Sarasota Ballet at Linbury Theatre and in Ashton Short Works, ROH June 2024

[BeauxArts]

The Times gave them 4* yesterday….

[oncnp]

and it does seem to take a few days before the reviews appear (if they were covered at all)

[Jane S]

9 hours ago, MAB said:

Re Sinfonietta, I'm pretty certain that it (or part of it) was televised, I think students were involved, can't be more specific.  Hopefully I'm jogging someone's memory.

 

A BBC programme celebrating Ashton's 75th birthday in 1979 included film of him rehearsing RB students in Sinfonietta, which they danced in the RBS matinee that year - maybe that's what you remember? (Probably the Elegy, which would have been Nicola Roberts.)

 

(Amazed that you should remember that! - I saw the whole ballet when it was about 2 weeks old, and then again in the 1981 revival and remember almost nothing about it - just a vague impression of the Elegy.)

[alison]

1 hour ago, Jan McNulty said:

Is it only me who is wondering why the mainstream press hasn't reviewed Sarasota Ballet celebrating Ashton?

 

I was going to say possibly they were going to do a combined review after last night's first night of the second bill, but then I don't remember spotting critics there last night - and possibly they were watching the bill in the main house.

[San Perregrino]

2 hours ago, Jan McNulty said:

Is it only me who is wondering why the mainstream press hasn't reviewed Sarasota Ballet celebrating Ashton?

 

I know we've had reviews from big-hitting reviewers but where are the Guardian, Daily Telegraph & Independent to name but 3...

 

perhaps, as there is so little column space for reviews these days, they were waiting until they saw the RB Ashton Triple too so that they can do both in one review.  pretty sure I saw Daily Telegraph at both as well as the Times.

[zxDaveM]

1 hour ago, alison said:

 

I was going to say possibly they were going to do a combined review after last night's first night of the second bill, but then I don't remember spotting critics there last night - and possibly they were watching the bill in the main house.

 

there were indeed a lot of the critics in the main house on Thursday evening

[zxDaveM]

Slight tangent - wouldn't it be lovely if the RB could do 1-2 small scale mixed bills per booking period in the Linbury, to revive many of the 'lost' works of Ashton (and maybe other 'forgotten' choreographers or lost works).  Maybe get Sarasota and/or BRB (and AN Other?) to add more rep and dancers. AND try and avoid clashing (as it has this week) with main stage activity.

Perhaps my Euro-millions winnings this evening could be a starter for 10 in my pipe dream....

[Blossom]

1 hour ago, zxDaveM said:

Slight tangent - wouldn't it be lovely if the RB could do 1-2 small scale mixed bills per booking period in the Linbury, to revive many of the 'lost' works of Ashton (and maybe other 'forgotten' choreographers or lost works).  Maybe get Sarasota and/or BRB (and AN Other?) to add more rep and dancers. AND try and avoid clashing (as it has this week) with main stage activity.

Perhaps my Euro-millions winnings this evening could be a starter for 10 in my pipe dream....

Yes please! In the vein of a BRB2 this might give additional opportunity to the bright young things coming up through the ranks.

[li tai po]

i was very taken aback by the Valse in Facade.  I have seen several Royal Ballet companies dance it and the four girls were always stony faced, bored and miserable, whereas the Sarasota girls were friendly and smiling.

 

I checked back in David Vaughan's "Ashton and his Ballets".  He writes in 1977, "In its first form the Waltz focused more on the patterns made by the dancers' arms and legs than on the vacuity of the girls' expressions, as nowadays"

 

He continues, "Ashton has said that the idea was actually a parody of those groups of girls that there used to be at that time, the Hoffman Girls and all that sort of thing."  Reminiscent of the Tiller Girls, the Gertrude Hoffmann dancers used a type of athletic, acrobatic transformation of the chorus girl with kicks, leaps, etc.

 

So, Margaret Barbieri appears to have reverted to an early version in her staging of the valse.

[alison]

It's been mentioned here previously, but can I just say what an excellent publication Sarasota's Ashton tribute programme is?  Thank you to whoever made it possible.

[AnneL]

I picked up a last minute ticket for Thursday evening— I was around for the Friends rehearsal earlier on, and decided to make a day of it.

this turned out to be an excellent decision. I will see the other Sarasota programme on Saturday, but I couldn’t resist seeing Facade in full for the first time since 1970! It was as entertaining as I had remembered. The divertissements were enjoyable too, with plenty of humour on display with the ‘chat’ and Tweedledum and Tweedledee, finished with Romeo and Juliet for passion. Being a huge fan of Ravel, I loved the ‘Valses’ too, interesting to compare its choreography and concept with Les Rendevous earlier on ( my first viewing of both.)  

[alison]

It has to be said, Sarasota's press department are very on the ball.  They've been posting emails about almost everything conceivable relating to their performances at the ROH. 

[art_enthusiast]

Lovely performance tonight - my first time seeing any of these works. What a great company. All the dancers are extremely talented 

[Geoff]

4 minutes ago, art_enthusiast said:

All the dancers are extremely talented 

The Telegraph reviewer does not agree with you, has everyone seen the most interesting piece by Mark Monahan? 

[Ian Macmillan]

Probably not - it only went online during the day but will, no doubt, be in tomorrow's Links ... if you have the required access.   But the headline no doubt gives a taste:

 

"A bewitchingly good and bewilderingly bad tribute to our greatest choreographer"

[Geoff]

9 hours ago, Geoff said:

The Telegraph reviewer does not agree with you, has everyone seen the most interesting piece by Mark Monahan? 

For those without access to this paywalled piece, in the course of what is a nuanced discussion of what Monahan sees as great varieties of achievement by the Royal Ballet, he adds:

 

>>On Tuesday, laudable little Florida-based Sarasota Ballet launched proceedings downstairs in the Linbury with a sprightly triple bill that held the attention more for the rarities on offer than for the standard of the dancing (rating: ★★★☆☆).

[bridiem]

14 minutes ago, Geoff said:

For those without access to this paywalled piece, in the course of what is a nuanced discussion of what Monahan sees as great varieties of achievement by the Royal Ballet, he adds:

 

>>On Tuesday, laudable little Florida-based Sarasota Ballet launched proceedings downstairs in the Linbury with a sprightly triple bill that held the attention more for the rarities on offer than for the standard of the dancing (rating: ★★★☆☆).

 

Bit odd that he doesn't then go on to discuss or even mention the 'rarities'! Clearly thinks only the RB is really worth discussing. Very snooty.

[Missfrankiecat]

2 hours ago, bridiem said:

 

Bit odd that he doesn't then go on to discuss or even mention the 'rarities'! Clearly thinks only the RB is really worth discussing. Very snooty.

I know that he probably has quite a limited word limit but it would be very helpful for a bit more detail as to the basis of his views.  I went last night and did think, from my relatively uneducated standpoint, that placement and partnering in the Valses was rather awkward and the lifting a bit laboured.  From my perspective the dancing improved greatly after the opening, and the warmth and enthusiasm of the company's engagement with the material performed is undeniable.  It was delightful to see so many pieces that were new to me in a programme packed with character and performed with charm.  As others have said the free programme is packed with interesting detail and I would happily have paid good money for it.  Lovely to sit next to and meet forum member @Pulcinella and benefit from hearing her knowledge.

[zxDaveM]

14 minutes ago, Missfrankiecat said:

the lifting a bit laboured

 

Yes, I noticed that too - but for me it was just a minor thing and didn't detract that much from what has been a rather joyous experience down in the Linbury, as I found 'Valse nobles' a rather charming and beautiful watch overall. The Dante Sonata was a very striking piece, and would love to see it again, no denying. Sinfonietta felt like two ballets for the price of one, and I'd pay to see the both!

As for last night's bill including the 'diverts' - loved the Sixties vibe of Friday's Child (from Jazz Calendar). Think a few modern choreographer's have pinched the ideas from it! Ashton's wit shone through in the 'Tweedles' (Dee and Dum) and the lady who turns into a cat!

Facade was a fascinating piece - lots of very fast feet and again wit in abundance.

Sad that I've finished my Sarasota performances, and not a little envious of those who will be seeing them this weekend.

[MAB]

2 hours ago, Geoff said:

 

>>On Tuesday, laudable little Florida-based Sarasota Ballet launched proceedings downstairs in the Linbury with a sprightly triple bill that held the attention more for the rarities on offer than for the standard of the dancing

 

There was nothing wrong with the standard of dancing of the Sarasota Ballet, nothing at all.  Does he seriously expect a regional company to field the international stars the RB employs?  Monahan may question the standards, but I was enjoying dancers who performed with wit and style.  I adore the idea that there is a corner of Florida where Ashton's choregraphy is alive and well and appreciated  in the way it seldom is here,  I want to send them all a collective virtual hug and thank them for giving me a week of Ashton heaven.

 

 

[Dawnstar]

May I ask if the Sarasota programmes have been finishing at the times given on the ROH website? I am currently weighing up if I feel well enough to go to tonight's performance & it might make a difference if the performance is likely to run to time or to overrun, since my trains/rail replacement buses are limited.

[Missfrankiecat]

3 minutes ago, Dawnstar said:

May I ask if the Sarasota programmes have been finishing at the times given on the ROH website? I am currently weighing up if I feel well enough to go to tonight's performance & it might make a difference if the performance is likely to run to time or to overrun, since my trains/rail replacement buses are limited.

Last night was done at 9.45pm.  Early night for me.

[Dawnstar]

2 minutes ago, Missfrankiecat said:

Last night was done at 9.45pm.

 

So that's a quarter of an hour over-run then, as the ROH website has that programme down as running 1h45. Oh dear, that doesn't fill me with confidence for this evening.

[bridiem]

9 minutes ago, Dawnstar said:

So that's a quarter of an hour over-run then, as the ROH website has that programme down as running 1h45. Oh dear, that doesn't fill me with confidence for this evening.

 

I would budget for an overrun tonight - since it's a gala I'm hoping that Iain Webb might speak before or after. But I really hope you feel able to come, @Dawnstar, even if you don't stay for any potential speech. 

 

[Dawnstar]

16 minutes ago, bridiem said:

I would budget for an overrun tonight - since it's a gala I'm hoping that Iain Webb might speak before or after. But I really hope you feel able to come, @Dawnstar, even if you don't stay for any potential speech.

 

Unfortunately my ticket is in the middle of the 2nd row of the stalls so I can't exactly make a quick, unobtrusive exit at the end. The possibility of missing the 10pm train by a few minutes & then having to hang around Liverpool Street until 11pm does not exactly appeal, especially when I have to then switch to a rail replacement bus part-way through the journey, plus I'll be on my own because my mother is still too unwell to think about coming.

 

ETA And, as Lizbie has just posted on the news thread, no Muntagirov in Dance of the Blessed Spirits. Plus no O'Sullivan in Facade either so Cuthbertson & Avis are the only RB dancers who will actually be appearing.

Edited June 8 by Dawnstar

[Scheherezade]

Whatever Mark Monaghan may think, I am very happy to have seen this lovely company, very grateful to them for having entertained us with works that we never see here in the UK and, in all likelihood, will never see again, and I think that the gift of the beautifully compiled and designed programmes is the absolute icing on the cake. 

I will be signing off on the triple tonight but from the two programmes fielded so far: can we please have Jazz Calendar restored to the RB regular repertoire in it’s entirely; I would love to see the current RB dancers’ take on both Sinfonietta and Dante Sonata; and why on earth can’t the hugely entertaining diverts be included in future mixed bills instead of the increasingly turgid and mind-numbing contemporary offerings that are forced upon us at every turn?

 

And lovely to meet @Thalia last night!

 

 

[Jamesrhblack]

44 minutes ago, Dawnstar said:

 

Unfortunately my ticket is in the middle of the 2nd row of the stalls so I can't exactly make a quick, unobtrusive exit at the end. The possibility of missing the 10pm train by a few minutes & then having to hang around Liverpool Street until 11pm does not exactly appeal, especially when I have to then switch to a rail replacement bus part-way through the journey, plus I'll be on my own because my mother is still too unwell to think about coming.

 

ETA And, as Lizbie has just posted on the news thread, no Muntagirov in Dance of the Blessed Spirits. Plus no O'Sullivan in Facade either so Cuthbertson & Avis are the only RB dancers who will actually be appearing.

Joseph Sissens is on the cast list for Dance of the Blessed Spirits.

 

i hope you are feeling better and are able to attend.

Edited June 8 by Jamesrhblack

[Mary]

I agree, 3 cheers for the Sarasota ballet:  thanks for coming and please please come again!

Hip, hip,.....

[Jamesrhblack]

Apart from a gripe re the pre-recorded music (would it been atmospheric to have a couple of pianos aka Hilda Gaunt and Constant Lambert) I derived great pleasure from this afternoon in The Linbury.

 

End of the front row is too close to get the full picture but you’re certainly close enough to observe the dancers’ commitment, precision and stamina. My goodness, Ashton worked his dancers hard and not just the ballerinas. Throughout this programme the men are quite as involved and challenged.

 

Hopefully, I’ll have more of a take on Valses nobles et sentimentales by the time I’ve seen it twice more in the next 24 hours!

 

Dante Sonata seems essentially atypical Ashton with its bare feet and flowing hair. It may be of its time but I was grateful to see a piece that was, if my understanding is correct, much beloved in the War Years that to be seemed less “dated” (which can read as pejorative) than of its time.

 

Sinfonietta was extraordinary. Two dazzling outer movements of extraordinary speed and precision with a central movement seemingly out of Monotones. I wondered whether Ashton had also been inspired by moments from MacMillan’s Concerto with the dancers crossing the stage en jetés, although in Valses you can see playing with perspective as dancers mirror each other through the screens.

 

Much to ponder (and the souvenir book, a lovely gesture, will assist with that) and much to look forward to as well.

[Emeralds]

3 hours ago, Dawnstar said:

 

Unfortunately my ticket is in the middle of the 2nd row of the stalls so I can't exactly make a quick, unobtrusive exit at the end. The possibility of missing the 10pm train by a few minutes & then having to hang around Liverpool Street until 11pm does not exactly appeal, especially when I have to then switch to a rail replacement bus part-way through the journey, plus I'll be on my own because my mother is still too unwell to think about coming.

Dawnstar, if you speak to someone at the end of your row or even the row behind, there is often someone on their own who doesn't mind swapping with you for a more central seat for the last ballet, to enable you to get out for a quick exit during the applause at the end. People will understand- the transport situation is notorious (eg demonstration today closed off the buses and other vehicle traffic to the West End this afternoon!) 

 

I hope you can still come; I haven't posted my novella - I mean review/report, haha - yet but Valses Nobles et Sentimentales is gorgeous, I think you will like Varii Capricci and you said you were looking forward to Façade. Lots of people staying behind to catch tonight's gala and super excited. 

[Dawnstar]

@Emeralds Thanks for the suggestion but I decided that I didn't feel up to attending.

[JNC]

A few quick thoughts on tonight’s Gala

 

I enjoyed Valses again but it still doesn’t wow me. Glad to have seen it and it’s nice enough but wouldn’t rush to see it again.

Disappointed not to see Vadim in Blessed Spirits. I think Sissens did a fine job but I admit I wasn’t blown away by it. I think to be honest these very short pieces (like the Isadora Duncan one on the main stage) I can appreciate but don’t really work for me - it feels a bit too slow and difficult to build engagement when you know it will be over soon and you’re almost counting down to that.

Varri Capricci was a delight. Beautiful costumes, lovely dancing. Very jazz age south of France Fitzgerald atmosphere. Very stylistic and some nice dancing, thought this was the piece of all I’ve seen that suited Sarasota ballet the best. Whilst I enjoyed it a lot, I don’t think it’s necessarily something worth reviving for the Royal Ballet and the main stage, but I’m glad to have caught the only (?) performance of this and it made the gala evening premium price worthwhile!

 

Facade was very fun, but also very much of its time. I really enjoyed the choreography in the Scotch dance and Sierra Abelardo was a standout (I also noticed her in Sinfonettia the other evening). I found the milkmaid section a bit odd to be honest but think the dancers did the best they could with it. Macarena Gimez was lovely in the Polka, very quirky. The foxtrot was also charming (again great costumes with the spherical earrings). The Valse was nice enough, and the barber shop duo (aka popular quartet) had very straight faces for some sort of reason I assume (must consult programme). And then a real treat to see Cuthbertson and Avis in the tango, Avis always elevating with a dramatic flair for characterisation. The sets and costumes were very well done I thought and it felt Sarasota dancers have certainly eased into things and are feeling very at home in the Linbury. This was another piece though that whilst I’m glad to have seen it, I don’t have a particular urge to see it again.

 

Overall though what a fabulous programme and kudos to everyone involved for making this happen. Of the Sarasota programme, choreographically Sinfonettia was the clear standout and something that I would love to see on the main stage with RB dancers. Everything else felt like a bit of a special treat given these works are no longer performed by the Royal (but I can see why that it is), which added to the special feeling to these performances. 
 

Also for VIP spotting Monica Mason, O’Hare and Anthony Dowell were in the audience tonight. No speeches though! 
 

(Please forgive if some things are spelt incorrectly my autocorrect is having a bit of field day at the moment!)

[Geoff]

So, for variety, here’s an alternative view of tonight’s gala.

 

Valses was much better than this afternoon (and earlier in the week, I understand). The lead girl was strikingly assured (the one in the matinee looked frankly terrified) and everyone danced confidently to the music. The result looked good.
 

Blessed Spirits was one of those half-naked-man-mostly-lying-on-the-floor pieces one gets in multipart ballet shows. The important point to note is how very long ago it was that Ashton delivered this work. A lot of people could therefore have saved themselves trouble from subsequently doing very similar pieces but sadly they didn’t. Notably shorter than some of those efforts which have followed (the longest tend unsurprisingly to be made by the dancer acting as his own choreographer). An example of Ashton innovating, a characteristic he is shamefully no longer known for. 
 

Varii Capricci somehow promised more than it delivered. One can imagine the sheer pleasure offered by Anthony Dowell as a gigolo, and the first scene suggested lots of fun to come, which then somehow never did. The company looked good and technically confident (noisy feet though) but the work is thin stuff.

 

Facade is the opposite. From its virtuoso opening this variety show of a ballet promises delight - and the jokes, wit, style, energy, invention, skill and sheer entertainment value just keep building. A hardy perennial masterpiece which should come back to the RB asap if one cares about giving audiences a varied diet. The presence of Cuthbertson and Avis in the cast tonight perhaps suggests this could happen. 
 

Edited June 8 by Geoff