Viscera, Infra and a Fool's Paradise

Blogging on the tube home from the Royal Opera House, which is a new experience. Tonight was another big step in my journey towards loving the more abstract and modern pieces.

Part one: Liam Scarlett's Viscera
First off I think the leotards were my favourite, I just wish they'd look as good on me! However the costumes were just a small piece of this artwork. I loved the crisp lines and crystal shapes formed by the dancers, both individually and as an ensemble. Lowell Liebermann's music was lovely and Scarlett's choreography and costume design illustrated the piece perfectly. Two small gripes, occasionally a few dancers were a beat out and in a piece this sharp it jarred. I'm sorry to say that although I love Dawid Trzensimiech's dancing in this piece his extra sparkle meant he didn't blend completely with the group. But all in all a great start to the evening.

Part two: Wayne McGregor's Infra
This was my unexpected highlight for the evening. I didn't think Viscera could be topped, but this piece was emotionally overwhelming. The dancing was fantastic and in this piece Trzensimiech came into his own. But what stood out for me was the feeling of isolation. It felt like each couple were in their own bubble alone, and yet complementing those around. But then it felt as though the individuals themselves had no connection to their partners and were dancing out a need for support. The lighting and LED display of city workers going about their day blended in and out of the dancing enhancing the emotion. I'm embarrassed to admit that I welled up during this piece and the final piece had a lot to live up to.

Part three: Christopher Wheeldon's Fool's Paradise
A lovely piece, however after the sharp shapes of Viscera and raw emotion of Infra I felt that something was missing. Although beautifully danced and without the synchronisation issues of Viscera this piece was just too abstract for me. However the animation on the backdrop was stunning it took me a while to realise there were no real petals being dropped. With all this in mind, I still look forward to Wheeldon's next offering as this is the first time I've felt flat from his work and I think more because of the programme it was in than the work itself.

The evening reminded me how much I love the ballet and inspired me to dig out my leotard and tights, get back to class and actually book my Onegin tickets.

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Alice in Covent Garden

Last year we were disappointed to miss the debut of Alice in Wonderland at the Royal Ballet. We caught it on the TV and loved it but it is never the same as seeing it for real on the stage. This year we got organised I became a friend and we secured tickets for Alice (amongst other things).

Yesterday after a delightful afternoon at the V&A seeing the golden spider cloak, the British design exhibition including Kit William's fabulous golden masquerade hare and finally the Cecil Beaton royal photography exhibition mum and I headed to Covent Garden.

We enjoyed a light dinner at Cafe des Amis behind the opera house and then we headed in for a magical evening. One thing that Disney have done is sanitise Alice, my childhood memories of the book with the slightly ominous ink drawings has been replaced by a cute blonde girl and a jolly smiling purple cat. Tim Burton's movie adaptation perhaps pushed it too far in the other direction but the combination of Christopher Wheeldon, Joby Talbot and the wonderful Royal Ballet has hit the spot.

The special effects that I couldn't imagine on stage filled your vision and the drew you into the mysterious world of Lewis Carroll's mind. Lauren Cuthbertson proved that she created the role and her performance emanated a childlike wonder at the weird and wonderful things around her. Her performance skills along with the special effects meant I really believed that she could not only dance but grow and shrink as well. My only disappointment was the giant ballerina legs and arms, for me they detracted and I'd be interested to see the show without them.

I particularly love the way that the guests at Alice's tea party are realised later as the residents of Wonderland. Edward Watson translated wonderfully from a kindly Lewis Carroll to a slightly panicked and at times bewildered white rabbit. He was seemingly everywhere at once and it felt like by the end he had run a marathon keeping Alice out of trouble.

Fernando Montano replacing Eric Underwood as the caterpillar was a particular highlight for me. His body isolations and undulations really did verge on the exotic insect side of life. Another particularly special animal is the Cheshire cat, a giant animal created by a number of dancers, this Cheshire cat is mysterious and mischievous. It reminded me a bit of War Horse where you forget that the actors are there after just a few minutes. In this case I still wonder how so many people can make this jigsaw of cat parts come together so cohesively that you can almost here him purr!

Jumping on to the Mad Hatters's tea party with giant teapots and tea cakes Steven McRae gave a manically mad performance and his skilled tapping meant he was a strong part of the percussion section. You couldn't help but feel sorry for James Wilkie in the role of the sleepy dormouse continually shoved into the teapot. I would have loved to see more of this lovely trio although the March Hare was rather forgotten.

The flower dance was beautiful with whirling colours and patterns. Then on to the garden for some interesting gardening techniques and croquet. Painting the roses red, or maybe not, the three gardeners, with James Hay delivering a beautifully funny performance when his tree just wouldn't stay red. Laura Morera delivered a crazed red queen with precision and a touch of comedy. The flamingoes were perfect both the dancers and the puppet variety, having worked with puppets I know how hard it is to give a really believable performance and to carry it off while dancing impeccably was a real feat on everyone's part. Meanwhile the hedgehogs were adorably cheeky and I wish I could take one home with me.

The court room scene was just the way I had imagined it as a child reading the books and I haven't forgotten Jack the Knave of Hearts. This is his trial after all and if the crime was a great performance then Frederico Bonelli was guilty. He gave an engaging performance and throughout it felt like he was just a touch older than Alice after more than she was willing give. But at the end I was pleased to see that he got the kiss he had worked so hard to earn. Bonelli is my one to watch list and I'll be looking for him on the cast lists.

So my overall impression, I'm already planning tickets for next year's performance and I shall be bringing P with me as part of his slow education in the wonderful world of ballet. I need to see Alice again as there was so mich going on I know I missed something good. Perhaps next time i might be able to work out which came first Wheeldon's choreography or Talbot's music. It was as though they shared a dream in the creation of this ballet as both parts worked seamlessly throughout and nothing grated.

I have just one question, any chance of Through the Looking Glass? I'd love to see the Jabberwocky and Tweedledum and Tweedledee realised on stage at the Royal Opera House. Now I'm off to plan how I'm going to fit in the current Royal Ballet triple bill...