The star turns of Alastair Marriott’s new work The Unknown Soldier are Es Devlin’s set and Bruno Poet’s lighting design, and if this had been an installation at Tate Modern, I would have been thrilled by the iridescent colours and the use of shadow. As a multi-media ballet at the Royal Opera House, it is less effective: at times the partially lowered curtain bathed in shimmering streams of rainbow light, or the large screen that descended from above, obscured the back of the stage; even from row C of the Amphitheatre sightlines seemed perilous. Marriott aspires to tell his story from a primarily female perspective, drawing on the recorded words of Florence Billington, who is shown in archive footage projected on the front curtain, and danced by Yasmine Naghdi. The other two named roles are for men; Matthew Ball as Ted Feltham (the soldier), and Leo Dixon as the Telegraph Boy, dressed in a kinky shiny uniform with see-through effect. (more…)
November 26, 2018
The Royal Ballet in The Unknown Soldier, Infra, and Symphony in C, Royal Opera House, 23 November 2018 – Maggie Watson reviews
Posted by susiecrow under reviews | Tags: Akane Takada, Alastair Marriott, Alexander Campbell, Bruno Poet, Es Devlin, George Balanchine, Infra, Lauren Cuthbertson, Leo Dixon, Maggie Watson, Marianela Nuñez, Matthew Ball, Royal Opera House, Ryoichi Hirano, Symphony in C, The Royal Ballet, The Unknown Soldier, Vadim Muntagirov, Valentino Zucchetti, Wayne McGregor, Yasmine Naghdi |Leave a Comment
February 9, 2014
Royal Ballet: Rhapsody and Gloria, Saturday 8 February 2014, evening performance at the Royal Opera House
Posted by susiecrow under reviews | Tags: Carlos Acosta, Frederick Ashton, Gloria, Kenneth MacMillan, Kevin O'Hare, Rhapsody, Royal Opera House, Ryoichi Hirano, Sarah Lamb, Tetractys - the art of fugue, The Royal Ballet, Valentino Zucchetti |Leave a Comment
When Kevin O’Hare stepped in front of the curtain, I expected bad news, and it was: Natalia Osipova had mild concussion following “a collision of heads” during the afternoon performance; Thiago Soares was off too, and so was Tetractys – the art of fugue. Cue for groans from the audience, followed by a round of applause from some of the more expensive seats when we were promised a refund of a third of the ticket price, and told that the bars would stay open for longer than usual. And so the triple bill became a double bill, of Rhapsody and Gloria. Nevertheless, this was an opportunity for the Royal Ballet to showcase the work of two of the company’s most important directors and to demonstrate an understanding of two very different, yet very English, choreographic styles. (more…)