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

[bridiem]

Very enjoyable evening, highlighting many of Ashton's qualities: his lyricism, wit, sophistication and humour.

 

It is strange, though - to my knowledge, Facade (created 1931) was programmed regularly at the RB from the late 1970s until the mid 1990s, and had presumably been performed regularly before the late 70s. Since the mid 90s it has completely dropped out of the rep (apart from one pas de deux at a gala in 2019). Why would that be? What seismic change took place in society or human nature in the mid 1990s to apparently render Facade obsolete?! I would actually love to see the current RB do it - it would be a hoot. As it was tonight as performed by Sarasota (joined by Cutherbertson and Avis).

 

Varii Capricci (which I saw twice in 1983/4 and evidently hasn't been given since) was also very enjoyable. I think the original 'joke' of Anthony Dowell and Antoinette Sibley effectively performing against type was inevitably slightly lost tonight, but it still worked and was fun, stylish and amusing, and beautifully performed by Jennifer Hackbarth and Ricardo Rhodes. I can imagine this led by Nunez and Muntagirov... 

 

So the beautiful Valses led to the sublime Blessed Spirits, followed by the wit of Varii and the riot of Facade. All in their different ways uplifting and life-enhancing. 

 

Thank you, Sarasota.

 

 

[Geoff]

7 hours ago, bridiem said:

the original 'joke' of Anthony Dowell

Reminiscent perhaps of his turn a few years earlier in Ken Russell‘s film Valentino, where (as Nijinsky) he asks Nureyev to teach him the tango. A great scene, easily found on YouTube. 

[Suffolkgal]

I would love to see facade again. Used to be a regular. Wedding Bouquet too!

[Mary]

Yes I remember seeing Facade at ROH (and Wedding Bouquet) in -must have been in the 1990s and, BRB more recently than that?  (memory failing again) . Highly entertaining and joyful -  and I can see so many of the current dancers being shown off in these pieces.

 

[AnneL]

Another vote here for team Facade. I mentioned up-thread that I last saw it in 1970 at the age of 12 (Monica Mason was in it, I think) and it made a great impression on me. Yes, it’s a period piece, it was in 1970 as well, but that shouldn’t disqualify something from being produced. Giselle is also a period piece. For me, Facade captures something about the 1920s in a humorous, English way, and it survived from Ashton’s earliest days as a choreographer for a reason. Yet it also shows the influence of the Ballets Russes at that point in time as well as of contemporary comedy/variety shows. So it is undoubtedly historically interesting and significant in its own light-hearted way. And sometimes it’s good to see something that’s fun, not necessarily profound. 

[Bruce Wall]

So pleased that people here are responding positively to Facade.  We all need to smile - and this - in and of itself - is a wry smile of a ballet.  The Charlot Revues certainly marked both Ashton and Balanchine - and was I believe the crux of their mutual admiration.  Happily that remained throughout their lives - such as was not always the case with other bodies.  

 

Vis a vis Facade, outside of the UK I recall many witty performances by both the Joffrey and ABT at different points decades ago.  One memory that burns luminous in my brain even now is the vision of the illustrious Zizi Jeanmarie doing the French turn whilst guesting at the same time as she was stunningly starring in a revival of Can Can on Broadway.  I remember she did it and then - with the audience SO braying - she did it again.  Her work in that slice of Ashton remains in my mind's eye even now transcendent in terms of its free form wit and insolent wisdom.  

 

 

 

 

 

Edited June 9 by Bruce Wall

[maryrosesatonapin]

I went on Friday evening and loved it.  Any small deficiencies in technique were more than made up for by the company's charm and joie de vivre.  I thought Jessica Assef would be an asset to any company, an absolute star. It made me realise how starved I feel of seeing Ashton's work - I gobbled up every last morsel and was left wanting more.

I am immensely grateful to Iain Webb and Margaret Barbieri for keeping Ashton's legacy not just alive, but kicking. Thank you, Sarasota Ballet.

[Jane S]

Can't see any mention of Illuminations yet - have I missed it, or didn't they do it, or...?

[MJW]

14 minutes ago, Jane S said:

Can't see any mention of Illuminations yet - have I missed it, or didn't they do it, or...?

 

It was certainly performed on Friday evening

[MJW]

A few images from Friday evening and Saturday afternoon. I was sitting in the front row of the Circle for Friday evening (rather than the second for Saturday) hence the clearer view.

 

https://www.instagram.com/p/C7_i8fEodLP/?img_index=1

[Jamesrhblack]

56 minutes ago, MJW said:

 

It was certainly performed on Friday evening

 

And will be performed this afternoon…

[RHowarth]

1 hour ago, Jane S said:

Can't see any mention of Illuminations yet - have I missed it, or didn't they do it, or...?

Jane, it's the 'Sacred Love pas de cinq'. It's on the cast sheet for this PM.

[LinMM]

I saw Sarasota Company perform on Wednesday. Unfortunately did not have the best seat ( though lucky to get this one) so part of view of the right hand side of stage was cut off preventing seeing the complete picture which probably affected Valses Nobles et Sentimentales the most. Still some lovely dancing, body positions especially in the lifts and shapes seen in this with its romantic feel and with Jessica Assef assured in the main role but I also noticed a dancer a lot in this who I think was Sierra Abelardo who had a lovely dance quality for this Piece. 
This evening certainly showed the range of Ashtons talent as Dante Sonata couldn’t have been more different with the stark black and white colours and bare feet. It struck me how modern it seemed though in form more obviously theatrically staged but very dramatically effective nevertheless. I have read since that it was choreographed around 1940 and wondered whether he had been influenced by Fokine.  It did not have an obvious ending either although a theatrically striking one as seemed to indicate no “winner” as such in the dark versus light struggle a sort of perpetual never ending purgatory. 
Lauren Ostrander was brilliantly dramatic and striking in this Piece.
 

Id always wanted to see this ballet since seeing a picture of Robert Helpmann in it in one of my ballet books ( they included a small pic of him in the lovely Programme they gave out) I’d now be very happy to see again …and from a better seat!! 
Sinfionetta was fun and showed the speed needed for some Ashton choreography ….just so fast …Definitely tripping over your own feet fast!! But they didn’t of course! 
The middle “monotones” part was beautifully performed with Jennifer Hackbarth coolly taking a few risks when held horizontally by her five partners and thrown over once slowly and then again really fast so it seemed like she turned twice really fast but happily caught before hitting the floor😳 So Ashton prepared to take a few risks with his dancers. The overall affect of this slower movement was quite haunting though and again rather modern. Then the third movement again with Rhodes and Assef I think fast paced and I’m sure exhilarating to dance. I think I missed some patterning in this Ballet as well so would love to see these Pieces again from a more central position. 

Well I’ve really enjoyed this Sarasota treat and now look forward to three performances of the RB Ashton Programme in next couple of weeks …so much to look forward to. 

Edited June 9 by LinMM

[Sebastian]

Thank you Sarasota Ballet for a really wonderful few days of Ashton. A rare treat to be treasured. The last main performance was this afternoon and afterwards they were handing out the remaining copies of the complementary programme, truly a collectors item, very informative and most appealingly designed with many photographs and articles.
 

As they were keen to get rid of the programmes I was given several for my friends who have been unable to get to London for this Ashton celebration. It turns out there are a (very few) over which I will happily post to anyone who asks and can reimburse me for the postage. Please send me a PM if you would like a copy, first come first served. 

[Blossom]

Today was a lovely end to Sarasota Ballet’s visit. I enjoyed their visit and the opportunity to step back in time and see some heritage works. It was a nice touch that Ian Webb was so present at every performance and was glad to take the opportunity to thank him today. 
 

The company may not have the finesse of the Royal Ballet - yet - but they have definitely made an impression and I hope they will continue to keep the works of Ashton alive. What I would love to see over time is the development of the Ashton school or style. My only criticism of the company is that they largely dance Ashton with some ‘Americanisms’ and I hope that over time their port de bras will soften from more gymnastic American lines to the softer, more fluid port de bras seen in places, for example Macarena Giminez today.

 

Editing to add that I love the description of Sarasota Ballet by Graham Watts - ‘The Royal Ballet in Exile’. 

 

 

 

 

Edited June 9 by Blossom

[Henry]

Just like to say a thanks to Iain Webb, Margaret Barbieri and Joseph Volpe for bringing Sarasota Ballet to London.  So far little has been said about Mr Volpe.  I am sure that his experience in the management of an arts organisation played a large part in making the visit possible.  I would have loved to hear him talk on an Insight! 

 

Please come back! 

 

Edited June 10 by Henry

[art_enthusiast]

21 hours ago, Sebastian said:

they were handing out the remaining copies of the complementary programme, truly a collectors item, very informative and most appealingly designed with many photographs and articles.

 

I was so gratified to get handed one of these for free, I assumed they would be charging for them. That's what I call a programme!

[Balletfanp]

I managed to get a late ticket for the Saturday evening gala (and a great seat with a grandstand view as well!).

 

I was an interesting evening but I can’t say I was wowed by most of it, Facade being the exception. Valses Nobles et Sentimentales and Varii Capricci were worth seeing as the rarities they are over here (and the costumes for the former were very pretty), but I think there is probably a reason why they are no longer programmed much here….. they were nice to watch but rather lightweight and insubstantial - my own opinion only! And in comparison to the Ashton triple I saw last night (review to come on that thread), one can see why The Dream and Rhapsody are programmed regularly and are audience favourites, whilst Les Rendezvous had the zip and liveliness that the ballets above lacked (and the new designs suggest that Kevin O’Hare intends it to make a permanent comeback to the repertoire - good!).

 

Joseph Sissens danced Blessed Spirits beautifully, and was a very acceptable substitute for Vadim, but some emotion was lacking. Vadim is unmatched in that solo for me and I was sorry not to see him; however Joseph received a lot of well-deserved applause (and what beautiful feet he has).

 

Facade was the hands-down favourite with me (and I suspect for most of the audience!). Funny (loved the cow! 😂), a bit mad, and Gary Avis and Lauren Cuthbertson excellent in the tango. Full of wit and laughs and I would hope it could be programmed on the main stage again sometime soon.

 

A word in praise of the Sarasota dancers. I found Mark Monaghan’s scathing review snobbish, inappropriate and grossly unfair. The company isn’t the Royal Ballet and although they couldn’t as a whole match up to the RB dancers for technique (but who would expect them to?), there were some lovely individual performances, and the whole programme was danced with charm and great apparent enjoyment by the whole company. I was glad to be able to see them. I actually walked out during one of the intervals in the main stage Ashton performance last night behind Jessica Assef and Jennifer Hackbarth and took the opportunity to say how much I had enjoyed seeing them and how nice it was to have them over here. They were sweetly appreciative.

[LinMM]

Apparently as the young Sarasota dancer I sat next to last night told me the Company use three theatres for their shows ( none as small as the Linbury though) so that can’t be easy for them. Though wasn’t sure if one was a main theatre and the others perhaps used for small tours? 

They don’t perform The Dream very often apparently so perhaps they will get a chance at that soon now. 
How about Mark Monaghan counting the number of dancers available in the RB and those in Sarasota Ballet!!!! 
 

[Balletfanp]

Yes, one thing that struck me was that, small company or not, they needed a bigger stage than the Linbury - everything seemed a bit cramped.

[LinMM]

Yes I said to Gabriella that I hope next time they could be in Sadlers Wells theatre and she thought that would be wonderful!  

[Emeralds]

As I could only attend Sarasota Ballet's long awaited and much anticipated visit (their very first international tour) on the last day of each of the programmes, there didn't seem much point in posting a review. However, as the critics in newspapers and websites have published reviews after the tour as well, I thought I'd add some thoughts too......

 

Programme 1 with Valses Nobles et Sentimentales, Dante Sonata and Sinfonietta felt like the serious programme with technically demanding choreography and dark drama, while programme 2 with Valses Nobles et Sentimentales, Jazz Calendar, Tweedledum and Tweedledee, Illuminations, La Chatte metamorphosee en femme, Balcoby pas de deux from  Romeo and Juliet, and Façade felt like the light hearted and comical programme, with the gala programme of Valses Nobles et Sentimentales, Varii Capricci, Dance of the Blessed Spirits and Façade a mix of graceful beauty and comedic wit.

 

Programme 1 was a thrilling performance of contrasts: the graceful and stately Valses Nobles et Sentimentales contrasting with the dramatic expressionist Dante Sonata (Ricki Bertoni a standout as the lead Darkness figure) and the athletic, technically demanding Sinfonietta with its second movement evoking space age and zero gravity (Sierra Aberlado and Marijana Dominis outstanding in the first movement, Jennifer Hackbarth a standout in the second movement with her five partners, and Ricardo Rhodes stellar in the second and third movements). 

 

Programme 2 felt like a gala programme with the beauty of Valses nobles et sentimentales to start off proceedings, then the informal jazzy Friday's Child (very unusual for Ashton to work with jazz scores) with superb, assured Marijana Dominis and Ricardo Rhodes, the comedy romps of Tweedledum and Tweedledee (with Alice, danced to Percy Grainger's arrangement of In An English Country Garden!) followed by the coolly mysterious pas de cinq of Sacred Love (an elegant and technically assured Jessica Assef) with her four partners in white and silver, set to Benjamin Britten's song cycle Les Illuminations. It made me want to see Profane Love's dance and the rest of the ballet.

 

La Chatte metamorphosee en femme, a solo (or a pas de deux with a chaise longue) made for a 1985 gala in Vienna (one of Ashton's last creations) paying homage to the Romantic Era ballerina Fanny Elssler, portrayed a cat transformed into a young woman, who passed off as human quite successfully until the appearance of a mouse (rendered here as a hilariousky oversized remote controlled furry mouse) in the cover brought out her urge to chase and catch it,  thereby blowing her cover!

 

This final pas de deux  in the Divertissements was the Balcony pas de deux from Ashton's production of Romeo and Juliet (originally created for the Royal Danish Ballet, previously staged here by Peter Schaufuss and Ashton himself for London Festival Ballet, later called English National Ballet, and once by Schaufuss's own company on tour in London). The technically accomplished and versatile Jennifer Hackbarth was a passionate and graceful Juliet with fellow principal Maximiliano Iglesias as her Romeo, who had a light soaring jump and lots of ardour.to match her passion. To conclude, the company presented a witty and fun performance of Façade, with first soloist Sierra Aberlado accomplished in the only classical ballet solo of the Polka young woman, and Ricardo Graziano and Jennifer Hackbarth very funny as the couple in the Tango/Pasodoble. 

 

Sandwiched between programmes 1 and 2 at the weekend was the Gala with three Royal Ballet dancers participating. Valses Nobles et Sentimentales was an apt opening ballet, danced with supreme grace and courtly elegance by the company, Jessica Assef, Ricardo Rhodes and Daniel Pratt superb as the three leads. Joseph Sissens,  making his debut in the Dance of the Blessed Spirits solo. brought his soaring jumps and musicality to the solo originally made for Anthony Dowell.

 

This was followed by the only performance of Varii Capricci, a light hearted one act ballet made in 1983 for Antoinette Sibley, Anthony Dowell and a small ensemble, with designs by Ossie Clark (costumes) and David Hockney (sets), no less, although we only had the costumes for this gala. It was danced with fine virtuosity and great wit by the company, led once again by the outstanding pair of Hackbarth and Rhodes. (Is there anything that these two can't do? It seems not). The evening was topped off by a fine performance of Façade, with the whole company and their Royal Ballet guests Lauren Cuthbertson and Gary Avis outstanding in each of the featured dances, with Gabriella Schultze as the Milkmaid, Macarena Gimenez light and technically sparkling in the virtuoso Polka solo, Daniel Pratt and Mischa Goodman brilliantly deadpan in Popular Song, particularly standing out among a fine ensemble. 

 

I enjoyed all three programmes immensely and the visit more than surpassed all expectations- down to the impressive complimentary souvenir programme for all the audience. I hope the company are invited back very soon- hopefully for the Main Stage. Glad we can still enjoy more performances from the splendid Macarena Gimenez, Ricardo Graziano, Daniel Pratt, Jennifer Hackbarth and Ricardo Rhodes, who will continue performances at ROH with The Walk to the Paradise Garden in the Ashton mixed bill with the Royal Ballet.

[JNC]

Thanks for the review @Emeralds - I think the diverts programme was less well reviewed so interesting to read more thoughts on those. 

[Scheherezade]

4 hours ago, JNC said:

Thanks for the review @Emeralds - I think the diverts programme was less well reviewed so interesting to read more thoughts on those. 

I enjoyed the diverts and thought they would be perfect, uplifting fillers in a mixed bill (not necessarily an all-Ashton mixed bill either).

[Rina]

Sarasota have sent out an email celebrating their "triumphant international debut" - for once, marketing hype is not an exaggeration! 

I was lucky enough to see most of the performances and am still buzzing. They have entered my bloodstream. I wondered how to come down from such experiences, but isn't it better to ask: how to live differently in light of the joy, beauty, and depth of these ballets?

Images in movement form can't be grasped - apart from photographs - but is there an equivalent to learning a poem by heart? it's like remembering a dream. Some images pop up of their own accord. In Valses Nobles, for example, a passage near the beginning when the dancers pair up for the first time, and one girl is partnerless and wanders among the others until she finds her partner (the excellent Daniel Pratt) just as he is left by the principal woman (Jessica Assef) for the principal man (Ricardo Rhodes).

About two-thirds the way through, when three couples are dancing, the central pair don't, the boy seemingly teaching steps to the girl, it feels like tentative love-play, and she breaks away looking into the distance, but returns happily. (I think of a comment by Leigh Witchel (Links, 2 June) that Ashton makes asymmetry appear symmetrical.

This comes just after the four pairs wheel round in a circle to a climax in the music, and just before the mood changes to one of mystery with a four-note phrase in the woodwind (which is oddly similar to the piano's opening phrase in Symphonic Variations). From them on, there is increasing use of the screens, until the marvellous ending, a knockout moment for Alastair Macaulay (Links, 6 June).

The music ends but the dance continues as the curtains close - it's an image of eternity, and is still playing in my imagination. In the centre is a boy kneeling with his back to us, his arms mirroring the lifts of Jennifer Assef by her suitors behind the screen. Others have pointed out the timeless, nostalgic quality of the scene. Perhaps it portrays a different kind of love from that shown earlier on - one which the Greeks personified as Pothos. Archetypal writer James Hillman describes pothos as "the longing towards the unattainable, the ungraspable, the incomprehensible, that idealization which is attendant upon all love and which is always beyond capture ... the spiritual component of love or the erotic component of spirit". I imagine the boy waving his arms as Pothos himself. Ravel's music in this final section is slow and contemplative, with muted trumpets, and wispy phrases from what has come before, now far off and left behind.

I  don't mean to reduce Ashton's dance images in any way - they speak directly for themselves. For me repeated viewings of Dante Sonata have detached this ballet from its alleged portrayal of the war, or of a fight between good and evil. The images as they present themselves are much more resonant than that. A few examples.

At the very beginning the women in white enter from stage right with steps suggesting great heaviness  of spirit and one falls completely to the ground. This is before the lead woman of darkness enters at all. It felt like a mourning ritual in a Greek village. Later, a man in white stands behind a woman in white and lowers her body to the ground face down. The words from Dido's Lament came to me at that moment - "When I am laid, am laid in earth ... Remember me". As she is laid down, girls in white raise their arms. This rising-falling at the same time occurs often in the ballet. The lead man of darkness mimes the hammering of hands and feet of the man of light (Daniel Pratt) to a cross on the ground, but I initially saw it as fixing him to the earth - "earthing" him, like materialising spirit.

Right at the end, when both male leaders are held up as if crucified, a woman in white stands between them turned towards the lead man of the dark. My memory may be faulty but I think she was veiled, and that she had also followed the procession off stage right of the "crucified" lead man in white earlier on. This figure, and the descriptions children of light and darkness echo in my mind details from the myth of Sophia. Images in the ballet are also similar to those in alchemical works, which portray the "fixing of the volatile" and its opposite (as with the loose hair), and could imply some necessity in the suffering of the children of light. These metaphors in movement of simultaneous rising and falling, and binding and loosing, are paradoxical and mysterious and, I would say, religious, but not in a specific way. 

The decision to end the evening with Sinfonietta was a masterstroke of programming. Margaret Barbieri gives a fascinating glimpse into Iain Webb's approach to putting triple bills together in her interview (Links, 6 June). The overture, played with curtain down, lasted longer than one might expect, and is in the same vein as the cool, lunar middle section of the ballet. Looking back, it's as if the work is in four sections, the overture being the last part of the night, before the day breaks with its hot colours and dancing sharp-edged by the sun. Asymmetry again. This - or Facade - would be a great way to end an Ashton triple bill. 

Who knows when we'll see again these ballets brought to life by Sarasota, but I'd like to keep responding to images from them that pop up in the memory like snatches of music or lines of poetry, and noticing any associations they evoke.

 

[jmhopton]

Wow Rina, what a wonderful evocative description of Ashton. I'm sure he'd have been proud of it, and the Sarasota 'Triumphant International Debut' but also possibly slightly bemused as he was such a modest man towards his life and Art. But it WAS a triumphant international debut and hopefully, the first of many for Sarasota, and we can only hope for a return to the ROH sometime soon when we can enjoy them again, though it would be nicer next time to have a least a couple of performances on the main stage and not have to scramble for the few tickets and terrible sightlines of the Linbury.

 

Last weekend I saw all three programmes and was bowled over by the sheer variety of dance and styles that was Frederick Ashton; the romance of Les Waltzes, the humour of Facade, the quirkiness of Varri Capricci and Sinfonietta, the drama of Dante Sonata and the sheer variety of all the divertissements. Where have they been all my life??!! Kudos and thanks to Kevin for inviting Sarasota and to the entire Sarasota team for financing the trip and enabling it to happen. Hopefully it will be easier the next time; I'm already compiling a wish list such as Apparitions and, perhaps into the future, La Sylphide as they now have our Kobborg production which I love; those fabulous Danish sets and costumes. I'm hoping that seeing what a variety of Ashton is available will kickstart Kevin into acquiring some of it. Dante Sonata will be top of my list as I've never seen it before and it is such a powerful piece. I was on the front row of the stalls and was just blown away by the power and drama. I'd love to see it a bit further away to get a better overall picture but at least I didn't have a rail in the way, interrupting my view. it was just too much to take in on a single viewing; will just have to hope they come again and bring it. Facade is possibly the only ballet they brought I've seen before and that was ages ago so it was great to revisit it. Such a quirky, humorous piece and a wonderful way to end the evening, sending the audience out smiling and wanting more. Please come again soon, Sarasota. it can't be soon enough for me!