Christopher Wheeldon:
“Alice”
Royal Danish Ballet
The Old Stage
December 14 & 16, 2016
The Christmas run of “Alice” has proved to be a big and - not only commercial - success for the Royal Danish Ballet. Weekends performances attracts families and grown-ups fill evening performances during the week. Everything indicates that the production will match a run of “The Nutcracker” measured in earnings and in artistic value.
This year RDB is in competition with two productions of “The Nutcracker”, neither on the level of an RDB production, but nevertheless they do take a big share of the family audience available. However, the RDB managed to keep their audience.
On December 14, I revisited the premiere cast, and can happily conclude that during the first weeks on the run, the first cast had kept developing to such a high degree that the weaker parts of the ballet gains more momentum, humor and coherence.
With a starring couple like Ida Praetorius and Andreas Kaas, fresh from doing “Giselle” and “Romeo & Juliet” earlier this year, interpreting young forbidden love is not a big challenge. However, they also managed to strengthen the weaker last part, not only by strong acting, but also by presence and by infusing what little dancing are left to them with imagination, musicality and partnership.
Boys and Men
Andreas Kaas shares the role as Jack with three other leading men, Ulrik Birkkjær, Jonathan Chmelensky and Gregory Dean. Neither of the three can match Kaas as the juvenile protagonist. Their maturity works against them. “Alice” is strong in male character roles; however, there is nothing for the dancer noble. The alternative of not given them Jack, would be to let them sit out the production. As is it all three have additional roles as well as Mad Hatter, Caterpillar and gardeners.
She Did it Her Way
Gregory Dean is partnering Holly Jean Dorger, the strong American principal. Being the tallest of the Alice’s, she found herself surrounded by the smallest cast members.
Not the ideal situation when one is supposed to be a pre-puberty girl. However, Dorger managed to create her most coherent and well-acted role so far. Instead of going the traditional road as Alice, she build an Alice on her own strengths. This Alice comes across as a combination of Jo, the offbeat heroine of American children’s classic “Little Women” with a touch of the British sporty girl, known as “Jolly old Hockey Stick”.
Unfortunately, the partnership with Gregory Dean, generally considered the best partner in the company, did not really work out. The greatest obstacle for Dorger’s further career is the lack of a good partnership. Although the company has plenty of tall principals and soloists and Dorger has been paired with all of them, no one has looked like the long time solution. What she needs is a Laurie to her Jo. Finding him will create the platform for her career goals.
Animal Kingdom
Soloist Jon Axel Fransson is probably the best of four very acompliced White Rabbits. Fransson combines being a stylish classicist with an outstanding flair for comedy. Not only as the White Rabbit but also as the Springhare with likewise outstanding character talent, Tobias Praetorius as Dormouse, the comedy and gags keeps evolving. Both should be in line for promotions.
Susanne Grinder brought on her original take on the Red Queen. An apparently softer touch, which makes the outbursts more effective. A very clever interpretation that also make the adagio comedy more outstanding.
Compared to the Balanchine “Nutcracker”, “Alice” is the better production for RDB. There are more roles in every category and greater use of the character actors and dancers. Yes, there are no strong male lead, but in all honesty, the Sugar Plum Fairy cavalier is neither the stuff dreams are made of.
Photos by Costin Radu (Copyright(c) Royal Danish Ballet)
- Holly Jean Dorger as Alice with the Cheshire Cat
- Andreas Kaas as Jack
- Jon Axel Fransson as the White Rabbit
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