September 1996: A Month in Dance
Dearest darlings, September is upon us, the air crisper, the nights drawing in, but the season of ballet, as we all know, is just beginning. And this month, my dears, has truly begun with a flourish, a flurry of performances both familiar and fresh, captivating audiences across the globe. From the glittering stages of the Royal Opera House to the intimate corners of provincial theatres, ballet has taken centre stage and, well, darling, we simply have to discuss it all, don't we?
First, a trip back to London, where the Royal Ballet graced us with a breathtaking revival of Kenneth MacMillan's *Manon*. Now, I know many of you were a tad sceptical at the casting of our own darling, Natalia Osipova, in the role of the titular Manon, and darling, she proved us all wrong, didn't she? Her performance was an absolute triumph; she danced with such intensity, such nuanced vulnerability that I found myself almost forgetting her dazzling technique! There is such a captivating contrast in her movements – both fierce and fragile, like a wildflower defying a harsh wind. Opposite her, the brilliant, ever-reliable Steven McRae brought a quiet intensity and yearning to the role of Des Grieux. And their final pas de deux was, dare I say, practically biblical, so charged was it with raw, primal emotion! The corps de ballet, as always, were perfection. So yes, dear readers, it was quite simply, a night to remember.
Then we travelled a bit further, down the river Thames to the charming, intimate Sadler's Wells, to catch Akram Khan's latest production, *Desh*. Oh, darling, it was truly a revelation. This is a choreographer who continues to push boundaries, who is not afraid to explore the dark and the difficult. *Desh* delves into themes of loss, exile, and longing with a poignancy that lingers long after the curtain falls. His signature blend of Indian classical dance and contemporary movement, so beautifully executed, resonated deeply, taking us on a journey both exhilarating and emotionally challenging.
From the UK, we journeyed further afield, across the Atlantic to the heart of New York City to soak up the magic of the New York City Ballet's Fall Season. You know my dear, the City Ballet is one of my all-time favourite troupes – it's practically my second home, if one could say that about a dance company! And let me tell you, they did not disappoint. Christopher Wheeldon's new ballet, *The Chairman*, was a complete knockout! The exquisite choreography was full of wit and grace, the story - a charming interplay of office dynamics, power games, and clandestine meetings, perfectly captured by the exquisite dancers, who navigated the emotional twists and turns with remarkable subtlety. And let's not forget the costumes – truly darling! Inspired by a 1970s power suit aesthetic, they were both daring and sophisticated, perfectly complementing the edgy modernity of the choreography. And my, oh my, what a beautiful work.
From the sophisticated elegance of *The Chairman*, I found myself at a very different, a more raucous ballet the following night: The Paul Taylor Dance Company in their unique style. The energy in the air crackled, it was infectious! And while Paul Taylor's choreography often pushes boundaries with its sometimes disconcerting themes, there was a unique vibrancy to his latest work. *Proverb* with its stark simplicity and explosive moments, was truly mesmerising. Oh, darling, a true feast for the senses.
While the big, bold companies in the capitals continue to mesmerise, it is the smaller productions, often in the most intimate of settings, that sometimes leave the biggest impression. And darling, that was certainly the case for me this month with a visit to the National Theatre of Portugal, in Lisbon. A captivating performance of *La Bayadère*, featuring the beautiful Marta Carvalho, with her elegance and captivating aura, dancing alongside the passionate João Nunes, whose sheer power and expressiveness made this classic work so very new and exciting.
There is such a refreshing feeling to be found in discovering a small, unknown gem like the Teatro Municipal, in Lisbon, a little world of vibrant cultural life tucked away in the heart of the city. The energy in this charming venue felt so very tangible, almost an intrinsic part of the performance. You really feel the dedication, the passion in the eyes of the dancers, especially in that particular production – every movement, every gaze so captivating! The theatre's rich history seemed to permeate every inch of the space – it was the perfect setting to see this beloved classic come alive again. And while I am often dazzled by the technical skill and finesse of the large, famous companies, these intimate, heartfelt moments, they are what truly ignite my passion for this art form, darling.
September's ballet calendar, as we all know, is filled with an exhilarating range of experiences, and you know I will be right there, my darling, absorbing it all. From the iconic to the experimental, from the grand to the intimate, each performance offers a unique story, a unique language of the human spirit. And I simply can't wait to share all my impressions and revelations with you each month, so we can experience this intoxicating world together, darling. Until next month, then. Take care, darling.
From my Desk:
- My favourite performance this month: Akram Khan's *Desh*. His innovative blend of Indian classical dance and contemporary movement was absolutely spellbinding. It moved me in a way few other performances have, and it stayed with me long after the curtain fell.
- A must-see: The New York City Ballet’s Fall Season, particularly Christopher Wheeldon's new work, *The Chairman*. Sophisticated and incredibly charming, you will leave completely enthralled.
- Don't miss: Marta Carvalho in *La Bayadère* at the National Theatre of Portugal. You will simply fall in love with the grace of her performance.
- Look out for: The Royal Ballet's upcoming performances of *Sleeping Beauty*, starting this month. It is going to be divine!