The Royal Ballet: Woolf Works, Spring 2015

[alison]

"Rarely affects other companies such as ENO"?  I've seen far worse queuing and delays at the Coliseum than I ever have at the ROH, where at least the physical box office setup is better suited to processing large numbers of customers in a hurry.  I think Floss is probably right about the possibility of forgeries, though.

 

And yes, *usually* you can pick up your tickets in advance.  However, this doesn't apply to certain offers such as Time Out, where the allocation is only made on the day itself.  I'd guess the rule of thumb is that if you've been able to pick your own seat you ought to be able to collect the ticket in advance.

[Beryl H]

Well, I didn't quite catch the announcement last night but am even angrier that it was caused at the Box Office, with the 30m intervals I decided to miss the last one as I was not in the mood to pay a probable £15 taxi fare after being kept waiting 15 minutes! I am going again tomorrow though and can stay later as being a Friday there will be night buses! Wasn't there also a technical hitch causing the auditorium not to open until 7.15?

 

Rant over,  loved what I saw, firstly Edward Watson gave a performance that set a new standard even for him, his dancing of the traumatised WW1 soldier was heartbreaking, and brought out fabulous performances from Tristan Dyer and Akane Takada (yes,she can act) this was the finest section of the evening for me. The rest of the ballet was harder to fathom, even though I had just read Mrs. Dalloway, still this was indeed the finest emotional choreography from Wayne Macgregor yet! 

 

Orlando was so exciting, the only connection to the book was Natalia Osipiova as a male Orlando at the start who turned into a very pliant woman, but it was such fun, I didn't mind the pounding score or the lasers  but what really spoilt it was the bad lighting, I wouldn't have been able to recognise any of the dancers without opera glasses, a real shame.

 

Pleasantly surprised to see so many "older" people  in the audience in the amphi at least, perhaps like me they were there to see one of their favourite ballerina's Alessandra Ferri, I didn't realise she was so young when she left the RB. She looked as beautiful as ever.

[Jillykins]

I am certainly one of the very much older people and I was in the amphi last night with another very much older person. He knows little about ballet, loves Fille and can cope with les Patineurs and some of Alice. My usual companion had a bereavement so was not able to accompany me. We both came away excited by what we had seen. He couldn't cope with part one, said he might have liked it if he could see it. He really enjoyed second part despite his usual light complaint. However he was immensely moved by Waves. Thank goodness because I had had a wonderful evening and I admit to not being a Macgregor fan. I also know little about Woolfe but had done some homework. Alessandra who was one of my favourites years ago was stunning. Her long, graceful arms and expressive face told the story so well. Ed Watson an all time favourite of mine certainly did find something more. Heartbreaking. Yes a new standard even for him. Why so little of his work in next seasons programme? I loved Lamb and the children. I must stop all the cast were splendid they all reached new heights in the stimulation of this most unusual work. Macgregor gives us more than a ballet it is a complete work of art dancing, lighting, costume, staging and stunning music. I could go on but will end by saying I will never forget Alessandra and Waves.

[FLOSS]

I understand that ENO allow you to book on line and print your tickets at home if you choose to do so. Clearly not everyone does this. I said nothing to suggest that there were no queues at the Coliseum box office I merely indicated that it was possible to avoid queues to collect tickets at the Coliseum.

 

Of course the problem about collecting ticket at Covent Garden may simply be caused by a reluctance to upgrade their computer system, The box office management seemed incredibly reluctant to spend money on replacing their credit card readers although they must have known that the malfunctioned quite regularly, the box office staff were certainly well aware of the problem. Before the card readers were replaced I had the experience of being locked out because the reader would not accept my pin number.

[alison]

Well, I didn't quite catch the announcement last night but am even angrier that it was caused at the Box Office, with the 30m intervals I decided to miss the last one as I was not in the mood to pay a probable £15 taxi fare after being kept waiting 15 minutes! I am going again tomorrow though and can stay later as being a Friday there will be night buses! 

 

[snip]

 

firstly Edward Watson gave a performance that set a new standard even for him, his dancing of the traumatised WW1 soldier was heartbreaking, 

 

[snip]

 

Orlando was so exciting, the only connection to the book was Natalia Osipiova as a male Orlando at the start who turned into a very pliant woman, but it was such fun, I didn't mind the pounding score or the lasers  but what really spoilt it was the bad lighting, I wouldn't have been able to recognise any of the dancers without opera glasses, a real shame.

 

As I indicated, I thought there would be people inconvenienced by the late start  My own last train home used to involve me having to catch a train from Charing Cross by 10.15, or having to do a convoluted journey home by alternative train and bus routes, and/or taxis, so I understand the frustration.

I agree totally about Watson in the first act (and also about the lighting in the second - I had great difficulty making out who was who, and hadn't even realised that Gary Avis was in it until I checked the casting later).

 

Alessandra who was one of my favourites years ago was stunning. Her long, graceful arms and expressive face told the story so well. Ed Watson an all time favourite of mine certainly did find something more. Heartbreaking. Yes a new standard even for him. Why so little of his work in next seasons programme? 

 

I guess you know who to ask that question of, Jillykins!  Was I the only one last night wondering what Ferri and Watson together might have made of the MacMillan rep if she'd stayed with the RB?  After all, she and Leanne Benjamin are almost exact contemporaries, and look what happened there.

 

Anyway, on a first viewing I definitely enjoyed/appreciated last night's performance.  I agree with those who thought the middle section was the weakest link, and it was a bit overlong, but I even enjoyed that bit   I have, however, ended up with a dull headache today which I think may have been caused by straining to see through the gloom.  The lighting was stunning, but didn't make it easy to see faces.  (On that basis, if anyone has an inexpensive ticket going spare in the lower part of the House, do bear me in mind!) 

 

More thoughts after a (hoped-for) second viewing ...

[Sim]

Oh dear.....my first viewing is the 23rd, second the 26th.  On the 23rd I will be standing at the very top of the amphi.  Can anyone let me know whether I am actually going to be able to see anything/anyone from up there?  I am sure I will be able to see the lasers.....but will I be able to pick anything out through the gloom?!

[Tony Newcombe]

Sim, take a pair of binoculars or upgrade. It is really worth it!

[Tony Newcombe]

Just obtained cast sheet for tonight. 1st and 3rd ballets original casts. Alternative cast is for Orlando

[alison]

Thanks, Tony.  I meant to ask whether someone could post that when they got the details.  So, a completely different cast for Orlando?

[SPD444]

Are you sure, the casting on the web site does not show Stix-Brunell dancing tonight but she was in the first act when I saw it?

[bangorballetboy]

Just obtained cast sheet for tonight. 1st and 3rd ballets original casts. Alternative cast is for Orlando

I wonder why the alternative cast for part 1 has been dropped tonight.

[Sim]

Sim, take a pair of binoculars or upgrade. It is really worth it!

I am NEVER without my binocs, Tony, so I am sure they will help;  I have never stood up that high so wasn't sure what my prospects were going to be!  I can't upgrade as I think it is now sold out....someone posted up two SCS tickets this morning but someone beat me to it! 

[annamk]

I am NEVER without my binocs, Tony, so I am sure they will help;  I have never stood up that high so wasn't sure what my prospects were going to be!  I can't upgrade as I think it is now sold out....someone posted up two SCS tickets this morning but someone beat me to it! 

 

I was in SCS for the last part and the amphi for the first two. I thought the amphi was a better place to be because with the SCS I could only see part of the wave projections. Maybe it's better in the central SCS ? Balcony standing must be the plum spot !

[Tony Newcombe]

Have seen it from SCS, Balcony row D high seat centre and amphi row E. Amphi great for full lighting effects but balcony probably best

[Mary]

My first viewing last night and it was cast 2.(That said the cast details are very complicated...) I agree very much with what Kate, Lindsa,y Bruce have already said.I am sure there are errors in my thoughts below caused by the darkness,  the vague cast sheet, and it being a first viewing, so sorry for any such...

 

 

I thought it was far and away the best thing McGregor has done. Overall, a very exciting, moving experience.

 

I agree with the many who have said that the second piece is weaker, needs some pruning, is too long. But most of all, it was just too hard to see the dancers and this was the first time I had ever been in the position of really not knowing who any of them were for the first 5 minutes. The costumes did not seem to me to be much to do with Orlando, beyond some Elizabethan references and some cross dressing.  The lighting was very pretty indeed, especially when the three tiers of the audiorium were ringed with sparkling coloured light- and the lasers were impressive. But- I didn't catch any significance behind these effects. I think Bruce said it was like a circus interval and these effects did create a circus ring, but, added little to my eyes to the actual piece. This was the least satisfactory response to Woolf's novel. All that said, there was very fine dancing indeed going on, which  I could just make out...I really liked the ending,and to me the spotlights, outside which all was gloom, acted as a good metaphor for the book's ideas about the shortness of life and the theatricality of our public lives, as each character has its short few moments in the light before spinning of into darkness, and the dance grows ever more manic and involved.

 

Parts 1 and 3 I found very moving and beautiful, and would  love to see again.

 

Part 1 was a sensitive response to 'Mrs Dalloway' not a simple acting out ( which would be impossible anyway as it is not a simple narrative). I think, but would have to see it again to be sure ( and agree how maddening it is of the cast sheet not to give any idea of what parts the dancers are dancing) that at times older and younger versions of the characters were dancing together and weaving in and out in a way which echoed the novel's effects of playing with time.

 

I must warmly echo the praise of Ed Watson's very, very affecting solo as Septimus, going mad, remembering the dead Evans his friend and comrade-- and suffering from the effects of the war. But all the dancing was very fine, especially Bonelli.

 

The final piece was sublime, I thought. It was a completely unified piece in which dance, music, sets, and lighting worked to create a meaningful whole. I found it profundly moving as an interpretation of some of Woolf's ideas, but, and here's the test, in its own right, so that even had I known nothing about The Waves or Woolf it would have worked for me as a piece. The sea speaks to us at a deep level  and the design of the piece exploited that very cleverly with the huge video projection of waves, the crashing of waves through the music, the lighting and the slow majestic rhythms, echoed in the dancing, creating an overwhelmingly and  haunting effect. Some of the movements were exceptionally lovely, quite unlike the Wayne we know. (Again I need to see to again to be able to see in more detail how he created the effects...)

 

Ferri was brilliant, dancing with a kind of controlled power and inner conviction throughout that carried out into the auditorium. I remember her as a fragile ethereal sort of dancer but she now has this steely quality that is vastly impressive.

 

I went with doubts as I have not liked much McGregor before, and I do love these novels, so there was the fear that someone was going to trample on a favourite work in hobnailed boots.....

But no, it was thoughtful, it was clever and for the first time McGregor had made dance to move me emotionally rather than just to impress .

A few people have used the word 'fluid' for the dance and that seems just right. Also it struck me how little he used that trick of repetition which even the best choreographers sometimes over-indulge. Rather, the movements flowed in an ever-evolving sequence, on and on..a good image for Woolf's prose, instead of making patterns that are repeated and echoed in a more formal shape.

 

 Hats off to him, as well, for choosing Woolf,  and for putting on the  stage some female characters who are individuals, whose consciousness is the focus of the work, and not the gender stereotypes  we see so much of in ballet old and new.

[alison]

Some of the movements were exceptionally lovely, quite unlike the Wayne we know.

 

Well, Acis and Galatea also contains some "exceptionally lovely" movement

 

Thank you, Mary, for that considered assessment of the piece.

[zxDaveM]

Have really enjoyed the new McGregor - I tend to think of it though, as 2 linked pieces almost with the middle section belonging to a different triple bill. I could envisage seeing parts 1 & 3 as a combined entity, with the 'Orlando' section having a life of its own too. I don't imagine this will ever happen though, and when it comes back (as I'm sure it will after the largely positive, sometimes hugely enthusiastic, responses) I'm sure it will be in the same format. Hopefully, with some varied and interesting casting too. Last night for example, the 'second' cast was let loose on 'Becomings' and I thought Olivia Cowley was sensational. Other cast changes didn't materialise (despite still being on the website) that I would have liked to have seen. Perhaps next week? Hope so.

 

As for Allessandra Ferri - has Wayne McGregor found his female muse to complement Ed Watson? Casting her seems to have wrangled out his more lyrical side - she was simply magnificent, and his more 'balletic' choreography blossomed and flowed from her. Gorgeous!

[capybara]

 

As for Allessandra Ferri - has Wayne McGregor found his female muse to complement Ed Watson? Casting her seems to have wrangled out his more lyrical side - she was simply magnificent, and his more 'balletic' choreography blossomed and flowed from her. Gorgeous!

 

But isn't this, at least in part, because McGregor takes much of his choreography from what his dancers show him? At the Insight, the more 'balletic' aspects to be seen in Ferri's dancing contrasted with the movement of others.

[Sim]

Have really enjoyed the new McGregor - I tend to think of it though, as 2 linked pieces almost with the middle section belonging to a different triple bill. I could envisage seeing parts 1 & 3 as a combined entity, with the 'Orlando' section having a life of its own too. I don't imagine this will ever happen though, and when it comes back (as I'm sure it will after the largely positive, sometimes hugely enthusiastic, responses) I'm sure it will be in the same format. Hopefully, with some varied and interesting casting too. Last night for example, the 'second' cast was let loose on 'Becomings' and I thought Olivia Cowley was sensational. Other cast changes didn't materialise (despite still being on the website) that I would have liked to have seen. Perhaps next week? Hope so.

 

As for Allessandra Ferri - has Wayne McGregor found his female muse to complement Ed Watson? Casting her seems to have wrangled out his more lyrical side - she was simply magnificent, and his more 'balletic' choreography blossomed and flowed from her. Gorgeous!

My daughter went last night and came home raving about Olivia Cowley as well!

[alison]

Which role was Cowley dancing?  Osipova's?

[Mary]

Yes I  wondered whether they might use a part/section/work as a stand-alone piece in a different triple bill and in my view that would work very well.

 

The title does give the clue- plural Works- yes, this is three linked works not a full length ballet, really, I should have been clearer about that. I agree the middle section could be taken right out to make a  very good two part ballet.

 

Did anyone spot the Fille mal gardee reference by the way? Now that's a poser but I promise there was  one...

[zxDaveM]

But isn't this, at least in part, because McGregor takes much of his choreography from what his dancers show him? At the Insight, the more 'balletic' aspects to be seen in Ferri's dancing contrasted with the movement of others.

 

 True - and my comment wasn't wholly serious as I doubt Ms Ferri will do more new work with him (though I for one wouldn't complain if she did!). But he did seem to adjust his style somewhat to suit her, and I thought it looked great as a result. I can't see him going all lyrical on us, but that he CAN may open new avenues as it were, to expand his style (for the better? - for variation, for sure).

 

Be interesting to see what happens next  :-)

[zxDaveM]

Which role was Cowley dancing?  Osipova's?

 

yes, she was

[Kate]

Went back for a second viewing last night and pleased to say it was even better than I remembered. The first section I Now, I Then demonstrates how much McGregor has learnt from being part of a repertory company like the Royal Ballet. Yes he still has his own very idiosyncratic style but he has absorbed some of the nuances and finally realised the power of understatement that comes with this incredible set of dancers. I don't think there will be a second cast of this section, for this run at least, because this cast is so so good. Watson and Ferri are the King and Queen of dramatic dancers, just divine, both of them.  I took advantage of an offer to get £35 front stalls seat and I wish I hadn't in some ways as seeing them so close up, facial expressions, beads of sweat et al, its going to hard going back to my usual SCS/amphi-cheap as I can get without having half a stage unviewable seats. That said the power of these 2 exceptional dancer/actors carries right up to the furthest corner of ROH. I still wish Hayward and Stix-Brunell could have been given a more extended duet together like Watson and Dyer but this is a small gripe for what otherwise is a deeply moving, beautifully choreographed, wonderfully set piece of work which could indeed stand alone on its own in a triple bill programme. In fact that is what is so amazing about Woolf Works the 3 sections could all stand alone in a triple bill with other works but they do work as a whole world as well. That is no mean feat. 

Becomings I still think needs trimming by about 7 minutes but I enjoyed it more than i did last time and i was able to discern a slight pattern in the costume changes this time. Why the men have those amazing dresses but don't dance in them though I don't get and yes yet again the women's duets and group sections just don't hold up against the men's. Come on McGregor you know the women are just as strong and capable as the men so use them, so why restrict them? I thought the second cast were really good and Olivia Cowley ( I think dancing Ospiova's role from the first cast?) was out of this world amazing, possibly even better than Ospiova in this (controversial I know.) Cowley completely embodied the other worldly-alien like-futuristic- element of this section and for the first time i could see the link with Orlando-you could imagine Queen Elizabeth 1st, a Russian Princess, men, women and everyone in between being totally captivated by this creature that was Cowley. Ospiova was amazing the other night but I felt as though I was watching Ospiova and Watson rather than the other worldly creatures that the second cast produced.

Tuesday-more powerful the second time around, Anderson's reading could have seemed cliched but it is so not, even against the crashing of the waves. One of my favourite moments is Bonelli's entrance in this section which is shown in the rehearsal video but looks so much more striking on a bare stage with just him and Ferri/Woolf. The corps in this section ebb and flow, build and build like waves and the lack of contortionist McGregor acrobatics means that the choreography is all the more powerful. On a practical note 30 minute intervals are far too long, being generous to ROH maybe the set changes make this necessary but I think it is more that they are hoping to recoup cheap seat sales at the bar! 

[zxDaveM]

...and I see its virtually sold out now, apart from a few boxes and a smattering of tickets in the amphi for one of the remaining shows.

[Kate]

P.S. Apologies for repeating what others said above re Cowley and the work being able to be withstand being separated into different triple bills, I have been trying to write/type whilst working, mothering and trying to grab another seat for tonight!  

[zxDaveM]

 

On a practical note 30 minute intervals are far too long, being generous to ROH maybe the set changes make this necessary but I think it is more that they are hoping to recoup cheap seat sales at the bar! 

 

I think the lasers take a goodly while to setup and aim (though probably less to dismantle again). Worth the effort to get it right, I reckon!

[Kate]

Oh definitely -nobody wants a stray laser escaping planet Becomings! 

[Nina G.]

Have really enjoyed the new McGregor - I tend to think of it though, as 2 linked pieces almost with the middle section belonging to a different triple bill. I could envisage seeing parts 1 & 3 as a combined entity, with the 'Orlando' section having a life of its own too. I don't imagine this will ever happen though, and when it comes back (as I'm sure it will after the largely positive, sometimes hugely enthusiastic, responses) I'm sure it will be in the same format. Hopefully, with some varied and interesting casting too. Last night for example, the 'second' cast was let loose on 'Becomings' and I thought Olivia Cowley was sensational. Other cast changes didn't materialise (despite still being on the website) that I would have liked to have seen. Perhaps next week? Hope so.

 

As for Allessandra Ferri - has Wayne McGregor found his female muse to complement Ed Watson? Casting her seems to have wrangled out his more lyrical side - she was simply magnificent, and his more 'balletic' choreography blossomed and flowed from her. Gorgeous!

 

"Other cast changes didn't materialise (despite still being on the website) that I would have liked to have seen. Perhaps next week? Hope so."

 

I noticed this too and I was disappointed not see Naghdi, as announced on the ROH website. Not taking anything away from Stix-Brunell's dancing, the physical appearance of Naghdi is much closer to Alessandra Ferri's, and she would have made a better visual match as a young Virginia Woolf/Ferri. 

 

I agree Olivia Cowley was stunning. I have seen her previously in McGregor's work and she really suits his choreography.

 

All in all, a beautiful contemporary ballet, I just wish the faces of the dancers were better lit, I could hardly see who is who (but I guess this doesn't matter to an occasional ballet goer).

[Mary]

"

 

I agree Olivia Cowley was stunning. I have seen her previously in McGregor's work and she really suits his choreography.

 

All in all, a beautiful contemporary ballet, I just wish the faces of the dancers were better lit, I could hardly see who is who (but I guess this doesn't matter to an occasional ballet goer).

 

 

 

 

So that was Olivia Cowley!

I agree she was really excellent- I could not see her face- such a shame.

[Fonty]

"Other cast changes didn't materialise (despite still being on the website) that I would have liked to have seen. Perhaps next week? Hope so."

 

I noticed this too and I was disappointed not see Naghdi, as announced on the ROH website. Not taking anything away from Stix-Brunell's dancing, the physical appearance of Naghdi is much closer to Alessandra Ferri's, and she would have made a better visual match as a young Virginia Woolf/Ferri. 

 

 

It puzzled me when I saw the photos as to why a dancer who is physically nothing like Ferri had been picked to play her younger self.  I know we have to use our imaginations, but Ferri is small and slight of build.  At the very least I would have thought the other dancer should be similar in height, not several inches taller!

 

However, that may just be the angle of the camera?

[Nina G.]

The dissimilarity between "Woolf"/Ferri and her "younger version"/Stix-Brunell" was not just the angle of the camera. It puzzles me too why, when they have a dancer who looks physically much more similar to Ferri, was not used. It would have made a real visual difference, "I now, I then" would have looked more realistic and the dancer easily identifiable as the "younger Woolf".

Edited May 15, 2015 by Nina G.

[Lynette H]

I presume not all the final casting went quite as planned, because there are bios for a number of dancers in the programme booklet who haven't made it on stage. Nagdi, Hirano and Thom were the ones I spotted - perhaps there are more.