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Product Review: The Royal Ballet “Ballet Magic” Tote Bag

June 26, 2017 by Rachel Hellwig

by Rachel Hellwig

No matter which side of the pond you’re on, just about anything associated with the Royal Ballet just has a certain magic to it…

Cocorose London has created a series of leather and canvas tote bags featuring digitally-printed photos of the company. Here are my thoughts on the “Ballet Magic” model:

    • Beautiful design – black-and-white image of dancers in the wings of the Royal Opera House during La Sylphide
    • Durable, well made
    • Not for sweaty pointe shoes! Or depositing on a rosin-dusted corner of a dance studio…
    • Good for just about anything else (I’m actually using it as a purse now!)
    • Downside: cost. The price tag of £50 translates to about $64 plus taxes.
Photo by Rachel Hellwig.

 

Filed Under: 4dancers, Reviews Tagged With: Cocorose London, Product review, royal ballet, The Royal Ballet Ballet Magic, The Royal Ballet Ballet Magic Tote Bag

Images From The Royal Ballet’s Swan Lake

March 19, 2015 by 4dancers

There’s nothing quite like watching a performance of Swan Lake, especially when it is danced beautifully. Tonight, The Royal Ballet will perform this historic ballet on cinema screens across the nation. We are delighted to be able to share some of the beautiful imagery with you here as a “sneak preview” of what is to come…

If you are interested in seeing this production, you can find tickets here.

Natalia Osipova as Odette, Matthew Golding as Prince Siegfried, Swan Lake, ROH, Photo by Alice Pennefather
Natalia Osipova as Odette, Matthew Golding as Prince Siegfried, ROH Swan Lake, Photo by Alice Pennefather
Swan Lake 2012 ROH
Photo courtesy of ROH
Swan Lake 2012 ROH Approved
Photo courtesy of ROH
Natalia Osipova-Odette; Matthew Golding-Prince Siegfried; Gary Avis-Von Rothbart, ROH Swan Lake, Photo by Alice Pennefather
Natalia Osipova-Odette; Matthew Golding-Prince Siegfried; Gary Avis-Von Rothbart, ROH Swan Lake, Photo by Alice Pennefather
SWAN LAKE; The Royal Ballet, Approved
The Royal Ballet, Swan Lake, Photo by ROH Bill Cooper
SWAN LAKE; The Royal Ballet, Approved
The Royal Ballet, Swan Lake, Photo by ROH Bill Cooper
Natalia Osipova as Odette, Matthew Golding as Prince Siegfried, Swan Lake, Photo by Alice Pennefather
Natalia Osipova as Odette, Matthew Golding as Prince Siegfried, Swan Lake, Photo by Alice Pennefather

Disclosure: 4dancers accepts compensation to promote this series.

Filed Under: Dance in the UK, Editorial Tagged With: Gary Avis, Matthew Golding, Natalia Osipova, odette, odile, prince siegfried, royal ballet, swan lake, the royal ballet, von rothbart

DVD Review: Alice’s Adventures in Wonderland

January 26, 2015 by Rachel Hellwig

by Rachel Hellwig

Alice in Wonderland PicThe opening of the Royal Ballet’s Alice’s Adventures in Wonderland interposes a psychological basis for Wonderland. Alice (Lauren Cuthberton) is not a little girl in this version, but a young teenager who shares an infatuation with the gardener’s son Jack (Sergei Polunin). But, tsk tsk, this is the Victorian Era and Alice’s mother (Zenaida Yanowsky) disapproves of this class-disparate romance. She takes the opportunity to dismiss Jack after she erroneously believes he stole a tart. Not surprisingly, Yanowsky returns in Wonderland as the Queen of Hearts and Polunin returns as the Knave of Heart who “stole tarts”. The premise of dual characters is carried farther as family friend Lewis Carroll (Edward Watson) reappears as The White Rabbit, and tea guests such as the visiting Rajah (Eric Underwood) and Magician (Steven McRae) later morph into The Caterpillar and Mad Hatter.

Video projections are appropriately used to portray Alice falling down the rabbit hole. In the sequences that follow, a combination of projections and more traditional theatrical effects help create the famous “Eat Me” and ”Drink Me” episodes (where Alice grows and shrinks) as well as the “Pool of Tears”. All of these scenes are fun to watch, although, if you haven’t read the book in while, they might be hard to follow in places. “The Pool of Tears” is actually the most visually effective though it’s also the most conventional – dancers “swimming” in between rows of stationary scenery painted to look like waves. While suggesting just enough of reality, it retains the charm of a storybook illustration – something that is not as easy to accomplish with video projections.

A challenge in adapting Alice in Wonderland for a non-verbal medium is the fact that much of the story’s potency comes from wordplay and parodies of poems and songs. The wordplay, of course, can’t be translated into dance, but there is a perhaps a nod to it in some of the projected backgrounds which feature skies of scrambled letters. The element of parody though does find an interesting parallel in Christopher Wheeldon’s choreography which incorporates spoofs of classical ballet, most memorably in the Queen of Hearts’ botched Rose Adagio. Elsewhere, Wheeldon employs a mix of non-satirical classical ballet, contemporary ballet, and, occasionally, other styles of dance. The Mad Hatter is in fact reimagined as a tap dancer, an effect which works remarkably well.

As for the music, I admit I have mixed feelings about the original score by Joby Talbot. Of course, it makes sense that a soundscape for Alice in Wonderland would express the madness, confusion, curiosity, and even violence that are integral to the story. However, whether or not you enjoy Talbot’s approach to this will depend on your taste for modern symphonic music, which, of course, doesn’t shy away from dissonance and percussion-heavy moments. At the risk of sounding like a throwback, I think it’s harder to pull off effective dissonance than it is effective melody. So, to me, the score is most compelling when it sticks to the latter. During these moments, such as Alice and the Knave of Hearts’ courtroom pas de deux, the music takes on an engaging cinematic quality which enhances the already engaging visuals onstage.

Speaking of engaging visuals… the costumes, colors, scenery (with a small caveat about out-of-place grimness of the kitchen set with its sausage maker and pig carcasses), lighting, and overall composition of each scene is top-notch, sometimes to the degree that the designs begin to compete with the dancing for your attention. The courtroom in Wonderland just might be the best for its geometry, full prism of costumes, and a giant house of cards looming in the background.

When that house of cards literally and figuratively falls and Alice awakens in reality, we notice that she is now wearing a modern-day dress. The Knave of Hearts/Jack, sitting nearby her, is sporting a t-shirt and blue jeans. Yes, as it turns out, this story wasn’t about a Victorian youth dreaming of madness, love, confusion, and discovery based on her real-life experiences. It was instead a dream about a Victorian youth who had such a dream. Hmm… I’m not sure this conclusion is quite as interesting as the scenario seemingly set forth at the beginning.

The dancing, of course, is world-class all around, as you would expect from the Royal Ballet. As Alice, Lauren Cuthbertson is like a music-box ballerina in her seemingly effortless precision, line, and musicality – her technique so pure it’s almost startling. She also possesses a natural girlish playfulness and lightness that are ideally suited for the role. The other standout is Zenaida Yanowsky as the Queen of Hearts. Her acting is spot-on, and, even more impressively, her classical grace radiates so thoroughly through her every movement that you’re simultaneously in awe of how well she embodies her comical character and how she makes it so beautiful to watch — without dampening the fire of the satiric choreography.

This OpusArte DVD of Alice’s Adventures in Wonderland is from 2011. Since then, the Royal Ballet has revised and extended the production. I haven’t yet seen the updated version, but Sarah Crompton of The Telegraph wrote that the changes were all improvements. I truly believe that this ballet has masterpiece potential, though, as with all art, it takes time and revision to achieve that end.


Purchase this DVD:

 

Filed Under: DVDs, Reviews Tagged With: Alice's Adventures in Wonderland, ballet dvd, dvd, dvd review, royal ballet

Ashton Celebration: The Royal Ballet Dances Frederick Ashton

December 28, 2013 by 4dancers

by Emily Kate Long

dvd_ashtonAshton Celebration: The Royal Ballet Dances Frederick Ashton is true to its title, offering both onstage and offstage tributes to Frederick Ashton, one of the twentieth century’s choreographic giants and architect of the English style. Through six ballets and fifteen minutes of interview footage, we get a look at the particularities and peculiarities of Ashton, and the rigor undergone to preserve the works. The ballets represent a full range of flavors in Ashton’s work, from the steamy, serpentine Monotones I to the heartbreakingly romantic Marguerite and Armand. The DVD was filmed live at the Royal Opera House in February 2013.

One of the special features on the DVD is a series of interview clips on the subject of the Frederic Ashton Foundation, whose aim is to perpetuate the legacy and work of the choreographer. Among comments from stagers and dancers about the preservation of the choreographer’s intent and style, Anthony Dowell makes a very important point: in all of this, the aim is not to “make museum pieces,” but to keep the works alive and in good custody so they remain relevant. Rojo adds the observation that the sheer difficulty of the choreography keeps the ballets challenging, even as dancers become more and more technically skilled.

The comparison is often drawn between Ashton and George Balanchine, but it’s especially striking in La Valse, the first ballet on the program, because Balanchine used the same Ravel score for a work of his own. Frederick Ashton did for British ballet what Balanchine did in the US: He defined a style, fiendishly athletic but with a different emphasis, more subtle but no less expressive. Ashton’s La Valse is most interesting for the complexities of epaulement within a standard choreographic composition. The whole affair sumptuously dark, a rich painting of Ravel’s unnerving score. It all dissolves into giddy, brassy chaos as the curtain descends on a corps de ballet of dozens and three principal couples.

Next are two very different pas de deux, the Meditation de Thais, set to Massenet, and Voices of Spring, set to Strauss. The first is aching and exotic, a la La Bayadere; the second is a playful showpiece more along the lines of Spring Waters. I don’t think this particular Voices of Spring is the most satisfying example available on video; Yuhui Choe and Alexander Campbell perform with great competence but little dimension. [Read more…]

Filed Under: Reviews Tagged With: Ashton Celebration: The Royal Ballet Dances Frederick Ashton, ballet dvd, royal ballet

Book Review: Titian | Metamorphosis: Art Music Dance

September 18, 2013 by 4dancers

9781908970046_p0_v1_s260x420by Emily Kate Long

What do an industrial robot, a Renaissance master, and an astronaut have in common? Last year, all three made appearances in London’s National Gallery and the Royal Opera House as part of a project titled Metamorphosis: Titian 2012. The commemorative hardback book Titian | Metamorphosis: Art Music Dance immortalizes the Royal Ballet-National Gallery collaboration in 180-plus pages of thought-provoking interviews and stunning photographs. The book gives us insight into some enduring tensions in art and dance: that between past and present, power and vulnerability, narration and abstraction, and technology and tradition.

This volume is itself a work of art, edited by Dr Minna Moore Ede, Assistant Curator of Renaissance Paintings at the National Gallery. Photographs by Gautier Deblonde, Johan Persson, and Andrej Uspenski decorate every page. Ede’s conversations with three contemporary British artists (Mark Wallinger, Conrad Shawcross, and Chris Ofili) make up the text in Titian | Metamorphosis. Together, the text and images reveal the project’s progress from nascence to maturity in a vivid and uncluttered package.

Each artist was commissioned to create work for the National Gallery, and was separately teamed up with a composer and choreographers to design a ballet. Wallinger created the ballet Trespass with composer Mark-Anthony Turnage and choreographers Alastair Marriott and Christopher Wheeldon. Shawcross’s Machina featured music by Nico Muhly and choreography by Wayne McGregor and Kim Brandstrup. Ofili’s designs for Diana and Acteon set the stage for choreography by Liam Scarlett, Will Tuckett, and Jonathan Watkins. Composer Jonathan Dove and librettist Alastair Middleton rounded out Ofili’s team. [Read more…]

Filed Under: Books & Magazines, Reviews Tagged With: dance book, dance book review, royal ballet, titan metamorphasis

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