Is it time for an Ashton Festival?

[Dawnstar]

@FLOSSThank you for your reply.

 

I find it interesting that Hayward seems to be the dancer most frequently cited as being potentially the best fit for Ashton roles when she is also considered one of the best MacMillan dancers in the company.

[FLOSS]

What you forget is that when the Royal Ballet was simply a company with two active choreographers it did not have "Ashton dancers" or "MacMillan dancers" it simply had dancers. All the major MacMillan ballets created on the company were made on dancers who danced both choreographers' works with equal facility. Even today MacMillan's choreography looks so much better when performed by  dancers who can still do justice to Ashton's choreography by dancing it idiomatically. I think that the descriptive division came into being as Ashton's choreography quietly disappeared from the repertory after 1988, to be replaced by MacMillan's angst ridden dramatic one act works such as Valley of Shadows, Different Drummer and The Judas Tree at that point we gained a whole generation of dancers who thought that the height of perfection was to emote and sprawl their way through a ballet rather than dancing it well. There were a few honourable exceptions to this new performance style but not enough to make a difference. As far as Hayward is concerned she is something of a throwback and all the more welcome for the fact that she seems suited to a wide range of Ashton and MacMillan repertory. 

[alison]

1 hour ago, Dawnstar said:

@FLOSSThank you for your reply.

 

I find it interesting that Hayward seems to be the dancer most frequently cited as being potentially the best fit for Ashton roles when she is also considered one of the best MacMillan dancers in the company.

 

That's not necessarily contradictory: the much-missed Sarah Wildor excelled in both.  I suspect Lesley Collier did as well, although I missed most of her career.  Edward Watson had success in a number of Ashton roles as well, despite being thought of primarily as a "MacMillan dancer".  Laura Morera, of course, despite coming relatively late to a lot of the MacMillan roles.  I could probably think of some more if I put my mind to it (she says, wondering to what extent Bruce Sansom was a "MacMillan dancer" ...)

[Lizbie1]

2 minutes ago, alison said:

 

Edward Watson had success in a number of Ashton roles as well, despite being thought of primarily as a "MacMillan dancer".

 

Ed Watson doing Monotones II is 😍

 

 

[alison]

2 hours ago, FLOSS said:

They call for technique while the role of the Woman in the Ball Dressthe stage, I suspect,depends more than anything on extraordinary stage presence and the ability to create an air of mysterious,compelling allure. Cuthbertson can do  many things but mystery and allure are not what you think of when her name is mentioned. I think if Kevin were to revive Apparitions then Hayward would be an obvious candidate for the Fonteyn role

 

I had been mentally running through the roster of the RB's ballerinas (and others) and wondering whether 21st-century women "do" allure any more, and if they don't, whether trying to revive Apparitions successfully is a lost cause? 

[Rina]

Maybe someone will write a book one day on how so many Ashton ballets came to be lost, and how some of those that survived just lost their sparkle for later generations. It would doubtless be a depressing read. But we are where we are, and I derive some encouragement that the Foundation was making "early plans" with the RB for a festival of some sort until Covid struck.

 

All that concerns me is to see more Ashton ballets performed, and more often. Whether it's kick-started by a festival or "an Ashton season", or an anniversary (it's only five years until the 100th anniversary of his first ballet, A Tragedy of Fashion), doesn't matter. I have some faith in the Foundation's capability to keep a watching brief on future revivals. And it is also true that the RB has "pulled the rabbit out of the hat" in recent years on some productions. It just feels touch and go whether future productions will work or not.

 

I've been looking again at Capriol Suite (1930), as presented by New York Theatre Ballet: Living Room Series | New York Theatre Ballet (nytb.org) It's a work I turn to when in need of some good cheer. I think it has three enduring qualities which can give cause for optimism as far as the future of Ashton's ballets in general is concerned:

 

1. It is perfectly constructed. The ballets which have survived all share this characteristic whether one thinks of economy of means, simplicity and inevitability of steps, musicality, coherence of music, design and choreography, and so on.

2. It demonstrates a complete and utter joy in dancing - stamping, lifting, shaping - and a deep connection with the historical roots of dance.

3. It is all about love - requited, unrequited, easy, difficult - and has a gentle wit and humour which is life-enhancing. These aspects will never cease to be "relevant" to human beings.

 

You can hear how the New York audience enjoyed it. Sarasota showed how a small company could put on a four-day festival, powered by love for the work. The only thing I'd add is that it's wise not to get caught up in states of powerlessness brought on by RB doublethink (praising the Foundation for reviving Ashton rarities while actually creating more of them by under- or non-performance, for example). Something in me is convinced that the Ashton ballets will live on, just as you cannot kill the goddess Aphrodite. 

[Dawnstar]

6 hours ago, FLOSS said:

What you forget is that when the Royal Ballet was simply a company with two active choreographers it did not have "Ashton dancers" or "MacMillan dancers" it simply had dancers. All the major MacMillan ballets created on the company were made on dancers who danced both choreographers' works with equal facility. Even today MacMillan's choreography looks so much better when performed by  dancers who can still do justice to Ashton's choreography by dancing it idiomatically. I think that the descriptive division came into being as Ashton's choreography quietly disappeared from the repertory after 1988, to be replaced by MacMillan's angst ridden dramatic one act works such as Valley of Shadows, Different Drummer and The Judas Tree at that point we gained a whole generation of dancers who thought that the height of perfection was to emote and sprawl their way through a ballet rather than dancing it well. There were a few honourable exceptions to this new performance style but not enough to make a difference. As far as Hayward is concerned she is something of a throwback and all the more welcome for the fact that she seems suited to a wide range of Ashton and MacMillan repertory. 

 

I was 3 years old in 1988 & had yet to see even The Nutcracker let alone any other ballet! I've only read lots of ballet reviews etc. in the last few years & in them there not infrequently seems to be a division assumed between "MacMillan dancers" and "Ashton dancers", so I could only go by that opinion, not having seen enough of certainly Ashton & probably not MacMillan either to have an opinion of my own. I'd love to be able to go back in time & see some ballets created in the past when they were new but unfortunately I can't!

[Geoff]

1 hour ago, Rina said:

I've been looking again at Capriol Suite (1930), as presented by New York Theatre Ballet: Living Room Series | New York Theatre Ballet (nytb.org) It's a work I turn to when in need of some good cheer.

How wonderful Rina, thank you so much for introducing me to a new jewel (I have needed cheering recently). Might I add to your list another quality I associate with Ashton’s choreography: unpredictability. Simple repetitions are always subverted, extended or converted. I defy anyone seeing this tiny masterwork for the first time to predict where any step or sequence is going: surprise after surprise. Not something we can say about the new works we get served at ROH. 

[Emeralds]

On 10/12/2021 at 15:41, alison said:

 

I had been mentally running through the roster of the RB's ballerinas (and others) and wondering whether 21st-century women "do" allure any more, and if they don't, whether trying to revive Apparitions successfully is a lost cause? 

The three dancers that immediately spring to mind are Olivia Cowley, Melissa Hamilton and Tierney Heap. I think with the right guidance and preparation, as well as sufficient time, a successful revival is always possible. I think Laura Morera and Sarah Lamb could both act anything, but if it was this particular quality, I think our three soloist and first soloist ladies have that quality of allure that would definitely be essential in this ballet. I must say it does not seem a very Makarova sort of role, as wonderful as she was in so many other ballets. 

[Jeannette]

On 08/12/2021 at 02:58, bangorballetboy said:

I thought Valses nobles et sentimentales was programmed next month?

Oh, I had forgotten. Thanks for the reminder. The brief (13-min?)  work was part of the the last digital program in May 2021, too.

 

[Jeannette]

Happy news from Sarasota on the Ashton front…substantial  ballets on the horizon!  The troupe’s August 2022 visit to NYC’s Joyce Theater will consist of a triple bill that includes two (2) Ashtons: Birthday Offering and the rare Varii Capricci. Woohoo!!! 🥳 

 

https://www.broadwayworld.com/article/The-Joyce-Theater-Announces-SpringSummer-2022-20211217

 

Hopefully, this portends a return to substantial Ashton programming during their 2022/2023 home season.

 

 

 

Edited December 18, 2021 by Jeannette

[jmhopton]

10 hours ago, Jeannette said:

Happy news from Sarasota on the Ashton front…substantial  ballets on the horizon!  The troupe’s August 2022 visit to NYC’s Joyce Theater will consist of a triple bill that includes two (2) Ashtons: Birthday Offering and the rare Varii Capricci. Woohoo!!! 🥳 

 

https://www.broadwayworld.com/article/The-Joyce-Theater-Announces-SpringSummer-2022-20211217

 

Hopefully, this portends a return to substantial Ashton programming during their 2022/2023 home season.

 

 

 

 

Lucky you, Jeanette. I'm very envious. What a pity Sarasota have stopped streaming. I'd love to have seen that programme and also the new David Bintley. I did email them to ask but they said they couldn't carry on with the streaming. At least we have the triple bill which hopefully is being streamed as its being filmed so that's something to look forward to. 

[Jeannette]

7 hours ago, jmhopton said:

 

Lucky you, Jeanette. I'm very envious. What a pity Sarasota have stopped streaming. I'd love to have seen that programme and also the new David Bintley. I did email them to ask but they said they couldn't carry on with the streaming. At least we have the triple bill which hopefully is being streamed as its being filmed so that's something to look forward to. 

Hi, jmhopton. Sorry but I don’t understand. Did you read or hear that an upcoming Sarasota 3ple bill will be filmed for possible streaming?  I won’t travel if I can pay to watch a performance at home.

[Rina]

I've just been watching what could be called "the other Rhapsody" - the first part of "The Story of Three Loves", a film from 1953 by Gottfried Reinhardt and Vincente Minnelli. It stars Moira Shearer and James Mason - and Ashton's choreography to Rachmaninov's Rhapsody - but not as we know it from his later version for the RB. In the film, it is danced as a solo by Shearer, first when she thinks she is alone on stage in a lilac evening dress, later for Mason in a white dress. It lasts about 40 minutes.

 

I may be wrong but it doesn't feel as if Ashton is just fulfilling a commission (he went to Hollywood to make it). It feels as if he was really responding to the music, and finding inspiration from it. Shearer is gorgeous throughout. If you're in need of a lift and some inspiration yourself, I recommend it. Something to add to the growing list for the Ashton Festival too!

 

 

Edited December 27, 2021 by Jan McNulty
Link deleted at request of poster

[jmhopton]

On 19/12/2021 at 09:07, Jeannette said:

Hi, jmhopton. Sorry but I don’t understand. Did you read or hear that an upcoming Sarasota 3ple bill will be filmed for possible streaming?  I won’t travel if I can pay to watch a performance at home.

Sorry Jeanette, I'm confusing you with triple bills.

Sarasota said they weren't able to carry on with streaming their own work (cost I think but not really sure). The filmed triple bill I referred to was the UK Ashton triple at the end of April,  beginning of May. That does seem to be being streamed which is good news for all us Ashton fans (especially international ones like you)

When I said 'we have the triple bill' I meant the UK. Sorry to get your hopes up. But at least you may have an option of attending Sarasota (lucky you!) And you can also enjoy our streamed Ashton triple.

[bridiem]

9 hours ago, Rina said:

I've just been watching what could be called "the other Rhapsody" - the first part of "The Story of Three Loves", a film from 1953 by Gottfried Reinhardt and Vincente Minnelli. It stars Moira Shearer and James Mason - and Ashton's choreography to Rachmaninov's Rhapsody - but not as we know it from his later version for the RB. In the film, it is danced as a solo by Shearer, first when she thinks she is alone on stage in a lilac evening dress, later for Mason in a white dress. It lasts about 40 minutes.

 

I may be wrong but it doesn't feel as if Ashton is just fulfilling a commission (he went to Hollywood to make it). It feels as if he was really responding to the music, and finding inspiration from it. Shearer is gorgeous throughout. If you're in need of a lift and some inspiration yourself, I recommend it. Something to add to the growing list for the Ashton Festival too!

 

 

 

Interesting! But I haven't watched the video because I'm a bit wary of going to a site including the letters ok.ru - is this definitely a legit site? 

[Two Pigeons]

I have a totally legit DVD of this film.  Also it does turn up on Talking Pictures TV from time to time.  It is well worth watching.

[Rina]

8 hours ago, bridiem said:

Interesting! But I haven't watched the video because I'm a bit wary of going to a site including the letters ok.ru - is this definitely a legit site? 

 

Thanks for the cautionary note. - maybe the link should be deleted? I can't do it myself now. I wasn't aware it was commercially available. It is so life-enhancing for Ashton lovers.

[Jan McNulty]

25 minutes ago, Rina said:

 

Thanks for the cautionary note. - maybe the link should be deleted? I can't do it myself now. I wasn't aware it was commercially available. It is so life-enhancing for Ashton lovers.

 

 

I've removed the link Rina.

 

A quick check on Amazon shows a Region 2 version of the film is available:

 

https://smile.amazon.co.uk/Story-Three-Loves-Region/dp/B009CZT0AA/ref=sr_1_1?crid=1LD1RJESEDW65&keywords=the+story+of+three+loves&qid=1640591994&sprefix=the+story+of+three%2Caps%2C71&sr=8-1

[Jeannette]

11 hours ago, jmhopton said:

Sorry Jeanette, I'm confusing you with triple bills.

Sarasota said they weren't able to carry on with streaming their own work (cost I think but not really sure). The filmed triple bill I referred to was the UK Ashton triple at the end of April,  beginning of May. That does seem to be being streamed which is good news for all us Ashton fans (especially international ones like you)

When I said 'we have the triple bill' I meant the UK. Sorry to get your hopes up. But at least you may have an option of attending Sarasota (lucky you!) And you can also enjoy our streamed Ashton triple.

Thanks for the clarification. I already saw the April/May streamed program as a subscriber…a half-year ago.  It was lovely.

 

So I’ll continue with plans to see the show in NYC this August 2022. 

[LinMM]

Years ago now in the 60’s my mum worked with an ex dancer ...I think his name was Roland but was never sure if that was his real name...anyway he had danced on stage ( not partnered) with both Fonteyn and Shearer and although he loved his “Margot” he always thought that Shearer was the better dancer of the two.