The Nutcracker and The Mouse King

The Nutcracker and the Mouse King

Author Hans Gerritsen  (c) 2021 Dutch National Ballet (all rights reserved 

 

The Music Theatre The Nutcracker and the Mouse King 18 Dec 2021 and 24 Dev 2021 13:00

Between 1991 and 2003 Wayne Eagling was the Artistic Director of the Dutch National Ballet. In that role, he collaborated with Toer van Schayk to create The Nutcracker and the Mouse King.   On 18 and  24 Dec 2021 the work was live-streamed over the internet to audiences around the world. I watched both performances.

This ballet includes the Mouse King in the title for a reason. In other productions, the role of the mouse king is quite limited.  He leads his mice into battle against the toy soldiers and begins to gain the upper hand until Clara clobbers him.  In Eagling's version, he appears first at the Stahlbaums' party, later as a nightmare as Clara tries to sleep, next as the leader of the mice and finally in a duel with the prince.  The battle between mice and soldiers seems to symbolize a struggle between chaos and order which echoes in the boys' mithering their sisters or the Arabs dragging their captives.

Eagling's collaboration with van Schayk has led to all sorts of fantastic creations.   A giant pink-eyed monster rodent, an autonomous walking robot of a nutcracker and the fantastic machine with its circular centre-piece that at one point turns itself into a massive feline compete with a moving paw in the final confrontation with the mouse king and a ruined temple for the mirliton scene.   So much more compelling than a kingdom of the sweets with the Spanish, Arabs and Chinese dances representing chocolate, coffee and tea.

The two shows had different casts and each is to be congratulated.  Clara was danced by Maia Makhateli on 18 Dec and Riho Sakamoto on 24. Sakamoto has recently been promoted to principal which pleases me considerably as I have been following her progress ever since she joined the Junior Company in 2014 (see Riho Sakamoto promoted to principal).  Makhateli was magnificent as she always is and was partnered gallantly by Jakob Feyferlik,   Also impressive were Edo Wijnen who danced the nutcracker, Vito  Mazzeo who was Drosselmeyer and James Stout who was the mouse king.   Sadly I do not yet have a cast list for the Christmas eve matinee and I can't be sure who performed the leading roles other than Sakamoto.

Live screening is better than nothing but it is not the same as attending the theatre.   Theatre - particularly ballet - is two-way communication.  A good audience lifts the artists to new heights.   I am sure the dancers were aware that viewers like me around the world were cheering ourselves hoarse and clapping till our palms were sore but that's not the same as hearing us.  The Netherlands like the UK has had to cope with the "o" strain at the worse possible time and the season may have to be curtailed for public health reasons.  But one day the pandemic will be over in both countries.  When it is, my priority will be to watch this ballet live.

A Day of Superlatives - Dutch National Ballet's Don Quixote

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Dutch National Ballet Don Quixote 28 Feb 2018 20:00 Music Theatre, Amsterdam

Wednesday was a day of superlatives. I don't think Amsterdam has ever looked lovelier than it did that night in the clear, crisp air with a full moon and the lights of the buildings, street lights and traffic twinkling in partly frozen canals and the river. I don't think I have ever seen a better Don Quixote even though I have seen artists like Isabella Boylston and Marianela Nuñez dance Kitri and Carlos Acosta dance Don Basilio. Above all, I don't think I have ever seen the Dutch National Ballet dance better.

One reason why I enjoyed that show so much was that nearly all the leading rôles were performed by dancers who graduated from Ernst Meisner's Junior Company.   Sho Yamada, who danced Don Basilio, had partnered Michaela DePrince in an extract of Diana and Acteon the first time I saw the Junior Company (see The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013 25 Nov 2013). Riho Sakamoto was Kitri on Wednesday night. Jessica Xuan, who also joined the Junior Company in 2013, was queen of the Dryads. Yuanyuan Zhang, danced Juanita. Many more of their contemporaries including Cristiano Principato and Thomas van Damme supported them in the show,

Wednesday's show was their opportunity to impress and each of them grabbed it readily.  They danced with exuberance and verve.  Combined with imaginative sets that included a winking moon, costumes for ambulatory cacti and monsters more outlandish than Hieronymus Bosch's, the stage exploded with energy, movement and colour. Don Quixote had never been my favourite ballet because the story is so confusing.  Basically La Fille mal gardée except that it is dad rather than mum pushing daughter into an arranged marriage.  What has that to do with Cervantes? Or cactus men and beaked monsters for that matter?  The answer is "not much but who cares so long as the ballet flows".  Wednesday did flow to Minkus's jaunty score with spectacular choreography such as one armed lifts and daring fish dives. Ratmansky's production helped me understand the ballet and to appreciate it properly.

Yamada danced Don Basilio with style and swagger.  Tall, slender and athletic he commanded the stage.  Sakamoto charmed me with her coquetry and impressed me with her technique, especially with her fouettés in the final act. Though it is probably unfair to single out any artist for special praise, there were captivating performances by Xuan as queen of the Dryads, Suzanna Kaic as Cupid and Zhang as Juanita.  There was fine character dancing from Nicolas Rampaic as the slightly dotty Don Quixote and hilarious clowning by Frans Schraven as his squire.

I have already mentioned the imaginative sets and costumes.  I was not surprised to learn that they had been designed by Jérôme Kaplan who had impressed me several years ago with his designs for David Nixon's Gatsby. I have also mentioned Minkus's jaunty score.  Its interpreter on Wednesday night was Marzio Conti.  As I was seated directly behind the conductor only 5 rows back I experienced the music as he must have done. Perhaps that was yet another reason why I enjoyed the show so much.

Usually I come to Amsterdam for the day arriving on the first flight out of Manchester and returning on the last.  This time I had come to give a talk on patent litigation  at the Radisson Blu hotel in Russia.  Not really Russia, I should explain, but the street where the hotel stands is called "Rusland" which is Dutch for "Russia". On the way back from the theatre I felt transported to Petipa's Russia as I followed the frozen canals with the music resounding in my ears. That is just how I imagine St Petersburg to be.  One day, perhaps, I will find out whether I was right.

Talking of translations, a partner of the Dutch office of a leading international law firm invited me to dinner on Tuesday night at Hemelse Modder which translates as "Heavenly Mud".  The meal was scrumptious. I had croquettes of mussels, fennel and tarragon, lamb stew and a delicious lemon pudding with an excellent German red. I mentioned it on Facebook to which Ted Brandsen commented that it was his favourite restaurant.  I can quite see why.  It is now one of mine.   It is not far from the Music Theatre and I strongly recommend it.

The Ballet Couple

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There is a great overlap between film and dance. It started long before The Red Shoes.  Pavlova experimented with the camera as you can see from her clip of The Dying Swan In Leeds of All Places - Ashton Pavlova and Magic  18 Sept 2013.  So, too, did Nijinsky as you can see from Hommage au Faun 9 July 2013.

When I interviewed Kenny Tindall in "A Many Sided Genius" - Tindall on Casanova 4 March 2017 we talked about the cinema which he refers to as "church". Tindal compared the work of a choreographer to that of the director of a film:

"The roles were similar and maybe even converging as techniques and technology that had been developed for the cinema were increasingly used in ballet. I recalled the filming of The Architect to which project I had contributed (see Tindall's Architect - How to Get a Piece of the Action - Literally! 7 June 2014). I asked whether another film might result from Casanova. Tindall’s eyes sparkled. No concrete plans as yet, he said, but would it not be splendid to film Act I in Venice and Act II in Paris."

I was reminded of my conversation with Tindall when I saw New Moves on 24 June 2017.   As I said in my review:

"The most dramatic work of the evening was Thomas van Damme's Convergence which he created for Skyler Martin and Clara Superfine to music by Gorecki. Superfine is yet another dancer whose career I follow closely (see Thank You Ernst 17 March 2016). Through superb use of lighting reminiscent of cinema, he seemed to force the dancers together. They seemed to approach each other but not as lovers, more like predator and prey. It seemed like a gripping narrative though the programme notes suggest something gentler:

"1. Independent development of similar characters often associate with similarity of habits or environment.
2. Moving toward union or uniformity."

As he has mastered the technique of building suspense, I look forward to seeing whether van Damme will use that technique in his future work."

I have not had to wait very long. He used the same technique in Girls Night with Riho Sakamoto and Yuanyuan Zhang,  This is one of a number of short films that Thomas van Damme has made with Youanyuan Zhang as The Ballet Couple.  They have their own YouTube Channel, Facebook page and Twitter stream.  They describe themselves as:

"Professional ballet dancers in love enjoying life and youtube. 

Follow us in our life with our special jobs and crazy adventures! 

Tell us about your adventures and experiences with dance or other. 

Love, 

Yuanyuan & Thomas"

You have already seen enough of them to appreciate their talents.  Just imagine their potential.

A Million Congratulations!

Michaela DePrince in "A Million Kisses to my Skin"

Author Angela Sterling
(c) 2015 Dutch National Ballet, all rights reserved
Licensed with the kind permission of the company

I am very grateful to David Dawson for sharing this announcement from Dance Europe:

Promotions at Dutch National Ballet

"Dutch National Ballet has announced the following promotions for the 2016-17 season: Jared Wright - 2nd soloist; Michaela DePrince - grand sujet; Matthew Pawlicki - grand sujet; Floor Eimers - coryphée; Krista Ettlinger - coryphée; Sem Sjouke - coryphée; Jessica Xuan - coryphée; Martin ten Kortenaar - coryphée; Oscar Valdes - coryphée; Riho Sakamoto, Yuanyuan Zhang and Cristiano Principato to corps de ballet. From the Junior Company to the main Company: Emilie G. Tassinari, Clara Superfine, Thomas Van Damme, Daniel Robert Silva, Joseph Massarelli and Giovanni Princic become élèves."

I have been following Michaela DePrince ever since 4 April 2013. It was she who led me to the Junior Company where I saw her dance for the first time (see The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013 25 Nov 2013). Here's what I wrote about her:

"I had come to Amsterdam to see Michaela DePrince about whom I have written a lot. She appeared as Diana in Diana & Actaeon a ballet originally choreographed by Agrippina Vaganova for the Kirov in 1935. Soviet ballet was athletic and spectacular requiring enormous virtuosity. I had seen something of DePrince's virtuosity in her YouTube videos but she is even more impressive in real life. She is quite simply the most exciting dancer I have seen for quite a while."

Last year she gave a masterclass at Danceworks and Lesley  Osman sent me some lovely photos and a first hand account from Ciara Sturrock who took part (see Michaela's Masterclass 8 July 2015). She is coming back to Danceworks on 18 July 2016 (see Another Masterclass 2 May 2016). Last year at the opening gala I bumped into DePrince as I was leaving the Stopera.  As I said in The best evening I have ever spent at the ballet 12 Sept 2015, "I left the Stopera thinking how that exceptionally talented young dancer was as gracious off stage as she is magnificent upon it." The photo above shows DePrince in Dawson's A Million Kisses to my Skin.  Instead of a million kisses I send Michaela DePrince a million congratulations.

Last June I returned to Amsterdam to see Cool Britannia which included yet another of Dawson's works, Empire Noire (see Going Dutch 29 June 2015). DePrince was dancing in that work but so too was another outstanding young dancer, Floor Elmers. I was most impressed by her performance and have been following her career ever since.  A million congratulations to Floor as well.

In December 2014 I wrote a series of articles on members of the Junior Company (see Meet Ernst Meisner and his talented young dancers 6 Dec 2014). They included Martin ten Kortenaar, Riho Sakamoto, Yuanyuan Zhang, Cristiano Principato and Emilie G. Tassinari. I congratulation each and every one of them too and wish them well.

This year on my birthday I  saw Clara Superfine, Thomas Van Damme, Daniel Robert Silva, Joseph Massarelli and Giovanni Princic in Ballet Bubbles 16 Feb 2016. It was the best birthday treat ever. I thank them profusely and wish each and every one of them every success in their careers.

Finally, I congratulate all those artists listed above whom I have not mentioned.   Each and every one of them deserves an enormous bouquet of flowers.

Meet Ernst Meisner and his talented young dancers

Ernst Meisner

Photo Robin DePuy

(c) Dutch National Ballet 2014

Reproduced with kind permission of the Dutch 

National Ballet

Having danced with the Royal Ballet for 10 years Ernst Meisner is very well known and very well-liked by British audiences. In 2010 he returned to the Netherlands and joined the Dutch National Ballet as a grand sujet. He is now Artistic Co-ordinator of a group of exceptionally talented young dancers within Dutch National Ballet known as “the Junior Company”.

I saw their opening night in Amsterdam on 23 Nov 2013 which I reviewed in The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013 25 Nov 2013. In May 2014 Ernst Meisner brought his Junior Company to the Linbury and I reviewed their show in And can they fly! The Dutch National Ballet Junior Company at Covent Garden 30 May 2014. The more experienced members of the Junior Company have now joined the Dutch National Ballet as apprentices and their places have been taken by Bart Engelen, Martin ten Kortenaar, Lisanne Kottenhagen, Ryosuke Morimoto, Cristiano Principato, Emilie Tassinari, Yuanyuan Zhang and Riho Sakamoto.

I had admired the works of Rudi van Dantzig and Hans van Manen for many years but I started to follow the Dutch National Ballet only recently. I am now a Friend of that company and am getting to know It better. I was led to the National Ballet by the Junior Company and have written a lot of articles about both of them in Terpsichore. Noticing my interest in the Dutch National Ballet in general and the Junior Company in particular Ernst Meisner kindly agreed to help me write this feature by answering my questions and introducing me to the new members of the Junior Company.

As there is a lot of material I have divided this feature into a number of posts. The first is on Ernst Meisner’s work with the Dutch National Ballet. The second is on the Junior Company. The rest of the feature consists of interviews with each of the new members.  I asked each of those dancers:

• how he or she had started to study ballet;
• where he or she had trained; 
• whether there was a dancer or choreographer who had inspired the new member and if so who it was;
• whether a teacher had inspired the new member and if so who;
• the member’s greatest achievements to date;
• the roles he or she had already danced;
• the ballets or roles that the member wished to dance;
• the new member’s favourite dancers and choreographers;
• the member’s immediate ambitions;
• his or her long term ambitions such as choreography, teaching or another career outside ballet; and
• the member’s interests outside ballet such as sports, music, film and other performing arts.

I am very grateful to Richard Heideman, Press Manager of the Dutch National Ballet, for putting those questions the dancers on my behalf.

If you want to meet Ernst Meisner you will have a chance to do so in March when he talks to the London Ballet Circle. I understand from Susan Dalgety of the Circle that the date of his talk has not yet been fixed, I shall post details of the date, time and venue of his talk as soon as I learn them.

Meet Riho Sakamoto of the Dutch National Ballet Junior Company

Riho Sakamoto

Photo Robin DePuy

(c) Dutch National Ballet 2014

Reproduced with kind permission of the Dutch 

National Ballet

Riho started ballet because her grandmother wanted her to develop a good posture. She would start dancing around whenever she heard music. That is why her mother and grandmother thought that it would be good for me to learn to dance.  Riho studied in Japan for few years and then went to study in Washington DC to study at the Kirov Academy of Ballet.

Many dancers have inspired her particularly Rudolf Nureyev. "I like his idea of always wanting to learn new things, exploring what your body can do, and by working with new dances you can find your new self," she said. She was also inspired by her teacher Elena Tenchikova who taught her for three years who Riho described as "not just my teacher, but also like a second mother to me." For instance, as a young girl Riho did not know how to apply a stage make up. Elena Tenchikova showed her how to put it on giving her private lessons as the performances approched.

Her greatest achievement to date and been entering the Junior Company and working with people she admires.  

Already Riho has enjoyed dancing the first act of Don Quixote as Kitri, the second act of Giselle, the second of La Sylphide, the first act of La Bayadere, the role of Aurora, and the pas de deux from La Fille Mal Gardee which was her first pas de deux

When asked what ballets she would like to dance, Riho replied:

"This is a very difficult question, because I would love to dance every role and ballet possible. I would love to play an evil character, just because I’ve never done them before, and I would also like to dance Giselle again someday. I would also love to dance In the Middle Somewhat Elevated' by William Forsythe, and I was inspired by Million Kisses to my Skin by David Dawson."

Riho's favourite dancers and choreographers include Sylvie Guillem, William Forsythe, Kristina Shapran, Evgenia Obratsova, Maia Makhateli, and Anna Tsygankova.

Riho's immediate ambitions are to 

"continue working with amazing ballet masters here with the Junior company and to become a better dancer, and to be part of the main company here with the Dutch National Ballet." 

In the longer term she would love to be a ballet master in a company, teaching at a school, or  a choreographer one day. She does not know what she would like to do exactly, but she knows she would like to stay in the ballet world.

Her interests outside ballet include singing, watching TV, cooking, and playing the piano.

A very interesting and determined young woman, I wish her well.