I never quite know how I feel about the Royal Ballet's triple bills. They are often rather hit and miss, and generally it's the sandwich filling that disappoints, and Agon/Sphinx/Limen was no exception to this trend. Agon is a classic George Balanchine work - a series of dances definitely best viewed from a face-on seat as it depends heavily on symmetry, the steps themselves being sometimes rather jerky and angular. Balanchine's ballets are always staged simplistically, perhaps none more so than Agon - all dancers are in the standard black and white leotard and tights/leggings combination. With such simplicity it is essential that the dancing keeps you interested and is as neat and tidy as the costumes, which was in general managed quite well, although better on the 18th than the 8th November. Yuhui Choe drew everyone's attention in her pas de trois - lovely arms - followed by some good jumps from Brian Maloney. Then the pas de deux. It irritates me that a series of dances which is generally symmetrical doesn't sandwich the main pas de deux in the middle of the two pas de trois, but then I suppose it is the climax of the whole work. Originally choreographed with a black male dancer, it was great to see Eric Underwood dancing. As the most senior of less than a handful of black dancers in the company at present, he is somewhat in demand!He and Nathalie Harrison pulled off an exuberant performance with some nice lines, although Underwood has long arms and large hands, which he could be more careful with - they have a tendency to flap at times! All in all, Agon was clean and refreshing, and a good opener for the triple bill.
Sphinx, the sandwich filling, was a new work for the Royal Opera House, with exhausting choreography from Glen Tetley. It is based around the story of a sphinx (Marianela Nunez, pictured) who wishes to fall in love with a human, and so adopts the guise of a woman in order to tempt Oedipus (yes that Oedipus - Rupert Pennefather, pictured). Anubis (Edward Watson) - the god of the dead - warns her of the consequences of her actions before we watch them unfold - that she will lose both Oedipus and her human form forever. I was expecting an emotionally tense and sensual ballet, but was disappointed. The ballet is spoilt by the music (Bohuslav Martinu) which grates on the ears, and seldom seems to relate to what is happening on-stage. The cast danced well, Edward Watson particularly, although Pennefather didn't seem entirely comfortable with some of the trickier lifts. However, the choreography is emotionally lacking, often repetitive, pitched at the same intensity throughout and completely failed to carry the story, with no real sense of relationship built between the sphinx and Oedipus. If I hadn't bought a program I would have been entirely bemused. I was left underwhelmed.
Next on the bill, Wayne MgGregor's new work was never going to be without a good set and lighting, and Limen did not disappoint although I could have done without the ghastly blue lights at the end. Limen was a work of two halves; one of colour, and one of flesh-colour leotarded nudity. While I enjoyed both, the unifying concept passed me by, unless it was something as boring as fading colour? McGregor's ballets are always interesting to watch, because the stage is so busy and full of motion. But having seen a few McGregor works now, I get a bit bored of watching pairs of dancers scattered across the stage contorting repetitively around each other. Call me a traditionalist but I'd like to see a bit more movement in his works! He was blessed with a very strong cast consisting in the most part of principals and first soloists, and it was a very tight performance both nights I saw it. Stephen Macrae brought his usual zest and energy (although I still hold he dances much better alone than with a partner), and Leanne Benjamin gave a strong opening. Eric Underwood and Sarah Lamb's pas de deux is definitely the highlight of the work, although I wonder how effective this duet would be if they had to revive it without a black male and ghostly white and blonde female principal in the future.
An enjoyable triple bill, but nothing that exciting.
No comments:
Post a Comment