Last Updated on November 12, 2025
An Elegant, Charming and Lyrical Evening at the Ballet
The Royal Ballet has devised the double programme ‘Ashton Celebrated’ to celebrate the outstanding legacy of their illustrious Founder Choreographer, Sir Frederick Ashton (1904-1988). ‘Ashton Celebrated’ is part of the launch across the Main Stage and the Linbury Theatre of the five-year international festival ‘Ashton Worldwide 2024-2028’, which will include many of Ashton’s ballets, those that are widely known along with some that are less so, performed by ballet companies from around the world. The Sarasota Ballet has been invited to the Royal Opera House, particularly the Linbury Theatre, from 4 – 9 June, to take part in these celebrations, adding an an international feel.
Throughout his career, Ashton choreographed over one hundred ballets which abound in creativity, wit, charm and elegance. His ballets have given direction to British ballet and he created the English style of ballet, the Ashton Style, known for its elegance, beautiful épaulement and precise and quick footwork. He is one of the world’s most influential choreographers and is intrinsic to the history of The Royal Ballet, which he helped to develop into a world-class and leading ballet institution. He was appointed by Ninette de Valois (the Royal Ballet’s first Director) as Resident Choreographer of the Royal Ballet from 1935 and on her retirement its Director from 1963 until his retirement in 1970. His most famous works, of which there are so many, include Façade (1931), Symphonic Variations (1946), Cinderella (1948), La Fille Mal Gardée (1960), Marguerite and Armand (1963), Enigma Variations (1968), and A Month in the Country (1976).
The two programmes being presented during June are Les Rendezvous/The Dream/Rhapsody and The Dream/Short Works/Rhapsody, which includes The Sarasota Ballet for one work. The Sarasota Ballet also performs a programme of Ashton’s works in the Linbury Theatre.
The second programme started on 7th June. It began with The Dream, a true favourite with The Royal Ballet – it has been performed by them over 234 times. The Dream was first staged in 1946 and exemplified the skill with which Ashton can tell a great story, here in an adaptation of the Shakespeare play, A Midsummer Night’s Dream, choreographed to celebrate the 400th anniversary of Shakespeare’s birth. It focuses on the fairies, particularly King Oberon and his wife, Queen Titania, the servant Puck, four human lovers and the rustics. The atmospheric designs were by David Walker and the staging was by Christopher Carr. This was a delightful performance, with music by Mendelssohn arranged by John Lanchbery, played wonderfully by the orchestra with dreamlike singing by the London Oratory Junior Choir.
On this night, Vadim Muntagirov and Lauren Cuthbertson were dancing the leads of Oberon and Titania, and they both gave lyrical and thoughtful performances; their pas de deux at the end was delightful. I particularly liked Vadim’s clear telling of the story and the workings of his mind, and how he portrayed his relationships with Titania and his mischievous servant Puck. Liam Boswell was a wonderful Puck; he is a dazzling dancer, revelling in the choreography with all the leaps and interesting, quirky hand and leg positions, he is a great communicator. Thomas Whitehead was a very funny Bottom turned into an ass and the four lovers were danced with great humour by Olivia Cowley (Helena), Leo Dixon (Demetrius), Lara Turk (Hermia) and Lukas B. Brændsrød (Lysander). There were lovely fairy performances from Charlotte Tonkinson (Peaseblossom), Sophie Allnatt (Cobweb) Mica Bradbury (Moth) and Leticia Dias (Mustardseed). Altogether it was a magical performance. The principals were coached by Anthony Dowell and Lesley Collier, these roles were created for Dowell dancing with Antoinette Sibley.
After the interval was Short Works, the first one ‘Five Brahms Waltzes in the Manner of Isadora Duncan’, choreographed in 1976 was Ashton’s homage to her. He saw her performing in 1921 when he was seventeen and it had a profound effect on him. The staging was by Helen Crawford, a former Royal Ballet dancer who loved dancing this role herself. The stage was plain and black with a piano on it, played sublimely by Kate Shipway, and a screen at the back that lit up colours for the various moods of the five waltzes. On this night the part of Isadora Duncan was danced by Natalia Osipova and it is a perfect vehicle for her; she appreciates the different characters that she portrays in the dances, from frisky, ecstatic, angry, sentimental and always charming. She danced the waltzes exquisitely in a floaty peach Greek tunic, (costume designer, David Dean), and barefoot. I loved the waltz when she dances with the very large peach scarf and the last one when she gradually drops petals out of her hands as she moves around the stage.
The next ballet was ‘The Walk To The Paradise Garden’, choreographed in 1972 and the first performance at The Royal Opera House. It was performed by The Sarasota Ballet (from Southwest Florida) to the beautiful music (especially the Woodwind) of Frederick Delius, arranged by Thomas Beecham. The Designer was William Chappell and the Lighting Designer, Ethan Vail. The staging was by Margaret Barbieri and Iain Webb, the Directors of The Sarasota Ballet who are former Royal Ballet dancers. Macarena Gimenez and Ricardo Graziano were virtuosic and demonstrated great artistry and passion as the young couple who celebrate their love one last time before being united in death; the ending is very effective and sad as they meet their destiny. There are some amazing high lifts and wonderful, lyrical choreography.
The last of the Short Works was the ballet Hamlet and Ophelia, presented by arrangement with the Frederick Ashton Foundation, and this was only the second performance of it by the Royal Ballet at the Royal Opera House. It was choreographed in 1977 and created for Rudolf Nureyev and Margot Fonteyn and was originally entitled ‘Hamlet Prelude’. It is a disturbing ballet exploring Hamlet’s rather lamentable and fickle treatment of Ophelia whom he drives mad. William Bracewell gave an excellent performance and a psychologically interesting portrayal as the troubled and cruel Hamlet while Francesca Hayward, at first disbelieving of Hamlet’s ill-usage of her, was excellent as the wronged Ophelia and a very sympathetic character especially when she begged for his love but was rejected. They dance to the music of Liszt and the paintings behind them, which change between black, white and grey colours with interesting scribbles that seem to represent their troubled minds, were painted by Sarah Armstrong-Jones. The ballet was recreated and staged by Wayne Eagling, costumes by James Kelly and lighting by Chris Wilkinson.
After the interval, the last ballet of the evening was the exhilarating Rhapsody which was choreographed and set designed by Ashton in 1980. This is regularly performed by the Royal Ballet with over a hundred performances and was created for Mikhail Baryshnikov and Lesley Collier. The marvellous music is ‘Rhapsody on a Theme of Paganini’ by Sergey Rachmaninov and the solo piano part was played brilliantly by Robert Clark. The lovely white, silver and pale-yellow costumes were originally designed by William Chappell and were recreated by Natalia Stewart. Peter Teigen was responsible for the atmospheric lighting and Christopher Carr and Grant Coyle for the staging. On the stage, against a purple background, was a rather fine colonnade with a fine archway through which the two principal dancers could make their entrances and descend the three steps. The first entrance of the ballerina is particularly effective as she enters nearly halfway through the ballet with a stunning bourrée en couru. There were six pairs of dancers who were all excellently in unison and danced brilliantly, the men in a more Russian style while the women danced in the English style; this contrast was Ashton’s plan. Sae Maeda (coached by Lesley Collier), was a joyous ballerina and she and Daichi Ikarashi (coached by Alexander Agadzhanov), were technically strong and confident; their pas de deux to Rachmaninov’s gorgeous music was lyrical and beautiful; with wonderful lifts in promenade, Ashtonian hand flourishes and refined footwork. His virtuosic Russian-style solos were a delight, together they were an excellent pairing and were rewarded with great applause.
The performance was ably conducted by Barry Wordsworth for The Dream and Short Works and by Charlotte Politi for Rhapsody.
The two Ashton Celebrated programmes will continue until 22nd June and I recommend buying a ticket or two.
Les Rendezvous/ The Dream / Rhapsody: 6 – 19 June 2024
The Dream / Short Works / Rhapsody: 7 – 22 June 2024
Royal Opera House, Bow Street, London WC2E 9DD
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