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The Four Seasons & Emergence: Ballet Review

Emergence by Crystal Pite; photo by Bruce Zinger.

The neoclassical The Four Seasons by James Kudelka and the very modern Emergence by Crystal Pite by the National Ballet of Canada complemented each other surprisingly well and showcased a diverse movement vocabulary. This double bill was, for lack of a better term, short and sweet, and so this review strives to be the same.

First up, The Four Seasons. It is choreographed to the famous music of Vivaldi and tells the story of a man through the years and changing seasons. The joy of spring, passion of summer, melancholy of fall, and harshness of winter parallel the evolution of life from the spontaneity of youth to maturity, and finally the reluctant acceptance of death. It is a little ballet very true to Mr. Kudelka’s style, very musical and fun. Though everyone performed well, it was principal Greta Hodgkinson dancing as ‘Summer” who enchanted the audience with her articulate artistic nuances, musicality, and daring in the fast paced, high flying partnering sequences. Here is an example of the professionalism that comes with experience, it was the best I had ever seen her and I feel very lucky to have witnessed the original ‘Summer’ dance before her retirement; her performance will be the one that I remember when seeing the piece again.

Greta Hodgkinson in The Four Seasons; photo by Andrew Oxenham.

After intermission, we watched Emergence, which according to the company’s website: “explores the notion of dance as an evocation of the broader, inherent human tendency to socialization”. While the piece does centre around the interactions of a large groups of dancers, it is presented with the inspiration of insects (I remember reading this somewhere). It begins with a one dancer in a skin-coloured leotard extending her limbs slowly from a curled position on the floor and being carried by a partner, as if a helpless larvae that has just entered the world. Like a colony, dancers emerge from a portal and swarm around the stage, and throughout sections mimic sharp twitches and tentative fluttering. The music is hard to describe, but reminds me at times of the droning of bees and the clicking of bugs feet across the floor. The movement quality is very intriguing and shows the extreme capabilities of the human body.

Dancers with the National Ballet of Canada present Emergence. Its large cast evokes a subterranean insect world, devoid of human romance or free will.

Emergence photo by Bruce Zinger.

As a female, I am reluctant to say this, but I believe that this is generally a guys’ piece. The girls are undoubtedly very strong, but the power of thirty or so men dancing the same inhuman, almost mechanical, movements together or in syncopation is unreal.  Ultimately, it the unison of the entire company that delivers a visual kick that keeps the audience on the edge of their seats. (Literally, since I was sitting in 5th ring – which actually gave a really cool perspective of the piece – and was leaning out to see down to the stage.)

It is funny to see how taste changes within a couple of years. I declared that Emergence was my favourite modern piece back in grade 7 or so, and though I still love it, this time it did not knock my socks off as much as I anticipated. The Four Seasons, on the other hand, I liked with mediocre appreciation before, but enjoyed much more this time, being able to follow the intertwined emotional and musical themes. Nevertheless, the contrast between both ‘ballets’ makes for a refreshing viewing experience with good choreography and execution, so this mixed program is a winner.

Thanks for reading,
thebookybunhead

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Romeo and Juliet: Ballet Review

Love at first sight. (Applies to that dress as well. )

When I attended the world premiere of Alexei Ratmansky’s Romeo and Juliet last year, I was blown away. My viewing this past Friday was not as exhilarating – I’m sure the fact that it wasn’t my first viewing had something to do with it – but I am definitely still a fan. The tale of two star-crossed lovers, Romeo and Juliet, is not necessarily my favourite Shakespearean play, but definitely holds a special place in my heart, and this new ballet is no exception.

Creating another version of an existing ballet is risky, but especially when both Kenneth Macmillan’s and John Cranko’s own Romeo and Juliet are still performed today and considered classics by many. So Ratmansky cleverly avoided comparison altogether, with a production that is fresh, exuberant, and with unique style. I would still call it a classical work, but with undertones in the choreography, costumes, and sets of modern movements and abstract concepts that really set this ballet apart.

One word to describe this ballet is vibrant. Bright colours, dynamic movements, and -oh my goodness- the music! I am at a loss for words to describe just how amazing the score is. It tells the story in itself with strong and endearing themes that are so enjoyable to listen to, and if you’re sitting high enough to see the orchestra pit, it would be a ballet with a symphony concert experience too. Thank you, Mr. Prokofiev. Ratmansky has also unleashed his creativity with mind-bogglingly acrobatic passes and clever details that make us fall in love with the characters and the world created for us.

Costume choices such as these headresses are strange and delightful at the same time. (Image courtesy of http://www.thecoveteur.com/)

Storytelling can be under-appreciated sometimes, but here I must mention it because in addition to traditional mime were some very innovative techniques. For example, when Romeo meets Juliet they do not dance together but with their partners. While everyone is traveling around a circle, the pair are lifted into the air, spinning around as the rest of the party, but ‘spotting’ or turning their heads constantly to find the other. Similarly, after the death of Mercutio, Romeo’s rage is interrupted by a vision of Juliet (who has slipped onstage to be lifted above a crowd, reaching out to him), reminding of the consequences in dueling Tybalt-who-is-now-family, and giving the audience a peek into the protagonist’s thoughts. Another sweet effect is when the plan using the potion is explained. Behind a scrim, the scene of Juliet falling asleep, being deemed as deceased, and reuniting with Romeo is played by her double as both Juliet and the friar sit watching, as if with the audience. Here, we don’t imagine, but know exactly what the friar is telling Juliet; it’s neat as entire plots or speeches cannot always be so clearly expressed through movement.

Although I thoroughly enjoyed the entire ballet, I do have my favourite parts. Generally, they are all the pas de deux’s, especially the balcony scene, but in this particular show my choices are different (I will explain why later). The trio of Romeo, Benvolio, and Mercutio has a very fun section showing genuine friendship and kidding around which really builds them up as the good guys. Mercutio’s character is probably my favourite because of its whimsicality and mischievousness (maybe also because he was my role in our abridged grade 9 production of the play). Similarly, the carnival men that entertain in the town square add brightness to the tragedy, and gives the dancers a chance to show off some impressive tricks and turns. Overall, what was really impressive this night was the solidarity of the corps de ballet who danced as the people of Verona. At the beginning of the first act, I felt tears in my eyes over the grief of the women for their fallen husbands. Yet I did not feel this much emotion for the deaths of our hero and heroine…

Mercutio the clown is very charming and catches everyone’s attention; his personality shines through in his solos.

At this point you may be wondering why I have not commented on the love story; it is called Romeo and Juliet after all, isn’t it? Let me explain. Both Romeo and Juliet are great dancers and presented their characters well; however, I did not feel much chemistry between them. Something that was a bit distracting was the fact that in the first portion of the ballet, I was aware of Juliet acting the sweet, young, girl. The ballerina is very experienced and maybe it was this maturity that did not fit perfectly with internalizing the character. That being said, in an unfortunate incident Romeo became injured and after pushing through was replaced by another dancer for the last two acts. It made it hard to examine continuity, so all I can say is, for such an abrupt change, it was well done.

One of the funniest moments in the performance was not meant to be funny at all. In the scene where the Juliet’s parents open the curtains of her bed to find that she has died, Lord Capulet fails to fasten the fabric securely to a bed post. As they crouch in front of the bed, mourning over Juliet’s inanimate body, the curtain swings closed onto their heads (and blocking the audience’s view), ruining what was truly a sad and touching moment. The father tries to refasten it, hold it up with his hand, and when all fails, finally stands up and leans on it with his whole body. When the bed rolls offstage, the long fabric clings to Lord Capulet and peels of his wig at the very last moment. Silent laughter in our row for a good half minute, I think.

The third act was the best part of the night for me, despite an accidental comedic discovery of Juliet’s ‘death’.

Romeo and Juliet by Ratmansky has only had a life span of one year, and it is definitely one that I want to see again. There were some things I liked more now, and some things I enjoyed more last year – every live show is different so this is often the case. What I saw last Friday was not spectacular, but it was good. The company’s previous Cranko version of the production still holds the spot for making me bawl my eyes out, and Macmillan’s for my favourite recording of the ballet; Ratmansky’s neoclassical version definitely has a place of its own. I appreciate and love all the productions, classical and neoclassical, and I’m sure Shakespeare would too.

EXTRAS:
If you have never heard this score, you must. Just have a listen to this opening theme (skip to about a minute in), and enjoy the rest of this medley, if you want:

The Royal Ballet (Rojo and Acosta) in my favourite balcony pas de deux:

All photographs courtesy of Bruce Zinger for The National Ballet of Canada, otherwise noted.

Thanks for reading,
thebookybunhead

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