The Royal New Zealand Ballet is on its way to the U.S. for its first tour here in more than twenty years.
Performances in LA begin on January 31st followed by stops in Santa Barbara and Minneapolis before opening at NYC's Joyce Theater on February 12th.
This news video glimpse of rehearsals with Artistic Director Ethan Stiefel suggests a sharp, disciplined company that is going to make a fabulous impression from coast to coast here.
This Sunday, the RNZB's movie, Giselle, starring Gillian Murphy will screen as part of the Dance on Camera Festival at Lincoln Center.
Hi Haglund,
I wanted to drop you a note about Gillian Murphy's US-debut as Giselle last night in LA and the RNZB as a whole. In brief, Gillian's technique is as milky as ever, and she's articulating more through her feet than I've seen her in the past. The attitude turns in her Act 1 variation glided to the floor with such control. However, I don't think Giselle will become of the role she is known for, though she may still be developing her interpretation; for me, her arms are all wrong for Romantic ballets and she is such a robust and healthy looking dancer that she needs that intense acting ability to overcome those natural traits. Lucy Green, seen last night as Moyna and in the Wedding Couple pas (the re-done Peasant pas), IS a dream of a Romantic ballerina and I'm sorry I won't be there to catch her as Giselle at either matinee this weekend--wow! Similarly, Qi Huan was a solid Albrecht with a nice jump. Abigail Boyle—she of the Sleeping Beauty nerves from the RNZB’s reality show—was a commanding Myrtha, but her technique and port de bras were not up to snuff. She did some of the famous arabesque promenades with a turned in foot marring the line.
The production as a whole is an attractive one—the costumes are gorgeous throughout. Stiefel and Kobborg have changed some things: adding a prologue and epilogue (where Albrecht is tormented by his memory of the past, compelling him to sacrifice himself at Giselle’s grave to the Wilis) and the mad scene has curious alterations that I personally dislike (Albrecht is the one to attempt to comfort Giselle rather than mostly Hilarion, and at the final music crescendo Giselle runs to Albrecht rather than her mother and they kiss once before she dies---gag me). There are only 12 Wilis owing to the companies size (plus Moyna and Zulma) making some of the choreography in Act Two seems underwhelming—notably the breathtaking scene where lines and lines of Wilis chug in arabesque across the stage crossing each other (and there was a Wili in the front with a floppy foot—the horror!), but they were at their best in Hilarion’s death scene. Very chilling and unified.
Overall, a worthy production, one that clearly tests the limits of the company’s classical technique. Stiefel did not appear onstage last night, unfortunately, though I’m sure many would have liked to see him as he has not appeared onstage in Southern CA since…Rabbit & Rogue, maybe? Yikes!
K
Posted by: K | February 01, 2014 at 01:46 PM
K! Thank you so much for the details. A lot of people here are very excited about seeing the Giselle movie tomorrow. Hopefully some of those things you described were the result of opening night jitters.
Posted by: Haglund | February 01, 2014 at 01:51 PM
I would like to see the movie, as well, but the screening in LA was two weeks ago and I didn't have the time. It's a big tour for this company, so I expect there may be some backstage panic/jetlag resulting in some of the things described. I look forward to hearing your thoughts, as well. Let me know what you think of Lucy Green when they come to the Joyce--I think she's the real deal.
Posted by: K | February 01, 2014 at 03:22 PM
Hi K. Lewis Segal of the LA Times was there Friday night: http://www.latimes.com/entertainment/arts/culture/la-et-cm-review-royal-new-zealand-ballet-giselle-20140201,0,5441958.story#axzz2sAVzYK00
Posted by: Haglund | February 02, 2014 at 08:12 AM