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Eerie

“Valerie and Her Week of Wonders”
Laterna magika
The New Stage
Prague, Czech Republic
June 20, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Z.Piškula (Orlik) and P.Stach (Richard/Polecat), “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický The Czech avant-garde author Vítězlav Nezval’s gothic novel, Valery and Her Week of Wonders, written in 1935 and published in 1945, has experienced a revival at home. It was first adapted for the stage in 1967, and a new production was shown in Prague only forty years later in 2008. In 2023, two Czech companies simultaneously presented stage versions of Valeria and Her Week of Wonders; the West Bohemian Theatre in Cheb (located between Karlovy Vary and the Czech/German border) and Laterna magika in Prague. I saw Laterna magika’s production.

The wonders that Nezval’s teenage heroine, Valerie, experiences during the span of one week are far from wonderful and are rather a sexually laden horror trip that torpedoes her into womanhood. Events unfold with a dream Valerie has on the night of her first menstruation. Only late in the novel does this dream verge into the realm of reality, which it soon forsakes for a Garden of Eden-like happy ending.
3. A.Kalertová (Valerie) and Z.Piškula (Orlik), “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický 2. A.Kalertová (Valerie), “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.BrtnickýSeventeen-year-old Valerie lives with her sanctimonious grandmother, Elsa, some servants, and animals in an 18th-century town. Realistically, missionaries visit the town, and Valerie’s friend, Hedviga, is married to an old landowner. Everything else quite likely happens in Valerie’s dream. Valerie both fears and is magically drawn to one of her dream’s main protagonists, Richard. Richard’s irresistible appeal obscures that he is a one-hundred-twenty-year-old vampire who can assume various appearances, including a polecat, and is up to something nefarious. He was once Elsa’s lover but also had a romance with Elsa’s daughter and pretended to have fathered Valerie. Upon learning of his infidelity, Elsa forced her daughter to enter a convent. Decades later, Richard returns to claim Elsa’s and Valerie’s house and the earrings that he once crafted. These earrings contain a magic potion that protect Valerie as long as she wears them.

4. E.Leinweberová (Elsa), A.Kalertová (Valerie), and Z.Piškula (Orlik); “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický 5. Z.Piškula (Orlik) and A.Kalertová (Valerie), “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický During Richard’s visit, the town’s henhouses gradually empty because he consumes fresh blood—from either humans or chickens—to sustain his vitality. He makes a deal with Elsa, who is rejuvenated in exchange for the house. Richard sucks Hedviga’s blood on her wedding night and passes it on to Elsa. Elsa becomes a young beauty again and eagerly revives her former sex life. Driven by her baser instincts, she tries to eliminate Valerie. Valerie is appalled by the true nature of her grandmother and has only one reliable friend, Orlik, who is initially under Richard’s spell but gradually frees himself and fights his master to protect Valerie. His love for and desire to marry Valerie, despite being her brother, complicates matters.
7. Z.Piškula (Orlik) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický 6. A.Kalertová (Valerie) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický One of the missionaries, Gracián, also a former lover of Elsa, poses further danger when he lodges at her house. When his attempted rape of Valerie fails, he hangs himself, miraculously survives, and takes revenge on the resistant Valerie by delivering her to the stake. Thanks to her magic earrings, Valerie escapes from the flames in a cloud of smoke. Fate also saves her from being raped by Richard after a wise woman gives her (and Hedviga) an amulet that safeguards her from his vampire bite. Akin to Jeanne D’Arc, Valerie deprives Richard of his power, orders his death (he’s shot as he ravages the henhouse in the shape of a polecat), and facilitates the reunion of her family (including her true father).

8. Ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický 9. J.Rameš Janeěková (Hedviga), P.Stach (Richard/Polecat), Z.Piškula (Orlik), and ensemble; “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický Laterna magika’s stage director, Jakub Šmíd, and dramaturg, Hana Strejčková, dropped the happy ending and instead had Valerie (Aneta Kalertová) sing against the crackle of flames that ultimately consumed her home and the henhouse. Like an oversized doll house, the open front of the gray, one-story house permitted the audience to view the stairways and inside each chamber (set design by Petr Vítek). We had watched the animal-like Richard (Petr Stach) and young Orlik (Jakub Šmíd) sneak through the window to steal the earrings from the sleeping Valerie as well as the slimy, well-nourished Gracián (Filip Rajmont) deliver a homily about virginity from the first floor to the town’s virgins assembled in the yard. The only virgin among them was Valerie, who waited for Orlik to meet her. The rest were veiled men who readily beat up Orlik once Gracián singled him out as a traitor.

11. F.Rajmont (Gracián) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický 10. F.Rajmont (Gracián), “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický Elsa (Eva Leinweberová) appeared to be a stout matron, but beneath her black clothes and stiff crinoline (costumes by Eva Jiřikovská) was suppressed lust and the discovery of pleasure in whipping herself in front of Gracián. Once rejuvenated, she changed into a skinny, bright red strap dress and made her “chicks” (six guys in black leather straps) dance to her tune. The same six guys, this time wearing strapless, black pantsuits, danced with the self-assured Hedviga (Jaroslava Rameš Janeěková), who called the shots before her wedding. Afterward, her groom (Richard in disguise with his thick tongue sticking out as if he were a lubricious animal) stuffed her in a bulky, white plush coat reminiscent of a straitjacket and made her look like a headless chicken. Richard sapped her lifeblood almost completely, and, though she slowly recovered during a dance solo, she never regained her former energy.
12. E.Leinweberová (Elsa) and Z.Piškula (Orlik), “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický 13. E.Leinweberová (Elsa), A.Kalertová (Valerie), and ensemble; “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický Valerie, her hairdo resembling a plushy plume and wearing an ungainly dress, looked like a teenager whose shape had yet to mature. Wavering between fear and courage, she often observed the goings-on. Some events forced her to act, others to flee. Then she dematerialized into a ghost. Singing seemed to reassure her of her strength. When in need of a break from the turmoil, she hid in the henhouse, a small replica of the residential house, as if it were an incubator.

15. A.Kalertová (Valerie) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický 14. E.Leinweberová (Elsa) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický Multi-genre productions are a signature feature of Laterna magika, and Valerie and Her Week of Wonders combined play-acting (the Czech text was subtitled in English), contemporary dance (choreographed by Jiři Pokorný), and singing. Films and animations helped transform Valerie into a ghost, and the garden into an arcane wilderness, and set the property on fire. They magnified her frightened face to fit the wall and featured her bright red earrings and red bead chain. Both pieces of jewelry resembled trickling blood. An egg-shaped table lamp (the light of which warded off the covetous Gracián) and a headdress and necklace made of eggshells added to the overall chicken motif. The medley of sounds, which David Hlaváč combined with throbbing electronics, evoked the atmosphere of an eerie yet fascinating dark night.
16. A.Kalertová (Valerie), “Valerie and Her Week of Wonders,” Laterna magika 2025 © V.Brtnický

Links: Website of the Czech National Theatre / Laterna magika
“Valerie and Her Week of Wonders” – Trailer
Aneta Kalertová – “Who” (video clip from “Valérie and Her Week of Wonders”)
Behind the scenes: “Valerie and Her Week of Wonders”
Photos: (The photos show Zdeněk Piškula instead of Jakub Šmíd in the role of Orlik.).
1. Zdeněk Piškula (Orlik) and Petr Stach (Richard/Polecat), “Valerie and Her Week of Wonders,” Laterna magika 2025
2. Aneta Kalertová (Valerie), “Valerie and Her Week of Wonders,” Laterna magika 2025
3. Aneta Kalertová (Valerie) and Zdeněk Piškula (Orlik), “Valerie and Her Week of Wonders,” Laterna magika 2025
4. Eva Leinweberová (Elsa), Aneta Kalertová (Valerie), and Zdeněk Piškula (Orlik); “Valerie and Her Week of Wonders,” Laterna magika 2025
5. Zdeněk Piškula (Orlik) and Aneta Kalertová (Valerie), “Valerie and Her Week of Wonders,” Laterna magika 2025
6. Aneta Kalertová (Valerie) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025
7. Zdeněk Piškula (Orlik) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025
8. Ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025
9. Jaroslava Rameš Janeěková (Hedviga), Petr Stach (Richard/Polecat), Zdeněk Piškula (Orlik), and ensemble; “Valerie and Her Week of Wonders,” Laterna magika 2025
10. Filip Rajmont (Gracián), “Valerie and Her Week of Wonders,” Laterna magika 2025
11. Filip Rajmont (Gracián) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025
12. Eva Leinweberová (Elsa) and Zdeněk Piškula (Orlik), “Valerie and Her Week of Wonders,” Laterna magika 2025
13. Eva Leinweberová (Elsa), Aneta Kalertová (Valerie), and ensemble; “Valerie and Her Week of Wonders,” Laterna magika 2025
14. Eva Leinweberová (Elsa) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025
15. Aneta Kalertová (Valerie) and ensemble, “Valerie and Her Week of Wonders,” Laterna magika 2025
16. Aneta Kalertová (Valerie), “Valerie and Her Week of Wonders,” Laterna magika 2025
all photos © Vojtěch Brtnický
Editing: Kayla Kauffman

 

Prix Benois Laureates 2025

Prix Benois de la Danse
Bolshoi Theatre (Historic Stage)
Moscow, Russia
June 17, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Y.Grigorovich, Prix Benois Award Ceremony, Bolshoi Theatre 2025 © B.AnnadurdyevYesterday evening, the Prix Benois laureates were announced on the Bolshoi Theatre’s historic stage for the 33rd time.

Mthuthuzeli November won the prize for best choreography in absentia for Chapter Two, a creation for Cape Ballet Africa in South Africa. The Mariinsky Ballet’s Renata Shakirova won the best female dancer prize for her performance as Swanilda in Alexander Sergeev’s new Coppélia. Like last year, the prize for the best male dancer was awarded twice. Joshua Williams received the Prix Benois for his performance in November’s Chapter Two; Dmitry Smilevsky (Bolshoi Ballet) was awarded for his performances as Mercutio in Leonid Lavrovsky’s version of Romeo and Juliet and Prince Désiré in Yuri Grigorovich’s version of The Sleeping Beauty. (more…)

Dancer Nominees for the Prix Benois 2025

Prix Benois de la Danse
Bolshoi Theatre (Historic Stage)
Moscow, Russia
June 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Bolshoi Theatre © Bolshoi Theatre/D.Yusupov2. Statuette of the Prix Benois de la Danse, design by I.Ustinov © Benois Center As in 2024, the Prix Benois jury nominated thirteen dancers from eight companies for this season’s award. Of the six women and seven men, two dance in China, France, and South Africa; one dances in Kazakhstan; and six, Russia. Next Tuesday, the laureates will be announced at an award ceremony at the Bolshoi Theatre, Moscow.

Here’s a short overview of the nominees in alphabetical order by company name: (more…)

Choreographer Nominees for the Prix Benois 2025

Prix Benois de la Danse
Mukaram Avakhri, Wang Ge, Thomas Lebrun, Andrey Merkuriev, Mthuthuzeli November, Alexander Sergeev
Bolshoi Theatre (Historic Stage)

Moscow, Russia
June 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Bolshoi Theatre © Bolshoi Theatre/D.Yusupov2. Statuette of the Prix Benois de la Danse, design by I.Ustinov © Benois Center On June 17th, the Bolshoi Theatre’s Historic Stage will host the annual Prix Benois charity gala and awards ceremony. Traditionally, laureates of previous years have performed in a gala concert on the following evening. Prizes will be awarded for the best choreographer, female dancer, and male dancer. This year’s festival will pay tribute to Yuri Grigorovich, who passed away on May 19th. Grigorovich founded the Prix Benois competition in 1991 and served as chairman of the jury, artistic director, and president.
Below is an overview of the six nominated choreographers. A report of the dancer nominees will follow. (more…)

Quarrel in Hamburg

The Hamburg Ballet
Hamburg State Opera
Hamburg, Germany
June 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

D.Volpi and L.Haslach rehearsing “Demian” by D.Volpi, The Hamburg Ballet 2025 © K.WestAfter John Neumeier handed over the artistic reins of the Hamburg Ballet to Demis Volpi, a smooth transition process seemed underway. Volpi, whose career as a dancer and choreographer began in Stuttgart, was artistic director of the Ballett am Rhein when Neumeier’s successor came into question. A selection committee of eleven (including Ted Brandsen, Dutch National Ballet; Tamas Detrich, Stuttgart Ballet; Brigitte Lefèvre, Paris Opera Ballet; and Ashley Wheater, Joeffrey Ballet) recommended Volpi to the Hamburg State Opera board of directors. As it happens, he was Neumeier’s desired candidate. In 2022, the then thirty-seven-year-old Volpi was unanimously elected as Hamburg Ballet’s new artistic director as of August 2024. (more…)

Much Hot Air

“FireWorks”
Gauthier Dance
Theaterhaus Stuttgart
Stuttgart, Germany
April 30, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Hold me Now” by D.Dumais, Gauthier Dance 2025 © J.Bak Gauthier Dance’s latest program, FireWorks, is an homage to the Theaterhaus Stuttgart, its home since the company’s foundation in 2007. This year, the Theaterhaus celebrates its fortieth anniversary. In honor of the occasion, the company’s director, Eric Gauthier, selected forty short pieces of music performed at the Theaterhaus over the past decades and asked ten choreographers (among them long-term collaborators) to choose one for a new piece for FireWorks.
A born entertainer, Gauthier introduced the program on opening night, welcomed some choreographers, and, in doing so, put the audience in a celebratory mood.

The company’s sixteen dancers sat on chairs lined along the wings with a red carpet between them. As they acted like an onstage audience, a trumpet solo signaled something big to come. It belonged to Ciocârliǎ și suite by Fanfare Ciocǎrlia to which the troupe’s artist in residence, Barak Marshall, created The Gathering, an assembly of athletic and showy solos and partner dances during which the dancers roared and cheered each other. (more…)

Thunderous

Night on the Bald Mountain”
Igor Moiseyev Ballet

Tchaikovsky Concert Hall
Moscow, Russia
April 23, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Night on the Bald Mountain”, Igor Moiseyev Ballet 2025 © Igor Moiseyev Ballet/ E.MasalkovThe stage shook under the stomping jumps of Roman Gavrilov as if to enforce his courtship with Kristina Kuznetsova in the Russian folk dance, Summer. The couple was the first to step onto the stage of the Tchaikovsky Concert Hall where the Igor Moiseyev company presented its program, Night on the Bald Mountain, on two consecutive days. The twelve couples that framed Kuznetsova and Gavrilov in a V-shape wore vibrant traditional garments, a signature feature of their folk-dance repertory. Compared to the performance of Summer I saw two years ago at another Moscow venue, the dancers seemed even more snappy and vigorous. Each step was clean and decisive, and the pace was mind-boggling. The Hopak sequences went on as if the dancers’ legs were inexhaustible. Calling it a lightning opening would be an understatement. (more…)

Full of Spirits

“The Tempest”
Bolshoi Ballet
Bolshoi Theatre (New Stage)
Moscow, Russia
April 22, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. D.Savin (Prospero), “The Tempest” by V.Samodurov, Bolshoi Ballet 2025 © Bolshoi Theatre/E.Fetisova For his latest choreography for the Bolshoi Ballet in 2024—The Tempest (after Shakespeare’s play)—Vyacheslav Samodurov again teamed up with composer Yuri Krasavin. Both had already collaborated on the one-act ballet Dancemania in 2022. This time, their cooperation must have been tempestuous. “Vyacheslav Samodurov and I did not get along right away…I still see this play completely different,” Krasavin stated in an interview. While Krasavin believed that he accompanied rather than led the artistic process, for Samodurov, “Music comes always first and the composer is the boss in many ways.” But whoever was the boss, the score (played by the Bolshoi Orchestra under the baton of Pavel Klinichev) was mesmerizing. (more…)

New Takes

Stravinsky. Puppets. Dances”
Ballet of the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre
Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre
Moscow, Russia

April 20, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. D.Dmitriev (Moor), E.Zhukov (Petrushka), and O.Kardash (Ballerina); “Petrushka” by K.Semenov, Stanislavsky Ballet 2025 © Stanislavsky Ballet/Y.Gubina The Stanislavsky Ballet’s new double bill, Stravinsky. Puppets. Dances, attracted large crowds, especially because they scheduled only five performances over three consecutive days. The two ballets, Petrushka and The Firebird, were originally choreographed by Michel Fokine for Sergei Diaghilev’s Ballets Russes in 1911 and 1910, respectively. Both are set to compositions by Igor Stravinsky. The Stanislavsky Theatre presented new interpretations by Kirill Radev (The Firebird)—a former choreographer of the Barcelona Ballet—and Konstantin Semenov (Petrushka)—a dancer-cum-choreographer from the company’s own ranks, whose one-act piece, Through the Looking-Glass I saw in 2023. Both teamed up with stage director Alexey Frandetti (a Tashkent native who later moved to Moscow) and set designer Viktor Nikonenko. The internationally awarded Nikonenko is a puppet maker at Moscow’s State Academic Central Puppet Theater S.V. Obraztsov, which cooperated with the Stanislavsky Theatre for the first time (an exhibition of puppets and photos from the S.V. Obraztsov museum was shown at the Stanislavsky as well). (more…)

A Farewell Triplet

“Pathétique” (“Divertimento No. 15”/“Summerspace”/“Pathétique”)
Vienna State Ballet
Vienna State Opera
Vienna, Austria
April 09, 2025 (live stream)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Divertimento No. 15” by G.Balanchine © George Balanchine Trust, Vienna State Ballet 2025 © Vienna State Ballet/A.TaylorTriple bills have become a trademark of the Vienna State Ballet since Martin Schläpfer took over as artistic director in 2020. The latest, Pathétique, is titled after Schläpfer’s newest and last creation. As on previous occasions, the program’s safe and well-tested base was a Balanchine followed by Cunningham’s Summerspace. (more…)

Much story, little dance

“Édith Piaf – La vie en rose”
Finnish National Ballet
Opera House
Helsinki, Finland
March 15, 2025 (video)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

 1. T.Myllymäki (Édith Piaf), “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist 2. T.Myllymäki, L.Haakana, H.J.Kang, and S.Kunnari (Édith Piaf); “Édith Piaf – La vie en rose” by R.Wäre, Finnish National Ballet 2025 © J.Lundqvist Two weeks after its world premiere, the Finnish National Ballet streamed its latest piece, Édith Piaf – La vie en rose, live on the online platform Stage 24. Sami Sykkö presented the live stream and conducted several interviews during the break. I was able to watch a recording a few days later.

Javier Torres, the company’s artistic director, assembled an entirely Finnish artistic team for Édith Piaf – La vie en rose. It is choreographer Reija Wäre’s (whose previous work stretches various genres, including opera and street dance, TV shows, and sports events) first full-length production. Composer Jukka Nykänen also has a reputation as a pianist. Jani Uljas designed the set; Erika Turunen, the costumes. (more…)

Family Feeling

“Dream Team” (“Jardi Tancat”/“The Blue Brides”/“Lickety-Split”/“High Moon”)
Gauthier Dance Juniors
Theaterhaus Stuttgart
Stuttgart, Germany
March 15, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Jardí Tancat” by N.Duato, Gauthier Dance Juniors 2025 © J.BakIs it the laid-back, feel-good attitude of Eric Gauthier, director and choreographer of Gauthier Dance, that makes his company’s performances feel like family gatherings? A sense of family also unites his junior company, which was founded in 2022 and comprises six dancers (three men and three women) from Australia, Canada, France, Italy, Spain, and Taiwan. Their latest mixed bill, Dream Team, premiered in January. It includes two podcasts that fill the breaks the performers take to change costumes. In them, Gauthier chats with his juniors and the choreographers. When talking about their group spirit, the young dancers call Gauthier their boss whereas Gauthier seems like a proud daddy.

The original title of the program (Something Old, Something New, Something Borrowed, Something Blue—quoting a traditional English wedding rhyme that details what a bride should wear for good luck) referred to the selection of pieces. (more…)

Brimful

“Cipollino”
Bolshoi Ballet
Bolshoi Theatre (New Stage)
Moscow, Russia
March 08, 2025 (matinee and evening performance)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

 1. S.Maymula (Little Radish), I.Sorokin (Cipollino), A.Vinokur (Mother Radish), and E.Besedina (Mother Cipolla), “Cipollino” by G.Mayorov, Bolshoi Ballet 2025 © Bolshoi Theatre/E.FetisovaThe boy Cippolino (Little Onion), the hero of Gianni Rodari’s 1957 children’s book Adventures of Cipollino, enjoyed an international career. He was especially popular in eastern countries and a famous cartoon and film figure in the Soviet Union. A ballet adaption by Genrikh Mayorov (1936-2022) entered the Bolshoi Ballet’s repertory three years after its Kiev premiere. Cipollino was revived at the Bolshoi earlier this season and still attracts crowds. Though a children’s fairy tale, adults can appreciate the production, especially when danced at top quality. I saw a matinee attended primarily by children and their parents as well as a sold-out evening performance.

The young Cipollino and his family are members of jovial townsfolk who are anthropomorphic fruits and vegetables—Cobbler Grape, Professor Pear, Godfather Pumpkin, and the Radish family, whose daughter, Little Radish, becomes Cipollino’s best buddy. They’re ruled by the high-handed, eccentric Prince Lemon whose court includes an acerbic guard, ludicrous knights, and the two overexcited Countesses Cherry. (more…)

Dreams versus Reality

“The Seagull”
Bolshoi Ballet
Bolshoi Theatre (New Stage)
Moscow, Russia
March 06, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. A.Putintsev (Konstantin Treplev), “The Seagull” by Y.Possokhov, Bolshoi Ballet 2025 © Bolshoi Theatre/M.Logvinov Almost four years after its premiere in summer 2021, I finally saw Yuri Possokhov’s The Seagull at the Bolshoi Theatre. It was his sixth creation for the company (his seventh and latest, The Queen of Spades, premiered in 2023), and the fourth time, he teamed up with composer Ilya Demutsky. The artistic team included costume designer Emma Ryott (a longstanding collaborator of choreographer Christian Spuck) and set designer Tom Pye (who also created the designs for Possokhov’s Anna Karenina). David Finn contributed the lighting, Sergei Rylko the video design.

Chekhov’s The Seagull is labeled as a comedy, but its humor is bitter at best. Not a single protagonist leads a fulfilled life. Everybody runs after a dream world or tries to construct their realities. Family relationships are strained, and love is unrequited, quickly exhausted, or phony. Possokhov’s interpretation throws more light on some characters, and less on others, and differs in some respects from the original. Irina Arkadina (Kristina Kretova)—an actress in Chekhov’s version, a renowned ballerina in Possokhov’s—is not merely a fashionable yet greedy diva and dysfunctional mother. She shows her empathetic side when she recalls childhood memories with her elderly brother, Pyotr Sorin (Mikhail Lobukhin), whose unrealized dreams of marriage and artistic career Possokhov omitted. Like in the text, events largely unfolded at Sorin’s country estate. (more…)

Human Striving

“Homage to Uwe Scholz”
Leipzig Ballet
Forum Ludwigsburg
Ludwigsburg, Germany
February 15, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Seventh Symphony” by U.Scholz, Leipzig Ballet 2025 © I.Zenna The Stuttgart-bred Uwe Scholz was in his early thirties when he became the Leipzig Ballet’s artistic director and chief choreographer in 1991. Scholz’s ballets were substantial and had depth, but the extent of his choreographic talent has been undiscovered due to his premature death in 2004. Last weekend, the Leipzig Ballet toured Homage to Uwe Scholz at the Forum Ludwigsburg. The double bill comprised two of Scholz’s symphonic pieces, Seventh Symphony, set to Beethoven’s Symphony No. 7 (1811-1812), and Second Symphony, set to Robert Schumann’s Symphony No. 2 (1847).

For the first time, Leipzig Ballet isn’t led by a choreographer, but by artistic director Rémy Fichet. Fichet, who took the reins from Mario Schröder just this season, danced in Leipzig under Scholz and intends to keep his ballets in the repertory. However, he’s realistic. The company’s standard does not yet meet the requirements of every Scholz piece, he admitted, and the dancers will need time to hone their technique. Perhaps, Fichet can prevent Scholz’s work from sinking deeper into oblivion. (more…)