Sleeping Beauty with Rojo and Muntagirov, English National Ballet, ENB, London Coliseum, January 2013

Kenneth MacMillan’s production of Sleeping Beauty, with its glorious costumes by Nicholas Geogiardis, is a joy to watch, the sets by Peter Farmer reflecting a mistiness in the world beyond the action like some famous Renaissance paintings. The expression of the action is crystal clear in its use of mime, and for anyone unfamiliar with the conventions a helpful article in the programme is worth reading before seeing the Prologue.

All images ENB/ Patrick Baldwin

In this classical Russian take on the fairy tale, the nasty fairy Carabosse is inadvertently omitted from the guest list for the christening, and as the king checks the list and is reassured it is complete, this was beautifully mimed to say nothing of what follows. The orchestra in the meantime gave a fine rendering of Tchaikovsky’s wonderful score under the baton of Gavin Sutherland, who allowed the music to swell with emotion at appropriate moments.

Already in the Prologue some of the solos were terrific, and those fairy variations where they endow the baby with beauty, wit, physical grace, vocal grace, and musical perfection, were a delight. Adela Ramirez showed musicality and beautiful control in the second variation, Laurretta Summerscales was magically musical in the slow third, and Nancy Osbaldeston performed exquisite jumps in the fifth. I could quibble with slightly slow tempos in two of the variations, including the sixth one for the Lilac Fairy, but overall the musical rendering was wonderful and Daria Klimentova was an elegant and eloquent Lilac Fairy throughout the ballet.

Carabosse and attendants

In the nineteenth century when this ballet was first produced the tradition was to have characters like Carabosse played by men, and James Streeter gave a wonderful portrayal, showing huge emotion and anger rather than the one-dimensional nastiness one sometimes sees. And in this production she remains on stage in Act II to counter the magic of the Lilac Fairy, until finally the prince kisses the princess and Carabosse falls to the stage. Glorious theatre.

Good magic versus dark

As the prince himself, Vadim Muntagirov also gave an intriguing portrayal, showing at his first appearance in Act II ennui, frustration and a need for something he doesn’t yet quite grasp. As the music changes, the backdrop of a dense wood comes down, the Lilac Fairy appears and the prince can start to feel his own emotions. By Act III Muntagirov showed himself so full of joy he looked two inches taller, and his main solo was thrilling. The pas-de-deux with Tamara Rojo as the princess was perfect, and her pirouettes beyond compare. For the artistic director of the company to take on this huge role is quite an achievement, and she was superb if somewhat joyless.

Muntagirov and Rojo

But whatever dancers you see in this production, the costumes, sets, orchestra and corps de ballet remain the same, and there was fine dancing from the corps with some excellent solo work. In Act III, Anjuli Hudson, Senri Kou and Laurretta Summerscales were a very strong trio in the silver variation, Anjuli Hudson and Nancy Osbaldeston were both delightful as The White Cat and Red Riding Hood, and Yonah Acosta was a very fine Bluebird with Shiori Kase as his princess. The woodwind was terrific, with Gareth Hulse making wonderful sounds on the oboe for the White Cat episode.

This production, first performed by the ENB seven years ago, is as good as you will see anywhere, and the Prologue, which can be a bit camp in some productions, is very well judged. Wonderful conducting by Gavin Sutherland kept the tension up throughout — a super performance.

Performances at the London Coliseum continue until January 19, followed by the New Theatre, Oxford from February 19 to 23, and the Southampton Mayflower from February 26 to March 2 — for details click here.

Apollo/ Jeux/ Le Train Bleu/ Suite en Blanc, English National Ballet, ENB, London Coliseum, March 2012

The second part of ENB’s spring programme Beyond Ballets Russes has a charming middle section comprising Jeux and a solo from Le train bleu, sandwiched between two glorious works in white: Apollo and Suite en Blanc.

Apollo, image Annabel Moeller

Apollo was choreographed by the 24-year old Balanchine in 1928, though he later revised it, cutting out the birth of Apollo at the start. Even without that prologue the backdrop is the deep blue of the night at the beginning, quickly changing to the lighter blue of the day. Against this background, Zdenek Konvalina was a fine Apollo, with his three muses dancing perfectly together. Daria Klimentova in particular as Terpiscore showed huge musicality, and Gavin Sutherland drew clean musical lines from the orchestra suiting the clean physical lines of the dancers. A wonderful performance making a serene start to the evening.

In the second part came the premiere of Wayne Eagling’s clever new take on Jeux, originally a 1912 creation by Nijinsky to music composed by Debussy in the late summer of that year. Eagling’s staging was fun, with wonderful performances by the seven dancers, and great lighting design by David Richardson. Then from sporting games to solo endeavour came a brief scene from the 1924 ballet Le train bleu. The blue train was the Calais-Mediterranean express, so named for its dark blue sleeping cars, and this was a piece of brilliant solo dancing by Vadim Muntagirov as le beau gosse in his swimming suit.

Finally the pièce de résistance was Maina Gielgud’s re-staging of Serge Lifar’s Suite en Blanc, to music by that remarkable nineteenth century French composer Edouard Lalo. This neo-classical showpiece, performed by Festival Ballet in the 1970s, was revived by the ENB in 2011 and it really is super. Most of the dancing was outstanding, and Elena Glurdjidze was incredible in the cigarette variation, which Ms. Gielgud originally learned from the choreographer himself. Ms. Glurdjidze showed glorious control, and those very fast entrechats six were a wonder to see.

Suite en blanc, image Annabel Moeller

From the three girls in the Sieste at the beginning to the excellent pas-de-deux between Erina Takehashi and Zdenek Konvalina, followed by her solo and the ensemble at the end, it was a feast of fine dancing. Yonah Acosta in the mazurka showed huge control and panache, the three girls at the start were fascinating to watch — the one in the middle in particular being supremely musical — and thepas-de-trois was performed with great classical style.

All praise to Wayne Eagling again for his artistic leadership, and how strange that the board of trustees care so little that they want to replace him. Great pity, but these performances of Beyond Ballets Russes II are worth every penny, and continue until April 1 — for details click here.

Nutcracker, English National Ballet, ENB, London Coliseum, December 2011

The original story by E.T.A. Hoffmann  interweaves the real and magical worlds, with Drosselmeyer’s toy Nutcracker based on his own nephew. Wayne Eagling’s production, based on a joint idea with Toer van Schayk, combines the two worlds in various clever ways and the nephew, who appears in the party scene of Act I, later interchanges with the Nutcracker several times.

Photos by Annabel Moeller

At the end of Act I, Clara, Drosselmeyer and the Nutcracker escape in a balloon, with the Mouse King clinging on below and quietly disengaging himself at the start of the second Act. Later he and the Nutcracker fight again, and this time it’s the Nutcracker who delivers the fatal thrust of his sword. Clara’s brother Freddie reappears in Act II as a prisoner in the Arabian dance, and she and Drosselmeyer come on to help him escape. Then right at the very end of the ballet when the guests leave the house, the balloon reappears just for a moment, hovering in the background.

Despite these clever inventions this is a traditional production and it works very well indeed. I loved the choreography for Clara and the Nutcracker in the late Act I snow scene, and the main ‘Sugar Plum Fairy’ pas-de-deux was beautifully danced by Crystal Costa as Clara, and Jonah Acosta as the Nephew, both making their debuts in these roles. She was beautifully musical, showing superb control in her solos, and he danced strongly, exhibiting fine coupé jetés around the stage.

The Spanish dance was performed with great musicality and fluidity by Anjuli Hudson, Laurretta Summerscales and Anton Lukovkin, the Arabian dance was well performed by James Streeter and ladies, along with Barry Drummond looking suitably naïve as the prisoner, and the other character dances all went well. Eagling has changed the choreography for the Mirlitons, eliminating the three boys who chase the butterfly, but keeping the butterfly, delightfully danced by Adela Ramírez, along with Drosselmeyer. One critic wondered why there were two names in the programme for Mirlitons, but of course the other is Drosselmeyer, danced here by Daniel Jones, making his debut in the role. The lead flowers were Chantel Roulston and Jenna Lee, partnered by Fabian Reimair and by Junor Souza, who also performed very well as the Mouse King, with James Forbat as a fine Nutcracker.

The whole performance came over with a sense of magic, and David Richardson’s lighting gives a sudden mysteriously warm glow after the main Act II pas-de-deux, just before everyone comes on for the final waltz. Peter Farmer’s sets work beautifully, and the conducting by Gavin Sutherland was excellent. The London Coliseum is a great auditorium for dance, so if you want a Nutcracker with fine choreography, dancing and musical excitement, do not hesitate.

Performances at the London Coliseum continue until December 30 — for details click here.