“Viscera”, “Infra”, Fool’s Paradise”
The Royal Ballet
Royal Opera House
London UK
3 November 2012
by Judith Cruikshank
copyright 2012 by Judith Cruikshank
Three ballets, all created within the past four years and
all by choreographers with links to the Royal Ballet. It’s a long time since that has happened on the
main stage of the Royal Opera House and congratulations to Kevin O’Hare for his
courage in the programming of the first mixed bill of his regime. Whether this is a sign for the future only
time will tell and it has to be remembered that the season opened with a long
run of Anthony Dowell’s ill-conceived production of “Swan Lake”.
On the other hand all the "Swan Lake" performances were effectively
sold out, even at the high prices charged and although this mixed bill appears
to be proving popular with audiences, the ticket prices have been reduced
significantly; roughly speaking £120 ($192) top price for “Swan Lake” as
against £37.50 ($60) for the mixed bill.
So, you have to wonder.
Only Wayne McGregor’s “Infra”, the middle piece on the bill,
was created for the company. It has a
cast of 12, plus a corps de ballet which simply walks across the stage towards
the end of the piece. Music is by Max
Richter and the set features an overhead screen along which pixilated images of
men and women walk; sometimes singly, sometimes in groups. This installation was created by Julian Opie and
I don’t think I’m the only one who finds his faceless characters distracting. But when you do tear your eyes away what you
see is excellent dancers engaging in McGregor’s usual ‘grab and grapple’
choreography.
The big event of the evening was the UK premiere of Liam
Scarlett’s “Viscera”, originally mounted for Miami City Ballet. This is Scarlett’s third piece outside a
workshop context and he is already being hailed as a major talent. He certainly does show considerable promise,
but I think some of the plaudits heaped on his young shoulders could prove to
be a burden. He has just been named as
an Artist in Residence – a first for the Royal Ballet – and will stop dancing
before the end of this year. Scarlett is scheduled to deliver a three act work for the small
Linbury theatre next year and this will clearly take up much of his time, but
it would be good to think that he could travel a bit, see other companies and
choreographers, and even turn his hand to an opera ballet or two.
“Viscera” is set to Lowell Lieberman’s 1983 piano
concerto. The two outer movements are
for a cast of 13 dancers led by Laura Morera while the quiet centre of the
ballet is a long pas de deux for Marianela Nunez and Ryoichi Hirano. As with his “Asphodel Meadows” Scarlett shows
that he knows how to handle groups of dancers, using them effectively and
interestingly. Three female soloists are
given brief individual entries, Yuhui Choe outstanding among them. Hirano’s
role in the pas de deux is confined to partnering, but the duet is inventive if
a little unvaried. Scarlett makes
excellent use of his ballerinas; Morera’s bright attack and Nunez’s delicate,
steely strength.
Signs of an individual voice are beginning to emerge,
although some of his doublework is perhaps more inventive than effective. But
overall the ballet was enjoyable, showed the dancers to good effect and was
another step forward for Scarlett.
Last on the bill came Christopher Wheeldon’s “Fool’s
Paradise” which he created for the Morphoses company. It’s already been seen in London and this was
my third viewing of the piece. It was
cast from strength, with Sarah Lamb, partnered by Federico Bonelli, in the role
originally danced by Wendy Wheeldon. There
are simple, elegant costumes by Narciso Rodriguez and lighting by Penny Jacobus
(on the dark side, as was the entire evening), and showers of gold confetti
from the flies. Wheeldon has created
stylish pas de deux which develop seamlessly into trios or striking tableaux.
It flows along attractively but it seemed to me to be built
on a single note, without much in the way of contrast or structure. This may be in part due to Jody Talbot’s
score which I found pleasant, but no more. The ballet is well crafted, was well danced and has some lovely moments,
but I was left feeling oddly unsatisfied, as with a dish which looks wonderful
on the plate but lacks seasoning and ultimately, savour.
Photos:
Ricardo Cerera and Sarah Lamb in "Infra." Photo by Bill Cooper.
Marianela Nunez and Ryoichi Hirano in "Viscera." Photo by Andrej Uspenski.
Sarah Lamb and Federico Bonelli in "Fool's Paradise." Photo by Andrej Uspenski.
All photos courtetsy of ROH.
