There aren’t many props in dance. Some may intrude on classical ballet, though only the most trad production will drag out the shiny swords and goblets. Otherwise, anything that gets in the way of bodies is considered clutter, and faces the full Marie Kondo. After all, there’s a reason those tights and tutus don’t have pockets. That’s not the case in Matthew Bourne’s production of Swan Lake for … [Read more...]
My week with swans
I’ve spent a week thinking about swans. Ballet swans, mostly, with feathery bodies, aching hearts. Last Thursday, Liam Scarlett’s richly imagined Swan Lake opened at the Royal Ballet, replacing a 31-year-old version and offering an opportunity to rethink the way the story is told. I took part in some of the events the Royal Opera House held in its wake – interviewing artists, facilitating … [Read more...]
Never forget
What lingers from what you see at the theatre? Alarmingly random things, in my case. And, as I grow older, alarmingly distant things. Chatting with a friend yesterday evening, it turned out we’d both seen the same RSC production of King Lear as teenagers and between us could name most of the cast. We could probably do you the storm scene at a push. What I saw last week? Not so clear. In fact, … [Read more...]
Propwatch: the lace in Giselle
It’s only a moment. Giselle, a migrant seamstress made rootless by a changing world, confronts the dauntingly affluent Bathilde. Their encounter ripples with instinctive distrust (unwittingly, each loves the same guy; this is ballet). Bathilde wears sumptuous black, plume-topped and lace-swathed. Giselle is in faded blue (washed out and washed again) – but she won’t simper, won’t sink in … [Read more...]
She thought
‘Could you tell these were by women choreographers?’ asked my neighbour during an interval of English National Ballet’s She Said. Good question. How would you know?Could you tell that the opera I saw the following evening – Lucia di Lammermoor – was directed by a woman, Katie Mitchell? Good question – but impossible. Start slapping labels on aesthetic qualities – feminine/masculine – and you’re … [Read more...]
Risk management
New ballets are risky endeavours, requiring significant investment in talent, time and money. Yet do classical companies give them the best chance to shine? Performance Monkey asks companies around the world about previews, rehearsals and revivals. How do you create a ballet with legs? One that will appeal to audiences, satisfy dancers and find a lasting toehold in the repertoire? The question … [Read more...]
Coming into land
Shouldn’t ballet have previews? Wouldn’t it help dancers and choreographers alike? As with most bad things, the money says no. Ballets have short runs, so you slap ’em on stage and get reviews and publicity whirring at the earliest opportunity. Good for box office and bar takings, but how about the art? A triple bill by a living choreographer is a rarity at the Royal Ballet, usually only … [Read more...]
Act of worship
Status update: Waiting for Godot and I have decided to stop seeing each other. I guess it won’t come as a surprise. Things have been pretty bad for a while. Looking back, I can’t remember when we were last happy. Or even interested in each other. In my head, I have a perfect version of Samuel Beckett’s play: not in the details of staging, just one that has some of the effect I’ve had when … [Read more...]
Second act
Sylvie Guillem and the changing shape of a dance career The options for a dancer when the plié turns to rust have conventionally been restricted. Teacher, family or ballet mistress. Some became choreographers or artistic directors; others, it was rumoured, were lured behind the opera house with the promise of fresh pasture and sugar lumps and never heard from again. Sylvie Guillem changed … [Read more...]
Trouble in mind
Woolf Works How do you dance consciousness? The play of thought, memory, imagination? Maybe you find someone who explored how to write thought – to put the process of reflection and remembering, how they scud and deepen and feel, into words. That writer might be Virginia Woolf. Woolf Works, Wayne McGregor’s exceptional new piece – his first full-length for the Royal Ballet, where he is … [Read more...]