The Tales of Beatrix Potter (ballet)

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The Tales of Beatrix Potter is a 1992 ballet adapted for stage by Anthony Dowell from a 1971 film that was choreographed by Frederick Ashton that in turn was based on the children's books by Beatrix Potter.

Plot

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Adaptation for the stage

It is reported that Ashton himself did not want his original 1971 film to be transferred to the stage.[1] However, in 1992 Anthony Dowell adapted the Tales of Beatrix Potter did so. Dowell worked with the original film designer Christine Edzard and mask-maker Rostislav Doboujinsky.[2] The Tales of Beatrix Potter premièred on stage at the Royal Opera House, Covent Garden on 4 December 1992 in a double bill with Ashton's ballet The Dream.[3][4]

Score

The composer was John Lanchbery,[5] he put together a score from tunes by Minkus, Balfe, Offenbach, Sullivan and others.[6] Lanchbery not only composed the score but also conducted the orchestra for the 1992 production.[7] Ashton's original film score had been stored on transparencies which had suffered from damp and rodent damage, so they had to be painstakingly pieced together for the stage adaptation.[8]

Costumes

One of the challenges faced by the dancers in the stage production is that the costumes mean that many of the dancers have severely restricted view.[9] The masks created from the original 1971 film moulds[10] are made from polystyrene with holes drilled for breathing and vision are covered in gauze and flocking or hand sewn hair.[11] Doboujinsky built some of the costumes on everyday items such as cycle helmets.[12]

Reception

1992 production

The critics did not review the original 1992 production favourably, considering it to be too long, lacking plot and missing Ashton's inspirational touch. Examples of reviews include: Jeffery Taylor of the Mail on Sunday described the original 1992 production as "too long" but noted that the audience enjoyed it as "smiles remained on 2,000 faces until the final ear-splitting ovation."[13] Mary Clarke of The Guardian was less positive describing the ballet as "nauseating" and finishing her review with the opinion that "Sir Fred would have been appalled."[14]

Subsequent productions

Susan Frater of the Evening Standard praised the Royal Ballet's 2007 revival as "charming" with wonderful sets and costumes. But also criticised it as overly long and for children.[15]

Clement Crisp reviewed the 2010 performance for the Financial Times, he considered Potter's characters "nauseating" the score "Victorian vulgar" and the costumes bloated. But he did acknowledge that the audience liked it.[16]

1992 cast

See also

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References

  1. ↑ Sunday Telegraph. 6 December 1992
  2. ↑ The Stage. 3 September 1992
  3. ↑ The Stage. 3 September 1992
  4. ↑ The Guardian. 30 November 1992
  5. ↑ Dancing Times. December 1992
  6. ↑ The Times. 7 December 1992
  7. ↑ Daily Mail. 9 December 1992
  8. ↑ Evening Standard. 4 December 1992.
  9. ↑ The Daily Telegraph. 2 December 1992
  10. ↑ City Limits. 3 December 1992
  11. ↑ The World of Interiors. December 1992
  12. ↑ The Daily Telegraph. 2 December 1992
  13. ↑ Mail on Sunday. 6 December 1992
  14. ↑ The Guardian. 7 December 1992
  15. ↑ Standard.co.uk published 24 December 2007, retrieved 22 June 2013
  16. ↑ ft.com published 21 December 2010, retrieved 22 June 2013
  17. ↑ The Evening Standard. 7 December 1992
  18. ↑ The Evening Standard. 7 December 1992
  19. ↑ The Evening Standard. 7 December 1992
  20. ↑ The Evening Standard. 7 December 1992
  21. ↑ The Evening Standard. 7 December 1992
  22. ↑ The Evening Standard. 7 December 1992
  23. ↑ The Guardian. 7 December 1992
  24. ↑ Daily Telegraph. 7 December 1992
  25. ↑ What's On. 9 December 1992
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