M&A reviews ‘Symphonic V’ reviews Guillem in reviews Last year of RB reviews

I promised some further thoughts on the Ashton Bill after I saw it again on the 18th. Given that much of the casting was the same it's always interesting to see how the dancers may have changed their interpretation and how one's own thoughts on new pieces may have moved on. Rather then re-architect the original words I thought it would be nice to leave them in place and add some clarifying thoughts on what transpired. It's also easier to do it this way of course! As usual I try not to read what others have said first - it's great fun subsequently seeing points of commonality (or otherwise)

Some initial thoughts on the RB Ashton Bill - I see it again on Saturday and will do a 'proper piece' at that time - goodness knows what proper means though!

Les Rendezvous I found the best piece on the night - despite the quite horrid new sets. Darcey Bussell and Jaimie Tapper were terrific and Roberto Bolle gave a polished performance in a frothy light piece of fun. And I did like the costumes.

The dance - it's effectively the goings on at a sunny garden party - is light and buoyant stuff and with a call for nifty footwork. It also asks Darcey Bussell to do some brief if amazing things in bending over backwards - reminiscences of Les Biches and not something you see so much of these days. At times Darcey ran short of a few steps, but overall she looked pretty, secure and happy in the role. Roberto Bolle pleased many, though I wish his legs were a bit longer. This is probably just sour grapes on my part though - every woman in the house seems to go weak at the knees for him.

In the Pas de Trois Jaimie Tapper continued to win me over - what lovely, rapid feet. And Jonathan Howells was an ideal complement to her - beaming and jumping so jauntily - Justin Meissner as the other partner looked a bit less happy though; sometimes his body seems not to want to cooperate.

This is such a light piece it would have been easy to dismiss it as perhaps not something worth bringing back. Well thank goodness they did and hopefully we will see more of it over the next few years.

Thais pas de Deux. Durante and Bolle pleased everybody, but somehow my eyes don't see his proportions as right and Mukhamedov does it with a conviction that few can match.

Symphonic Variations. A sublime piece but unfortunately the original lead girls are all injured and so we got Alina Cojocaru, Jane Burn and Mara Galeazzi. Perhaps understandably it was all a little tentative and the easy nature of the choreography got lost at times. But clearly Cojocaru (currently in the corps) is destined for much greater things - just can't report that it was fairy tale and she brought the house down etc. The boys - Sansom, Kobborg and Essakow were the ones to watch - superb dancing and so nicely understated.

Of the boys I remember the most lovely jump from Sansom - landed with absolute perfection - so utterly simple and yet satisfying. Kobborg's Danish style also seems to lend itself to this Ashton piece - a marvellous technique displayed in such an understated manner, and all the more powerful because of it.

From 1946, Symphonic was something of a turning point for Ashton as many saw him in a new and more serious light. With time available he honed his choreography right down and any semblance of a story is long since gone. The sets, by Ashton's friend Sophie Fedorovitch, feature a dusty green and cream back cloth overlaid by some black geometric lines - some talk of images of growth - simple and yet complex. The costumes are simple too: mainly white, though the metallic caps for the boys can look strange these days. Dowell must have been aware that there probably would have been a riot if he decided to try and commission new designs!

Marguerite and Armand. It's very difficult to see something like this for the first time having heard so much about it. Hype would be too cruel a word but many expectations have been set. On a first viewing Guillem and Cope did not do so much for me. I don't think the problem is them so much as the piece itself - it all happens at such a pace one does not feel so drawn in and to understand the characters and start to feel their plight. Very much "wham, bam, thank you ma'am". Some of the choreography is elegant and expressive, but for love/sex its hard to beat what MacMillan has done. I kept thinking that Manon does this all so much better. However this was a first viewing and I look forward to seeing it again on Saturday with Le Riche guesting.

Le Riche is an animal! He has amazing stature, with the most prodigious technique and the strangest of haircuts. Such athleticism and frighteningly convincing as the angry rejected lover. Of all Guillem's partners he must be the one who, while being the good partner she needs, actually vies with her the most for your attention. And he is not trying to show off or upstage her (heaven forbid the man that might try that!) - it's a natural magnetism and eagerness that he has.

I think I had to see Ashton's Month in the Country something like 10 times before I came to love it (kid you not) and I hope I get there sooner with M&A. I used to find Month rather boring though and that's certainly not the case with M&A. I wonder if I will ever get to the bottom of why some Ashton works take their time with me?

I don't necessarily share the view that Ashton is old fashioned - does romantic love really age?: I think not. And while MacMillan does sex and passion incredibly well I also see in his (MacMillan's) work a more tender and romantic side that I find does rather more for me at this point in time.

I've written more than I thought and possibly been harder than I expected - it is a nice programme and I'm glad they have brought back such works for us. Worth seeing!