Royal Ballet Quadruple Bill

http://www.sydneyartsguide.com.au/palace-opera-and-ballet-season-the-royal-ballet-quadruple-bill/ here's my thoughts for Sydney Arts Guide Raining roses and with emotional speeches at the end this was a very special screening. Part of the Palace Opera And Ballet season, the Royal Ballet’s Quadruple Bill was filmed at Carlos Acosta’s farewell to the stage. The film’s presenters were Darcy Bussell and Fiona Bruce with interviews before the show and during the intervals. The clean crisp photography translated the show very well from stage to screen. The programme began with Liam Scarlett’s Viscera. A sparse, abstract ballet (think similar to Forsythe or McGregor in style),the rippling, tumultuous score by Lowell Liebermann was replete with very complicated rhythms and juxtaposed melodies. The work had three sections. The middle part, to a slower, more serene section of music, featured an extraordinary pas de deux that was mesmerising. The other two bookend sections were very sharp and spiky, full of striking, unusual and acrobatic lifts and very demanding jumps for the men.The final section had a cool elegant feel to it. At times, the dancers looked like flocks of birds, a little menacing in tone. The male dancers wore long sleeve purple leotards, the women beautifully textures bluish ones. After interval there were two pas de deux. First up was a breathtaking, hypnotic performance by Sarah Lamb and Vadim Muntgarov in Robbin’s version of Afternoon of a Faune. The set was a tent like open dance studio with barres; we, the audience, were the mirror. To the lush Debussy score Robbin’s mini masterpiece was revealed. The piece opened with a dreamily handsome Muntgarov stretching and rehearsing. His work was suddenly interrupted by the appearance of the blonde, wide eyed and innocent Lamb wearing a pale blue tunic. They rehearse a very difficult pas de deux , not looking at each other but always observing themselves in the mirror. Yes, there were allusions to Nijinsky’s Faune and, at times, Muntagrov was quite feline. The entrancing mood was shattered when he chastely kisses her on the cheek. Disconcerted, she leaves. He returns to his languid pose on the floor alone. Perhaps it was all a dream?! Balanchine’s Tchaikovsky Pas de deux, to what was once regarded as ‘lost’ music from Swan Lake) was all dazzling smiles from Steven McCrae and Iana Salenko. There were plenty of technical fireworks on display in this gala party piece. Salenko was in a lovely pale apricot floaty dress whilst McCrae in white with a beige coloured waistcoat. The traditional pas de de deux format was followed – first the couple danced exuberantly together, then their separate variations (McCrae was dazzling) and a fiery, dizzying coda to end with. A highlight was some amazing, dangerous leaps, ‘fish dives’, taken by Salenko into McCrae’s arms. Carlos Acosta’s story/journey is an exceptional one. Acosta escaped the poverty of the streets of Havana to go on to become one of the greatest dancers of his generation, and to become a great role model for the Royal Ballet. During his career, Acosta has revealed a commitment to taking risks including trying authorship, choreography, and impresario work. When he retires from the Royal Ballet next year, Acosta will take his unique experience and talent back to his Cuban homeland by establishing his own contemporary-dance school there. For this concert premiered his version of Carmen. He wanted to give the Royal Ballet a Carmen they could remember and be proud of, being his farewell to this wonderful stage. Sadly his interpretation, which closed the Roayl Ballet programme, just misses the mark. In my view the piece didn’t quite know what it was– opera, straight drama or dance. There was a guitarist and spoken Spanish, a couple of the famous pieces were sung and choreographically it tried to blend Flamenco, classical ballet, Cuban and contemporary in an uneasy mix. Whilst there was clarity in the narrative- as in one striking prison-set role reversing duet for Carmen and Don Jose– choreographically the piece felt rather flat. Visually it was stunning, with the red ring (looking almost of fire, and lowered and reversed with roses towards the end) a dramatic effect . And yes, the idea of the Minotaur like bull as a menacing shadowy figure of death was interesting . The music was a reworked version of the much loved Bizet opera. Sizzling Marianela Nuñez taunted and flaunted with her many would-be suitors in the corps with a Chippendale moment(or should that be Matthew Bourne’s Car Man?) towards the start. A later ensemble set piece with chairs on castors didn’t quite come off. Carlos Acosta as Don Jose was presented as a romantic, morally corrupted by Carmen, who loses everything. Fredrico Bonelli was a strutting , charismatic, captivating Escamillo. Whilst the piece was some bits were impressive overall it lacked cohesion and needed some editing. Acosta fans in particular will enjoy staying to see the special curtain calls and speeches at the end as he made his farewell. Running time 3 hours (approx) including two intervals. The Royal Ballet Quadruple Bill, part of the Palace Opera and Ballet season, is screening at selected Palace cinemas between the 11th and 16th December.