Feeds:
Posts
Comments

Posts Tagged ‘Morphoses’

Things have changed a lot in the last century in terms of technological advances and ways to exchange information. This means people have changed as well, with new generations becoming harder to impress and more likely to spend time in front of the TV or computer where everything can be found at the click of a button,  their attention spans increasingly shorter. This also means that the arts have had to adapt to this new era, juggling the interests of established audiences with a desire to attract new ones.

Ballet in particular has been faced with various dilemmas. In addition to arts budgets which stifle creativity in favour of bankable productions, preconceptions about the art form have been passed on from one generation to the next, resulting in core audiences largely formed by the wealthy and/or the senior. However, ballet companies continue to seek new and younger ballet audiences, making increased use of social media channels. This week, for instance, the Royal Opera House announced the launch of a new iTunes channel where ballet and opera masterclasses and other educational videos can be downloaded into one’s iPod within seconds (and free of charge).

These new avenues will not necessarily change the mindsets of those who are used to associating ballet with snobbery and inaccesibility but at least they make it easier for all of us to try. And try we must. In this post we take a stab at tackling some of the biggest misconceptions about ballet. We challenge those of you who have never been to a performance to try it (and do tell us about it ). It is never too late and you might be – positively – surprised.

Myth #1

Ballet is all about old fashioned tales of Nutcrackers, Sleeping Beauties and Swan Lakes. It revolves around princes and fairies, tutus and men in tights.

First things first: Princesses in tutus are 19th century ballet symbols. While it’s true that ballet companies still go back to the bankability of old classics, especially in our credit crunched times, ballet did manage to evolve beyond that garment over the years. A revolution took place when Diaghilev and his Ballets Russes steamrolled their own artistic movement out of Russia, spreading their view of dance as art and as a way of life in the early 20th century, nurturing revolutionary minds that had a long-lasting impact on the art. If tutus are not your thing, don’t despair, there are plenty of alternatives.

Your Prescription: Go see a full length MacMillan ballet. Try a Balanchine Black and White (ie. pared down) ballet such as Agon or The Four Temperaments.

Watch the documentary “The Story of Ballets Russes” this Friday on BBC4.

Myth #2

All ballets are the same, if you don’t enjoy one then ballet is definitely not for you

As one of our Twitter buddies, Robbintheoffice, puts it: if you go see a movie and don’t enjoy it, you don’t stop going to the cinema altogether, right? But for some people, one ballet they don’t like will be enough to put them off for life. Before you decide that ballet is definitely not for you try at least a few different styles and schools. If you don’t like a 19th century classic or a Romantic ballet maybe you will like a MacMillan ballet. If you are not keen on narrative ballet perhaps abstract plotless works might win you over? Mix and match.

Your Prescription: A mixed bill containing at least one contemporary or new work to give you a flavor for which style may suit you best.

Edward Watson in Glen Tetley's Sphinx, part of a Mixed Bill. Photo: Bill Cooper / ROH ©

Myth #3

Ballet is too expensive

Ballet can be expensive but so can theatre and musicals. If you can afford tickets for U2 or Madonna, Hairspray or Legally Blonde The Musical, then ballet prices should not come as a shock. The key is to book as early as possible (first day of public booking) or as late as possible (day tickets and returns). Depending on the ballet, you should be able to find a midrange seat for less than £50. For as little as £20 you can grab a seat in the amphiteatre sides or – if you are not keen on heights – stalls circle benches with restricted views are generally good value for money. For the price of a cinema ticket you can bag a supervalue day standing place or perhaps even a ticket for the ballet at your local cinema screen.

Your Prescription: Experiment with different amphiteatre seats or stalls circle bench seats to see which suit you best. Buy very early or very late. Read this post.

Myth #4

Ballet is formal, snobbish, elitist & not for young people

Fair enough, classical ballet does draw formal, older crowds especially in the area around the Stalls and Grand circles. But this should not intimidate you, there will be representatives of every kind of demographics in the house, from Bermuda guys to Oscar de la Renta ladies. And if you attend a Wayne McGregor premiere at the Royal Opera House you could gather enough material for an anthropological study about diversity in ballet audiences, quite the opposite of your preconception.

Your Prescription: any work by Wayne McGregor, David Bintley’s Cyrano, or Wheeldon’s company Morphoses. Read this post about dress codes, etc. at Intermezzo blog.

Federico Bonelli and Sarah Lamb in Wayne McGregor's stylish Chroma. Photo: Johan Persson / ROH ©

Myth #5

Ballet is boring, sickly sweet, definitely not cool

As we said before: different ballets for different people. Are there sickly sweet ballets? Yes. Boring ballets? Most definitely. But what I might find sickly or boring is completely different to what the person next to me will. If you want your ballets loaded with substance you might want to start with something dramatic like Manon or Mayerling, the anthitesis of sweet. Or if you want to explore something that looks sweet but which can still punch you in the gut you can try Bournonville’s La Sylphide. If you are looking for purely cool, then try modern ballets by edgy choreographers.

Your Prescription: Birmingham Royal Ballet’s E=mc2 (one of the coolest things we saw this year) Wayne McGregor, Michael Clark Company, the Ballet Boyz.

Gaylene Cummerfield, Tom Rogers & Matthew Lawrence in Bintley's E=mc2. Photo: Bill Cooper / BRB ©

Myth #6

Ballet is not for men, it’s a girly thing

Actually most of the 20th century was dominated by superstar male dancers: Baryshnikov anyone (if you don’t know much about ballet you will at least have heard of him in Sex and The City)? Dancers like him were instrumental in inspiring future generations of male ballet dancers. Don’t believe us? Then follow the various male dancers and male ballet enthusiasts on Twitter, there are quite a few of them sharing their experiences from both sides of the curtain.

Your Prescription: Read this post written by a guy about going to the ballet for the first time. Go see a Carlos Acosta & Friends show or watch Acosta dancing Spartacus, the balletic equivalent of Russell Crowe in Gladiator (it’s available on DVD).

Male Power: Carlos Acosta as Des Grieux in MacMillan's Manon. Photo: Bill Cooper / ROH ©

Myth #7

One needs to understand ballet in depth in order to enjoy it

Another cool thing about ballet (by the way, have we mentioned that we think ballet is cool?) is that it can be understood in many ways, there are no rules, nothing prescribed about what you should be taking away from a performance. Of course preparation pays off, especially when it comes to narrative or semi-narrative ballets. Reading the story and knowing a bit of the background will help, though it is by no means mandatory. An eye for detail helps too but, most of all, you will need an open and contemplative mind.

Your Prescription: A bit of googling before a performance goes a long way. Try to read the reviews (but try not to be too influenced by them), see what people are saying about the ballet you are planning to see on different social media channels and forums or – shameless promotion – over here at The Ballet Bag.

Advertisements

Read Full Post »

Morphoses dancers performing Commedia (via Sadler’s Wells YouTube channel)

Morphoses’ third London season has just come to a close. This year they came almost entirely depleted of their NYCB roster, something we lament since we cannot easily cross over the Atlantic to see that fabulous team at home. Nevertheless Morphoses remains a vibrant company providing the opportunity for an eclectic public to discover a mix of interesting dancers matched to new choreography.

The programme I saw, a tribute to the Ballets Russes and their collaborative spirit, opened and closed with captivating works. Wheeldon’s Commedia is a charming take on the carefree and playful world of the Commedia dell’arte to match Stravinsky’s Pulcinella suite, a spoof on early eighteenth-century music. The simplicity of the set and costumes, the absence of a corps de ballet reminds us that Morphoses works on a tight budget,  but Wheeldon compensates by displaying his gift for fluid choreography added to what is essentially classical dance vocabulary. Although one wishes certain sections of the ballet were expanded on, particularly the solo sections for razor sharp Rory Hohenstein and sparkly Leanne Benjamin, on the whole this is a piece that makes a long trip to Sadler’s Wells on a wintry evening well worth it.

So does Ratmansky’s Bolero, a fine translation into steps of Ravel’s music, also originally composed for The Ballets Russes. Three men (Juan Pablo Ledo, Edwaard Liang and Lucas Segovia) and three women (the always amazing Wendy Whelan, Melissa Barak and Danielle Rowe) dressed as athletes, gradually move from individuality to unison in response to the rising demands of the score. There are no set designs and, unlike the evening’s less strong middle section works, “Leaving Songs” and “Softly as I leave you”, no use of props to maximize dramatic impact. All the better to let the choreography speak.

Tim Harbour’s Leaving Songs was supposed to be about endings and beginnings but stayed in the middle, mixing classical phrases with usual modern moves. It did have one good thing going for it, in the shape and extensions of Rubinald Pronk. Pronk’s chemistry with his regular dance partner Drew Jacoby could also be seen in the next piece “Softly as I Leave You” (by husband and wife team Paul Lightfoot and Sol Leon). Despite the recorded music and the overreliance on a wooden box for drama, there were luscious extensions and lifts as well as a sense of true intimacy between these amazing dancers.

At the start of the performance Wheeldon greeted us with his trademark introduction to the evening’s pieces. But before each section there were also short video extracts on the dancers and/or choreographers. Those videos are a great idea but would perhaps grab us more if screened at the start of the performance or as part of DVD extras. With their third season done and dusted, what is next for Wheeldon’s company? It seems that Wheeldon’s initial plans for a permanent company of 20 dancers are still faraway and the fact that the second circle had plenty of empty seats is worrisome. Is Morphoses going to continue focusing on abstract pieces à la Balanchine because of lack of funding? That would be a shame given Wheeldon’s strength in narrative pieces. I left the theatre thinking that Commedia would also have worked as a narrative one-act ballet and hoping that seasons to come will be able to deliver that sort of thing.

Read Full Post »

The Morphoses London Season opens tonight at Sadler’s Wells with a programme dedicated to 100 years of Ballets Russes, an appropriate choice for a company structured in the same way and whose mission to “broaden the scope of classical ballet through the creation of innovative productions and collaboration with the seminal artists of its time” ties in with the feats of Diaghilev‘s own legendary troupe.

Three years and many accolades on, Christopher Wheeldon‘s company continues to match some of ballet’s brightest stars to new work by the best choreographers and designers around.  By nurturing these quasi pro bono collaborations, Morphoses projects the image of a fresh and accessible company whose main objectives are to target the 25-34  year old public not familiar with ballet and to challenge some of the preconceptions associated with the art form.

As part of Wheeldon’s target demographic, we think the existence of a company like Morphoses sends a very positive message, a promise for the future of ballet.  Its mission strongly resonates with us as we also believe ballet can and should be made accessible to younger generations while staying true to its traditions, with no dumbing down of the art form. We only wish their seasons were longer (only 4 days in London) and that we could see more of Wheeldon’s work this side of the Atlantic.

Wheeldon's Morphoses in Commedia. Photo: Erin Baiano © Source: Danceviewtimes

Wheeldon's Morphoses in Commedia. Photo: Erin Baiano © Source: Danceviewtimes

Morphoses in a Nutshell

Morphoses/The Wheeldon Company was founded in 2007 by Christopher Wheeldon, previously NYCB’s resident choreographer, together with Lourdes Lopez, ex-NYCB Principal and Former Executive Director of The George Balanchine Foundation. The troupe attracts dancers from major companies in the world who appear at reduced fees. The repertory is a mix of modern classics and new pieces created by Wheeldon or by guest choreographers, in collaboration with innovative designers and composers, very much in the spirit of Diaghilev’s Ballets Russes.

Originally Morphoses would function as a pickup company, hiring dancers on a season basis until Wheeldon had secured enough financial backup (around US$5 million) to have dancers on a fixed payroll, but the credit crunch  has forced the company to carry on with a small administrative staff of three and to remain at its donated Manhattan base for the present. Dancers continue to be recruited on a season-by-season basis while Wheeldon has kept working as a choreographer outside Morphoses, which allows him not only to continue staging big budget works for the major ballet companies, but also to bring in extra funds for his own Morphoses projects. His long term plan is to  be able to support a permanent troupe of 12 dancers alongside the regular guests.

Morphoses’s inaugural performance took place at the 2007 Vail International Dance Festival. After a heavy media build-up, this first appearance received mixed reviews from the American press. Some critics thought the ballets in the programmes looked too similar, with too many abstract ballets (including pieces by Forsythe and Edwaard Liang) and prominently featuring too many pas de deux, but they generally praised Wheeldon for elevating the artistry in his dancers (NYCB‘s Wendy Whelan, often regarded as Wheeldon’s muse, was nominated for an Olivier Award) and for creating a rapport with the audience by coming onstage to introduce each piece with insightful commentary.

That same year Morphoses became a Guest Resident Company at New York City Center and at London’s Sadler’s Wells. Wheeldon was appointed as Associated Artist for Sadler’s Wells and the London season won a South Bank Show Award. Since then, Morphoses has also appeared at the Sydney Festival.

The Many Faces of Morphoses

Guest Dancers

Tyler Angle, Alexandra Ansanelli, Leanne Benjamin, Hélène Bouchet, Ashley Bouder, Darcey Bussell, Batkhurel Bold, Thiago Bordin, Alina Cojocaru, Jonathan Cope, Ángel Corella, Adrian Danchig-Waring, Jason Fowler, Gonzalo García, Marcelo Gomes, Craig Hall, Drew Jacoby, Johan Kobborg, Nehemiah Kish, Carla Körbes, Maria Kowroski, Edwaard Liang, Tiler Peck, Rubinald Pronk, Teresa Reichlen, Danielle Rowe, Beatriz Stix-Brunell, Michael Nunn, William Trevitt, Edward Watson, Miranda Weese, Wendy Whelan

Collaborators

Composers James MacMillan, Michael Nyman, Steve Reich and Bright Sheng; Artists/Set Designers James Buckhouse and Jean-Marc Puissant, Adrianne Lobel; Designers Francisco Costa, Narciso RodriguezIsabel & Ruben Toledo; Director Nicholas Hytner

Repertory

The inaugural programme presented in 2007 featured two new Wheeldon pieces – “Fool’s Paradise” and “Prokofiev Pas de Deux” – alongside his exisiting works “Mesmerics”, “After the Rain” and “Morphoses”. It also included William Forsythe’s “Slingerland”, Michael Clark’s “Satie Stud”, Liv Lorent’s “Propeller”, and Edwaard Liang’s “Vicissitude”.

The following year brought a mix of premieres led by Wheeldon’s “Commedia” (to Stravinsky’s Pulcinella Suite), Lightfoot León’s “Shutters Shut” (at City Center) and Emily Molnar’s “Six Fold Illuminate” presented together with classic works by Sir Frederick Ashton – The Dream Pas de Deux (in Vail) and Monotones II – Robbins’s “Other Dances” and Wheeldon pieces “Polyphonia” and Fool’s Paradise”.

This year Morphoses brings a host of new works to both its transatlantic headquarters. It also continues to collaborate with influential fashion designers Francisco Costa (Creative Director of Calvin Klein), Isabel and Ruben Toledo. Commemorating the Ballets Russes’ centenary, the first programme will  include Wheeldon’s “Commedia”, Ratmansky’s “Boléro” (to the eponymous Ravel piece) and a new work by Tim Harbour.  Two days later, a second programme brings “Softly as I Leave You”, originally choreographed by Paul Lightfoot and Sol León (resident choreographers of Nederlands Dans Theatre) for dancers Drew Jacoby and Rubinald Pronk, in addition to old and new Wheeldon: “Continuum” and  “Rhapsody Fantaisie”  (a world premiere set to Rachmaninoff’s suites for two pianos).

Extracts of Reviews and Selected Praise:

One of the wonderful things about Mr. Wheeldon’s work is that there are new discoveries to be made each time you watch it. Roslyn Sulcas at the NYTimes [link]

Morphoses does have a provisional air. For the moment it remains an assembly of dancers, albeit extraordinary ones, from other troupes, and Mr. Wheeldon hasn’t yet had the opportunity to develop a group of performers to his own ends. But he is a choreographer with an instinctive grasp of dancers and their abilities…To see major ballerinas like Ms. Benjamin and Wendy Whelan on the same program is reason enough to watch Morphoses. Roslyn Sulcas at the NYTimes [link]

Trained on Balanchine, most New York ballet critics absorb meaning and sense syntactically, because with Balanchine it’s the action between the notes–the syncopated rhythms–that shape the steps and their portent. With Wheeldon, the ballet’s color and emotion may be rooted in the score, but the organizing principle is visual. Apollinaire Scherr at Foot in Mouth / ArtsJournal [link]

Wheeldon has set his standards about as high as a new company could aim for. We can really look forward to what follows. Judith Mackrell at The Guardian [link]

It is an absolute pleasure to watch this group of top-rate dancers running through their paces in this way. With ages from the teens to the over-forties, in all shapes and heights, they are so full of personality and presence that they make this a most uplifting evening. Sarah Crompton at The Telegraph [link]

Sources and Further Information

  1. Morphoses/The Wheeldon Company Website [link]
  2. The Newcomer by Joan Acocella. The New Yorker [link]
  3. Metamorphoses by Astrida Woods. Dance Magazine, October 2008.
  4. Ballet without Borders by Peter Aspden. Financial Times, September 2008. [link]
  5. The dancers are Young, Beautiful, Sexy and Smart by Valerie Lawson. The Sydney Morning Herald, November 2008. [link]
  6. How to watch a Wheeldon ballet by Apollinaire Scherr. Foot in Mouth at ArtsJournal, October 2008. [link]
  7. Risky Business by Gia Kourlas. Time Out New York, October 2007 [link]

Read Full Post »

First of all, I am a great charlatan, although one of brilliance; second, I’m a great charmer; third, I’ve great nerve; fourth I’m a man with a great deal of logic and few principles; and fifth, I think I lack talent; but if you like, I think I’ve found my real calling — patronage of the arts. Everything has been given me but money — mais ça viendra. Sergei Diaghilev, in a letter to his stepmother.

Ballets Russes stamp. Source: Wikipedia

Ballets Russes stamp. Source: Wikipedia

The centenary celebrations of the Ballets Russes continue worldwide. Here in London Sadler’s Wells Theatre has a week bookended by them. In the Spirit of Diaghilev having just finished its run, Morphoses now prepares to take over with an opening programme featuring works inspired by the legendary Diaghilev company.

The Ballets Russes’ first appearance at the Théâtre du Châtelet in Paris on 18 May 1909 marked not only ballet’s ressurection in the West, but also its upgrade to a serious art form, no longer an antique resting on the laurels of the great Romantic era, no longer an appendix to opera. The fact that the Diaghilev troupe had been profoundly affected by political change in Russia made the art they created relevant, topical. Ballet was finally considered “cool”, an art that spoke and was spoken of, that was not afraid to experiment with subject matter and style.

We could go on forever trying to expand on why the “entire ideal of classical ballet in Western Europe and the rest of the world acknowledges a debt to Diaghilev” (from How to Enjoy Ballet, by Mary Clarke and Clement Crisp), trying to imagine what the ballet and, more generally, the arts landscape would be like today had that pivotal Paris season never taken place. Diaghilev’s presence in the West set a chain of key collaborations, incubations and inspirations which were instrumental in the evolution of classical dance. That landscape would have certainly been less vast without him, as we can see in the “family tree” below:

diaghilev

While it would be difficult to draw a comprehensive chart of Diaghilev’s influence on Western ballet, we hope this sketch can give a flavor of the historical importance of this legendary man & his company

Centenary Celebrations:

Exhibitions

  • Diaghilev’s Theater of Marvels, curated by Lynn Garafola (now closed) [link]
  • From Russia with Love – Costumes for the Ballets Russes 1909 – 1933 (ongoing) [link]
  • Diaghilev and the Ballets Russes at the V&A (opening 2010) [link]

Books

  • Diaghilev: A Life, by Sjeng Scheijen. Reviewed by Bee Wilson for The Sunday Times [link]
  • Ballets Russes: the Stockholm Collection. Absolutely wonderful book of archival costumes and designs [link]

On UK TV

  • Ballets Russes related programmes on BBC Three and Four [link]

Sources and Further Information:

  • Wikipedia entry on the Ballets Russes [link]
  • Dancing with the Stars, a review of 3 Ballets Russes related exhibitions by Alexandra Anderson-Spivy [link]
  • Diaghilev’s Ballet Russes: a century of sensation, by Judith Mackrell [link]
  • How to Enjoy Ballet by Mary Clarke and Clement Crisp [link]

Read Full Post »

Leanne Benjamin. Source: ROH © Copyright belongs to its respective owners

Leanne Benjamin. Source: ROH © Copyright belongs to its respective owners

As we stare at the Royal Ballet’s new season, what better way to start than with the company’s veteran, Leanne Benjamin, who has danced for 17 years now and is still going strong. One of their most accomplished Principals, Leanne is ready to impress the crowds with her portrayal of the minxy Mary Vetsera in the opening night of Mayerling.

With all the physical wear of tear caused by the profession, few ballerinas can be on the rise well into their forties, but this is exactly the case with Leanne Benjamin. Her technique is still solid and having been blessed with a cooperative physique, she has managed to keep growing thanks to old-fashioned hard work and discipline (she is known for rarely having missed class) and to a well-thought out choice of repertoire.

These attributes and the fact she carries on excelling at full-length roles such as Juliet, Manon and Giselle have won her the admiration, not only of younger colleagues but also of bright modern choreographers such as Kim Brandstrup, Alastair Marriott, Wayne McGregor and last but not least Christopher Wheeldon (Leanne guests in his company Morphoses) for whom she is always on demand.

For all of Leanne’s consistency and longevity as a performer it is surprising that her name is not as recognizable for the occasional ballet goer as that of some younger Principals. Her recent Giselle was full of depth and the MacMillan heroines suit her immensely: few can match the intensity of her Mary Vetsera (Mayerling), the complexity of her Manon, her metamorphosing Juliet. Leanne can leap from mighty Firebird to more contemporary works, where she displays luscious extensions and a pliant body, and yet she remains very much a connoisseur’s ballerina.

leanne

Leanne Benjamin as Mary Vetsera in Mayerling. Photo: ROH © Source: Danser-en-france

Leanne Benjamin in a Nutshell

Leanne was born in 1964 in Rockhampton, a small city in Queensland, Australia. To keep her busy, her parents signed her up for ballet at age 3, where she trained under the guidance of Valerie Hansen. During her childhood years she never put too much work into becoming a ballerina and it wasn’t until her sister Madonna entered the Royal Ballet School (RBS) that she felt she was up for the challenge. Two years later, aged 16, she followed her sister’s path and joined the class of 1980, at the same time as Royal Ballet’s Répétiteur (and former Principal dancer) Jonathan Cope.

Training with Nancy Kilgore and Julia Farron, Leanne won the Adeline Genée Gold Medal in the same year she joined and the Prix de Lausanne one year later (1981). She caused such an impression dancing Giselle in her graduation workshop that both Ninette de Valois and Peter Wright offered her a contract to join their companies (respectively, The Royal Ballet and the Sadler’s Wells Royal Ballet – nowadays the Birmingham Royal Ballet).

Thinking she would have more opportunity to dance soloist roles at the SWRB, Leanne accepted Peter Wright’s offer. She joined them in 1983 and bolted through the ranks to become a Principal in 1987. A  hard worker who admits she needs the right conditions to perform at her best, Leanne thought at that point she needed a change, with more time to focus on individual performances and  decided to go work for Peter Schaufuss who at the time directed the London Festival Ballet (now English National Ballet).

The Festival Ballet’s focus on high technique was the perfect environment for Leanne to flourish and take on new roles such as Juliet in Ashton’s Romeo & Juliet and in Tetley‘s Sphinx. In 1988 Schaufuss left LFB for Deustche Oper Berlin, taking Leanne with him. But she would not linger in Berlin for too long, accepting in 1992 an invitation from Kenneth MacMillan to join the Royal Ballet as a first soloist.

Leanne’s light jumps and long extensions (even though she is 1.57 m = 5 ft 2), along with solid interpretations of MacMillan’s female leads and other complex roles in general were a perfect match for the Royal Ballet’s theatrical style. She says she is a perfectionist and that she creates these roles by letting herself go with the music and reading the other dancers’s reactions to her own interpretation.

As she matures she has become more motivated by one-act ballets and new roles created on her by some of today’s most renowned choreographers. She  singles out her role in The Firebird as one of her greatest physical challenges but motherhood, she says, has been the biggest challenge of all and she considers herself very lucky to have been able to go back to her career and continue to bloom.

Leanne has been partnered by many great dancers, but her more recent partnership with Edward Watson holds a special place in her heart. Watson has acknowledged Leanne is helping him become a better partner and it is clear they have a great deal of admiration and respect for one another. Their chemistry is evident, especially when they are dancing in MacMillan or modern pieces.

Leanne Benjamin and Edward Watson in rehearsal. Photo: Johan Persson / ROH © Source: Balletanddance

Leanne Benjamin and Edward Watson in rehearsal. Photo: Johan Persson / ROH © Source: Balletanddance

Leanne has said in various occasions that she would have loved to dance Tatiana in Cranko‘s Onegin and perform more of the Neumeier repertoire or, like many dancers, Mats Ek pieces were it not for the fact that a toe joint problem prevents her from dancing off-pointe (and soft shoes are a given in Mats Ek’s choreography).

As for the future, she has mentioned that she is not interested in choreographing and is more likely to pursue various interests outside dance.

Videos

Browsing through the YouTube maze, we found a number of videos which display Leanne’s wonderful musicality and versatility

Extract of Reviews and Praise

Of her role as the second soloist in Balanchine’s Emeralds

Leanne Benjamin found her own poetry in the dreamy cross-currents of Balanchine’s choreography; the slight hesitancy that dragged at her quick, bright jumps, the way her body yielded to gravity against the vertical lift of her leg both creating a paradoxical illusion of light and float. Judith Mackrell at The Guardian [link].

Of her Giselle

Benjamin, that gently brilliant dancer, that true mistress of her art, offers us a Giselle of illuminating physical and emotional grace. We see a delightful peasant girl whose madness is delineated with rare sympathy: deliciously clear dancing, an anguished pose, a heart-tearing moment with Albrecht’s sword, tell all about her. An exquisite pas de bourrée and the gentlest shaping of her torso, summon up the wili. Clement Crisp at the Financial Times [link]

She has been dancing the role for years but I can’t imagine she’s danced it better. Her peasant girl is bashful but eager, her dancing warm and graceful, impulsive too. The shock of her lover’s betrayal sparks a mad scene that’s effectively theatrical without being overwrought…A dreamy Benjamin, with the quietest pointe shoes and the slowest adage I’ve seen in Giselle, captures the “here-not here” allure that so confounds Watson’s passionately grieving Albrecht. Most important, there’s a real dramatic connection between the two of them that makes their story come alive so vividly, and there’s never a moment when their emotional intentions aren’t absolutely clear. Debra Craine at The Times [link]

Of her Firebird

Leanne Benjamin was superlative, never allowing the drama of the long, exhausting opening pas de deux to relax for an instant. Now in her mid-40s, Ms. Benjamin is a completely compelling artist dancing with the technique to be expected of someone half her age. Alastair Macaulay at the NYTimes [link]

Of her role in Alastair Marriott‘s recent Sensorium (read our review here)

The pas de deux are more inventive — Leanne Benjamin, such a compelling artist, can make any material she tackles look significant, even when it isn’t very. David Dougill at The Sunday Times [link]

Of her Manon

Leanne Benjamin and Johan Kobborg are among the finest in these parts: technically in complete command, so that every nuance, peak and twist of emotion is clear and eloquent, without impediment. Together, they take one’s breath away. David Dungill at The Sunday Times [link]

Of her Mary Vetsera in Kenneth MacMillan’s Mayerling

Benjamin is sensational, metamorphosing from innocent child into reckless lover. With her astonishing physical spirit and wild, unfettered emotions, she embodies everything MacMillan’s choreography stands for, a Mary so dangerous that no reason can contain her. It’s all there in Benjamin’s gorgeously fraught dancing. Debra Craine at The Times [link]

Of Ashton’s Rhapsody

On Monday, Rhapsody was gloriously danced by Leanne Benjamin (unfailing musicality, brilliancy of step, a cascading pas de bourrée like beautifully matched pearls). Clement Crisp at The Financial Times [link]

Leanne Benjamin’s Upcoming Performances at the ROH

  • Mayerling (Mary Vetsera) 8/14 Oct 2009
  • Romeo and Juliet (Juliet) 15 Jan/6 Feb 2010
  • New Watkins/Rushes – Fragments of a Lost Story/Infra 19/26 Feb 1/2/4 March 2010

Booking for Mayerling, part of the ROH Autumn Season, already open. Winter Season public booking opens 20 October (Friends of Covent Garden priority booking opens 22 September).

Sources and Further Information

  1. Leanne Benjamin interviewed at the Ballet Association. By David Bain with report written by Graham Watts. Ballet.co magazine, December 2007. [link]
  2. Late Bloom is Simply Child’s Play. Leanne Benjamin feature by Peter Wilson for The Australian, November 2008. [link]
  3. Leanne Benjamin Feature in Dance Europe July 2009.
  4. Leanne Benjamin: Royal Ballet’s fearless young ballerina by Marilyn Hunt. Dance Magazine, April 1995. [link]
  5. Wikipedia Entry for Leanne Benjamin [link]
  6. Leanne Benjamin at the ROH website [link]
  7. Pas de Deux: Edward Watson and Leanne Benjamin on The Firebird. By Chris Wiegand. The Guardian, May 2009 [link]

Read Full Post »

Now that we know what both the Royal Ballet’s and the Sadler’s Wells’ 2009/2010 dance seasons look like, it’s time to start penciling in dates, drawing cast plans, organizing bookings and, most importantly, cancelling any previous engagements. Because the autumn/winter dance season, after the starvation of summer months, supersedes anything else we may have had in the pipeline (weddings, birthdays, christenings…). Seriously.

Here are some of the treats we will be bagging:

October

Mayerling (Royal Ballet)

MacMillan’s gritty and sleazy classic will be back with solid casts – Ed Watson & Mara Galeazzi, Johan Kobborg & ? (since Alina’s online diary indicates she might not be dancing this, we’d love to see Leanne Benjamin) as well as some interesting debuts for Rupert Pennefather & Melissa Hamilton, Thiago Soares & Lauren Cuthbertson.

In the Spirit of Diaghilev (Sadler’s Wells)

Choreographers Sidi Larbi Cherkaoui / Javier De Frutos / Russell Maliphant & Wayne McGregor set about breaking new choreographic ground whilst paying homage to 100 year old Ballets Russes.

Morphoses (Sadler’s Wells)

Christopher Wheeldon joins in the Diaghilev fun with a special Ballets Russes selection of his own. We are thrilled to see Ed Watson (officially the busiest Royal Ballet dancer in the 2008/2009 season and going for another record, lucky we!), Wendy Whelan and young Beatriz Stix-Brunell still with Morphoses for this new season.

November

Agon/Sphinx/New McGregor (Royal Ballet)

The first – and very edgy looking – triple bill of the season provides the opportunity to see the dream team of Cojocaru, McRae and Polunin again in a new production of Glen Tetley‘s Sphinx. Along with a new McGregor. We can’t wait.

December

Carlos Acosta (Sadler’s Wells)

The bravura boss will be back at the Wells to perform Balanchine’s Apollo plus Jerome Robbins’ A Suite of Dances and Afternoon of a Faun. We think Sadler’s has gone a little “Ballets Russes PR happy” in comparing the man (albeit indirectly) to Nijinsky, but we forgive them: seeing Apollo in the programme is more than enough to lure us in.

The Nutcracker (Royal Ballet)

These days The Nutcracker is the most regular staple in the RB’s repertoire (I guess it’s trying to play catch with those 940+ Swan Lakes) but who can resist when high flyer Sergei Polunin is one of the princes? Plus, given that I can’t be bothered with yuletide decorations this is my only chance of seeing a proper Christmas tree.

For more information, refer to the official press releases by The Royal Ballet and Sadler’s Wells:

The Royal Ballet 2009/2010 Season

Sadler’s Wells Autumn 2009 Season

Share

Read Full Post »