Posted in Review, tagged ABT, Beadie Finzi, Center for Dance, Centro de Danca Rio, Irlan dos Santos Silva, Isabella Coracy, Mariza Estrella, Only When I Dance, Prix de Lausanne, Sao Paulo Companhia de Danca, Thiago Soares, Vida Ballet, YAGP on January 4, 2010|
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The battle to become a professional ballerina is tough enough for a middle-class European girl. For [Isabella] Coracy, it often feels like an insurmountable challenge. “These are not one-night wonders,” Finzi says. “This is not The X Factor.” Dom Philips and Sarah Maslin Nir reporting on “Only When I Dance” for The Times
While we wait for biopic Mao’s Last Dancer to hit UK screens and for Carlos Acosta’s own No Way Home to be filmed, documentary Only When I Dance (Vida Ballet), screened at the Barbican’s Brazilian Film Festival last October, provides a present-day look at the challenges faced by impoverished aspiring young dancers, this time in the context of escaping the harsh environment of the Brazilian favelas.
Having missed it on the big screen due to the Mayerling madness which hit The Ballet Bag for several weeks in the autumn I was glad for the opportunity to catch this gripping, poignant tale on UK TV (Channel 4) during the Christmas holidays. Only When I Dance follows two Brazilian ballet students, Irlan dos Santos Silva and Isabella Coracy. Both hail from favelas in the outskirts of Rio de Janeiro, definitely not your usual ballet dancer breeding ground. Thanks to scholarships and the foresight of headteacher Mariza Estrella (who won the “OUTSTANDING TEACHER AWARD” at Youth America Grand Prix in 2008) they are students in the same school where Royal Ballet Principal dancer Thiago Soares trained.
For the perfectly proportioned Irlan, one of the school’s most remarkable students, dreams of a professional career in ballet do not seem unattainable: as long as he passes school exams and continues to work hard, the chips might fall in the right places, especially if he manages to win a Prix de Lausanne scholarship. Of course nothing ever comes easy in the world of ballet but Irlan’s road seems much less bumpy than hard-working Isabella’s. Black, curvy and extremely graceful yet-no-virtuoso, her odds of securing a contract with a major ballet company are less favourable and she is well aware of this. While Irlan appears more confident about future options, she timidly says to the camera that her dream is “to perhaps dance in a classical ballet company”.
Director Beadie Finzi’s initial idea was to follow Irlan’s story exclusively but she was persuaded by Ms. Estrella that Isabella’s tale would make for an interesting contrast. This clever headteacher probably saw a chance to raise awareness to Isabella’s plight, a cause which seems very dear to her heart. During discussions and counselling with the Coracy family we see a realistic and yet encouraging Ms. Estrella as she hopes to see Isabella fight back and overcome professional obstacles. We also see Isabella’s supportive family struggle to arrange funds so that she can travel to YAGP where she hopes to win an award. From tears and the threat of injury to hope and back to tears, her story is what really makes the movie such an honest, riveting tale of holding on to your dreams. As her father Toti says “victory comes easy for those born rich, but the rest of us have to fight”.
Warning: Spoilers Ahead!
It is heartwarming to see Irlan achieve his dream of trading the dangerous grounds of the favela for a “better and calmer place” but a pity that the movie focuses so much of its final moments on his success (he is hired by ABT2) while neglecting to dwell on what might become of Isabella. Thanks to this article from The Times we discover she has secured a contract with a well known local ballet company and that she too is about to make her dreams come true.
Only When I Dance elsewhere on the web:
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Posted in Dancers, tagged Adeline Genée, Alastair Marriott, Ashton, Christopher Wheeldon, Clement Crisp, Coppélia, Cranko, David Dougill, Debra Craine, Edward Watson, Gloria, Infra, Jonathan Cope, Judith Mackrell, Juliet, Leanne Benjamin, London Festival Ballet, Macmillan, Mary Vetsera, Mats Ek, Mayerling, Morphoses, Neumeier, Ninette de Valois, Onegin, Peter Schaufuss, Principal Dancer, Prix de Lausanne, ROH, Romeo and Juliet, Royal Ballet, Royal Ballet School, Sadler's Wells Royal Ballet, Sir Peter Wright, Swanilda, Tatiana, The Firebird, Wayne McGregor on September 10, 2009|
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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 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 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.
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
- Leanne Benjamin interviewed at the Ballet Association. By David Bain with report written by Graham Watts. Ballet.co magazine, December 2007. [link]
- Late Bloom is Simply Child’s Play. Leanne Benjamin feature by Peter Wilson for The Australian, November 2008. [link]
- Leanne Benjamin Feature in Dance Europe July 2009.
- Leanne Benjamin: Royal Ballet’s fearless young ballerina by Marilyn Hunt. Dance Magazine, April 1995. [link]
- Wikipedia Entry for Leanne Benjamin [link]
- Leanne Benjamin at the ROH website [link]
- Pas de Deux: Edward Watson and Leanne Benjamin on The Firebird. By Chris Wiegand. The Guardian, May 2009 [link]
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