December 1, 2011

2011 Standout: Lauren Cuthbertson (Pointe Magazine)

Another year, another list of Standout Performances. My pick this time for Pointe Magazine’s annual roundup was Royal Ballet Principal Lauren Cuthbertson, who created the lead role in Christopher Wheeldon’s Alice’s Adventures in Wonderland last February. The full Best of the Best list is in Pointe’s latest issue, and Cuthbertson opens the story with a double-page spread!

Cover of the December 2011/January 2012 issue © Pointe Magazine

Cover of the December 2011/January 2012 issue © Pointe Magazine

Best of the Best 2011: Lauren Cuthbertson
Only a year and a half ago, The Royal Ballet’s Lauren Cuthbertson wasn’t sure how she would make it back on stage. Diagnosed with glandular fever just after being promoted to principal, Cuthbertson watched her promising career stall as she battled the illness. But now she’s returned, and early this year she made her comeback as the lead in Covent Garden’s first new full-length production in years, Alice’s Adventures in Wonderland. Christopher Wheeldon tailored his Alice to Cuthbertson’s English-rose looks, airy jump and unaffected stage persona. Onstage almost from start to finish, she thrived around Lewis Carroll’s quirky characters. At once fresh and thoughtful, her dancing proved to be the guiding thread of the ballet, which was filmed for DVD release. Her obvious delight in the moment was an added bonus in Wonderland, and the buzz around the premiere said it all: a true English star was born—again.

Alice’s Adventures in Wonderland returns to the Royal Opera House next March, but if you can’t wait Opus Arte has just released a DVD of the production. Sergei Polunin, Zenaida Yanowsky, Edward Watson and Steven McRae star alongside Cuthbertson as Alice.

» Watch: Lauren Cuthbertson (Alice) and Sergei Polunin (the Knave of Hearts) in Alice’s Adventures in Wonderland (Youtube)

» The full list of 2011 Standout Performances on Pointe Magazine’s website

Lauren Cuthberton & Sergei Polunin in Alice © Johan Persson

Lauren Cuthberton & Sergei Polunin in Alice © Johan Persson





October 3, 2011

Insider to Head The Royal Ballet (Pointe Magazine)

The name of Monica Mason’s successor has been known for a few months now, but it remains a surprise for many – Kevin O’Hare, The Royal Ballet’s current administrative director, will succeed her as artistic director at the end of the 2011-2012 season. Here is my take on his appointment, complete with quotes from choreographer Christopher Wheeldon, for the news pages of Pointe Magazine:

Cover of the October/November 2011 issue © Pointe Magazine

Cover of the October/November 2011 issue © Pointe Magazine

When it came to casting the part of next Royal Ballet artistic director, most ballet fans expected that a familiar face would land the job. (Several big names—including Christopher Wheeldon—were repeatedly tossed around.) In the end, however, Monica Mason will be succeeded in July 2012 by an insider no one saw coming: Kevin O’Hare, her administrative director since 2009.

A former principal with Birmingham Royal Ballet, O’Hare retired from dancing in 2000 to train in company management. After stints with the Royal Shakespeare Company and BRB, he joined The Royal’s management team in 2004. “Kevin knows the company and has already established a clear and communicative relationship with the dancers,” explains Wheeldon, who choreographed Alice’s Adventures in Wonderland for The Royal earlier this year.

While some have deemed the appointment unexciting, O’Hare is intimately familiar with the company’s English repertoire and won over the selection panel with ambitious plans to bring together “the most talented artists of the 21st century to collaborate on the same stage,” as he said in a press release. He won’t be lonely at the top, either: Both Wheeldon and resident choreographer Wayne McGregor, along with associate director Jeanetta Laurence, have agreed to be part of his “senior artistic team.” The terms of their involvement remain to be defined, according to Wheeldon, but “there are future projects in the works, including another possible full-length ballet.” (…)

» Read the full interview in Pointe Magazine’s news section (scroll down to see it)





July 15, 2011

Review: Miami Light in Paris

Les Etés de la danse – Miami City Ballet
Square Dance, The Four Temperaments, Ballet Imperial, Theme and Variations, Liturgy, Promethean Fire…

Théâtre du Châtelet, Paris
July 2011

It was quite a bet: a little-known ballet company from Florida touring Paris for three weeks in the middle of the summer. And yet Miami City Ballet is pulling off some of the most refreshing performances seen here in a while. With 14 ballets scheduled, it may be an unprecedented undertaking for the company’s founder and director, former Balanchine star Edward Villella, but this tight-knit troupe has coped, and the audience’s reaction to the unfamiliar repertoire has been rapturous.

Under Villella’s guidance, Miami City Ballet has built a reputation for illuminating aspects of Balanchine’s style often overlooked by others. The dancers’ exuberance and faith in the steps are infectious, and theirs is an all-American musicality that sheds new light on ballets that have grown formulaic and dull on this side of the Atlantic.

Square Dance, one of their calling cards, sets the tone. At home in this whirlwind of spirited classical inventiveness and folk references, soloists and corps de ballet alike articulate the music and the choreography as one, striking notes so blissful that the action sometimes seems to stop for a millisecond. Similarly, their reading of The Four Temperaments, with its sharp contrast between soloists and assertive corps, greatly enriches the definition of each movement. (…)

» Read the full review in the Financial Times

Patricia Delgado & Carlos Guerra in The Four Temperaments © Joe Gato

Patricia Delgado & Carlos Guerra in The Four Temperaments © Joe Gato





July 8, 2011

Review: Les Enfants du paradis, from screen to stage

Les Enfants du paradis
Choreography: José Martinez
Paris Opera Ballet
Palais Garnier, Paris
June 30, 2011

Have ballet’s superproductions lost the plot? Like Christopher Wheeldon’s Alice in Wonderland, which had its world premiere at Covent Garden in February, the Paris Opera Ballet’s Les enfants du paradis is a balletic reinvention of a work of art made for another medium. The appeal is obvious: the audience knows the story and, where ballet is concerned, familiarity breeds contentment, particularly at the box-office. Squeezed between lavish designs, a commissioned score and convoluted storytelling, however, neither work has much time for its raison d’être: choreography.

Les Enfants du paradis, choreographed by étoile José Martinez in 2008 and now revived for the first time, follows nearly every twist and turn of Marcel Carné’s much-loved 1945 film. Similar black and white cinema sets attempt to recreate the atmosphere of the bustling theatre life of 19th-century Paris, where the heroine, Garance, is pursued by a mime, Baptiste, and by star actor Frédérick Lemaître. From the outré crowd scenes to the mix of period costumes and stunningly original tutus (designed by another étoile, Agnès Letestu), the idea of life as theatre and theatre as life is clearly developed, and Martinez makes clever use of the Palais Garnier with an abundance of metatheatrical devices – such as the Pierrot who welcomes the audience on the majestic staircase before the performance. (…)

» Read the full review in the Financial Times

Agnès Letestu in Les Enfants du paradis © Julien Benhamou

Agnès Letestu in Les Enfants du paradis © Julien Benhamou





June 1, 2011

Work in Progress – Eric Underwood on Tryst (Pointe Magazine)

Cover of the June/July 2011 issue © Pointe Magazine

Cover of the June/July 2011 issue © Pointe Magazine

One of several Americans with The Royal Ballet, soloist Eric Underwood has become an audience favorite in London, particularly in neo-classical and contemporary repertoire. In May 2010, he and soloist Melissa Hamilton made their joint debuts in Christopher Wheeldon’s 2002 Tryst. He discussed the rehearsal process with me at the time for Pointe Magazine:

Eric Underwood: Tryst’s structure is quite unique. I had to get my head around the idea that the lead couple does not interact with the corps de ballet. The main pas de deux was created on Darcey Bussell and Jonathan Cope, and Jonathan coached us for the revival. Wheeldon came in to work with us after we learned the roles. It wasn’t easy trying to capture the feeling that was there originally.

There is an energy more than a specific character—Wheeldon would speak of otherwordly gods that are drawn to each other, of their magnetic relationship. The music, by composer James MacMillan, is inspired by a Scottish poem, and Wheeldon was looking for the kind of very full movement that you find in nature, like grass in the wind. (…)

» Read the full article in Pointe Magazine: “A Rendezvous with Tryst“, June/July 2011

 

Melissa Hamilton & Eric Underwood in Tryst © Bill Cooper

Melissa Hamilton & Eric Underwood in Tryst © Bill Cooper





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