edward watson woolf works

 

Photo credits: ©ROH, 2015, photographed by Andrej Uspenski, Tristram Kenton. It sounded like an odd project. Edward Watson was born in Bromley, Kent and was brought up in Dartford with his twin sister, Liz. Together, they offer a compellingly moving experience and honour their subject. Even the costumes are a bit like that too! It was staged in the small space of the Clore Studio and Wayne didn’t have much of an international name like he has today. The piece conveys the hurtling velocity of the novel, but story and characterisation are lost, rendered into an abstract blur. hen the final curtain fell on Wayne McGregor’s new ballet. The three acts, titled "I now, I then", "Becomings" and "Tuesday" are inspired by Mrs. Dalloway, Orlando and The Waves respectively. It is basically unheard of for a ballerina to still be dancing at this level. Alessandra Ferri, Wayne McGregor, Virginia Woolf, Max Richter: an irresistible collision of the new with the old, a meeting of talent and history. He is convincingly disturbed and dances with his inimitable fervour and passion. TBB: So are they all independent parts connected by a common thread? Would a Woolfian expert be involved? Dancers: - Alessandra Ferri Gary Avis Matthew Ball Federico Bonelli Francesca Hayward Paul Kay Sarah Lamb Steven McRae Natalia Osipova Calvin Richardson Beatriz Stix-Brunell Akane Takada Eric Underwood Edward Watson Soprano - Anush Hovhannisyan Speaker - Gillian Anderson Orchestra of The Royal … So it was exhilarating, last Monday, to note the presence in the Woolf Works team of the writer and theatre director Uzma Hameed, and to read her crystalline analysis of the project’s intentions in the programme. Wendy Whelan and Edward Watson came to life in a high-voltage new piece written for them by Arthur Pita. The pressure was personal, too. All of the characters are precisely evoked. There’s a beautifully realised scene when Ferri’s Clarissa suddenly and impulsively kisses her friend, Sally (Francesca Hayward). “I Now, I Then” opens with Alessandra Ferri who, at 52, returns to Covent Garden specifically for the role. EW: I don’t know what they are putting in the programme, but I think if you arrive and watch with no prior knowledge, do pay attention to the relationships between people and the set up. TBB: … So how did this collaborative process evolve over the years? The action moves backwards and forwards through time, with characters reflecting on the events that have led them to the present moment. choreography: Wayne McGregor music: Max Richter Royal Opera House, 8th of February 2017 McGregor’s choreography for her has a fluttering, moth-like delicacy, which is quite unlike anything he has ever done. Whether you want to think of it as a 3-act ballet or not, it is the first time he has had the main stage of the opera house for himself for an evening to do whatever he wants in three hours. I had been studying in London for a few years. When she recalls the event half a lifetime later, we realise from her expression that it’s the happiest moment she has ever known. EW: Yes, it must be something like 15 years, Symbiont(s) was back in 2000! It is a new challenge: a new project, a new story to tell, new movements, a new piece of music to interpret, a new person to dance with sometimes. Why Virginia Woolf? Photo: © ROH Tristram Kenton. TBB: And what’s in it for you as a dancer, how do you ensure it’s always new? Woolf Works: an Interview with Edward Watson, 15-year collaboration with the Royal Ballet’s resident choreographer, Hail to the Swan Queens – Odettes & Odiles Around the World. It’s a work replete with watery images, which Hameed and McGregor dissolve into a representation of Woolf’s last moments, as her life is replayed in a series of briefly flaring tableaux. McGregor argues for the way 'she really reinvented the way you read a novel', and dramaturg Uzma Hameed discusses the… The segment from Wayne McGregor’s Woolf Works fares better and the appearance of Edward Watson, who announced his retirement earlier this year, gives additional heft to an emotional piece. It is that really. The Royal Ballet’s Edward Watson, Akane Takada and Tristan Dyer in McGregor’s Woolf Works Photo: Tristram Kenton Tags: Alessandra Ferri ballet Edward Watson Francesca Hayward international dance news Max Richter premieres Royal Ballet Wayne McGregor Woolf Works Wayne McGregor, Tristan Dyer and Edward Watson in rehearsal for Woolf Works, The Royal Ballet It is the same as being a dancer. Woolf Works Edward Watson Natalia Osipova ©ROH 2015 Photographed by Tristam Kenton. The ‘fabulously expressive’ Natalia Osipova and Edward Watson in ‘Becomings’. Stix-Brunell, as Clarissa’s younger self, is also very fine, evincing a gentle restraint that doesn’t quite conceal her yearning sensuality. On my way to the Woolf Works opening last night, I made the mistake of reading The Waves, Virginia Woolf’s most experimental novel. The result is as pitch-perfect in its restraint as it is true to its literary source. He did this duet for me and Natasha (Osipova), when she first arrived which was amazing and we’ve only performed it once. Early years. other things we love!). Woolf Works has its flaws. Its revival in 2017 is part of the Royal Ballet’s celebration of McGregor’s ten years as the Royal’s resident choreographer and the work will be part of the Royal Ballet’s repertoire on … TBB: You have worked with Wayne for a long time… Woolf Works culminates with Tuesday, based on Woolf’s 1931 stream-of-consciousness book The Waves, which flows between the interior monologues of six characters, and descriptions of a coastal walk. TBB: Which of these stories are you involved in? When the final curtain fell on Wayne McGregor’s new ballet, Woolf Works, the cast were greeted with cheers and a standing ovation. In his response to the novel, McGregor includes flashbacks of Woolf’s life. ... Woolf Works, Royal Opera House, London — review. There’s the way she describes things, the way you feel emotion from what she writes, strong images rather than gripping storytelling. Woolf Works, Royal Opera House, review 4. For information & booking visit the ROH website. Photo: © ROH Tristam Kenton, TBB: Woolf Works must be such a big milestone for Wayne…. I believe that Edward Watson is Septimus Smith, the soldier going through PTSD. She will dance alongside Principals Sarah Lamb, Natalia Osipova, Akane Takada, Francesca Hayward, Federico Bonelli, Steven McRae and Edward Watson. EW: Oh yes, they are very different stories. She is incredible. EW: I’m in parts 1 and 2, Mrs. Dalloway and Orlando. EW: Yes, I think this is the first big one. But there was also that evening with the world premiere of Chroma, DGV and The Four Temperaments, which was quite an event. That kind of freshness! Photo by Tristram Kenton; Fumi Kaneko and Reece Clarke in In Our Wishes. I think if we do our job as performers, you’ll get it. Photo by Tristram Kenton; Fumi Kaneko and Reece Clarke in In Our Wishes. Thanks for sharing, On a cold, proper “winter blues” afternoon in London, I phoned Alina Cojocaru to chat about her upcoming show at Sadler’s Wells. In Woolf’s novel, Septimus and Clarissa never meet, but the ballet brings them together, each stalking the other as if haunted by a shared sense of what might have been. You don’t really get that linear narrative the whole way through: you stop and there’s a sense of feeling and emotion about what that person is feeling, rather than just telling a straightforward story. The premiere took place, with The Royal Ballet on the 11 May 2015 at the Royal Opera House. McGregor was appointed resident choreographer at the Royal Ballet in 2006, following critical plaudits for his ballet Chroma. Save. Francesca Hayward, Edward Watson, Sarah Lamb, Beatriz Stix-Brunell and Eric Underwood perform Orlando in … English dancer Edward Watson is a Principal of The Royal Ballet. And sighs of relief backstage, one imagines, because in more than one sense the Royal Ballet had bet the bank on the piece. He first attended dance classes at the age of 3, and was later accepted as a student at the Royal Ballet School, eventually joining the full-time school at White Lodge, Richmond Park. ... (Edward Watson) she is heavy with the weight of her own despair. In short, here's where dance meets remix culture. Featuring full movies and curated collections of short films, the festival…, “Move over, Natalie Portman: You may be favored for the Oscar in Black Swan, but there’s a real-life, flesh-and-blood ballerina generating heat as the…. Christopher Wheeldon’s Alice’s Adventures in Wonderland, McGregor’s Raven Girl and Liam Scarlett’s Sweet Violets and The Age of Anxiety are all, to a greater or lesser extent, compromised by narrative deficiencies. EW: You never know! People change, they might love it when it’s all new and when they think they’ve seen it, they go ‘no, that again’. Did McGregor represent a way forward for British classical dance or was he, as the New York Times suggested, “a cuckoo in the Royal Ballet nest”? This wasn’t a concern while the bulk of the work commissioned was abstract, but with the recent resurgence of narrative ballets, the lack of in-house literary expertise has become a problem. Woolf Works re-creates the emotions, themes and fluid style of three of Woolf’s novels: Mrs Dalloway, Orlando and The Waves. Edward Watson: I guess the way she writes is quite similar to the way Wayne works with choreography, in the sense of how he would go about telling a story or explaining a character. Valeri Hristov, Marianela Nuñez and Edward Watson in Monotones II, The Royal Ballet. Alessandra Ferri and Edward Watson in rehearsal for Woolf Works, The Royal Ballet. Original music by Max Richter. Royal Opera House, LondonWayne McGregor’s ambitious triptych based on the multi-dimensional works of Virginia Woolf was a gamble that has paid off in exhilarating style, Last modified on Thu 22 Mar 2018 00.14 GMT. In the ballet, each act represent one of Woolf's novels. The first part is very gentle and intimate, playing with real people and real people’s memories, but also characters from the book and the relationships that happen in those stories, so it is quite personal. We had a good year, with…, Earlier this month, the San Francisco Dance Film Festival celebrated its 10 year anniversary. The ‘fabulously expressive’ Natalia Osipova and Edward Watson in ‘Becomings’. Outside of life on stage Ed has engaged in many collaborations, among them fashion houses, editorials and runways, as well as high-profile photographers including, Nick Knight, Nadav Kandar, Anthony Crickmay and Rick Guest; with whom he created the special edition folio entitled, ‘Edward Watson, Portrait of A Dancer’, which captured and honoured Edward’s 30 years in dance. It is such a concentrated focus because often the one-act pieces are such a short stretch of time, yet you are ‘full on’! Woolf Works is a contemporary ballet choreographed by Wayne McGregor, composed by Max Richter, and inspired by Virginia Woolf's novels, letters, essays and diaries. We were making it during our lunch breaks and after we had finished for the day, and everyone was thinking ‘Wow, who is this man?’. Woolf Works is directed and choreographed by Wayne McGregor and first took the stage in 2015. We started The Ballet Bag in April 2009 with the mission to prove that ballet is not stuffy, old fashioned and inaccessible; that it is quite the opposite: relevant, fresh and topical. The sense of intersecting emotional dimensions, so characteristic of Woolf’s writing, is incisively realised. Woolf Works Natalia Osipova ©ROH 2015 Photographed by Tristam Kenton. In part 2, all the dancers represent Orlando in some way, in that sense of gender change and time travel, different periods. Tx Shelby! It’s very nice to do those special little things. TBB: How much do you need to know about Virginia Woolf’s works to appreciate the ballet? Hayward’s Sally, neat as a Lalique figurine, darts and hovers with shimmering, dragonfly brilliance. The prima ballerina is still, in every way, assoluta.Her finely shaped legs and beautifully arched feet command the floor underneath her, from which she springs as freely as ever into the delectable sinuosity of McGregor’s choreography. The role of Clarissa is shared by Alessandra Ferri and Beatriz Stix-Brunell. And that’s what he’s done and I think it is a clever way for him to use that time. Ahead of tonight’s premiere of Wayne McGregor’s much anticipated Woolf Works, a full evening of ballets inspired by author Virginia Woolf, we spoke to his long-time collaborator and muse Edward Watson. A laser-fuelled trip down memory lane as we look back at Wayne McGregor's Woolf Works. These inspirations are also enmeshed with elements from her letters, essays and diaries such that Woolf Works expresses the heart of an artistic life driven to discover a freer, uniquely modern realism. Woolf Works Steven McRae Natalia Osipova ©ROH 2015 Photographed by Tristam Kenton. Edward Watson and Akane Takada in Part 1: I Now, I Then, in Wayne McGregor's Woolf Works.The Royal Ballet 2014/15 www.roh.org.uk/productions/woolf-works-by-wayne-mcgregor The Ballet Bag has been giving a fresh spin on ballet since 2009, breaking down the myth that classical dance is for traditionalists, and covering it under a younger light. The first of the work’s three sections (“I now, I then”) is inspired by Woolf’s 1925 novel Mrs Dalloway. Yet, there are certainly some amazing moments in this evening, which are like a punch in the face. If you don’t, then it will be our fault, not Wayne’s…, Alessandra in rehearsal for Woolf Works. Wayne McGregor's Woolf Works: doing with movement as Virginia Woolf did with words Who's afraid of Virginia Woolf? ‘Heartrending’: Alessandra Ferri and Federico Bonelli in ‘Tuesday’, part of Woolf Works. I think that is very much his point of departure and then he chose to take three stories – Mrs Dalloway, Orlando and The Waves – to focus on. There’s a lot of structure and sometimes you are left without it, and the piece is quite like that: formality and then chaos. EW: It is still the same for me: I just love the concentration, I love the work, I love making something new, and I can never predict what Wayne is going to do. Gary Avis is colourless to the point of near invisibility as Clarissa’s dull-dog husband, and Federico Bonelli deftly conveys the charm of the feckless Peter, her one-time suitor. When writing our capsule biographies, ballet fact cards, review roundups and commentary on social media, we cross it over with other art forms and cultural references (pop culture, cinema, rock music – ie. The Royal Ballet’s stunning new show is inspired by the life and novels of Virginia Woolf. Photo: © ROH Andrej Uspenski. So that stands out. TBB: How do you think it will be received? Photo: © ROH Andrej Uspenski. Really enjoyed this interview! TBB: How did Wayne adapt his choreographic language to fit these 3 different stories? Wave after wave of dancers takes the stage to Richter’s poignant score, breaking and swirling around the desolate figure of Ferri as the darkness enfolds her. Arts. How would McGregor’s high-stress choreography be brought to bear on this most patrician and complex of English writers? I can never come up with something I’ve done before and maybe that’s what he appreciates. The book is a fantastical tease, aimed at Woolf’s lover, Vita Sackville-West. Orlando, a poet, journeys through time from the Elizabethan era to the 20th century, turning into a woman en route. People say that Virginia wrote Clarissa Dalloway very close to her own feelings, and there is a lot about the fact that Septimus and Clarissa are almost doubles of the same person, so when you know that background, it helps. Photo by Tristram Kenton; Fumi Kaneko and Reece Clarke in In Our Wishes. Natalia Osipova comes and goes, her fabulously expressive talent expended in empty hyperextensions. Ed told us about Wayne’s concept, what we audiences can expect from this ambitious new project and his 15-year collaboration with the Royal Ballet’s resident choreographer. EW: There are some subtle differences between them, but you can tell it is all Wayne. Staged 2017 at the Royal Opera House (revival of 2015 production). There is now an option of a second cast with Mara Galeazzi in the lead, which would be worth seeing, too. The ballet does indeed sound fascinating – going tomorrow and can’t wait Hope all is well across the pond! But for the most part, the ballet is more than equal to its ambitions, with McGregor’s choreography illuminated, as never before, by Ferri’s refinement and Hameed’s scholarship. And what are your own highlights from all that? ‘Woolf Works’ offers a dance interpret. Infra (2008) and Limen (2009) completed a gleaming modernist triptych, but the works that followed, while attracting a fashionable crowd to the Royal Opera House, failed to convince many of the core ballet audience. I’m just ready for anything, and that is what I like about working with him. If it had failed, it would have proved what many feared, and several expensive commissions had indicated: that the company famed worldwide for its story ballets could no longer tell a story. Not since Kenneth MacMillan stepped down in 1977 has a Royal Ballet director expressed a serious interest in literature. Edward Watson, meanwhile, finds an eloquent pathos in the role of shell-shocked Septimus, tearing at himself as if to escape his own skin, and gazing wildly after the hallucinatory figure of his dead friend, Evans (Tristan Dyer). Edward Watson and Akane Takada in Woolf Works. EW: By keeping my mind open, always remembering it’s a new thing. That was probably the main appeal to him. In this part, Alessandra [Ferri] is also playing a double role: sometimes she is Virginia and sometimes she is Clarissa, while in The Waves she is the former. Which makes the second section (“Becomings”), based on Woolf’s 1928 novel Orlando, all the more frustrating. TBB: Why is Wayne doing a ballet based on the works of Virginia Woolf? Set to a commissioned score by Max Richter, the ballet shifts between the interior worlds of Clarissa Dalloway, a society hostess, and Septimus Warren Smith, a traumatised former soldier. Photo by Tristram Kenton; Edward Watson and Akane Takada in Woolf Works. Eric Underwood and Melissa Hamilton find calm in the storm, but there’s little here about Orlando, and less about Woolf. But McGregor deluges the sly gender games of the novel in a surfeit of Blade Runner-style effects. Woolf Works (2015) was Wayne McGregor's first full-length work for The Royal Ballet. She was…, We’re a little bit late with this, but there’s still time to recap on our favourite performances of 2019. We aim to be one of the most stylish dance webzines on the blogosphere, to feature dancers, companies, performances, and dance media crossed over with other art forms and cultural references: pop culture, cinema, rock music, etc. Ahead of tonight’s premiere of Wayne McGregor’s much anticipated Woolf Works, a full evening of ballets inspired by author Virginia Woolf, we spoke to his long-time collaborator and muse Edward Watson. Dragging out an old Mrs Dalloway paperback from the bookshelf, and reading it again, added much to my first viewing of the ballet although a re-reading of Woolf’s novel, Orlando, was no help at all. And other moments that just draw you in: subtle and gentle -  which you might not expect from Wayne – really moving and tiny in a way. Friday, 3 July, 2015. Edward Watson and artists of The Royal Ballet in The Four Temperaments. Ferri, a former Royal Ballet principal, is now 52 and her dancing – dark eyes, liquescent arms, quietly exquisite line – is heartrending. The impression of layered time and space is reinforced by Lucy Carter’s evanescent lighting, by Richter’s elegiac score and by the sets (free-floating, frame-like portals) designed by the architectural practice Ciguë. The Waves is a stream-of-consciousness novel following the interior lives of six friends from childhood to adulthood. Rumours of a new McGregor ballet based on the works of Virginia Woolf began to circulate in 2014. Ed Watson and Akane Takada. I was so excited to see “Woolf Works” when it first premiered in 2015. Tour News: The Royal Ballet will perform Woolf Works live at the Queensland Performing Arts Centre (QPAC), Brisbane, this 29 … Just because I’ve worked with Wayne before, it doesn’t mean it will be the same. Save ... Beatriz Stix-Brunell dances the younger Clarissa with exquisite tenderness, while Edward Watson as Septimus is the image of agonised despair. Woolf Works ballet. There’s that second section and the men’s costumes in “Tuesday”, which smack of the fetish club. Alessandra Ferri and Francesca Hayward in Woolf Works. The sense of intersecting emotional dimensions, so characteristic of Woolf’s writing, is incisively realised. Conceptually, Woolf Works is a success. The shows are always a wild ride. The section opens with a reading of Woolf’s suicide note to her husband, written before she drowned herself in the river Ouse. I’m a huge fan of both Ed Watson and Wayne McGregor… This ballet sounds fascinating! Inspired by the writings of Virginia Woolf, Woolf Works is Wayne McGregor’s first full-length production for The Royal Ballet. Alessandra Ferri and Ed Watson in rehearsal for Woolf Works. Photograph: Tristram Kenton. Woolf Works – Orlando pas de deux (Natalia Osipova, Edward … In “Tuesday”, inspired by The Waves (1931), the ballet rediscovers its focus. In part 1, I am the character of Septimus [Warren Smith], and I am very much that person telling that section of the story. Woolf Works runs until 26 May 2015 at the Royal Opera House. It is hard to constantly surprise and to constantly re-awaken people to you. It is always the same with whoever has been making pieces at that level for a really long time, be it with Chris [Wheeldon] or Wayne. And on a personal note, it also marked the start of a career. Two years since its inception, Woolf Works returns, with Alessandra Ferri and the original cast mostly intact bar injury and illness, to celebrate its creator’s, Wayne McGregor’s, decade anniversary as resident choreographer with the Royal Ballet. When you start out, people wonder ‘who is this person?’ and when they get used to you then it’s ‘oh, it is him again’. AND Alessandra Ferri was 52 when Woolf Works premiered in 2015, making her 54 at this recording. Or not. With the aim to Give Ballet a New Spin we try to show it under a different light. I will always remember Symbiont(s) in particular, the first piece he created on us, because we were relatively unknown and there was also the fact that it was his first work here. It … The aim of Woolf Works’ dramaturg, Uzma Hameed, was to make audiences feel that they were reading Woolf’s novel, but that would only work for those who have read Woolf’s works. Not Wayne McGregor, as the Royal Ballet's resident choreographer revives his award-winning 2015 work based on her writings. Lasers cut through drifting smoke, Richter’s score pounds and the choreography is frantic, studded with familiar McGregor tics. Ed told us about Wayne’s concept, what we audiences can expect from this ambitious new project and his 15-year collaboration with the Royal Ballet’s resident choreographer. 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