On October 5th Julia and Rosie went to Markova House, headquarters of English National Ballet, to watch company class and talk to James Streeter.
In our last Britishballetnowandthen post we wrote about male dancers and their impact on the development of performance style and repertoire in British ballet. One of the dancers we focussed on was James Streeter and the way in which he brings each character that he dances to life, no matter how varied or disparate. As we researched, discussed and wrote about James, remembering his performances in various roles, we became increasingly intrigued … How does James ignite the choreography with such real-life substance? How does he give the characters their lifeblood? And what is it that makes James Streeter the dancer seem to disappear and leave us with the human being of the story?
Our curiosity led us to ask for an interview with him in which we discovered that his ability to inhabit a role seems to be intrinsically connected to a particular view of life: James sees life as a constantly evolving journey peopled by fascinating human beings all with their individual histories and ways of being.
James’ relish for life is evident in the bright enthusiasm of his features, and his love for his work permeated the discussion, which was continually peppered with lively gestures and facial expressions culminating in a demonstration of the different ways a man and woman might get up from the table – a mesmerising “performance” in itself.
Although James seemed unsure whether he has a natural thespian talent (a doubt not shared by ourselves, having watched him perform in numerous roles and now having sat for an hour seeing him spontaneously transform himself into a plethora of characters mid-sentence), the trajectory of his career from joining the English National Ballet straight from the school leaves no room for doubt as to his dramatic flair. His first stage role was the Lead Capulet Servant in Rudolf Nureyev’s Romeo and Juliet (1977), but as a young Company member he was also given the role of Tybalt in the same ballet, as well as the Duke of Courland in the traditional version of Giselle (Coralli/Perrot, 1841). This information was delivered to us accompanied by hilarious stories of puzzled looks from the wigs department or disgruntled remarks from more senior colleagues sharing the same role at the sight of so green a performer taking on roles of some maturity.
It seems clear that one of the keys to James’ success in giving life to characters is the fact that he recognises the complexity of human nature. Tybalt, for example, he perceives not simply as the aggressive villain of Romeo and Juliet, but as a young man who loves his cousin Juliet, and is aware of his status within the family, even though he as yet lacks the maturity and stability of mind to be able to recognise the consequences of his seething temper. James is very aware that what might feel right to him in terms of his reading of the character when preparing a role may not be clearly perceived by the audience, so he makes sure that checking his character in the mirror is integral to the preparation and rehearsal process. And reviews of his performance in this role do suggest that his reading of Tybalt reaches over the footlights, with both Zoe Anderson and Mark Monahan recognising a duality within Romeo’s enemy: “James Streeter’s Tybalt has affection for Juliet as well as family pride” (Anderson); “Streeter dared to be almost sympathetic in an early scene with his cousin, but later tapped wells of white-hot ferocity in his disappointment at her choice of beau” (Monahan).
One of James’ most celebrated roles is Carabosse in the classical Sleeping Beauty (Petipa, 1890), a character who on the surface could be interpreted as a straightforward symbol of evil. Although we didn’t manage to see James in this role in the recent run of performances at the London Coliseum, (we saw a terrifying, chilling Stina Quagebeur), we were captivated by Luke Jennings’ description of James’ “fabulously vicious Carabosse, who prowls the stage with the sallow features and madly crimped hair of a vengeful Tudor queen”. We queried James about the reference to Elizabeth I, wondering whether he made a connection between the two women, their childlessness highlighted by the celebration of a long desired baby princess. He responded with a vision of Carabosse as an individual who has been ostracised for no good reason, maybe simply for being different, whose bitterness and desire for revenge are to some degree forgivable. An evil fairy she may be, but one who experiences the depths of human disappointment and hurt, who can therefore give us insight into human nature, and for whom James clearly has some sympathy.
As we discussed the whys and wherefores of Carabosse’s nature, James showed us with ever-changing dynamics in gestures and mien the difference between a camp depiction of Carabosse and the same character portrayed through feminine body language. During the conversation he observed and mimicked to a T Julia’s hand and arm gestures, giving them as an example of how he draws on everyday life and people’s changing demeanour in creating believable and relatable characters.
From James’ perspective he has only a few weeks to create a whole life history for the character he is portraying and to discover ways of moving true to the character’s history and temperament. He constantly asks himself how the person would react to everyday occurrences, such as being jostled in the tube. Tube journeys are one daily opportunity to observe people’s body language, features of which he then incorporates into a reservoir of visible traits that he uses to depict character. Early on in his career it was suggested to him that if he could behave in character during a tube ride without drawing attention to himself, he would know that he “had” the character, so to speak.
But this doesn’t quite address the question of exactly how James manages to look as if he is walking into a room rather than walking onto the stage, so real and apparently spontaneous is his demeanour. So probably the most pressing question for us was the relationship between preparing for a role and allowing himself “to be truly in the moment” (qtd. in O’Byrne). In this part of the discussion James acknowledged the influence of both Akram Khan and Tamara Rojo. He smiled at his younger self, remembering how after preparing and rehearsing with great rigour he then wanted every performance to be identical in accordance with his painstaking preparations, as if he wanted it to be “exactly right”. But with experience came the confidence to be more spontaneous in performance.
We have experienced watching Tamara Rojo in a run of performances in the same ballet and revelled in the immediacy of her renditions, varying as they did from night to night, as if she were reborn into the role each time. James explained to us that in rehearsals of Akram Khan’s Dust and Giselle Tamara Rojo and he would spend a lot of time discussing character, motivation and feeling, but also experimenting and discovering the limits of movement and emotion. This then enabled them to give performances that were authentic to the characters, their feelings and relationships, without being overdramatised.
And just as our feelings, moods and behaviours as human beings fluctuate from day to day, James perceives each performance to be a new day for his character. As he prepares for each performance a kind of transformation takes place, for which costume, wig and make-up are crucial. Now he embodies all his ideas about the character’s history, temperament, status, mood, typical gestures, posture and facial expressions, using his observations from theatre, film, art, literature and daily life, and moves into the performance as if experiencing events and responding to the people around him for the first time – as if in real life. But James did also discuss a specific unknowable factor that feeds into this sense of spontaneity and freshness, that is, the energy of the audience, a phenomenon which James clearly feels keenly and that can give the performance an extraordinary sense of occasion. A recent example that he cited was English National Ballet’s performance of Lest We Forget to the Royal British Legion, the memory of which noticeably still fills him with awe.
Amongst the dancers whose influence and support James talked about with visible ardour and gratitude were Michael Coleman, Lionel Delanoë, Frederic Jahn, Matz Skoog, Fabian Reimair, and above all David Wall. Because James’ admiration for this great actor-dancer was so prevalent within the discussion, and we wrote about David Wall’s interest in theatre in our last post, we asked James more particularly about the importance of theatre for his work, and discovered that James not only enjoys both cinema and theatre, but has quite an analytical approach to acting, relishing the finer points of skilful acting. The only point at which James hesitated in the course of our conversation was when we asked him about actors whom he particularly admired: he was clearly perplexed by the number of actors that inspire his admiration. However, given that the British ballet world seems to be entranced by the BBC’s Killing Eve, based as it is on the fictional writing of The Observer dance critic Luke Jennings, it was apt that he then proceeded to describe a scene from Episode 2 of this drama (“I’ll Deal with him Later”). Set in the pub, two of the protagonists, Bill and Eve, deliver a minimal script:
Bill: Did you know about his wife?
Eve: Mm-hmm. You?
Bill: Mm-hmm
Eve: Oh those poor kids …
Bill: Yeah.
Yet the delivery of the script is laced with sardonic, wry humour, and James’ appreciation for the skill of the actor David Haig in giving the scene its sharp wit flowed exuberantly through his description of this snippet of the episode that had lodged itself so firmly in his memory.
During our talk James was brimming with delight regarding this profession that allows him to create a “bubble”, a world for his character who lives a completely different life from his own. Because he enters this bubble anew at each performance, he makes fresh “discoveries”, as he calls them, that he can use to enrich his understanding and portrayal of the character in subsequent performances. As we have witnessed on stage, this is an approach that he takes to all of his roles. He explained that in the culture of English National Ballet, the notion of a minor character does not in fact exist. When the Company first staged Petipa’s classical Le Corsaire in 2013, as Artistic Director, Tamara Rojo insisted that the curtain rise on a bustling, vibrant marketplace teeming with folks of all kinds, some intent on going about their business, others more interested in the dramatic action going on around them.
As our conversation came to a close, like the gentleman he clearly is, James thanked Julia for the hand gestures she had inadvertently introduced to him, assuring her that he would make use of them one day.
We are very grateful for the support of Alice Gibson, PR Manager, and Laurent Liotardo, Staff Photographer, for their support in the production of this post.
References
Anderson, Zoe. “Romeo and Juliet, Royal Festival Hall, London, review”. Independent, 2 Aug. 2017, http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/romeo-and-juliet-royal-festival-hall-london-review-an-uphill-struggle-a7872441.html. Accessed 14 Oct. 2018.
“I’ll Deal with Him Later”. Killing Eve, series 1 episode 2, BBC, 29 Sept. 2018, http://www.bbc.co.uk/programmes/p06kc8mb. Accessed 17 Oct. 2019.
Jennings, Luke. “English National Ballet: The Sleeping Beauty review – a way with the fairies”.The Guardian, 10 June 2018, http://www.theguardian.com/stage/2018/jun/10/english-national-ballet-sleeping-beauty-review-alina-cojacaru. Accessed 6 Oct. 2018.
Monahan, Mark. “ENB make Nureyev’s drama soar – Romeo and Juliet, Festival Hall, review”. The Telegraph, 2 Aug. 2017, http://www.telegraph.co.uk/dance/ballet/enb-make-nureyevs-drama-soar-romeo-juliet-festival-hall-review/. Accessed 14 Oct. 2018.
O’Byrne, Ellie. “Classic Love Story gets a Modern Twist”. Irish Examiner, 23 Apr. 2018, http://www.irishexaminer.com/breakingnews/lifestyle/culture/classic-love-story-gets-a-modern-twist-838618.html. Accessed 6 Oct. 2018.
British Ballet Now & Then 