Onegin *****
Three short ballets ****
Tatiana, like Juliet or Manon, is one of the roles which is on every ballerina’s must-dance list. The ballet Onegin, now back at the Royal Ballet & Opera until June, offers the lead ballerina interesting character progression from girlish infatuation to overwhelming passion.
Throw in rejection, jealousy, anger and emotional turmoil for the other main characters – all coupled with thunderous music and fine choreography – and you have the recipe for a wonderful ballet.
John Cranko’s masterpiece is in the repertoire of many major ballet companies and it is easy to see why. Based on the 1833 poem by Pushkin, it tells the story of the cold Onegin, his rejection of Tatiana and his final realisation that he does indeed love her, only for the tables to be turned as she banishes him in a final devastating pas de deux.
The music is a selection of Tchaikovsky pieces reworked by Kurt-Heinz Stolze – perfect for this Russian tale – and the costumes, by Jurgen Rose, are ravishing. Cranko, who was Jewish, was a contemporary of Kenneth MacMillan, and in the swooping, passionate pas de deux you can see how they both enjoyed extending classical vocabulary in exciting, sensual ways.
On opening night Tatiana was danced by Marianela Nunez, who, at 42, still has the ability to portray the teenage girl with conviction. She is dancing at the height of her powers – the last pas de deux in which Onegin is sent on his way just breaks your heart. Praise to, to the tall and elegant Reece Clarke, all aloof and icy until that final, crushing scene. Akane Takada was a swift and charming Olga, and William Bracewell made the most of Lensky, Onegin’s friend who meets a tragic end.
The corps de ballet shines in this piece, from the speedy, supported grand jetés danced diagonally across the stage and the folk dancing in Act I (straight out of Anatevka) to the more sedate courtly dances of Act III.
Cranko’s early death at the age of 45 robbed the ballet world of a great choreographer. He created many ballets but Onegin will remain his masterwork.
Down in the Linbury Theatre, Northern Ballet presented a short run of three ballets: Four Last Songs, Victory Dance and Fools. A small cast of nine gave a seamless interpretation of Rudi Van Dantzig’s sombre Four Last Songs. Victory Dance was a five-minute explosion of joyous dance by Kristen McNally for three men – one, Joseph Powell-Main, demonstrating that being in a wheelchair is no obstacle to giving an amazing dance performance. The audience roared its approval.
The programme concluded with Fools, Mthuthuzeli November’s passionate reworking of the Romeo and Juliet story, set on this occasion in a South African township. More Jets and Sharks than Montagues and Capulets, it brought the evening to a powerful close and showed just how versatile this company is.
