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Christopher Hampson,
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Here is a link to the previous column in the series.
Link to later column.
This morning I received the final designs of the sets and costumes for Romeo and Juliet (Royal New Zealand Ballet). The last time I saw any designs for R&J was back in April when I journeyed to New Zealand to meet Tracy Grant (designer) for the first time. It’s inspiring to see how they have developed, and stomach churning to see how quickly this year is moving. Next year is turning into somewhat of a constant Prokofiev Festival for me. Last week I spent a stimulating morning with Noëlle Mann at the Prokofiev Archives at Goldsmith College. I was researching for a new work that will have its première early next year. Noëlle admitted that she feels like she knows Prokofiev better than anybody in her life and after spending over an hour with her, I wasn’t going to argue. I was able to read Prokofiev’s letters relating to several commissions he was working on around 1924/5 and it was refreshing to see that many of the factors that shaped these works, like today, came down to budgets, availability, and contractual issues. I start rehearsing Nutcracker (for English National Ballet) in 6 weeks time, however over the past couple of weeks I have managed to use some of the dancers to start laying down some rough ideas. After their Royal Albert Hall season they have been left with a three-week rehearsal period which I have been quick to utilise. I think I touched on the strange time sequence of new productions in my last offering. It is illustrated her perfectly. I have been to see Gerald Scarfe (designer) and his work since last year and finally I start to realise the images in my head with the dancers in the studio. It is the same with R&J. Tracy’s work is there for me to see, but all I can give back to her are words and a few steps in her office when the music moves me. I am beginning to think that these few rehearsal weeks for Nutcracker are of more value than the official rehearsal period. I take comfort in the fact that these bonus three weeks allow me to develop ideas and the freedom to discard them. I don’t think I will feel as free to do this when I start properly next season. I have officially seven weeks to create the Nutcracker production, but it will not work out so neatly by any stretch of the imagination. The company has also a triple bill and a Swan Lake to stage in that time. Pre-planning is everything in this game. For Nutcracker, R&J and the future productions I have lined up.
In the meantime there are a number of photo-shoots for Nutcracker and also some work to be done in Prague this summer. I enjoy having projects that overlap. Problems in one work can be the answer to questions in another.
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