Plato's Cave - the Live Transmission of the Royal Ballet's Swan Lake

Plato's Cave

Author Jan Sanraedam according to Cornelos van Harlaam

Source Wikipedia

Royal Ballet Swan Lake 12 June 2018 Live streaming to cinemas worldwide from Covent Garden

I was lucky enough to see the Royal Ballet's Swan Lake from the stalls of the Royal Opera House on 22 May 2018 and reviewed the performance in Scarlett's Swan Lake 23 May 2018. I saw it again last Tuesday at the Leeds Showcase against my better judgment and really wish I hadn't.

In Flowers for Dreda 9 June 2018 I wrote that ballet should never be a passive experience and that is the difference between watching ballet in the cinema and watching it live. You can marvel at Legnani's 32 fouettés from your local flicks just as much as you can in the theatre. Arguably you can even get a better view.  Certainly more than you would in rows L to Q of the amphitheatre. But however loudly you clap or cheer Nuñez or Nikulina can't hear you.  They are 200 or in the case of the Bolshoi 1,500 miles away and their dialogue is with the living, breathing, thinking audience a few feet away.  Not the hot dog munchers or cola quaffers of Birstall, Bergen or Brescia.

There are some advantages to ballet in the cinema.

You can see details that you might want to see such as the dancer's facial expressions, Rothbart's picking up the crown at the end of act III or Odette's mime in act IV when she breaks the news that they have to spend the rest of their lives floating around a slimy pond because Siegfried has blown it. On the other hand you also see some details that you don't like the brush strokes or bricks on the backdrop or loose threads on the costumes.

The other big advantage of cinema is that audiences can gain insight into the production or performance that they would never get in the theatre by interviewing the choreographers, composers or designers who created the work or the conductors and dancers who are about to perform it.  Generally, that is something that Pathé  Live and the Bolshoi do so much better than Covent Garden. One of the reasons the Bolshoi get it right is that they employ a multilingual journalist with good dress sense and an excellent knowledge of the ballet.

One feature of the Royal Ballet's transmissions that I wish they would drop are the gushing tweets.  Most seem to state the obvious - namely that ballet is a remarkable spectacle (it wouldn't be worth watching otherwise) plus their locations. Social media could have a role.  For example, it could be used to put questions to the creatives. I would love to have quizzed Liam Scarlett on why and how he developed  von Rothbart's role.  Covent Garden just seem to use it as a marketing tool or perhaps just simple vanity.

In watching the cinema transmission I was reminded of the story of Plato's cave.

Standard YouTube Licence

I first heard of it from my father long before I started to learn Greek.  Live transmissions of ballet are rather like the shadows of reality from the fire in the cave.  They may be better than nothing and they have their place but don't let anyone tell you that they are ballet because they are not. The analogy works quite well with live transmissions because some things that look good in the theatre just so not show up well on screen. John Macfarlane's designs are a case in point.  The screen images did not do justice to them.

I expressed these views on a ballet goers' website some years ago and got roasted. I was accused of elitism by a lady who makes her living from translating foreign  language patent specifications and was excoriated a man of the cloth.  I was reminded of the fate of the man who broke free of the cave and tried to warn the remaining troglodytes and gave that website a miss for many years. I am now very careful about what I post to that website confining myself to reviews of performances that most subscribers would not have seen lest I be offered a pint of hemlock.

The Royal Ballet's Double Bill

The Royal Ballet, Rhapsody and The Two Pigeons, Royal Opera House, 16 Jan 2016


A trip to Covent Garden is always something of an occasion.

First, the tickets arrive in a smart folder sponsored by Rolex, the "Official Watch". They carry a hologram and are printed on expensive paper. They look more like the title to an investment rather than a voucher for a show.

The redevelopment of the Covent Garden piazza following the relocation of the fruit and veg market to Nine Elms has transformed the neighbourhood from a place of manual labour into a playground with expensive shops and restaurants where once there were lorries, warehouses and pubs with crazy opening hours. You have to resist the lures of luxury chocolates and cashmere cardigans to reach the revolving doors and pass an equally tempting shop of Royal Opera House merchandise to reach the box office.

That box office looks and feels like the counter of a private bank with its elegantly groomed and exquisitely mannered staff. The queue for the cloakroom is divided into aisles so you never have to wait more than a few minutes to deposit or retrieve your coat and hand luggage. Instead of formidable flights of stairs from Floral Street there are lifts and escalators to whisk you to whichever part of the auditorium you are seated.

The auditorium looks and feels as it has always done with its elegant curtains and royal monogram even though it will have been renovated and redecorated many times but the bars and restaurants along the way are opulent.

I miss the old House with its all pervading smell of over ripe fruit and vegetables and unofficial flower throws. At least the London ballet crowd remain.  The twos and threes of office workers straight from work in their buns and twin sets with earnest stares who never seem to age.

Also the same rituals.  The short clap when the maestro appears, the ripple when the ballerina and male principal first appear on stage and at revolution 27 of Legnani's 32 fouettés in Swan Lake and sustained applause with cheers at the very end. The bewigged flunkies in their red liveries have gone but the order of precedence in which flowers are presented seems to be very much as it has always been.

As my readers will have surmised from the lack of recent updates my day job has kept me very busy lately. I had spent more or less every spare moment since the Christmas holidays preparing for a hearing which left no time for watching ballet and hardly any for class. That hearing took place on Friday and lasted the whole day.  To restore my spirits I checked the Royal Opera House's website for tickets and found there were still some left for the Rhapsody, Two Pigeons double bill. One was in the middle of the amphitheatre stalls that 50 years experience of theatre going has taught me to be one of the best parts in the House.

The two ballets are by Sir Frederick Ashton but from different stages of his career.  He staged the Two Pigeons in 1961 with the late Christopher Gable and Lynn Seymour in the title roles and created Rhapsody in 1980 as a birthday gift for the Queen Mother. Somehow I had missed both of those works when they had previously been performed so this double bill was a double first for me.

The matinee started with Rhapsody to Rachmaninoff’s Rhapsody on a Theme of Paganini.  The lead dancers in the first performance were Mikhail Baryshnikow and Lesley Collier so you can imagine the weight of expectations on the shoulders of their young successors.  James Hay and Francesca Hayward were brilliant in those roles as were the other twelve dancers who supported them including several soloists. Rhapsody was one of Ashton's last ballets but it reminded me of many of his early works with his spectacular turns and jumps for the males and the dainty pointe work and delicate arm and hand movements. for the women. The costumes designed by William Chappell for a set created by Ashton himself were gorgeous.  The dancers, orchestra and pianist richly deserved their deafening and sustained applause.

The Two Pigeons as re-staged by Ashton to Messager's music is quite charming.  It was originally created by Louis Mérante for the ballet of the Paris Opera in 1886.  Ashton changed the story and Lanchbery adapted and arranged the score. Two of my all time favourite dancers, Lynn  Seymour and Christopher Gable, were in the original performance at Covent Garden on 14 Feb 1961 and it must have been wonderful.  The leads on Saturday were Alexander Campbell and Yuhui Choe. I will tell you how they got on below

There is lots of humour such as the echoing of the pigeon steps by the young girl, the dance competitions and even some slapstick such as the sudden removal of the artist's chair.  A particularly delightful touch are provided by the trained pigeons, Toad, Mole and Bianca who flew past on stage and sat on the artist's shoulder right on cue.  Ironically, the last show that I had seen from Covent Garden was Carlos Acosta's Carmen (see Au Revoir but not Adieu 18 Nov 2015). Comparisons are odious and there is no bigger fan of Acosta on this planet than me but if the Royal Ballet wants to dance gypsies Ashton shows the way to do it.

Shortly after the performance Campbell tweeted:

Worse ways to spend a Saturday afternoon than performing Two Pigeons on the ROH stage! With thanks to @balletboy09 for getting me through 😊

— Alexander Campbell (@ACampbell_1) January 16, 2016

I replied

I was in the audience and enjoyed your performance very much. Congratulations to the cast of both ballets. https://t.co/Bm8Mz1n22K

— Terpsichore (@jelterps) January 16, 2016

Although I did not know it at the time the magnificent Janet McNulty also saw the show and she wrote:

Thanks @ACampbell_1 and Yuhui for your glorious utterly moving performance this afternoon. So glad I came again. #mustbuywaterproofmascara

— Janet McNulty (@JanMcN) January 16, 2016

Now I don't agree with Janet on everything. How can I? She's a Liverpudlian and I'm a Mancunian. She likes football and I cricket. She votes one way and I another. But in our appreciation of this performance we are as one.

It will be streamed to cinemas on the 26 Jan 2016. Now if you get a chance to see it you really must.

Twelve of the best Ballerinas of all Time

Pas de Quatre

The Daily Telegraph has just published 12 of the greatest ballerinas of all time 8 Dec 2015. It has chosen Pavlova, Ulanova, Markova, Fonteyn, Nerina,  Ananiashvili, Guillem, Bussell, Lopatkina, Rojo, Cojocaru and Osipova. I wouldn't argue about Pavlova or Fonteyn or indeed Cojocaru and Osipova if we restricted the choice to dancers of our own time.  I am amazed that the Telegraph omitted La Camargo or the four great ballerinas of the early 19th century shown in the illustration above, namely Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni or indeed Fanny Elssler.

The Royal Ballet set this challenge:

12 of the greatest ballerinas according to @Telegraph: https://t.co/QmhKlSOqYU (Who have they missed?) ^C pic.twitter.com/JdZXVcRaaG

— The Royal Ballet (@TheRoyalBallet) December 8, 2015

Here's my response:

@TheRoyalBallet @Telegraph Taglioni. Grisi, Elssler, Grshn, Karsavina, Tallchief, Seymour, Haydee, Fracci, Sibley, Radius, Camargo Jeanmaire

— Terpsichore (@jelterps) December 9, 2015

Others tweeps have suggested Zakharova (mmm maybe after her performance as Marguerite  on Sunday see Lady of the Camellias Streamed from Moscow 7 Dec 2015), Núñez, Yuanyouan Tan, Pliestetskaya (definitely), Seymour (my choice), Shearer (maybe and perhaps also May),  McBride, Farrell, Kirkland, Gregory. Makarova and Plisetskaya, Alonso, Cuthbertson and so on.

Editorial - the Future of Terpsichore

Jane Lambert

I started blogging nearly 10 years ago because I had been commissioned by Gower-Ashgate to write a book for entrepreneurs and small business owners on enforcing intellectual property rights. Writing articles for the blog helped me compile the manuscript for Enforcing Intellectual Property Rights A Concise Guide for Businesses, Innovative and Creative Individuals which was published in 2009.

I continued the blog after I had submitted my manuscript and it became very big indeed with thousands of hits. Some of my posts, such as my case note on the Red Bus photograph case, went viral. I found two kinds of readers: patent and trade mark attorneys and specialist intellectual property lawyers who wanted to discuss every last detail of the latest case or enactment and artists, designers, inventors and business owners who wanted to know about changes in the law that might affect them personally. For the latter group I set up regional blogs such as IP Yorkshire and IP North West.

Ballet scores, choreography notations, performances by dancers and musicians and films and broadcasts of ballets are intellectual assets which the law protects with intellectual property rights. In discussing those rights I found myself inadvertently writing reviews of performances by Northern Ballet for IP Yorkshire and IP North West. Similarly, dance studios are small businesses so I found myself writing about the studio where I took my first dance lessons in Interesting Yorkshire Businesses No. 1: The Base Studios Huddersfield.

Now not every lawyer is a dance fan and few dance fans have any interest in the law - particularly not the very esoteric area in which I practise - so I started Terpsichore in February 2013. That, too, has grown very big and I now find myself writing and tweeting almost as much about dance as I do about the law. As my discussions on legal topics can't be much fun for dancers and I have been told many times that my discussions on dance classes are a bit of a turn off for many lawyers I have decided to separate the two. I will still tweet about great performances and great classes as "nipclaw" just as I will throw in my 5p worth about business, economics, politics and religion on that account but I will channel most of my dance talk through my new "Terpsichore" twitter account and Facebook group.

Over the last two years I have noticed a number of unmet needs for dance fans, dancers, dance teachers, dance schools, dance studios and even dance companies which have given me ideas for small spin-off businesses under the Terpsichore brand. If I ever have time to get any of those projects off the ground I will announce them in this blog and through the new social media accounts.

I should like to wish all my readers a very happy New Year.