Nostalgic for Nutkin

14 Jan

Been doing a lot of reading, including Dan Brown’s most recent Robert Langdon novel, The Lost Symbol.  I won’t really talk about it because I don’t want to spoil it for anyone (it’s really not that new anyway) but it did inspire this whole story in my head about a secretive dance story involving a mysterious labanotation score and the dancer who receives it uncovers clues as to who wrote the score and what the dance really means as they learn the dance from notation.  And then it occurred to me that I really don’t know anything about labanotation and even if I read a book or two from the library, labanotation is something people spend lifetimes studying so there’s a good chance scratching the surface wouldn’t be enough to write a compelling story.  It would require significant research…that I’m not really willing to do.

However, what I was willing to do was sit down and watch Frederick Ashton’s The Tales of Beatrix Potter on DVD.  I was in a cranky mood because I’ve had another breakout of dishydrotic eczema (this dry winter is wreaking havoc on my right hand), which I’m supposed to remedy by using baby oil.  One brand I purchased was the Peter Rabbit brand (available at Whole Foods…who knew Peter Rabbit made skin care products?) because I like Peter Rabbit, it’s organic and free of mineral oil.  Mineral oil is in most baby oils and apparently it can kill you if you drink it.  Obviously I know better than to do such a thing, but the thought still freaks me out.  Anyway, I forgot to oil my hand for a few days so of course the eczema came back, but the point is I associate Peter Rabbit with comfort so The Tales of Beatrix Potter (and Frederick Ashton choreography) was perfect for my ailing mood.  When you catch a cold you have some chicken soup and when your hand itches like crazy you just want to lie down and watch cheerful rodents dancing.

It’s interesting to see the challenges of having to dance in humongous animal costumes.  Especially considering the fact that the masks themselves obviously can’t change expressions so it’s entirely up to how the dancer moves their head (aka, épaulement) to bring their character to life.  Otherwise, you’d get a glassy-eyed, monotone facial expression that rivals the unfortunate creepiness of people who have to dress in animal costumes and patrol amusement parks (thankfully, Beatrix Potter is so well done it is far, far, far from anything that resembles that).  The épaulement was the first thing I noticed, because it had to be exaggerated differently when the dancers had giant mouse heads and for some costumes like Jemima Puddleduck, the head of the animal actually sat on top of the dancer’s head and the opening for the eyes was cleverly hidden in the neck, so that had to be even weirder to manipulate a head on top of your own and make it look convincing.  The costuming overall was pretty amazing, considering how they had to emphasize features of certain animals while still allowing for movement.  My only quip about the costumes was that I didn’t quite understand why all the animals wore clothes while the squirrels were completely naked.  It seems unfair…or racist, or something.

This ballet brought up a lot of good memories for me, as second grade was my rabbit phase.  The Velveteen Rabbit and Buttermilk (from the Serendipity series) were among my favorite books, Swiftheart Rabbit was my favorite Care Bear cousin, and I also owned rabbits as well (Cottontail was a white Angora named after Peter Rabbit’s sister, Sweet Pea was a Californian and Cinnamon…was something else).  Needless to say I was well versed in Beatrix Potter mythology, and I was a little disappointed that Benjamin Bunny didn’t make Ashton’s lineup and that Peter Rabbit’s appearance was fairly short (and didn’t relate too much to the actual Tale of Peter Rabbit…where was Farmer McGregor?  Is it coincidence that Wayne McGregor bears the same name?  After all, the latter McGregor is far from Ashtonian.  All good questions.).  I was however, so obsessed that I even wrote my own Beatrix Potter inspired story, about the chinchilla, which in my world used to be a white rabbit with a long, luxurious tail until a wolf bit off part of that and its ears.  It then rolled around in dust to make its white coat a dirty gray, thus explaining the appearance of the modern chinchilla and why they roll in dust.  It made sense at the time, but now that I think about it, it was a little morbid.  Beatrix Potter didn’t shy away from the gruesome either though…Old Brown (the owl in The Tale of Squirrel Nutkin) actually tries to skin Nutkin alive until he manages to escape, albeit at the cost of his tail.  I do have to say though, that the gargantuan owl they use in the ballet has the potential for hilarious pranks…can you imagine asking a newly hired stagehand at Covent Garden to go to the back to get something by himself and then you could hide in the owl and screech like a harpy and flap the wings when he walks nearby?  I’d do it…

Some interesting notes about the choreography (besides the idea of doing brisé volé or double tours in a squirrel suit, which if you’re a video game geek like me, you’ll know that in Final Fantasy VI there’s a piece of armor called the ‘Nutkin suit.’ Another coincidence?) is that the ballet was originally done for film, then adapted to the stage (the DVD I watched was the stage version, with Steven McRae as Squirrel Nutkin, who I believe reprised the role this past December for the Royal Ballet).  It should also be noted that Beatrix Potter is one of the rare ballets to have roles en pointe for men (Ashton’s The Dream, his version of A Midsummer Night’s Dream also has pointe work for the character Bottom.  Figures some of the rare times men dance on pointe, they’re required to wear a pig or donkey mask.  But he obviously liked how they kind of mimicked hooves).  Pigling Bland has the most pointe work, although it’s nothing excruciatingly difficult, as his love Pig Wig has significantly more advanced pointe work.  He has like one soutenou, a pique into arabesque and some bourées and she has all kinds of goodies.  It’s kind of funny to imagine pointe class for the men of the Royal Ballet …as simple as those movements are, I’m sure they train well enough (and probably with the women).  This Pigling Bland (Bennet Gartside) didn’t quite look like he was on top of the box to me though…so even one little soutenou can be quite the nightmare.  I say, bravo!

So my mood improved thanks to this ballet and if you’re a kid at heart like I am you’d enjoy it too (unless you’ve already seen it, in which case I’m sure you enjoy it).  Here’s a little clip from the film version featuring two of my favorites, Jemima Puddleduck and Squirrel Nutkin, and another that kind of sums up the staged version.  So don’t be a stick in the mud…nurture your inner child.

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: