The Winter’s Tale | The Royal Ballet

The Winter’s Tale (The Royal Ballet)

Choreographed by Christopher Wheeldon

Live screening – 28 Apr 14

Adapting a Shakespeare play into a full-length ballet is a feat that has been achieved with great success in the past (thinking particularly of Sir Kenneth MacMillan’s Romeo and Juliet). Whilst this new production by choreographer Christopher Wheeldon is not completely flawless, the addition of a new narrative ballet to the company’s repertoire is definitely more than welcome. Live cinema relays from the Royal Opera House also seem to have become very popular, and the quality of the close-ups and excellent camera work more than make up for the absence of a true theatre environment.

Act I of the ballet is set in the kingdom of Sicilia, ruled by King Leontes, and dominated by the themes of suspicion and jealousy. In an adaptation from a play into a ballet, where words cannot be used to express the depth of a character’s emotions, the ability of the dancers to communicate through movement alone is crucial. Edward Watson’s portrayal of the suspicious king was packed with dramatic intensity; indeed he seemed more like an actor who could dance rather than a dancer who could act. It was bizarre to watch the jarred choreography for this character, with awkward contortions and spasms to characterise Leontes’ fits of jealousy. Yet at the same time it was hard not to appreciate Wheeldon’s representation of such a complex emotion, one that is often difficult enough to convey through words, let alone dance. The way the lighting design emphasised Leontes’ flashes of jealous delusion was also very effective. The moments of imagined adultery between Hermione and Polixenes were intricately interspersed throughout their dance sequence by dramatic changes in light as well as choreography, showing how Leontes only really saw what he chose to see.

Another fascinating aspect of the first act was the trial of Queen Hermione (danced by Lauren Cuthbertson), in which there was a moment of poignant similarity between Hermione and the character of Juliet from MacMillan’s Romeo and Juliet. During Hermione’s trial (where she defends herself against accusations of adultery after giving birth to her daughter in prison) there seemed to be a resemblance to the scene from MacMillan’s narrative ballet in which Juliet is being forced into a marriage with Paris. The same anguished resignation expressed by Juliet was evident in Wheeldon’s choreography for Hermione. In particular, a simple sequence of posé en pointe appeared to mirror MacMillan’s choice of steps, creating an interesting connection between the two works.

The handling of Shakespeare’s famous stage direction ‘Exit, pursued by a bear’ at the end of Act I was, however, slightly questionable. Whilst it was a relief that they did not settle for a dancer in a bear costume – which would have been nothing short of ludicrous – the use of a silken wave imprinted with the likeness of a bear face descending towards Antigonus was just too indistinct. Indeed, until the image of the bear became more discernible it seemed that Antigonus’ demise had been rewritten, and that he had in fact been drowned by a tidal wave in the storm. Even so, the attempt to add a sense of ambiguity to what can become a comical rather than dramatic denouement to the first act should be applauded.

The stark contrast between the set designs in Act I and II emphasised the story’s focus on the mercurial relationship between the two worlds of Sicilia and Bohemia. The bright colours of Bohemia provided a sense of relief following the bleak and minimalist Sicilia of the first act, and designer Bob Crowley certainly excelled with his incorporation of a single large tree adorned with decorations to preside over the pastoral festivities of the shepherd community of Bohemia.

Throughout Act II it was the dancing itself that was particularly outstanding (as it should in a ballet!), with exhilarating folksy numbers by the corps de ballet and a beautiful pas de deux from the characters of Perdita (Sarah Lamb) and Prince Florizel (Steven McRae). The more modern style of Wheeldon’s choreography really shone here as it brought a freshness to the typical story of young lovers, as portrayed by Perdita and Florizel. McRae’s performance was especially magnificent – his elevation throughout Act II really brought the scene to life. The inclusion of a live band on stage was also a noteworthy addition, creating a more spontaneous feel to the Bohemians’ festivities.

In contrast, the final pas de deux between Leontes and Hermione (once she is “magically” restored from a statue) has been critiqued as an anti-climax and lacking the enchantment of Shakespeare’s words. However, it appeared more as a simple yet evocative duet that stood out in the midst of a final act that seemed rather rushed compared to the more lengthy preceding parts. In all honesty, it seemed that this pas de deux eclipsed the rest of the act – even the celebratory wedding dance (normally a high point within a narrative ballet) for Florizel and Perdita felt disappointingly brief.

On the whole this new work is an intriguing reworking of a very complex play, and the production of a new narrative ballet is truly exciting. Whilst the often dissonant tones of the music made the score sometimes difficult to listen to, and the choreography incorporated more flexed feet than is customary in a ballet, the dancing was, as ever, beyond stunning. Despite a few disappointments this is a show worth seeing, especially if you enjoy beautiful dancing or powerful storytelling – and this ballet has both.