In Conversation: Le Corsaire English National Ballet January 2020

This month Julia and Rosie attended two performances of English National Ballet’s (ENB) Le Corsaire at the London Coliseum.  This production, first staged in 2013 for ENB by Anna-Marie Holmes remains the only production of the ballet performed by a British company, although both the Mariinsky and Bolshoi companies have performed their productions in London.

Le Corsaire is a preposterous tale of swashbuckling pirates, an avaricious slave trader, lascivious pasha, and the love of Medora, and Conrad, the Pirates’ Captain.  Originally choreographed in 1856 by Joseph Mazilier and loosely based on Lord Byron’s 1824 The Corsair, it is a product of its time – a spectacular fantasy of romance and adventure set in the Ottoman Empire, complete with an onstage shipwreck.  It also now includes some of the most beautiful and exciting choreography in the classical repertoire.

There were lots of possible topics of conversation raised in reviews by Emma Byrne, Mark Monahan, Graham Watts, Lyndsey Winship, for example, but we found ourselves repeatedly drawn to the subject of the dancing itself and individual dancers’ styles and interpretation of character.

PRESS-DSC_0210-v2
Artists of English National Ballet in Le Corsaire © Laurent Liotardo.

JULIA: So, this was the first time I’ve seen the full ballet live, but you’ve seen other productions, haven’t you, Rosie?

ROSIE: Oh yes, I still vividly remember the Mariinsky (at that time called the Kirov) Ballet coming to London in 1988 after an interlude of 18 years and performing their new production. I saw the same cast as on the DVD: Altyai Asylmuratova, Evgeni Neff, Farukh Ruzimatov Yelena Pankova, Konstantin Zaklinsky and Gennadi Babanin.  I’d never seen a whole troupe of dancers so explosive, virtuosic and compelling before.  It was electrifying.  Dance critic John Percival wrote that after seeing it in Paris at the end of 1987 he had raved about it for months before the company brought it to London the following summer (28).

JULIA: I went to the RAD Library this morning and found out that when Rudolf Nureyev staged Le Corsaire pas de deux for Margot Fonteyn and himself in 1962, Peter Williams noted certain technical skills and qualities that set Nureyev apart from “Western” male dancers.  He says: “His variation … provided one of those frisson-making occasions – most exciting of all being a series of jumps in a manège in which he turned high in the air with his legs tucked under him.  It is the ease, softness and panther-like grace with which he does everything that makes him so different …” (49-51).

ROSIE: But this description reminds me of Jeffrey Cirio’s performance of Ali, Conrad’s friend, on opening night. In the grand allegro sections, he created beautiful clean precise arabesque lines, and after enormous jumps he would land gently, gradually allowing his body to alight. I find this kind of virtuosity exhilarating!

Jeffrey Cirio in Le Corsaire © Laurent Liotardo

ROSIE: Daniel McCormick as Ali was also spectacular, but had a quite different visual impact – the twist in his torso was so pronounced that he looked two-dimensional.  Extraordinary.  He won the 2018 Emerging Dancer Competition performing this role, but since then he has definitely refined and developed the stylistic characteristics of Ali.  He drew me in like a magnet whenever he was on the stage, even when he wasn’t performing a dance as such.

JULIA: Another thing that I was particularly impressed by was the use of both personal and performance space. All the men were using the far reach space of their kinesphere; it looked like they couldn’t have reached any farther into the space – this added to the sense of power end elevation in their jumps.

ROSIE: Over the last few weeks I have been noticing the advertising poster with Brooklyn Mack as Conrad: it shows exactly this sense of broad kinesphere – breadth and length through the whole body – as well as strength in allegro.  For me the hands are super important to the style.  All the male dancers were showing openness and energy in their hand positions.

PRESS-DSC_0330-v2
Brooklyn Mack as Lankendem in English National Ballet’s Le Corsaire © Laurent Liotardo.

JULIA: Yes, and this was such as a contrast with Erina Takahashi’s use of personal space… As Medora she used a lot of near space making her port de bras look very delicate, which is also representative of her character. Medora seems quite gentle in comparison to her feisty friend Gulnare.  I like the journalist Teresa Guerreiro’s description of Shiori Kase in that role as “sassy” and “resourceful”.

ROSIE: But I think we both found the personalities reversed with the other cast. Katja Khaniukova’s Medora was more spirited.  You felt that was connected to her personal moment style, right?

JULIA: Yes, it’s not just a matter of acting, it’s that she highlights positions at the end of a phrase, and this gives her dancing a kind of boldness that makes Medora seem more assertive.

ROSIE: To be honest, when I watch this ballet, I don’t really pay much attention to the story line, as such.  Nineteenth century ballets like Giselle (Coralli/Perrot, 1842), Sleeping Beauty (Petipa, 1890) and Swan Lake (Petipa/Ivanov, 1895) seem to hold a lot more symbolic significance within their narratives.  But even still, the characters have to have life … Yes, for this ballet to work, the dancing has to be glorious and the acting has to resonate with me.

JULIA:  I know what you mean about the libretto, but as I was watching I was seeing important themes emerge, like loyalty, betrayal, compassion.  All of them tell us something about human nature.  And I always think that the dancers in this Company are really convincing with their acting – even if they have a minor role or are milling around, like in the market scene in Act I of this ballet.

ROSIE: They are! When Jeffrey was performing Conrad, I was so captivated by his “conversation” with Birbanto, his second-in-command, at the side of the stage that I got distracted from the centre-stage dancing!

JULIA: You can even see this commitment to portraying character in the photos – people watching onstage events, showing their interest in different ways, engaging with other characters in really vivid ways, going about their business and so forth.  It’s like people watching.

ROSIE: So I was really surprised when I read that Anna-Marie Holmes found teaching the mime the biggest challenge of staging the work.  That makes me really appreciate what a skill it is.

PRESS-DSC_0301-v2
Precious Adams, Alison McWhinney and Julia Conway in English National Ballet’s Le Corsaire © Laurent Liotardo.

JULIA: I know that the Odalisques pas de trois is one of your favourite parts …

ROSIE: I love it!

JULIA: Even here, where the dancers might focus solely on their technique, I noticed on the first night a true sense of character coming through.  Julia Conway (she’s such a beautiful dancer – another winner of Emerging Dancer) seemed quite solemn, whereas Precious Adams appeared more agitated about her fate …

Francesco-Gabriele-Frola-as-Conrad-in-English-National-Ballets-Le-Corsaire-c-Laurent-Liotardo
Francesco Gabriele Frola as Conrad in English National Ballet’s Le Corsaire © Laurent Liotardo

 

ROSIE: And Alison McWhinney was gently glowing, as if indulging in the sheer pleasure of dancing. I always admire her lovely neck line …But I want to go back to the male roles, because the two other male lead roles were  performed by dancers that I don’t know at all well: Francesco Gabriele Frola as Conrad, and Erik Woolhouse as the scheming Birbanto.

Alison-McWhinney-in-Le-Corsaire-c-Laurent-Liotardo
Alison McWhinney in Le Corsaire © Laurent Liotardo.

JULIA: They were both a revelation to me too.  They performed with such gusto and energy.  I heard you whoop at their elevation.

ROSIE: Birbanto is a much more compelling character for me, though.  When Erik Woolhouse slashed his way through the air it spoke of Birbanto’s personality as well as technical bravura.  Erik really nailed it in both ways – he was on fire!

PRESS-DSC_0217-v2
Erik Woolhouse as Birbanto in English National Ballet’s Le Corsaire © Laurent Liotardo.

JULIA: As Jane Pritchard, ENB’s Archive Consultant, says, Le Corsaire “is a production that allows dancers the opportunity to display virtuosity and personality”.

ROSIE: Hear, hear!

© British Ballet Now & Then

References

Guerreiro, Teresa. “ENB’s Le Corsaire Dazzles at the Coliseum”. Culture Whisper, 9 Jan. 2020, http://www.culturewhisper.com/r/dance/enb_le_corsaire_coliseum/14728. Accessed 10 Jan. 2020.

Holmes, Anna-Marie. “Conversation with Anna-Marie Holmes”. Le Corsaire. Programme. English National Ballet, London Coliseum, 2020.

Percival, John. “Recollections of Summer’s Rapture”. Dance and Dancers, no. 455, 1988, pp. 26-28.

Pritchard, Jane. “The Creation of Le Corsaire”. Le Corsaire. Programme. English National Ballet, London Coliseum, 2020.

Williams, Peter. “London: Ballerina and Pirate 1”. Dance and Dancers, vol. 13, no. 12, 1962, pp. 49-51.

 

Cinderella Now & Then

Cinderella Now

It’s been a year of Cinderellas!

We started this blog two years ago with The Nutcracker Now & Then. Last December we published a second Nutcracker post.  However this year, Cinderella seems a more relevant ballet for our Christmas discussion.

On the other hand, Cinderella seems to be a ballet for all seasons: at the start of 2019 Scottish Ballet (SB) were performing their production by Christopher Hampson; in the summer English National Ballet (ENB) performed Christopher Wheeldon’s Cinderella in the round at the Royal Albert Hall, but in the autumn toured the original version, choreographed on Dutch National Ballet and San Francisco Ballet for the proscenium stage; shortly after this Northern Ballet (NB) started to tour their 2013 production by David Nixon, which they will continue to perform over the Christmas period and then again in the spring months of 2020.

Of course, Cinderella adaptations that are based on the famous score by Sergei Prokofiev have the four seasons built into the structure of the work, if the choreographer chooses to employ the music in that way.  Wheeldon and ENB took advantage of this structure when adapting his 2012 choreography for the huge arena of the Albert Hall by doubling the number of dancers for the Four Seasons divertissement making it into a magnificent spectacle.  But nevertheless, with its magical tree, vibrant blues and greens, the fantastical birds and mythical Tree Gnomes, it seems to us to be imbued with a sense of warmth and fecundity that makes us associate it more with spring and summer.

English-National-Ballets-Cinderella-c-Laurent-Liotardo-2
English National Ballets Cinderella / Photo: Laurent Liotardo

The same might also be said for Hampson’s 2007 staging of Prokoviev’s Cinderella with SB, in which a rose planted by Cinderella …

… becomes the motif…, blooming into swirling curlicues and trailing blossom, becoming the backdrop of the ballet’s scenes of magic.  There’s a corps de ballet of roses, and it’s a rose, as much as a dropped slipper, that reunite this Cinders with her prince.  (Anderson)

In this way the magic of nature is woven into the fabric of the ballet, and more literally into the fabric of Cinderella’s gown for the ball, woven together by “silk moths, grasshoppers and spiders” as it is (Lowes).

In contrast to this emphasis on nature’s warmer months, NB’s Cinderella is set for the main part in a fantasy Moscow winter time, affording the opportunity for visits to the winter market populated by the likes of jugglers, acrobats and a magician, skating scenes on the Crystal Lake, and huskies for Cinderella’s sleigh to take her to the ball.

Abigail Prudames and Joseph Taylor in Cinderella. Photo Guy Farrow copy
Abigail Prudames and Joseph Taylor in NB’s Cinderella / Photo: Guy Farrow

The atmospheric score composed by Philip Feeney, and Duncan Hayler’s sparkling set, with its Fabergé-inspired ballroom (new this year) create a quite different world of magic to that created by Daniel Brodie, Natasha Katz and Basil Twist for ENB, and the art nouveau realm of Tracy Grant Lord’s designs for SB.

Araminta Wraith in Scottish Ballet's Cinderella by Christopher Hampson. Credit Andy Ross copy
Araminta Wraith in Scottish Ballet’s Cinderella by Christopher Hampson / Credit Andy Ross

One of the things that these three Cinderellas all provide is a back story that helps to create a sense of humanness in the characters, making them more than stock figures or archetypes.

Both Hampson (SB) and Wheeldon (ENB) show their heroine in childhood grieving over her Mother’s grave.  But the everlasting bond between mother and daughter is symbolised by Cinderella’s tears generating new life: the blossoming of Hampson’s rose garden and the growth of Wheeldon’s magical tree.  Hampson’s Prince is portrayed as lonely, without anyone to whom he can relate (“The Story of Cinderella”), while ENB’s Prince Guillaume seems to enjoy his life with his childhood friend Benjamin too much to want to commit to marriage – until, of course, he meets Cinderella.  A delightful scene occurs in Act I as the result of the familiar trope of swapping identities: taking Guillaume for a destitute pauper, Cinderella offers him food, shelter and company – a mark of her compassionate nature.  But as they clumsily dance together on the table, the attraction between them is unmistakable.

Erina-Takahashi-and-Joseph-Caley-in-English-National-Ballets-Cinderella-c-Laurent-Liotardo-5
Erina Takahashi and Joseph-Caley in English National Ballets Cinderella / Photo: Laurent Liotardo

Nixon’s (NB) Cinderella meets Prince Mikhail in childhood, but the most significant thing we discover about her is that she is partially responsible for her Father’s accidental death; this perhaps accounts for her Stepmother’s antipathy towards her.  Yet, despite her burden of guilt, the grown-up Cinderella radiates delight in the world of the market and the Crystal Lake.  The innovations in characterisation that make this production feel fresh and closer to life, despite the wintry glitter and sparkle, are Cinderella’s eventual bold defiance of her Stepmother, and the Prince’s initial derisory rejection of Cinderella when he discovers her lowly status as a servant to the household.  The Prince’s “upper-class bad-manners moment”, as Amanda Jennings calls it (37), felt quite uncomfortable to watch; however, so poignantly did Joseph Taylor portray Mikhail’s remorse at his own lack of empathy and insight, that there could be no doubting his love for Cinderella.

 

Cinderella Then

As the first three-act British ballet, Frederick Ashton’s 1948 Cinderella, still regularly performed by The Royal Ballet (RB), is without a doubt the most celebrated Cinderella in the history of British ballet.  And without a doubt this is in part attributable to the number of prestigious ballerinas who have performed the eponymous role, amongst them Moira Shearer, Margot Fonteyn, Nadia Nerina, Svetlana Beriosova, Antoinette Sibley, Jennifer Penney, Lesley Collier, Maria Almeida, Darcey Bussell, Viviana Durante, Tamara Rojo and Alina Cojocaru.

Sibley_Fairy Spring_GBL Wilson
Annette Page ( as The Fairy Godmother ) ; Antoinette Sibley ( as Fairy Spring ) ; Vyvyan Lorrayne ( as Fairy Summer ) ; Merle Park (as Fairy Autumn ) ; Deanne Bergsma ( as Fairy Winter ) ; Royal Opera House, December 1965 ; Credit : G.B.L. Wilson / Royal Academy of Dance

But despite its status in the British Ballet canon, Ashton’s Cinderella is to some extent an exception, especially for the year 1979, which is where we focus our attention now.  We chose this particular year, because not only did the RB stage Ashton’s Cinderella that December, but both NB and SB mounted brand new productions – by Robert de Warren and Peter Darrell respectively.

It is no secret that Ashton choreographed his Cinderella as a tribute to late 19th century ballet.  The divertissements of the Seasons are reminiscent of the Prologue Fairies from The Sleeping Beauty (Petipa, 1890), with their quirky, idiosyncratic movements that portray the feel of the season, while the Stars remind us of Ivanov’s Snowflakes, with their sharp, spikey, shimmering movements and patterns that bring to mind the constellations of the night sky.  The pantomime dame style “Ugly Sisters” could be comical renditions of Carabosse, as they plot to ensure Cinderella’s continued subjugation and to deny her her destiny, earned by the beauty of her being.

Ugly sisters_Ashton & Helpmann_GBL Wilson
Robert Helpmann ( as the Ugly Sister ) & Frederick Ashton (as the Ugly Sister ) Royal Opera House, December 1965 ; Credit : G.B.L. Wilson / Royal Academy of Dance

Like Desiré in The Sleeping Beauty, Cinderella’s Prince arrives late in the proceedings and has to pursue Cinderella through the Stars that form barriers between them.  Like a 19thcentury classical ballerina role, Cinderella herself is the focus of the stage action and the narrative, with a string of solos and duets in different styles.  No ballerina we have seen has ever competed with Tamara Rojo in portraying the two faces of Cinderella: the downtrodden but creative, imaginative and kindly young woman on the one hand, and the ideal vision of the fairy princess on the other.

But in 1979 NB offered a quite different interpretation of the Cinderella story.  De Warren based his choreography on the 1901 score by Johan Strauss Jr., the only ballet score ever written by the composer, and adapted the scenario from Heinrich Regel’s original libretto. The theme of the seasons was retained in the name of the department store where the action is located.  Here Cinderella is employed in the millinery workshop and bullied by her Stepmother, who is head of the department.  However, as far as we can make out, there were no fairies representing the seasons, although magical doves (reminding us of Wheeldon’s fantasy birds) help Cinderella with her chores so that she can go to the ball.

CIN79-001
Alexandra Worrall and Serge Lauoie in Robert de Warren’s Cinderella (1979) for Northern Ballet. Photo Ken Duncan.

The ball has been organised by Gustav, the owner of the Four Seasons, for his staff.  What we find so enchanting about this telling of the story is that Gustav is so in love with Cinderella, despite her lowly position, that he makes excuses to go to the millinery department to catch a glimpse of her, and seeks her out at the ball, where everyone is disguised by masks.

Darrell’s 1979 SB Cinderella shared similarities with the NB production in that it also used an alternative musical score to Ashton’s, one arranged by Bramwell Tovey from music by Gioachino Rossini, including some numbers from his Cinderella opera La Cenerentola (1817).  The libretto was also based loosely on the scenario to the opera (Tovey) and evidently foregrounded the Prince.  The first source we found on this production was a review by John Percival which struck us with both its title “She knows a good ‘un when she sees him”, and with the first lines:

The Hero of Peter Darrell’s ballet Cinderella is the quiet, gentle Prince Ramiro, who is more interested in books than court occasions; you could almost imagine him talking to the plants in the palace gardens …

Scottish Ballet present Peter Darrell's Cinderella. Credit Bill Cooper (1)
Scottish Ballet – Peter Darrell’s Cinderella/ Credit Bill Cooper

This version of Cinderella in fact started with the Prince, who, finding the preparations for the masked ballet tedious, changes places with his equerry Dandini; and as in the current production, an instant bond is kindled between Cinderella and the Prince, despite the disguise.  As Percival emphasises “Cinderella knows real worth when she sees it” (“A Scottish Cinderella” 20).  Once again, nature plays an integral part in the staging, with Exotic Birds, Fire Fairies and Dew Fairies listed in the cast, and Cinderella arriving at the ball in an exquisite cloak resembling butterfly wings.

Concluding thoughts

Choreographers past and present have drawn on different sources and ideas in order to make their particular Cinderella fitting for their context.

Yet, no matter which adaptation you see, Cinderella is a ballet about different kinds of magic, love and beauty, as well as the everyday miracle of nature, with its message of hope and faith in the constant renewal of life.  As such it as an ideal Christmas ballet, as well as a ballet for all seasons.

© British Ballet Now & Then

Next time on British Ballet Now & Then … It’s an exciting anniversary season for English National Ballet, so we must take a look at the history of the company – its directors, repertoire and dancers.  

This post is dedicated to Kelly Kilner, Rosie’s Angel of Islington – a living example of everyday magic.

We would like to thank Graham Watts for his help with our research on Christopher Hampson’s Cinderella.

 

References

Anderson,Zoë.  “Cinderella, Festival Theatre, Edinburgh, review: Romantic            production combines glamour and liveliness”. The Independent, 24 Dec. 2015, http://www.independent.co.uk/arts-entertainment/theatre-     dance/reviews/cinderella-festival-theatre-edinburgh-review-romantic-          production-combines-glamour-and-liveliness-a6785011.html. Accessed 22            Dec. 2019.

Jennings, Amanda. “Cinderella”. Dance Europe, no. 244, Nov. 2019, pp. 35-37.

Lowes, Susan. “Cinderella”, All Edinburgh Theatre, 8 Dec. 2015, http://www.alledinburghtheatre.com/cinderella-scottish-ballet-review-2015/. Accessed 22 Dec. 2019.

Percival, John. “A Scottish Cinderella”. Dance and Dancers, vol. 30, no. 12, 1979, pp. 18-22.

—. “She knows a good ‘un when she sees him”, The Independent, 17 Dec. 2019, http://www.independent.co.uk/arts-entertainment/dance-she-knows-a-good-un-when-she-sees-him-1191878.html. Accessed 22 Dec. 2019.

“The Story of Cinderella”. Scottish Ballet, 2019, https://www.scottishballet.co.uk/tv/the-story-of-cinderella. Accessed 22 Dec. 2019.

Tovey, Bramwell. “The Music for Cinderella”. Cinderella. Programme. His Majesty’s Theatre, Aberdeen, 1979.

 

 

 

In Conversation: Cinderella in-the-round, English National Ballet

Alina-Cojocaru-and-Isaac-Hernandez-in-Cinderella-in-the-round-c-Laurent-Liotardo-7
Alina Cojocaru and Isaac Hernandez in Cinderella in-the-round (c) Laurent Liotardo

Last Friday Julia and Rosie attended English National Ballet’s Cinderella in-the-round, specially adapted for the Royal Albert Hall by the award-winning choreographer Christopher Wheeldon.

Although we knew the production would be spectacular, it exceeded our expectations!

On the way into the auditorium we were delighted to meet the dancer James Streeter whom we interviewed last autumn.  He was clearly very excited about the production.

 

JULIA: An evening full of great surprises! ENB’s dancers filled the Royal Albert Hall’s grand arena with such energy that the venue’s atmosphere seemed to be enchanted… full of magic.

ROSIE: For me the magic starts right at the beginning, even before the performance begins: you walk into the auditorium and there’s the huge projection of a blue sky with white clouds, and then you hear birds and see them fly over the “sky” just before Sergei Prokofiev’s score starts.  So I felt that nature was going to play a really important role in the production.

JULIA: Well it does, doesn’t it?  In the original Wheeldon production the stage is dominated by the tree created by Julian Crouch, which apparently had to be “pruned” (as Graham Watts appropriately put it) when Dutch National Ballet brought it to the Coliseum four years ago.   Although the actual tree isn’t there in the Albert Hall, it’s still present in the projections onto drapes gathered in the shape of a tree.

9.-English-National-Ballet-in-Christopher-Wheeldons-Cinderella-in-the-round-c-Ian-Gavan
English National Ballet in Christopher Wheeldon’s Cinderella in-the-round (c) Ian Gavan

ROSIE: It’s all about illusion, isn’t it?  It says in the programme that there are over 370 costumes – and they include outfits for fantastical white birds, tree gnomes, and the Spirits of Lightness, Generosity, Mystery and Fluidity, all connected to the tree, as if it’s some magical life force.

JULIA: The idea of the tree came from the version of the tale by the Brothers Grimm, so written in the Romantic era.  In fact they seem to have produced two adaptations of the story, seven years apart (1812, 1819) but both featuring the tree.

ROSIE: So there’s no Fairy Godmother and pumpkin, as in the Charles Perrault version (1697).

ROSIE: And Cinderella is held aloft “in” the coach by one of the dancers and holding billowing silk fabric above her head, almost as if she’s flying – she really is being transported!  I find this kind of theatre really imaginative, and I love the way that you can see detail because there’s no orchestra pit separating the audience from the performers.  You really liked the Fates, didn’t you?

JULIA: Yes, I found them very striking… I often caught myself directing attention to their moves on stage. In my opinion they were telling the audience the fairy tale from Cinderella’s perspective. Because they are so integral to the production: they are always present; they don’t suddenly appear from nowhere in terms of the narrative…

ROSIE: No they don’t, but they do often move in a soft, almost stealthy way, at times performing low level circular and undulating movements in their dark clothes, so that they seem to emerge organically from Cinderella’s surroundings.  Sometimes, because of the way they were positioned around the space, I connected them to the idea of representing the four compass points, so that Cinderella is protected from every direction. I’m sure that being performed in the round encouraged this notion. 

Alina-Cojocaru-and-Isaac-Hernandez-in-Cinderella-in-the-round-c-Laurent-Liotardo-5
Alina Cojocaru and Isaac Hernandez in Cinderella in-the-round (c) Laurent Liotardo

JULIA: Their movement was such a contrast to the corps de ballet who moved with such overt energy.  They really made me sit up in my seat with their constant shift of imaginative patterns.  But they also contributed to the narrative in that they framed Cinderella’s entrance to the ball, for example, and then with their angular staccato clockwork movements as the scene built up to Cinderella’s exit.    

ROSIE: Of course the energy is enhanced by the large number of dancers – 48  corps de ballet dancers in the ballroom scene, I believe – and by fact that, as always, the ENB corps are so well rehearsed.  The cohesion seemed even more important than usual in the round – somehow it’s more exposing.  One of the things I liked so much about our Cinderella, Erina Takahashi, is that she has a very distinctive quality of serene stillness that I find draws me in when she performs. And in this ballet with all its wonderful buoyant energy, it seemed important to have a still centre to give it a contrasting focus.

JULIA: On another topic, I love theatre that moves seamlessly from one environment to another, like the columns that are drawn out to represent the palace and the kitchen table that glides round the performance area. 

ROSIE: The projections on the floor (designed by Daniel Brodie) like the rain, the dappled light beneath the tree, the decorative marble floor of the ballroom, the clockwork wheels.  These all enhance the atmosphere of each scene.  I almost fell off my seat when the orchestra was lit up during the ball scene; up to that moment it had been hidden.  It really intensified the illusion of being present in a beautiful grand ballroom. And the dancers entering and exiting through the auditorium makes me feel invited into Cinderella’s world.

14.-English-National-Ballet-in-Christopher-Wheeldons-Cinderella-in-the-round-c-Ian-Gavan.jpg
English National Ballet in Christopher Wheeldon’s Cinderella in-the-round (c) Ian Gavan

JULIA: Yes, the orchestra was hidden behind the projections.  Those projections were really vital to my appreciation of the ballet; for me they contribute to the darkness that Emma Byrne mentions in her review: “[a] story full of dark frivolity and fantasy, high on romance yet with a strong original feel”. Indeed, there is an element of dark fantasy to the story, and this, for me, combined with the dreamy, mystical set and costumes transform the characters and Cinderella into other-worldly beings. Reminded my of a Tim Burton film…

ROSIE: I agree with Emma Byrne the idea of darkness as far as the dark colour palette is concerned (Cinderella really stands out in her light-coloured costumes), but I was relieved that not all of the gruesome details of the Grimm versions were included.  The ones that make me feel queasy are the Stepsisters cutting off parts of their feet (which consequently bleed profusely) to try and force them into the shoe, and then at the wedding the birds pecking the Sisters’ eyes out for their wickedness. 

JULIA: Stepmother Hortensia does try to hammer their feet into the shoe, though …

English-National-Ballet-in-Cinderella-in-the-round-c-Laurent-Liotardo
English National Ballet in Cinderella in-the-round (c) Laurent Liotardo

ROSIE: Yes, with distinct glee as well as determination, if I remember rightly. But it seemed to me to be comedic, or at least satirical, rather than truly grisly.  There was a lot of light-hearted comedy, I thought, and Sarah Kundi as Stepmother Hortensia looked like she was having outrageous fun “momanaging” her daughters and getting deliciously drunk at the ball.  

JULIA: : I think the production reflects ENB’s culture as a company – a sense of togetherness, team work and effort is repeatedly  expressed on stage. This reminded me of our conversation with ENB’s first soloist James Streeter when he said that “in the culture of ENB, the notion of a minor role does not in fact exist”; all characters are equally important in setting the scene and atmosphere in their productions.

ROSIE: There are more Cinderellas coming up.  I’m looking forward to revisiting the topic later in the year with a Now & Then post.  Watch this space!!!

Alina-Cojocaru-in-Cinderella-in-the-round-c-Laurent-Liotardo
Alina Cojocaru in Cinderella in-the-round (c) Laurent Liotardo

© British Ballet Now & Then

References

Emma Byrne. “Cinderella Review: English National Ballet goes Grimm with a story full of dancer fantasy”. Evening Standard, 7 June 2019, http://www.standard.co.uk/go/london/arts/english-national-ballet-cinderella-review-royal-albert-hall-a4161961.html. Accessed 12 June 2019.

Watts, Graham. “English National Ballet – Cinderella – London”. DanceTabs,  6 June 2019, https://dancetabs.com/2019/06/english-national-ballet-cinderella-london/. Accessed 12 June 2019.  

In Conversation with British Ballet Now & Then: Dance Biopics – The White Crow and Yuli

Rosie and Julia recently attended the premieres and Q&A of both The White Crowa film depicting Rudolf Nureyev’s early life and his decision to defect from the Soviet Union in 1961, and Yuli: The Carlos Acosta Story, a film inspired by the life of Acosta from childhood up to the present day.  We have written about both dancers before in our Male Dancers in British Ballet Now and Then post.

In this In Conversation we share some of our thoughts on common themes that we noticed in the films.

ROSIE: It’s interesting that both film titles are nicknames with specific meanings in Nureyev’s and Acosta’s lives. The Russian expression “white crow” suggests an unusual individual, an outsider. And the name “Yuli”, meaning youthful and powerful, was adopted by his Father, who thought of him as the son of Ogun, an African warrior god.  

JULIA: Yes. It seems to me that The White Crow’s director Ralph Fiennes and screenwriter David Hare intended to show Nureyev’s remarkable career but also his distinctive driven personality: his passion for ballet, determination and rebellious character were extraordinary. Matchless.  And in that sense an outsider.

ROSIE: But Yuli, directed by by Icíar Bollaín and written by Paul Laverty, seems to me to foreground Acosta’s relationship with his father – ballet comes a poor second, if a second at all! The drama in Yuli arises from Acosta’s troubled relationship with his Father, and from his reluctance to dance and to leave his family and country. Nonetheless, it is a very colourful film, perhaps reflecting Acosta’s love for Cuba; whereas in The White Crow colour is reserved for the scenes set in 1961 Paris, which represented freedom to Nureyev. The use of colour brings out some of the contrasts in the films. 

JULIA: I think there’s a difference in political agenda too. The White Crow demonstrates the impact of socio-political norms established by the Soviet Union on the life of dancers at that time despite the relaxation under Nikita Khrushchev. In my opinion, this is one of reasons for its potential success in attracting diverse audiences to the cinema… that’s the vibe that I got from the Everyman premiere.  But perhaps not the same can be said in relation of Yuli, a film that primarily attracts balletomanes… although it might have a wider appeal. 

ROSIE: Overall, The White Crow strikes me as an exploration and musing on the first 23 year of Nureyev’s life. The drama arises from his struggle to catch up on lost time in his training, clashes with the authorities and the slow build-up to the climax of his defection at the airport. Although film critic Peter Bradshaw questions the relevancy of the dance scenes, I think theseare used to demonstrate Nureyev’s environment, ballet as the driving force of his life, his determination and dedication, and his talent.  So they’re absolutely integral to the film, to the depiction of his character and circumstances.

JULIA: I agree. In my opinion Oleg Ivenko showed brilliant dancing and thoughtful, considered acting. In The White Crow’s Q&A, Ralph Fiennes commented that when casting for Nureyev’s role he wanted to find a dancer who was able to act so that this would be a more realistic representation on screen. For example, consider the ways in which a dancer stands and walks – this had to be captured. Yet, I wonder how Ivenko prepared for this role in terms of Nureyev’s personal style?

ROSIE: Yes, dancers move differently and look different in everyday life. Fiennes himself plays Alexander Pushkin, Nureyev’s ballet teacher in Leningrad. He was just as I imagined – taciturn, yet at the same time interested and kind.  His body language too reminded me of snippets of Pushkin’s teaching that I’ve seen. I understand from the Q&A at the British Film Institute that the producers consulted Mikhail Baryshnikov – he was also pupil of Pushkin’s and has talked of his teaching with great admiration – so I’m convinced this helped Fiennes with his portrayal of Pushkin. I also admire Fiennes’ Russian, and the fact that all the scenes set in the Soviet Union were in spoken in Russian.

JULIA: The use of foreign language is particularly effective in both films. The Russian dialogue at the start of the The White Crow, when Pushkin is being interrogated in the aftermath of Nureyev’s jump to freedomsets a powerful tone and atmosphere.  On the other hand, the dance scenes in Yuli don’t convey the same sense of ongoing daily discipline required to fulfil a talent such as Acosta’s. However, similarly to The White Crow, the soundtrack and notably the music in the dance scenes contributed to a more realistic representation of the atmosphere and environment of a ballet class and stage performances. 

ROSIE: For ballet lovers I think that evoking the environment of the studio is really important. In Yuli the dance scenes are used for a range of purposes.  Acosta’s initial reluctance to dance is made really clear in the ballet studio scenes; then his change of attitude towards ballet is shown through his reaction to a performance of Le Corsaire. These scenes are brilliantly acted by Edlison Manuel Olbera Núñez, who to me looked like he could have been Acosta as a child…. One of the most interesting aspects of the film was how family relationships were explored through dance as well as through spoken sequences.  Acosta dancing the role of his father added a layer of poignancy here.  But it also offered an opportunity for Acosta to showcase his company. So the role of dance was integral to both films but used rather differently.

JULIA: The flashback structure in Yuli and The White Crow allowed particular connections to both dancers’ upbringing, training, and success as professional dancers to be represented on the screen. For example, as The White Crow progressed it became really clear how Nureyev’s personality was gradually being shaped through the flashbacks portraying his childhood and relationship with his mother and teacher. 

ROSIE:  Yes, you saw a real logic in the structure.  Wendy Ide, in her review for The Guardian, suggests that The White Crow is an “uneven film” and “lacks the flowing logic” of ballet that Pushkin encourages in his students. In my opinion, however, Nureyev didn’t have a flowing logic in his life; rather, he found that through ballet. Therefore, it didn’t matter to me that I didn’t quite follow the logic of the structuring.

ROSIE: I was glad that The Guardian produced two reviews of The White Crow, but wouldn’t it have been more interesting to compare one review by a film critic and one by a dance critic?

JULIA: Or even better, they could do an In Conversation review like the one we’ve done here!

References

Bradshaw, Peter. “The White Crow review – Ralph Fiennes brings poise to ballet biopic”. The Guardian, 20 Mar. 2019, http://www.theguardian.com/film/2019/mar/20/the-white-crow-review-ralph-fiennes. Accessed 7 Apr. 2019.

Ide, Wendy. “The White Crow review – a jumpy spin on Nureyev”, The Guardian, 24 March 2019, http://www.theguardian.com/film/2019/mar/24/the-white-crow-review-rudolf-nureyev. Accessed 7 Apr. 2019. 

“Yuli”. The Royal Opera House,  www.roh.org.uk/productions/yuli-the-carlos-acosta-story-by-iciar-bollain. Accessed 7 Apr. 2019.