“On the Front Row”
A documentary series on the Royal Danish Ballet
September 27, 2017
Over the last seven weeks, Danish National Television has shown a seven part series on the RDB dancers. It is not unusual for the national TV to produce behind the stages documentaries. I have quite a selection on DVD of what has been done over the years. However, the scale of this project is bigger than anything done before.
In many ways, the series is a continuation of a two part series done during Nikolaj Hübbe’s first year as ballet master. The new series follow six Danish dancers through the spring season. Actually, five of the six dancers was also taking part in the two part series, which followed the aspirant classes they attended.
Injury Time
I interviewed Benjamin Buza in 2014 in his breakout year, which gave him the significant parts as Lescaut in “Manon”, Tybalt in “Romeo & Juliet” and Golfo in “Napoli”. However, since then he has suffered several injuries, and the series find him struggling getting back from a serious foot injury. We sees his hopes and his frustrations. We see him training with his childhood friend Alban Lendorf, who shares his experience from a prolonged injury and who gives the very good advice of not committing himself to a fixed return date.
However, as much as we see Buza receiving help, we also see him giving good advice to company star Soloist Jon Axel Fransson, who is prone to focus more on a few bad steps than on his high artistic and technical achievements.
I do not know why the television series focuses on a group of Danish dancers as the company also employs a growing number of foreign dancers, surely there would have been a few interesting stories there.
In the Pink
The first episodes focuses on member of the corps Emma Håkansson, who’s almost first sentence in the programme already has become a classic: “I have better put on pink tricots (for school) otherwise Nikolaj Hübbe will not talk to me!” She is thereby making the audience wondering about the character and taste of the poor artistic director, who simply wants his company to look professional.
However, it is Emma Håkansson, who get her big wish fulfilled as she is moved from substitute to second cast soloist in “Rubies”, her dream role.
The strength of the series is that as well as showing her insecurities and fears. We also see her giving strong support when she helps Benjamin Buza prepare for an academic exam during his injury time.
Passing the Grades
The RDB is very much into academics these days and especially in the apprentice class where a second level education is now part of the education. Third year student Emma Riis-Kofoed is finalizing her academic education as well as the all-important dance exam. Unfortunately, there is little focus on her actual dancing in the series.
The Team Player
Stephanie Sahlgren is fighting hard to get a chance of a part, she is casted for, but where time issues has let the management to drop the second cast. She do get the chance to dance the role, due to another dancers injury, but end up injured herself and having to teach the part to one of the foreign dancers.
This is here we see the strongest example of the RDB culture. Stephanie takes on the responsibility of getting the new girl ready. She stands in the wing so she can show the steps if needed. She has prepared a gift (knowns as pøj pøj gift) for the new girl. However, as she concludes: “It is not the end of the world, it just seems that way”, and then she move on to change her image from being an injured dancer to the image of having overcome an injury.
Feeling the Blues
The series also portrait two of our leading men, soloists Jon Axel Fransson and Andreas Kaas, who have both raised to the top of the company. Instead of focusing on their outstanding quality, they are reduced to be respectively never pleased with himself (Fransson) and missing his mums support (Andreas Kaas). Like the others stories they receive their successful conclusion. Fransson learns to enjoy the process and Andreas Kaas’ family attends his premiere in “Emeralds” Personally, I would have preferred more focus on their talents.
The Eco System
What the series really brings to attention is the eco system of the company. The support and help the dancers gives each other. The obligation to help a new dancer into the company and roles. The program show how hard it can be. An injury do not only keep you of stage. You lose confidence and opportunities.
One of the strongest scenes in the series is seeing Benjamin Buza and Nikolaj Hübbe at a doctor’s appointment to get the answers to the question Will Benjamin Buza dance again?
Whenever the doctors touches an ache, Hübbe reacts, as if it is his own foot and his own career that is at stage.
There is an additional motive: Nikolaj Hübbe has cast Benjamin Buza as Abderakhman in his upcoming production of “Raymonda”. It is a perfect piece of casting. Nobody in the company is so suited for the role, and it will propel Buza back in leading roles. However, can he make the deadline? This is an answer; we do not get in the series. Luckily, Benjamin Buza is back and already performing in small-scale ballets.
The series has reached a broad audience and won many new fans. I look forwards to meet them at the RDB performances in the upcoming season.
Photos by Costin Radu (Copyright (c) Royal Danish Ballet)
1. Emma Håkansson as the soloist in "Rubies"
2. Benjamin Buza with Camilla Ruelykke Holst in "Come Fly Away"
3. Jon Axel Fransson with Jáime Crandall in "Rubies"
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