National Ballet of Japan’s most recent performance, Shakespeare Double Bill, included the world premiere of The Tragedy of Macbeth by British choreographer and director Will Tuckett, alongside the company premiere of Sir Frederick Ashton’s The Dream, both based on popular Shakespeare plays.
The idea of creating a new ballet based on Macbeth came from a suggestion made by Princess Takamado, a member of the Imperial family, using a ballet score of the same title, by Scottish composer Geraldine Mucha. Miyako Yoshida, the company's artistic director, commissioned Tuckett to create a ballet using this dark and haunting music. The original music was not long enough for a one-hour ballet, so Tuckett worked closely with conductor Martin Yates, to arrange, reconstruct and develop the musical themes within the score, that were needed in order to fulfil his vision.
Although Macbeth is one of the most popular Shakespeare plays, ballets based on the Scottish play have rarely been created. Tuckett has mostly focused on the relationship between Macbeth and his wife and inevitably some scenes have had to be cut. The sets (designed by Colin Richmond) are simple but effective. The use of moving screens combined with the lighting, tables, beds and curtains make a big impact on the dark stage, highlighting the red of Macbeth and Lady Macbeth’s costumes and bed linen.
Tuckett has been working as a theatre director and his Tragedy of Macbeth was more like a play than a ballet. However, there were several pas de deux danced by the central couple that were both effective and impressive, with complicated partnering (reminiscent of Kenneth MacMillan), telling the story through their movements. The lead dancers had to focus more on their acting ability and the first night cast, Yudai Fukuoka and Yui Yonezawa were both superb.
[
Tuckett's intention was to show the power balance between husband and wife, with Lady Macbeth as the one who has the strongest will to gain political power, luring her husband to commit the bloody murders. Yonezawa gave a chilling, stunning and charismatic performance. Her acting was convincing as a glamorous woman who cannot hide her excitement at the prospect of murder and ecstatically dipping her hands in the blood of the victim, King Duncan. She kisses her husband many times during their duets but always from a position poised above him, representing their balance of power. In the famous scene where she cannot get rid of the blood stains on her hands, Lady Macbeth’s sleepwalking was filled with much despair and agony. Yonezawa’s intense expression during her descent into madness was marvellous, giving the audience goosebumps. Yudai Fukuoka as Macbeth played an excellent warrior but was always subservient, being urged by his wife to obey her cruel plans because he cannot resist her charm. They continue to murder until ultimately they destroy themselves as a result of their crimes, brought on by their fear and the witches’ visions.
Tuckett is skilled in his storytelling, not just with the main protagonists but with the other characters such as Banquo, who appears as a blood-stained ghost that haunts Macbeth and scares him, as well as with the cruel killing of Macduff’s family. The plot was clear even to audience members who are unfamiliar with Shakespeare’s Macbeth, and in spite of the one-hour duration. Perhaps it would have been even more exciting if there had been more dancing. For example, the three witches could have had more dance sequences, but they did not appear as much as one would expect. Regardless, this Macbeth was a thrilling, intense and bold performance with fabulous lead dance-actors, and one which deserves to be known outside Japan.
National Ballet of Japan has been performing Ashton’s Cinderella for more than a decade, so the company premiere of The Dream was something that the audience had been looking forward to. Miyako Yoshida, who had danced the role of Titania during her time at The Royal Ballet invited Christopher Carr, guest principal coach for The Royal Ballet, to stage it and the result was a fascinating performance. Saho Shibayama who performed Titania, was lovely, with her crisp steps crisp and her musicality, and all executed with clarity and grace. Takafumi Watanabe as Oberon had the dignity of the Fairy King and a refined technique; Yoshito Kinoshita as Bottom was skilled in his humorous acting. His dancing on pointe, when transformed into the donkey, was one of the highlights of the evening, along with the scherzo scene in which the young Yuki Yamada displayed his fast, clear turns and leaps with much charm, as Puck.
The spellbinding sets and costumes on loan from The Royal Ballet, the comedy, the romance and fantasy, all contributed to this magical ballet being a real delight, particularly after seeing a heavy and intense tragedy. The company gave a successful first try, with the audience clearly happy and laughing a lot during the performance. Tokyo Philharmonic Orchestra under the baton of Martin Yates, played the Mendelssohn score with liveliness and featured a charming chorus by The Little Singers of Tokyo.
