Royal Ballet Onegin Royal Ballet and Opera House, 15 Feb 2025, 13:00
Cranko's Oneginis a compelling watch. its subject is a man who toys with the emotions of two young women and their champion kills a man in a duel without any apparent legal or social consequences and attempts to seduce a married woman in her boudoir whom he had previously humiliated. An utter rotter who deserves to be horsewhipped and yet his only punishment is to be sent packing. My sense of justice was outraged.
Ball was a very convincing Onegin. He is an excellent actor and his looks remind me very much of Alexander Pushkin's image of his creation. I have learnt a lot about Onegin's character from each of the performances that I have attended but yesterday he came to life to me. In fact, Ball reminded me of all the Onegins I have met in real life and raised my indignation to the point of anger. On the train back to Wakefield I posted to Facebook a reflection that cads like Albrecht and Onegin seem to escape the consequences of their wrongdoing. Sarah Lambert pointed out that Albrecht gets his comeuppance in Dada Masilo's version which I reviewed in A Brace of Giselleswhile Bo Zhang observed pertinently:
"I don’t see why ballet the artistic form, instead of the dubious ideology of the authors/writers of these stories, has to bear the blame."
Perhaps because he is the most recent Onegin that I have seen, Ball was the most memorable. But then he must know the ballet like the back of his hand as he danced Lensky when I first saw the workin 2016.
The other leading characters resonated with me too. Just as Ball had been Lensky 9 years ago Yasmine Naghdi who had been Olga in 2016 became Tatiana yesterday. I think she was the most memorable Tatiana I have ever seen. Again because she is a superb dance actor. Osipova was a great princess and Itziar Mendizabal was a vulnerable and impressionable young woman but Naghdi was impressive both as the young Tatiana and the grown-up one. Leo Dixon won the audience's hearts as Lensky. We felt his ire as Onegin flirted with a playful Olga. In previous reviews, I had overlooked Olga as simply Tataian's empty-headed sister but Olga had to grow up quickly when Onegin picked up Lensky's gauntlet. It is actually quite a substantial role and Anna Rose O’Sullivan who danced Olga explored every aspect of it. I had not previously noted Harris Bell but I shall follow him in future because of his impressive role as Prince Gremin.
I learnt a lot about Pushkin's work yesterday. Possibly as much as anyone could short of learning Russian and reading the original text.
Scottish Ballet The Nutcracker Theatre Royal Newcastle, 6 Feb 2025 19:30
I was so delighted with the first act of Christopher Hampson's production of The Nutcrackerthat I tweeted in the interval that the company that had brought me my favourite Swan Lakehad also created my favourite Nutcracker. Immediately after I had clicked the "post" button I reflected on my rashness as I had only seen half of the ballet. I need not have worried because the second act was every bit as good as the first.
Scottish Ballet already had a fine version of The Nutcracker that had been created by its founder Peter Darrell in 1972. I saw it in Edinburgh just over 10 years ago and reviewed it in Like Meeting an Old Friend After So Many Yearson 4 Jan 2015. Hampson seems to have retained the best bits of Darrell's version such as Brotherston's designs while inserting a few innovations like casting Drosselmeyer as a woman. At this point, I might explain that there is a difference between an innovation which adds a new dimension to a ballet and a gimmick which is simply change for change's sake. In this production, a female Drosselmeyer brought extra magic and mystery and even a hint of menace to the role possibly because of humankind's inherent fear of witches.
According to the programme notes several of the dancers added to Hampson's choreography. One of those contributors was Sophie Laplane who has created some unforgettable work for Ballet Black. Her dialogue between patient and therapist in Clickillustrates succinctly the difference between coincidence and causation so absent in contemporary transatlantic political discourse. She contributed to the Russian divertissement presenting the dancers as playful and slightly chaotic wearing candy cane costumes rather than as slightly sinister Cossacks. Other contributors were Javier Androu to the Spanish dance, Jessica Fyfe to the French (itself an innovation) and Nicholas Shesmith to the English dance which I think was another innovation. Their contributions added to the freshness and the exuberance of the second act.
For some reason or other the Arabian dance was dropped from Act II though I think I recognized the music in Act I if my memory is not playing tricks on me. In other productions, it is one of my favourite divertissements. It is not a long dance and I would love to have seen what Hampson and Co would have made of it.
Turning to last night's show, the Snow Queen was danced by the excellent Marge Hendrick who reminds me so much of the late and great Elaine McDonald. Hendrick's performance at Northern Ballet's 50th Anniversary Celebration Gala was the high point of that evening for me. Her performance at that gala moistened my eyes then and her dancing did so again yesterday.
The other great female role in the traditional Nutcracker is Sugar Plum who is sometimes danced by Clara or Marie in some productions. It was performed exquisitely by soloist Gina Scott.
Evan Loudon, another of my favourites, was the gallant Nutcracker.
I was awed by Madeleine Squire's magic as Madame Drosselmeyer. She is a magnificent character dancer and I look forward to seeing her in other roles.
Ava Morrison was a delightful Clara and a realistic one in that she was not all goody-goody unlike her counterpart in other productions, She was as much responsible for damaging the nutcracker as Jamie Drummond, her brother Fritz.
My one "bravo" of the evening was directed at Thomas Edwards after some amazing fouettés and sautés.
All danced well in this performance and all deserve congratulations. Northumbrians are not known for wearing their hearts on their sleeves and the standing ovation that the cast received attests to the excellence of last night's performance.
The company will remain in Newcastle until tomorrow. This is the last stop of its Scottish and Newcastle tour, if you can lay your hands on one of the very scarce remaining tickets for the last few shows you will not be disappointed,
