Terpschore Titles: Outstanding Male Dancers

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I have decided to make two awards in this category:  one for principals and soloists of major companies who dance leading roles in full-length ballets and another for the rest. I do that to acknowledge brilliant performances in one act ballets and to avoid comparing the incomparable such as Alvin Ailey's Revelations with the Bolshoi's Swan Lake. In both categories I am looking for a male dancer who has spoken to me in a special way in 2016.

In the latter category, the choice is easy.  It is Damien Johnson of Ballet Black. I have described him as "one of the most exciting dancers on the British stage right now" and I repeat those words now.  I have seen him in no less than five shows this year - three of Ballet Black's triple bill and two of Dogs Don't Do Ballet and in rehearsal at the Barbican. In each performance he has delighted me whether as the Obama-like dad accompanying his excited daughter with her dog in tow to the theatre to see Madame Kanikova in Christopher Marney's Dogs or as the sailor in Christopher Hampson's Storyville which I reviewed for the first time in Ballet Black made my Manchester Day on 20 June 2016. Johnson is one of the reasons why I go to Ballet Black, why I support it not only with my pen (OK keyboard) but also with my widow's mite as a Friend and also why I love that company so.

But where do I start with the first category? There have been so many great performances this year starting with James Hay in Rhapsody and Alexander Campbell in The Two Pigeons in January (see The Royal Ballet's Double Bill 18 Jan 2016); continuing with Artur Shesterikov in Mata Hari, Joseph Caley as Oberon and Jamie Bond as Beliaev in Ashton's Double Bill in February; Tyrone Singleton's magnificent performance as Romeo where he stepped in for Bond at the last moment in March (see A Good Outcome from an Unhappy Event - Singleton's Fine Performance 6 March 2016); Federico Bonelli for his memorable performance as Albrecht (see Cuthbertson's Giselle 3 April 2016) and Vadim Muntagirov in The Winter's Tale a month later; Javier Torres as Cathy Marston's Rochester, Victor Zarallo as Siegfried and Nicholas Shoesmith as Benno in David Dawson's Swan Lake for Scottish Ballet (see Empire Blanche: Dawson's Swan Lake 4 June 2016), Yonah Acosta's Siegfried in English National Ballet's (see Swan Lake in the Round 13 June 2016) and Iain Mackay in The Taming of the Shrew (see Birmingham Royal Ballet performs my favourite ballet at last 21 June 2016) all of which took place in June; Rudy Hawkes as Siegfried in The Australian Ballet's Swan Lake (see The Australian Ballet's Swan Lake - Murphy won me over 17 May 2016). Ruslan Skvortsov as Siegfried in the Bolshoi's (see Grigorovich's Swan Lake in Covent Garden 31 July 2016) or Ty King Wall in Zatmansky's Cinderella, a great ballet that I forgot to discuss in my review of 2016 (see Ratmansky's Razzmatazz 24 July 2016) in July; Vladislav Lantratov as Petrucchio in  Jean-Christophe Maillot's The Taming of the Shrew in August (see Bolshoi's Triumph - The Taming of the Shrew 4 Aug 2016); Mackay and Singleton again in David Bintley's new ballet The Tempest in October; Jozef Varga as Solor in the Dutch National Ballet's La Bayadere in November and Shesterikov again in Coppelia.

There were a handful of performances that really stood out for me this year, namely Singleton's Romeo in March, Bonelli's Albrecht in April, Zarallo and Shoesmith in Dawson's Swan Lake, Varga's Solor and Shesterikov in Mata Hari and Coppelia. I have been twisting and turning all night trying to decide this issue - particularly between Bonelli and Shesterikov. A choice has to be made. I have chosen Shesterikov because of his mastery of two very different roles in two very different ballets. In making that choice I am comforted by the knowledge that I am in very good company for Shesterikov is also the most recent winner of the Alexandra Radius prize (see Principal Dancer Artur Shesterikov wins Radius Prize on the Dutch National Ballet website).

Bolshoi's Triumph - The Taming of the Shrew

Ekaterina Krysanova as Katharina.

Vladislav Lantratov as Petruchio

Photo: Mikhail Logvinov
(c) 2014 Bolshoi Ballet, all rights reserved
Reproduced by kind permission of the company

Bolshoi Ballet, The Taming of the Shrew, Royal Opera House, 3 Aug 2016, 19:30


The Bolshoi Ballet has always been respected in this country but until last night I don't think it has ever been loved. There are many reasons for that, not least the fact that the company was seen as an instrument of Soviet soft power during the cold war coming to London as it did in the year the tanks rolled into Budapest. That may have changed with the London premiere of Jean-Christophe Maillot's The Taming of the Shrew for the audience really warned to the show. Standing ovations are quite rare in the Royal Opera House but when Maillot appeared to take a bow several members of the audience (including yours truly) felt compelled to rise.

I had seen a screening of this ballet earlier this year and of all the ballets that had been streamed from Moscow last year The Taming of the Shrew was one I had liked best (see Competition for Cranko: The Bolshoi's Taming of the Shrew streamed from Moscow 25 Jan 2016). I enjoyed it all the more upon seeing it live.

The cast that I saw last night was very much the same as in the cinema trnsmission. Ekaterina Krysanova danced the title role. Her Petrucchio was Vladislav Lantratov. Olga Smirnova was her sister and Artemy Belyakov was their dad. Georgy Gusev who had impressed me as the court jester in Swan Lake made an exceppent Grumio.

Although Cranko is my all time favourite choreographer and his Shrew had always been my favourite work there are features of Maillot's production that I think I prefer. It is an amusing and very fast moving ballet. The plot is tighter than Cranko's and the score is definitely more memorable. I love "Tea for Two" in the final scene. Cranko's work and Maillot's are very different but each has its strengths.

Seeing it on stage I was struck by the similarities with Northern Ballet's Romeo and Juliet  which had also been created  by Mailot. The sets were similar (not surprising as they were both designed by Ernest Pignon-Ernest) as was the lighting. I had not noticed those similarities when I saw The Taming of the Shrew on screen.  Audiences in the UK will have a chance to see what I mean when Northern's Romeo and Juliet goes on tour next month,

One of the pleasures of World Ballet Day is comparing the style of The Australian Ballet with the Bolshoi as the latter follows immediately after the former.  The Russians are usually strong on technique and the Australians on energy and vivacity. In yesterday's ballet the company danced like Australians as much as Russians and I can't think of  a better compliment than that.

Competition for Cranko: The Bolshoi's Taming of the Shrew streamed from Moscow

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Even before the housekeeper ambled on to the stage I could tell from the photos that we were in for a treat. They depicted Petruchio's loucheness in the way he wore his hat, the simple set and the timeless costumes. The housekeeper was first on stage well before the maestro. She was elegant, wearing heels, immaculately coiffed.  She sat down on stage to check her make up. She donned a pair of pointe shoes and filed her nails. Then when she was good and ready she ushered in the conductor.

The ballet was very short. It consisted of two acts.   The screening started at 15:00 GMT and we were out by 17:00 but it packed so much in. The dancing was magnificent, particularly the duet between Katherina and Petrtuchio in act II. There were some lifts movements I have never seen before. The most extraordinary was where Petruchio seemed to raise Katherina with his arm stretched like a piston as though she were riding a horse. It must have required enormous strength from him and I guess remarkably uncomfortable for her.

The score was by Dimitri Shostakovich and the choice was inspired. One of the greatest composers for the ballet ever.  Glorious soaring crescendos and humour with his orchestration of Tea for Two for the harmony of the last scene.  Of equal genius was the choreographer, Jean-Christophe Maillot, and his muse, Bernice Copieters who translated it into dance.  So too was Ernest Pignon-Ernest who designed the set and the choreographer's son, Augustin, who designed the costumes.  One of the highlights of yesterday's transmission was Katerina Novikova's interview with Jean-Christopher Maillot and Sergei Filin in the interval and it was there that Maillot acknowledged the contributions of his creative team.

The story kept pretty faithfully to the play with a little lot more prominence to the widow.  Bianco was all sweetness and  grace while Katherina was Scotch bonnet pepper - until she was bedded towards the end of the second act.  Katherina is the star. Hers is the title role and it required a dancer with exceptional technique who was also a remarkable actor. Yesterday that role was danced by Ekaterina Krysanova.  Her Petruchio had to be at least as strong and his role was danced by Vladislaw Lantratov. Olga Smirnova was a gorgeous Bianca. Anna Tikhomirova, .as the housekeeper was in many ways the anchor of the show from the prologue when she patronizingly clapped the entry of the conductor.  I must say a special work for Vyacheslav Lopatin, one of the best character dancers ever, who played Petruchio's groom. His eyes were a picture as he tossed a sheet over his master and bride.

I have often said that Pathe Live had the edge over the Royal Opera House's transmissions though the House has recently raised its game.  Yesterday's transmission from Moscow reached new heights with the interview with Filin and Maillot. It will be interesting to see how Covent Garden responds to the challenge.

The Bolshoi are bringing the Taming of the Shrew to London on 3 and 4 Aug 2016.   Here is a little clip on their YouTube channel. I can't wait to see them live on stage in that show.