.  She has such fluidity, grace and poise, as well as very quick, neat footwork.  As the ballet progressed, both dancers seemed to grow in confidence.  In the section just before the pas de deux where the man goes to each of the women standing in what I think of as a swan-like pose with their heads turned away and armed hiding their faces, I thought James played this in such an elegant, heart-felt, moving way (I always think the description of danseur noble usually applies to tall dancers but, for me, James really has this quality ) that I could feel my eyes welling up, so that by the time he reached Francesca at the back of the stage, I’m afraid I reached overflow.  That pdd always gives me a lump in my throat, but these two dancers really, really moved me.  Francesca was radiant and they danced with such warmth and sincerity, it was simply gorgeous.  I enjoy almost every performance I see to a greater or lesser degree, but sometimes you get one with an extra sprinkling of magic, and this was one of them, and it’s one I won’t forget.  The audience gave them a rapturous reception so I’m sure I’m not the only one who felt this way, and I’m already thinking of other things I would love to see them dance together – for example, The Dream, Symphonic Variations, and Ondine – and since all of these are principal roles, I hope I’m having some sort of premonition!

[alison]

All that's my 2p. But there is always another side - I'm mindful of the recent discussions here about Vadim, leaving ENB to join RB, where some harsh things were assumed and said with vigour and which were subsequently shown wrong.

 

Very true.

 

I don't know when the Winter's Tale rehearsals are starting; I imagine that they will be very time-consuming and intensive.

 

Winter's Tale rehearsals have been going on for some time, surely?  You don't just start creating a full-evening ballet a few weeks before the premiere.

 

Didn't Frederick Ashton have only one cast for Margaurite and Armand - but understudies at the ready?

 

That would have been rather different, though: he only had two principal dancers who might need to be replaced, and they pretty much only danced with each other.

 

On this occasion, it seems the short notice (a few hours at best) rather than no stand-in cover led to the cancellation. However, had there been a proper full 2nd cast so that each did a show each on the same day, then this scenario far less likely to have arisen.

 

But McGregor always seems to like having one cast first time around, so that they can get really into the roles during performance, rather than have them diluted by being shared between two casts.  While I was watching it yesterday, I was actually reflecting that, with the multiple costume changes and partnering combinations, and the complexity of the work, it would be hell if they had to swap someone else in at short notice: I guess I was right.

[aileen]

I take your point, Alison, but it can't be right that the whole performance has to be cancelled if someone is ill or injured.

[Bruce Wall]

Lovely to be reminded of Yoshida in this ROH gala clip showing the central Rhapsody pas de deux:  

 

http://www.youtube.com/watch?v=dI8LFtx0BFo

 

What a glorious jewel of a ballet it is.  I can't imagine the Queen Mother had any finer gift on her 80th Birthday.    

[chrischris]

Found this comment by Debra Craine in The Times pretty interesting. I found McRae pretty spectacular in Rhapsody, but I agree it was very much a 'performance' that was all about him.

 

"McRae.....delivered a self-regarding display of technical fireworks, like Puck on speed. It may have pleased the audience on Friday night, but it undermined Ashton’s mood of dreamy amour and scuppered Laura Morera’s attempt to engage fully with the choreography’s more restrained emotional colours."

[Bruce Wall]

 

"McRae.....delivered a self-regarding display of technical fireworks, like Puck on speed. It may have pleased the audience on Friday night, but it undermined Ashton’s mood of dreamy amour and scuppered Laura Morera’s attempt to engage fully with the choreography’s more restrained emotional colours."

 

Seeing Baryishnikov in that clip again gave me the impression that he was some kind of outer-worldly figure ... perhaps drawn from the girl's imagination ...  I found that quite telling in light of Friday's performance I must say.  

[LinMM]

Thanks for that post ElleC have run out of likes. I thought Francesca Hayward was lovely in the pas de six in Giselle recently and the first time have seen her in more of a solo role. Definitely one to watch!

 

I'm not seeing this programme of ballets......but there won't be any money to buy the principals(or pay for promotions) McGregor likes to use if the ROH has to spend too much money compensating people! Rather disappointing state of affairs and puts unnecessary pressure on the dancers who may be unwell to boot.

I cannot think why myself but maybe there is some particular reason why this happened this time and maybe one day it will be known.

[Lindsay]

I saw the Saturday matinee (so all three ballets) and thought this was interesting programming for a triple bill.  Rhapsody, for me, is a very pretty and technically tricky ballet but without much more of interest.  James Hay was very clean and I was extremely impressed by Francesca Hayward, particularly her Ashtonian use of the upper body.  The company also looked strong and in unison - good casting using many of the younger, and perhaps more technically impressive, dancers. 

 

The McGregor, I thought, was one of his better efforts.  It didn't have the immediate emotional impact of Chroma or Infra but it is the sort of piece which I think will bear repeated viewings.  The geometrical backdrops made me look in different way at the shapes the dancers were making - very clearly etched through some excellent performances - and once you start noticing all the triangles of legs and arms and the speedy reconfigurations of patterns it becomes fascinating.  A shame that the evening crowd did not get to see it.

 

Gloria is a nice enough piece and Melissa Hamilton and Edward Watson were lovely.

 

I think this is the sort of triple that the Royal "should" be doing - nicely performed mid-century classics for the traditionalists (all of those I heard clucking disapprovingly about the McGregor being "a waste of beautiful dancers" in the intervals) with just enough challenge in the McGregor for those who like a bit of thinking with their ballet.  However, having been to see Pina Bausch's 1980 at Sadler's Wells on the Friday, it seemed like rather thin fare.  I would recommend that all regular dance-watchers should try and see some Pina as a good way of calibrating one's judgment as to what a really thoughtful, intense and moving dance piece can feel like....

[Fonty]

How wonderful to see that clip of Yoshida in Rhapsody.  I always thought she was terrific in the Ashton repertoire.  Who was the original girl?  Was it Collier?

 

And if anyone thinks Ashton is a bit old fashioned now, they should watch this in its entirety!  The way the steps enhance that glorious music.  Brings a tear to the eye.