Second theatre trip - second Royal Ballet! What can I say - I like their ice-cream.
We saw another of their mixed programmes which, as I have said before, certainly allows the company to show their versatility in contrasting productions: this time it was Liam Scarlett's 2010 debut ballet for the company ASPHODEL MEADOWS paired with Sir Frederick Ashton's lyrical 1961 production of La Fontaine's THE TWO PIGEONS.
ASPHODEL MEADOWS was Liam Scarlett's first ballet choreographed for the Royal Ballet in 2010, the company that he trained with as a teenager. The ballet is only 25 minutes but it's concentrated energy is quite hypnotic added to the tension in the score by early 20th century French composer Francis Poulenc. Within a company of 20 dancers, the main focus is three sets of couples who all have a moment to shine in differing pas de deux.
In Greek mythology the Asphodel Meadow was where the souls of ordinary citizens went after death and there certainly was an endless tension in Liam Scarlett's choreography of couples locked in an endless dance. It's a production I would be very interested to see again.
It was paired with Ashton's charming but slight THE TWO PIGEONS which we first saw in 2015. A painter is losing his patience with his young girlfriend's unwillingness to stay still while he tries to paint her in his Parisian roof-top garret. Things aren't helped when her friends appear, closely followed by a troupe of passing gypsies. The painter is captivated by a fiery gypsy dancer and he follows her to their encampment, leaving his girlfriend alone. However the gypsy leader turns on the painter and humiliates him, finally chasing him out of the camp. The two lovers are reunited in the attic, their love personified by two pigeons who settle near them.
Based on an original ballet from 1912, Frederick Ashton choreographed a shorter version which premiered, appropriately, on Valentine's Day 1961. It's all a bit generic - inconstant lover, spirited girl, flashy but hard-hearted gypsies - but oddly enough, when the two sad lovers are reunited and the audience's attention is riveted to the two live pigeons on stage, the piece wins you over.
Restaged again by Christopher Carr, the thin characters were vibrantly danced by Vadim Muntagirov and Lauren Cuthbertson as the lovers and Laura Morera as the passionate but fickle gypsy girl. The late Jacques Dupont's original scenic design still charms.
It was a very enjoyable evening of two uplifting ballets, I am sure there will be more mixed programmes in the coming months...
Now we are at the end of 2018 it was interesting to be able to look back at productions previously seen which are now revived: the Tony Kushner and Jeanine Tesori musical CAROLINE, OR CHANGE which transferred from Chichester to Hampstead earlier this year and is now shouting out at the Playhouse Theatre and also the Royal Ballet's evergreen - or ever-snowy - THE NUTCRACKER with choreography by Peter Wright.
It was good to see CAROLINE, OR CHANGE again and I found it again to be a musical that resists the urge to make it easy for it's audience, with five characters all locked in their own private mental spaces and who find connecting to be fraught with suspicion and defensiveness which makes for a difficult first act as it's hard to see where the audience's sympathies should lie. However the second act reveals cracks in the characters' carapaces giving them the possibility of connecting: mother to daughter, stepmother to stepson.
Sharon D. Clarke is still playing the Louisiana single mother Caroline Thibodeaux who supports her daughter and two sons by being the 'daily' for the Jewish Gellman family. Caroline spends most of her time in the basement service room with the washing machine, the dryer and the radio - unsurprisingly the creators have these appliances personified and they sing songs that illustrate and comment on Caroline's situation.
Caroline is a defensive, guarded woman, quietly angry at the world and finds it hard to accept affection from any quarter, while her eldest daughter Emmie is quietly angry with society's attitudes and her mother's inability to accept change, Stuart Gellman is a widower still grieving for his dead wife although his has since remarried, his new wife Rose is growing more and more unhappy with her distant husband and his guarded son Noah who is himself still grieving for his dead mother and who constantly tries to engage with Caroline who is amiable but keeps him at arm's length. In the aftermath of the Kennedy assassination, the characters all have to face up to change and all the implications of their actions.
Practically all the original cast have transferred to the Playhouse and the performances have grown with their exploration of the deeply woven characters: Lauren Ward and Alastair Brokenshaw as Rose and Stuart Gellman, Teddy Kempner as Rose's firebrand father from New York and Naana Agyei-Ampadu as Caroline's more outgoing fellow domestic Dotty. There is also stand-out support from Me'sha Bryan as the bubbly Washing Machine and Angela Caesar as the ever-watchful Moon.
Abiona Omonua is marvellous as Emmie who yearns to break free from her mother's demands to be submissive and to stay in her place; she has a lovely singing voice and has a vital presence on stage. However the show is dominated by the mighty Sharon D. Clarke as Caroline, her solitary pain burns off the stage and you are on the edge of your seat waiting for her eventual explosion and indeed when she breaks and sings the searing "Lot's Wife" Clarke releases a tsunami of pent-up anger and pain that hits hard. With this role, Sharon D. Clarke ascends to being a true theatre great, and her recent tv appearances in the new DOCTOR WHO will surely bring her a much-deserved wider fame.
Nigel Lilly's music direction brings Tesori's challenging score to vibrant life, Fly Davis' set and costumes look fine in their new home, Ann Yee's choreography is still thrilling and Michael Longhurst's direction holds the whole production together, quite the more remarkable for this being his first musical. CAROLINE, OR CHANGE is booking until 6th April and I recommend it highly.
In a different world totally to Caroline and her basement is Peter Wright's glorious version of Tchaikovsky's THE NUTCRACKER at Covent Garden. This was our third time seeing it but it is so magical it is always worth a re-visit. I don't think I can improve on what I blogged in 2015 after my first visit to it: "The production is simply enchanting, radiating warmth and goodwill like a
particularly large glass of mulled wine. Helped immeasurably by the
late Julia Trevelyan Oman's designs, Wright's take on the story has the
magician Drosselmeyer mourning that his nephew has been transformed by
an enemy into a nutcracker, as you do! His chance to undo the spell
comes with a Christmas invitation to a family where he gives the
nutcracker to the young daughter Clara."
Clara and
the newly-restored nephew have adventures before visiting the court of the Sugar Plum Fairy and her Prince and also experience the the divertissements organized by Drosselmeyer, and all danced to Tchaikovsky's magical score which features some of ballet's greatest hits.
We were spoilt in 2015 as we saw Francesca Hayward as Clara, Alexander Campbell as The Nutcracker, Gary Avis as Drosselmeyer, Iana Salenko as The Sugar Plum Fairy and Steven McRae as her Prince, a truly memorable cast which has not been replicated since, this year we had Emma Maguire as a vivacious Clara, Luca Acri as an athletic Nutcracker, Christopher Saunders as Drosselmeyer, Yasmine Naghdi as Sugar Plum and Ryoichi Hirano as the Prince. They were all fine but lacking the star wattage of the 2015 cast, however we were lucky to have the wonderful Itziar Mendizabel as the focal point of the Arabian dance, sinuous and statuesque.
Christopher Carr staged it wonderfully again and the ROH Orchestra made Tchaikovsky's score flood the auditorium to the rafters under the baton of Barry Wordsworth. If you have never experienced this production you really are missing a magical experience: all performances appear to be sold out for the rest of the run but it does get revived occasionally on cinema screens and the DVD of the production is also available.
Constant Reader, as you know I have been seeing quite a few ballets at Covent Garden since last year but I had dipped my toe-shoe into ballet before. That it didn't 'take' as it did last year is odd however I think seeing so many productions choreographed by Matthew Bourne possibly left me more open to accepting more traditional dance.
One of my rare outings before was to see Sylvie Guillem dance GISELLE at Covent Garden in 2001 so how odd to be seeing it again in the same venue, only now with more understanding of the art.
There was no star ballerina this time but as we saw the 571st performance of Peter Wright's production I guess this was the production I saw Guillem dance in.
GISELLE was an immediate success when it was first staged in 1841 and has been constantly staged ever since. First choreographed by Jean Corrali and Jules Perrot, the choreography seen today is largely based on the work of Marius Petipa - as it seems most of the classical repertoire is - who staged it for the Russian Imperial Ballet at the end of the 19th Century.
Giselle is a country girl in love with a man who is actually Count Albrecht in disguise, he ventures into the countryside to escape his life of privilege and also his fiancee Countess Bathilde. A jealous woodsman Hilarion discovers the Count's identity and when Albrecht's father, the Duke, and the Countess appear in the village during a hunting trip, he unmasks the pretense. Seeing Albrecht and the Countess together sends Giselle into a mad frenzy and she stabs herself, dying in her mother's arms. And that's just Act I!
In Act II the grieving Albrecht and Hilarion separately visit Giselle's woodland grave but her spirit has been claimed by the Wilis - stop sniggering at the back - who are the unquiet spirits of maidens who have died due to being jilted before their wedding day. The Wilis, led by their imperious Queen Myrtha, find Hilarion and drive him to suicide by drowning him in a lake but Giselle finds love transcends death and fights her ghostly sisters over Albrecht.
Peter Wright's production - here staged by Christopher Carr - has been running off and on since 1985 and one can see why as it was a visually stunning production with excellent choreography and, in particular, a fine showcase for the female corps with their appearance as the ghostly Wilis in the second act - a real endurance test that our ladies triumphed at.
All the performers gave good performances: Elizabeth McGorian as Giselle's mother Berthe, Christina Arestis as the regally cold Bathilde and Eric Underwood as the quicksilver master of the Duke's hunt were all eye-catching.
Marianela Nunez was a spirited - no pun intended - Giselle, full of youthful life alive and with a luminous stillness in death while Albrecht was well danced by Vadim Muntagirov. I also liked the icy and deadly Queen Myrtha as danced by Itziar Mendizabel whose sideways entrances and exits were all stupendous, hovering on point quickly with little discernible movement!
John Macfarlane's set design was very good especially the second act's ghostly forest which seemed to go on forever and Adolphe Adam's score sounded marvellously lush under the baton of Barry Wordsworth. The production will be screened on 6th April in cinemas and, believe me, you could do a lot worse than see this at your local fleapit.
How better to end the year of New Cultural Events (namely opera and ballet) than with a visit to Covent Garden to see a classic Royal Ballet production of Tchaikovsky's perennial favourite THE NUTCRACKER.
Warning to any diabetics - this production could endanger your health as the Sugar Plums rule! My only previous experience of the piece is through Matthew Bourne's own take on it NUTCRACKER! which i have always enjoyed but now I am more au fait with dance it was time to be able to put that production in context next to the original. Step forward the Royal Ballet with their 1999 production choreographed by Peter Wright after Lev Ivanov's original 1892 choreography.
As I have said before, it's remarkable that ballet companies can have productions that hark back to the original production of the piece. How many theatre directors would like to direct UNCLE VANYA that was modelled on Stanislavski's original? However there is certainly something in having a lineage to draw on and this production, here staged by Christopher Carr, is already in it's eleventh revival.
The production is simply enchanting, radiating warmth and goodwill like a particularly large glass of mulled wine. Helped immeasurably by the late Julia Trevelyan Oman's designs, Wright's take on the story has the magician Drosselmeyer mourning that his nephew has been transformed by an enemy into a nutcracker, as you do! His chance to undo the spell comes with a Christmas invitation to a family where he gives the nutcracker to the young daughter Clara.
Her love for the nutcracker releases the spell but not before Clara and the nephew defeat the nasty mouse king and his army after being shrunk by the magician. He could have made it easier surely by keeping them human-sized! Their reward is to be spirited away to the Kingdom of Sweets to meet the Sugar Plum Fairy and her Prince and be entertained by divertissements organised by Drosselmeyer. On their return to the real world, Clara runs out of her house and bumps into a young man who looks strangely familiar, he in turn, hurries to Drosselmeyer's house where he is happily reunited with his uncle.
Peter Wright's spin on the story makes for a delightful fairy tale and Christopher Carr's staging made it as light as spun sugar on whipped cream. It whizzed along like a top and this was in no small measure due to the excellent cast. It was a particular delight to see a proper corps in the impossibly lovely Dance of the Snowflakes.
Gary Avis was very good as the magician Drosselmeyer, he has played it for a few years now and he twirled his vivid blue cape with panache. Francesca Hayward was delightful as Clara, dancing with a sweet elegance and she was well partnered by Alexander Campbell as her energetic beloved nutcracker-made-real. A special mention too for Olivia Cowley as the sinuous lead dancer in the Arabic speciality number.
The biggest treat of all was to see the show on the night that the Sugar Plum royalty were being danced by Iana Salenko and Steven McRae who we have seen previously as the lovers in THE TWO PIGEONS and as ROMEO AND JULIET. In their solos and in their pas de deux both were excellent, elegant, graceful and with innate musicality but also dazzling in their speed around the stage and their controlled strength.
As I said, in a year of discovering the Royal Ballet in particular, what a delight to end on the magical high with this production of the NUTCRACKER and as I said, finally having a mental companion piece to Matthew Bourne's version.
