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Usual problem. Someone cobbles together a not too bad piece from secondary sources and a sub-editor scans it briefly to extract an (inaccurate) headline.

 

But the headline is quite justifiable in the context of the article, which gives every possible piece of information about the work except for the crucial fact that it's danced by the Royal Ballet with Royal Ballet dancers. So the headline writer was (to give them the benefit of the doubt) as misled as the readers.

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What strange byways we end up with sometimes on this forum... Has there ever been a naked cyclist in a ballet?? Let's hope there's never an avant-garde production of Enigma Variations.

 

Anyway I'm not seeing this bill until next week but am looking forward to it very much.

I am also very much looking forward to this triple bill. It sounds as though it offers exactly what one would hope for, three works that although different, compliment each other in their diversity. Each to their own but I have sat through too many dreary, poorly lit, angst ridden and frankly tedious afternoons in the theatre. I want to leave the building feeling a mixture of things but never bored and depressed. 

As for the naked bike ride, as I understand it, the point is something environmental but I can't think of many things less attractive on a hot and dusty London day, than a load of sweaty,naked people on bicycles. I also wonder why it is ok for them to go naked, when the so called naked rambler gets locked up. I am not saying either is right or wrong, apart from a purely aesthetic viewpoint, I just wonder why mass nudity in a city centre is acceptable but one person hiking in the countryside is not. Most people who see him must know who he is by now but if they don't, I suppose it would be an unpleasant and unsettling experience.

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I am looking forward to the naked bike ride (highlighting the problems of oil dependency and car pollution as well as the joys of cycling) on my way to ROH but the problem is where to pin my ballet forum badge...

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I am looking forward to the naked bike ride (highlighting the problems of oil dependency and car pollution as well as the joys of cycling) on my way to ROH but the problem is where to pin my ballet forum badge...

You could just cover yourself in blue emulsion and write Balletco wherever you consider to be an appropriate place on your person. ;) This would also make you easier to spot at the ROH. I gather the badges are rather small. Just make sure the paint is environmentally friendly, non drip and most importantly, dry before you get on the bicycle. 

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I just happened on this event when in London last year I think .....and it was VERY near the Covent Garden area so difficult to cross some roads because of barriers etc.

however you just couldn't help but join in the fun of the event it was very jolly!! Some people were in bikinis but others naked but ingeniously decorated it certainly brought a smile to people's faces and yes some were on the Boris bikes!!

 

I'm thinking of coming in via Kings Cross as I'm sure the Victoria entry will be a nightmare and either walking or bussing from there ......but I think Kings Cross is also one of the starting places!......so guess just have to leave plenty of time.

 

The things we put ourselves through to see ballet sometimes!!

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Well I might if it's raining but the bus is free for me. I can get out at Holborn and walk from there.

Leicester Square area back towards Covent Garden was very bikey I seem to remember and haven't used Covent Garden tube for years as am not keen on tube lifts and the crowds that can build up there at times.

 

Enough of my travel arrangements I think!!!

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I am also very much looking forward to this triple bill. It sounds as though it offers exactly what one would hope for, three works that although different, compliment each other in their diversity. Each to their own but I have sat through too many dreary, poorly lit, angst ridden and frankly tedious afternoons in the theatre. I want to leave the building feeling a mixture of things but never bored and depressed. 

As for the naked bike ride, as I understand it, the point is something environmental but I can't think of many things less attractive on a hot and dusty London day, than a load of sweaty,naked people on bicycles. I also wonder why it is ok for them to go naked, when the so called naked rambler gets locked up. I am not saying either is right or wrong, apart from a purely aesthetic viewpoint, I just wonder why mass nudity in a city centre is acceptable but one person hiking in the countryside is not. Most people who see him must know who he is by now but if they don't, I suppose it would be an unpleasant and unsettling experience.

My only comment is YUK, YUK, YUK.

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I've just noticed that the first performances of The Invitation were introduced by a much longer summary than the piece by Arnold Haskell which replaced it by the second season: it gave a little more background:

 

"In a grand house live a wealthy widow and her three daughters. The two elder daughters of marriageable age are strictly guarded from the world by their mother. The youngest daughter has invited her boy cousin and some young friends to stay with her, along with their parents. In the party there is an unhappily married couple who were friends of the widow's husband.

 

The youngest daughter and her cousin are drawn towards each other, but she is also attracted to the married man after dancing with him. After the children have gone to bed, entertainers arrive to perform for the guests. Tthe girl creeps down and secretly watches. At the end of the performance the married couple quarrel and the man rushes off in anger followed by the girl. The cousin appears in search of the girl but instead finds the wife alone. Timidly, he succumbs to her. At the same time the girl discovers the man walking by the lake, but his affectionate approach to her changes to violence and she is left weeping.

 

The house party ends and the married couple contine their indifferent relationship. the boy tries to resume his courtship of the girl but she rejects him."

 

Incidentally if you find the step from Obsidian Tear to The Invitation a bit of a stretch, pity the audience on the first night, when The Invitation was sandwiched between Pineapple Poll and John Cranko's Sweeney Todd!

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Amazed to find that I am the first to post something about the official debut of the second cast for The Invitation.......

 

I thought that Yasmine Naghdi and Thomas Whitehead were absolutely outstanding. Her broken walk as she left the Husband said it all.

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It was interesting seeing both casts in The Invitation. Because the ballet is so cinematic, I'd say the first cast produced a Visconti movie - it seemed decadent and heavy; the second cast was more like Joseph Losey - intense and intimate. Both casts were stunning. Was more moved by Obsidian Tear (still first cast) on second viewing - it's good. And the second cast Wheeldon were good too. Good = excellent!

Edited by Vanartus
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I was looking forward to seeing Obsidian, and though I am already a McGregor fan I thought it was oustanding, after coming up with something new for Woolf Works he has done it again with a completely different style, surely more classical and elegant than usual, the men move with almost feminine grace at times, think Calvin Richardson will be getting more roles soon, his long opening duet with Matthew Ball was mesmerising, also liked the duet for Edward Watson and Eric Underwood, but the whole cast danced as one. There is no narrative but a definite drama to the piece, can't wait to see it again!

 

After the interval The Invitation looked strangely old-fashioned, although I suppose it is quite old, I was also surprised at how danceable and light the music is, not what I expected, (I had forgotten the music completely), and the pretty scenery seemed strange too, this ballet is packed with pure dancing though (relief after some recent works), there are no wasted moments, even the odd pas de trois entertainment adds to the mood, I had to force myself to watch through opera glasses but I'm glad I did as the performances were so strong from all 4 leads!

 

Had to miss the last one, but didn't mind as I had already seen 90 minutes of brilliantly diverse ballets!

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I have seen the Muntagirov/Hayward/Avis/Yanowsky and Donnelly/Naghdi/Whitehead/Cowley cast and as other posters have said both casts were equally outstanding  and they each bring a different "flavour" to "The Invitation". 

 

"The Invitation" is a magnificent MacMillan heritage work, sandwiched between a new contemporary work (Obsidian Tear) and a neo-classical Wheeldon ballet "Within the Golden Hour". This Triple Bill shows all the unique strengths of The Royal Ballet: its choreographers, its amazing dancers and its Heritage Works. We see established dancers such as Watson, Yanowsky, Avis, Muntagirov as well as the amazing young talent coming up through the ranks. Mr O'Hare is building a very fine company indeed and it seems is a great nurturer of his superlative young dancers. 

 

Yasmine Naghdi and Francesca Hayward were both outstanding as "The Girl", following in the footsteps of Lynn Seymour, Sarah Wildor and Leanne Benjamin. I had never seen this ballet before and absolutely loved it!

Hayward next to the tall Avis and Muntagirov really looked like a little girl. She was lovely throughout. Yasmine Naghdi brought a more balletic feel to the role, she has the facility/ability to use her line as well as her feet to "speak" and has shown herself this Season to be a wonderful MacMillan role interpreter. Her acting in "Romeo & Juliet" and now again as "The Girl" makes me long to see more of her in the great MacMillan ballets such as Manon and Mayerling.  Yanowsky is Yanowsky what more can I say: superb! but Olivia Cowley was equally wonderful as "The Wife". 

 

"Within the Golden Hour" is a golden Wheeldon ballet and the best I have seen. Loved it.

 

This is a great Triple Bill to end the season, it has it all. Bravo Mr. O'Hare and bravo to all the dancers!

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Have just learned there's ANOTHER event on the 11th which may affect Covent Garden!!

 

The seven Dials foodie day!! I think there's a sort of picnic thing going on .....cannot imagine how they will do it but means more roads will be closed off that day.

 

People for the 1.30 matinee just leave plenty of time to get to the ROH!!!

Am really looking forward to this now as the reviews are just all so positive just nope I won't arrive all not and bothered....though not sure about the hot ....like February or March in London today!

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Poor old Ed and Ryoichi. :( just looking at the pics of OT and they seem to have been dressed from the 'beachwear' collection.

 

By the way, I hope the users of the Boris bikes gave them a quick wipeover with a wet wipe afterwards!

Edited by cavycapers
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Just heard that my friend is ill and cannot join me tonight.  I have N46 available Upper Amphi Left at £14.  Will be able to hand over tonight if anyone would like to buy.

 

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I had been hoping/expecting to enjoy Obsidian Tear after the comments and reviews I’d read; to my disappointment, I didn’t. In fact I really, really didn’t like it. The dancers were terrific, needless to say (except that it must be said). But although the choreography was softer than much of McGregor’s past work, in every other respect it seemed to me to be the same (with Woolf Works an honourable exception). Dense, laboured, repetitive, and always straining for some sort of obscure meaningfulness that ends up expressing nothing. Not helped by the costumes; whoever designed Edward Watson’s hideous outfit (i.e. Hood By Air, apparently) should be defrocked. It made him look like an undersized schoolgirl. And how is it possible that a one-act abstract work for 9 dancers mainly wearing quite basic harem-type pants or t-shirts needs 8 fashion designers to clothe it? How can Luca Acri’s simple black body band require a fashion designer’s input all of its own? How much did all that ‘creative’ input cost? It really made me fume at the pretentiousness and waste of it all. The best bit of the piece for me was when the stage was lit in a warm orange light that spread into the front part of the auditorium. Never has the ROH looked more beautiful.

 

I had been afraid that I might find The Invitation old-fashioned, or dated. Here again my expectations were confounded. I had only the vaguest memories of it from a few viewings many years ago. I found it absolutely riveting and as original and interesting as if it had been created yesterday. Searing, heartbreaking performances from Hayward, Avis and Yanowsky, with Muntagirov a very touching foil to them, and wonderful dancing from others in the cast (including Ursula Hageli looking – and at times behaving - disconcertingly like Ninette de Valois!). So much real creativity here, so much to think about, so much to feel. A real sense of both the joy and the danger of sexuality (since time immemorial), of the tragic confusion of innocence and naiveté, of the sudden and irrevocable shattering of a young life, of the pain and cynicism of love lost. A brilliant, strange, disturbing and profoundly moving work.

 

I found that I enjoyed Within the Golden Hour much more on this bill than I did on the all-Wheeldon bill in March. Here (in spite of the men’s shorts which I found very unflattering) it seemed a soothing, lyrical and sometimes beautiful antidote to what had gone before. Cleansing the palate, perhaps, after the unappetising starter and the explosively rich main course. And again wonderfully danced – I especially liked Sarah Lamb’s quiet lyricism but the whole cast was superb.

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I quite liked Obsidian Tear but I'm not sure that I would want to see it again and again. The first duet did outstay its welcome but it showcased the fantastic technique of Richardson and Ball. I loved the music and thought that the orchestra sounded fantastic last night. Kudos to the solo violinist; his part must be exhausting. The costumes were fine with the exception of Watson's ill fitting tunic, which did him no favours at all.

 

I liked (if that's the word) the central story of The Invitation and the performances by Avis, Yanowsky and Hayward were absolutely gripping. I felt that Muntagirov didn't come across quite as well. With his height and regal bearing he possibly looked a little too mature for the role or perhaps his role wasn't quite as well written. I inwardly groaned when pig-tailed and puff-sleeved dancers arrived on the stage. Are they supposed to be children or teenagers? I never find these types of roles very convincing, perhaps because I see a lot of teenagers and am looking at things through 21st century eyes (there's the same problem with a teenage Clara who is still playing with dolls but is also thinking of romance). What is the purpose of the entertainers in the middle of the ballet? The costumes for the men were really unflattering. Anyway, I was glad to see The Invitation and it occurred to me that you could make a new ballet on the same subject today, perhaps incorporating a girl in care or a teenage girl abused by a figure in authority, and it would work equally well.

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On finally reading to the very end of the free leaflet programme for this, I was surprised to read a general credit stating, "Students of The Royal Ballet School appear by kind permission of the Artistic Director Christopher Powney."

Where were they, how did I manage to miss them?  (Too busy watching the main protagonists!) I would hardly expect under-18s to appear in "The Invitation" and I think everyone else was an individually credited company member.

Edited by Grand Tier Left
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On finally reading to the very end of the free leaflet programme for this, I was surprised to read a general credit stating, "Students of The Royal Ballet School appear by kind permission of the Artistic Director Christopher Powney."

 

 

One was certainly carrying on a table last night.

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I went to the matinee today planning to return my ticket for 11 June for resale, and left the ROH taking the ticket back home with me as I found the triple bill this afternoon a lot more enjoyable than on the opening night. The benefits of a second viewing.

Last week, I simply liked the movements and the overall atmosphere in Obsidian Tear. Various reviews in newspapers then wrote about the dancer in red being the outsider, and I wondered what they had seen that I hadn’t. Today the situation of the outsider and his treatment by the group was so much clearer to me (a better view from my seat today compared to last week did certainly help). My eyes were constantly drawn to Lukas Bjørneboe Brændsrød, and I am glad to see him cast in Carbon Life next season, too.

David Donnelly playing the cousin in The Invitation was the first time that I’ve seen him in a major acting role, and I enjoyed his portrait of the cousin very much. He and Yasmine Naghdi don’t have such a difference in height as the girl and the cousin in the first cast, and so they looked a lot more like having the same age to me, which made the innocent teenage interaction with hugs and kisses between them a lot more credible for me. Fabulous acting today just as on the first cast on the opening night, and very impressed by Yasmine Naghdi and Olivia Cowley in particular. While the subject matter of The Invitation is sadly so relevant also nowadays, I am still struggling with the concept of remorse (or “misunderstanding” as the programme notes describe it) as the husband makes his intentions so clear right from the start. I also still think the children's dances could be shortened, and I am not clear about the purpose of the entertainers.

In the Golden Hours a treat to close off the afternoon. Smiling dancers on stage, which makes me think that they enjoy the piece just as the audience does. And suddenly today the 3rd PDD looked like a love story to me.

Both Benjamin Ella and David Donnelly were in all three pieces this afternoon, kudos to them for their energy and their stamina.

 

------ edited for typo

Edited by Duck
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I found all the female leads in Within the Golden Hour an absolute delight today but the second cast leading men somehow didn't do it for me. Loved all the backing group, however.

 

People have mentioned above that Benjamin Ella and David Donnelly were ever present this afternoon but Anna-Rose O'Sullivan, Leticia Stock, Mayara Magri and Camille Bracher seem to be 'on' all the time; they must be exhausted.

 

BTW, Sian Murphy was presented with bouquets on stage at the end of The Invitation and seemed to be receiving farewell applause from her colleagues. The stage will seem strange without her. Thank you Sian.

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