Tuesday 6 May 2014

The Sleeping Beauty vs The Winter's Tale

A recent article in the Guardian discusses whether the classic ballets, like Swan Lake, should be retired in favour of a more contemporary repertoire. My last two visits to the Royal Opera House helped shape my opinion. 

In March and April, I saw two ballets at the Royal Opera House: The Sleeping Beauty, a classic, and The Winter's Tale, a brand new production. Both are programmatic ballets which follow a traditional three act format; both are love stories with happy endings; and both draw from the classical repertoire of ballet steps. Yet one left me feeling that ballet is a dated art form, while the other felt completely contemporary and relevant.

in The Winter's Tale
Alice Pennefather
One striking difference between the two ballets is the way in which the plot is delivered. The Sleeping Beauty relies heavily on mime to tell the story. I am not a fan of mime - it looks silly and it leaves those who don't know the language completely in the dark. The Winter's Tale, on the other hand, uses almost no mime at all. Instead it conveys the story through intelligent choreography in a much more meaningful way. This is without doubt also due to the wonderful performance by principals Laura Cuthbertson and Edward Watson. The latter, especially, portrayed Leontes's decent into madness with devastating conviction. 

Sarah Lamb and Steven McRae
in The Skeeping Beauty
Johan Persson
Both stories are essentially love stories. In both, the leading couple are danced by Sarah Lamb and Steven McRae. As I've mentioned elsewhere in this blog, the two are great together. Yet in The Sleeping Beauty, the most important moment of the story, when Prince Florimund kisses Princess Aurora and she wakes up, is a big anti-climax. Princess Aurora is barely awake before the ballet launches into a scene of celebration, in which the audience is forced to sit through a half hour of divertissements by such random party guests as Puss in Boots and Little Red Riding Hood. 

Sarah Lamb and Steven McRae
in The Winter's Tale
Johan Persson
In The Winter's Tale, on the other hand, the love story is much more convincing, and Lamb and McRae once again demonstrated that they have amazing chemistry. Instead of divertissements there is a festival, at which the villagers dance in front of the backdrop of a beautiful old tree, hung with ornaments. The dance style is clearly recognizable as ballet, but has elements of gypsy folk and African tribal dance. Together with the beautiful music and costumes, the feeling is created of a utopian world in which ethnic differences no longer matter. Finally, The Winter's Tale ends on a thoughtful note, and rather than boring them, leaves the audience to ponder the power of forgiveness.

In a fantastic interview on BBC's Hardtalk, Tamara Rojo recently defended the classic ballets by arguing that "these classical ballets are the first step into our art form for most people". While I do not want to dispute Rojo's point (she really knows her stuff!), my guess is that the first-time ballet goers who saw The Winter's Tale, rather than The Sleeping Beauty, are the ones who are more likely to come back!


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