Stream: The Winter’s Tale
Madness, jealousy, abandonment, death, deception and disguise - the unusual domestic drama that is Shakespeare's The Winter’s Tale, premiered in Christopher Wheeldon’s magnificent ballet, is part of the Royal Opera House lockdown premieres on YouTube every Friday evening at 7pm.This is a three act ballet created for the Royal Ballet by Wheeldon, for which he, along with composer Joby Talbot, won the acclaimed Benois de la Danse Award for best classical choreography, regarded as the Oscar of the dance world. Enjoying the TV premier one can see why. Wheeldon, winner of the Prix De Lausanne in 1991 for a self-choregraphed piece whilst he was a member of the Royal Ballet company, was encouraged by Kenneth MacMillan to explore his choreographic talent. This resulted in becoming New York City Ballet’s first resident choreographer and later artistic associate of the Royal Ballet. For both companies he has created seminal works, along with being sought after by companies around the world. This production of the Winter’s Tale, based on the play by Shakespeare, has all the elements of entering the repertoire as a regular favourite.
The first act is a spectacular exposition with brutal flavours of Macmillan’s work for Romeo and Juliet. It is intelligent, emotionally powerful and overpowering. King Leontes, danced by Edward Watson, descends into madness as he is convinced that his wife Hermione, danced by Lauren Cuthbertson, is pregnant by his best friend King Polixenes, danced by Frederico Bonelli. The brutal choreography as he abuses her and his son, resulting in their death, is a difficult watch. Rarely have I seen pregnancy portrayed with a baby bump in ballet. Edward Watson surely must be the outstanding male dancer of a generation. Technically he challenges the female dancers with his extraordinary arabesques and line. Lauren Cuthbertson cannot be faulted as Hermione, as she flirts with Polixenes with passion, giving you an insight into Leontes’ jealousy and the reaction to the birth of her girl child.
The second act takes you to a traditional pastoral setting featuring an enormous tree centre stage, where shepherds and shepherdesses dance among the fields. Revealed is the son of the King, Florizel danced by Steven McRae, another red -headed principal, disguised as a peasant, who of course falls for the daughter of Leontes, Perdita, danced by exquisite Sarah Lamb. A chance for McRae to show off his amazing elevation and charm and for the corps to put into practice all those national dances they learnt at ballet school. It is joyous and romantic with of course the ultimate wedding proposal and wedding. The corps, as always technically strong, and obviously enjoying the myriad and beautiful costumes as only the ROH can do with designer Bob Crowley at hand. Act three is the final resolution as all are reunited in love. Hermione who has been turned to stone comes to life, looking older but just a beautiful, but this is tinged with poignancy, as Paulina in a final gesture indicates that the young son will remain in stone.
This ballet has become a modern classic. The staging and design are both spectacular, idyllic and menacing. But the outstanding artist in this cast is the towering interpretation by Edward Watson, whose character dominates the piece which is essentially a classic Greek tragedy. Aristotle first outlined the characteristics of a classical tragedy which are a hero or heroine, hubris, the gods, a reversal or fall, acknowledgement of error and a period of suffering. This fulfils it all and will stay with me for a long time.
