Flight Pattern: Difference between revisions

Revision as of 02:35, 30 December 2024

Revision as of 02:36, 30 December 2024

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''Flight Pattern'' received mostly positive reviews. Pite's choreography of the 36 dancers was described by Graham Watts in ''[[Bachtrack]]'' as "beautiful"<ref name="Watts 2017">{{Cite news |last=Watts |first=Graham |title=The Royal Ballet: The Human Seasons/ After the Rain / Flight Pattern |work=Bachtrack |url=https://bachtrack.com/review-royal-ballet-human-seasons-after-the-rain-flight-pattern-royal-opera-house-london-march-2017 |access-date=2023-04-11 |archive-date=11 April 2023 |archive-url=https://web.archive.org/web/20230411181830/https://bachtrack.com/review-royal-ballet-human-seasons-after-the-rain-flight-pattern-royal-opera-house-london-march-2017 |url-status=live }}</ref> and Martha Schabas in ''[[The Globe and Mail]]'' as a "visually breathtaking work of art".<ref name="Schabas 2017" /> Reviewers differed on the emotional impact of the piece: some thought it was impactful<ref name=Crompton /><ref name="Winship 2019" /> and that the choreography avoided abstract and metaphorical movement to a positive effect<ref name="Schabas 2017">{{Cite news |last=Schabas |first=Martha |date=March 18, 2017 |title=Cleared for Takeoff |page=R9 |work=The Globe and Mail |url=https://www.proquest.com/docview/2459666367 |access-date=2023-04-11 |issn=0319-0714 |archive-date=11 April 2023 |archive-url=https://web.archive.org/web/20230411181847/https://www.proquest.com/docview/2459666367 |url-status=live }}</ref> while others felt the choreography was simplistic and sanitised,<ref name=Anderson /> melodramatic,<ref name="Mackrell" /> or lacked the depth of her previous work.<ref name="OBrien" /> Sambé's performance was "exuded fluency and naturalness" according to Watts<ref name=Watts /> whilst other reviewers praised the decision to cast McNally as a soloist, especially because she was an experienced performer.<ref name=Jennings>{{cite news|url=https://www.theguardian.com/stage/2017/mar/19/crystal-pite-flight-pattern-royal-ballet-review-triple-bill-dawson-wheeldon|title=Royal Ballet triple bill review – five stars for Crystal Pite|newspaper=The Guardian|last=Jennings|first=Luke|date=19 March 2017|access-date=2023-04-10|archive-date=27 April 2020|archive-url=https://web.archive.org/web/20200427120101/https://www.theguardian.com/stage/2017/mar/19/crystal-pite-flight-pattern-royal-ballet-review-triple-bill-dawson-wheeldon|url-status=live}}</ref><ref name="Watts 2017" />

Reviewers highlighted the 18-year gap since the Royal Ballet commissioned work from a female choreographer.<ref name=Jennings /><ref name="Mackrell" /><ref name="Winship Review 2017" /> They also pointed out that ''Flight Pattern''{{'}}s contemporary ballet style is different from the classical ballet that the company often performs in its [[repertoire]] and from the other dances performed in the same program.<ref name=Jennings /><ref name="Schabas 2017" /> [[Luke Jennings]], when writing for ''[[The Guardian]]'', stated that ''Flight Pattern'' had an inquiry and feeling that was missing from the other, classical pieces.<ref name=Jennings /> Kat Lister stated in ''The Independent'' that the performance at Royal Opera House, a ___location considered a classical venue, made the piece more impactful to the audience.<ref name="Lister" /> The subject matter of the choreography, highlighting the European migrant crisis, was also questioned by some reviewers. They felt that the topic negatively distracted them from the artistic achievements of the ballet.<ref name="Sulcas" />

==Awards and nominations==