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Well, it looks like we the fangirls have just rendered Hiddles speechless? O. So weird seeing him all grown up. I still see him as Anwar from Skins. (This is a review undertaken when our area finally got this ballet through FATHOM's Ballet Cinema; it's long, but there is so much to get carried away about in this wonderful new work! Our area finally got what I assume is the film from the premiere last season. It was sooooo worth the wait. After Alice's Adventures in Wonderland, I wasn't quite sure what to expect from choreo Christopher Wheeldon (likewise designer Bob Crowley and composer Joby Talbot) but this creative team has proven its range knows no bounds. I kept seeing bits of Martha Graham and bits of Anthony Tudor, but Wheeldon and friends have again turned out something as original as it was beautiful, as beautiful as it was poignant. We did get the State Occasion Cast. The lead roles- there are six- were all danced by principals who will be familiar to US audiences who have been following the Ballet Cinema series from FATHOM. The ballet was a dramatic and technical tour de force for Edward Watson, whose depiction of King Leontes and his descent into madness hit all the right notes. He made you wish drugs like Haldol had been available in Elizabethan England. I don't often notice a man's line or feet to remark on, but his actually excel those of some of the RB's ballerinas. The play could have made a very bumpy transition to the ballet stage, but the creative team handled it masterfully. The music for the heavily dramatic first act had my musician husband making remarks about tone clusters, which he hates; it took seeing the second act to understand Talbot's vision for the ballet. The tortured quality of the first act music served the story, as did the lighting and cold, angular lines of the set pieces. One fine example had Leontes stalking the wife he suspects of infidelity (Lauren Cuthbertson, Federico Bonelli. The stage is all light and shadow; in shadow, the couple do seem to be canoodling; in the light, they are clearly no more than good friends. Who but three masters could not only tell this complex story but give us a look into a disintegrating mind? Fast forward to Act 2 and a virtually non-stop pastorally-themed montage of music and dance. Folk musicians share the stage with the dancers, and the musical themes move back and forth between onstage musicians and the orchestra much as the corps weaves in and out among the solo and double work of the soloists. The children of Leontes and Polixenes (Bonelli) have come of age and, of course, fallen in love (hey- it's Shakespeare. Wheeldon combines moments of scintillating bravura with lifts as clever as they are charming. He makes the most of Steven McRae's jump and Sarah Lamb's gorgeous feet, insanely flexible back, and ethereal movement quality. It's difficult to say if Zenaida Yanowski or Cuthbertson and Watson make the third act. The young lovers arrive at Leontes' court, seeking refuge from an angered my son is NOT marrying one of the local shepherdesses Polixenes. Lamb's character is revealed as the daughter Leontes thought abandoned and deceased. Yanowski, as the housekeeper Paulina, has at this point been the support and savior of most of the other characters. The poignancy of her recognition of the daughter and, later, her revelation that she has kept Cuthbertson alive in seclusion for 16 years (Shakespeare, remember. are the glue that holds the act together. Cuthbertson and Watson do a gorgeous dance of forgiveness and redemption, but the ballet closes with Yanowski touching a fond hand to the statue of the young son who was stricken to death at the sight of his mother being tried for treason by his father. This is not a brainless happy ending, but one arrived at by characters having come through the fire.
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