THE
WINTER'S TALE
Royal Ballet at
Covent Garden
12.04.2014
The many
thousands who enjoyed Joby Talbot's Alice in Wonderland score will
instantly recognise the musical idiom here. Accessible, heavy on
tuned percussion, but, understandably, less jolly and more obviously
minimalist than in the earlier piece. The huge
forces are conducted by David Briskin.
This
ambitious narrative ballet reunites that Alice team to excellent
effect.
Bob
Crowley's design includes monumental columns, and the shadows they
cast, landscape paintings as backdrops, and, in Act Two, a wonderful
tree, dripping with golden ornaments, where we discover Florizel
languishing faun-like in its roots. There is projection, too, with
ships and storms, and a bear on a billowing silken sheet. A
gangplank, a tall narrow staircase, which Mamilius [nimbly danced by
Joe Parker] and his teddybear descend as he watches his mother's
beautifully crafted solo. There are lifelike
statues, too, preparing us for the climax, in which, movingly,
Leontes, overjoyed by Hermione's awakening, reaches out to the figure
of the boy Mamilius, forlornly hoping for a further miracle ...
Christopher
Wheeldon's choreography is eloquent and often poignant – Sarah
Lamb's Perdita is given some lovely flowing movements.
And the [?over-] extended rustic dances in Bohemia are most
enjoyable, pastoral but not pastel – the autumn colours have a
Balkan feel. And the narrative arc is clearly and
simply delineated.
It's not
a simple task to deliver the poetry of Shakespeare's original in
dance form. Edward Watson's Leontes, tortured by jealous doubts, is an impressively expressive performance, and Lauren Cuthbertson's
Hermione is touching and physically convincing. Steven McRae is
typically athletic and outgoing as young Florizel, but with some
touching moments with Perdita. And Zenaida Yenowsky is a marvellous Paulina, a strong pivotal figure in the story's unfolding.
A new,
full-length narrative ballet, bringing 21st
century energy and freshness to Shakespeare's classic tale.
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