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Saw the show last Saturday matinee. Thought it was s'wonderful !! Loved the music, staging, singing, choreography. Came out on a real high. All cast superb but need to mention I saw Ashley Day as Jerry. He will be doing some shows each week before taking over from Robbie Fairchild. I haven't seen Mr Fairchild in this so comparing not possible. However, going in as a total neutral, I thought Ashley Day was a superb musical theatre all rounder, as in good at everything!!!

I've booked to see Fairchild in June. On Sat I was in row P. Not perfect...Tall person in front!!

Great show though. Ballet elements just glorious, Wheeldon has done wonders!

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I went with high hopes and was underwhelmed - indeed bored.

 

Maybe I'm just not someone who 'gets' musicals but I found the storyline weak, the acting unconvincing, the dancing in the chorus numbers cliched, and the constant moving of 'scenery' distracting.

 

The upside was that  seeing this show has made me value even more (if that were possible) the high quality programmes, performances and artistry of 'our' ballet companies.

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  • 2 weeks later...

I'm hoping to go and see this on Friday night but I have a couple of questions I'm hoping someone might be able to help with. Do they do day tickets or last minute seats? Also is the stalls raked well or is there a best place to sit for someone short? 

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8 minutes ago, munchkin16 said:

I'm hoping to go and see this on Friday night but I have a couple of questions I'm hoping someone might be able to help with. Do they do day tickets or last minute seats? Also is the stalls raked well or is there a best place to sit for someone short? 

 

Day tickets (£20) are available through the todaytix app.

I'm 5'4 and sat in the front row stalls, near the centre, and was fine.  Avoid the next few rows after that.

See theatremonkey for more detailed info on other areas of the auditorium.

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1 hour ago, munchkin16 said:

Thanks, it looks like the cheaper tickets are at the back of the stalls or the back of the circle, not sure which to go for?

 

I was told by someone who sat at the back of the stalls that the acoustic was very poor because of the overhang.  Apparently the sound there is somewhat muffled.  If you want to hear the music at its best, you'd be better off at the back of the circle.  As for the view, the last time I was in the Dominion, I walked up to the back of the circle to see what the view was like from there. It seemed reasonably good and felt closer to the stage than the seats at the back of the amphitheatre at the ROH.

Edited by Bluebird
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When I went to see it I was on the back row of the circle in the centre. The view was fine, although distant, and I could see everything but I took my binoculars with me as I do when I'm in the amphi at the ROH, which helped to see facial expressions. The sound was fine from there. Having said that I wanted to see it again from closer to so I have now booked front row stalls at a slightly higher price. It all depends how much you want to pay for your ticket.

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20 minutes ago, alison said:

There does appear to be a third tier at the Dominion, although it's not in use for this production, but I don't know how much its overhang affects the acoustic in the rear circle.

Are you sure, Alison? I don't remember seeing a third tier and all on line descriptions of the seating in the theatre mention two levels only.

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Wikipedia says:

 

The auditorium currently has a seating capacity of 2,069 in two tiers of galleries, down from the 1940 capacity of 2,858 following the closure many decades ago of the upper circle. The theatre retains its 1920s light fittings and art deco plasterwork.

 

This is a bit confusing as one wouldn't normally describe the Stalls as a gallery. The closed Upper Circle or Gallery is shown in this photo and doesn't seem to project too much above the Circle.

 

Dominion 4142

 

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  • 4 weeks later...
  • 1 month later...

I went tonight, having followed the rave reviews now since it opened. 

 

For me, Robbie Fairchild was a revelation. What a dancer!  Stunning, stunning and a total class act. So lucky as this was his last performance.  I couldn't take my eyes off him.

 

For anyone who likes musicals or dancing, I think this is a must see. Very classy production, great singing, great sets and great dancing with a lot of ballet content. 

 

Leanne Cope was lovely, more ballerina than all round musical comedy dancer, but that's the part she plays. She has an impressive singing voice too. 

 

Jane Asher also in the cast. Just looked her up and she is 71. I hope I look that good and move so well, when I reach that age (very unlikely).

 

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Just want to add that I, too, went to this performance as (i) it is most likely the last time that Robert Fairchild (a longtime NYCB favourite of mine - as is his stunning wife) will ever play this role (such as he originated in THIS production) and (ii) most likely the last time that local London/UK audiences will be able to see him during the remainder of his stunning NYCB career without travelling.  

 

I just want to say that - perhaps more than anything - I was HUGELY impressed by the very articulate and moving speech that Leanne Cope (formerly eleven years with the Royal Ballet) gave in his honour and Fairchild's - much shorter but no less compassionate - return.  He credited Cope with having made him believe that he 'could do it'.  

 

Both are class acts.  

 

I so look forward to thrill of seeing the Fairchild/NYCB family members when NYCB (their spiritual home) returns to Paris in 2019 with a rep celebrating such modern masters as (Justin) Peck (a Paris favourite) and Ratmansky.  Hopefully we - and there is a dedicated throng from here - will see you there, Jenny.  

 

Edited by Bruce Wall
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5 hours ago, Bruce Wall said:

 most likely the last time that local London/UK audiences will be able to see him during the remainder of his stunning NYCB career without travelling. 

 

 

I'm curious - Is there a reason why the NYCB does not tour to the UK - they seem able to slip over to Paris with ease! The RB tours around the world but apart from the Russian companies we don't seem to see many other major companies here. And yet there are quite a few companies I'm sure would be welcome. 

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This was a long time ago but I do remember reading that tours to England were not very well received in the past and that British critics took offense at Union Jack and Midsummer's Night Dream. Not sure if this is still the case.

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1 hour ago, David said:

 

I'm curious - Is there a reason why the NYCB does not tour to the UK - they seem able to slip over to Paris with ease! The RB tours around the world but apart from the Russian companies we don't seem to see many other major companies here. And yet there are quite a few companies I'm sure would be welcome. 

 

David, the last time NYCB was here in 2008 - jointly presented by the Coliseum and Sadlers Wells - NYCB's first return to London for a quarter century - the audiences really were very thin.  I think this was largely due to the prices charged.  They were very high.  TOO high.  Peter Martins publicly noted at the time that he was surprised at this given that the repertory danced had largely been dictated by the presenters and the prices had been set by the presenters given that they were best knowing of their local audiences.  In Paris Martins has the freedom to choose the rep and - as Janet suggests - there are far more large venues for ballet audiences to fill and - largely from the education wrought by such over time - there is a considerable inter-generational audience for BALLET which WILL flock to and fill these programmes (e.g., such as those NYCB offers in Paris without the UK repertory restraint).  The huge cheers that greeted Peck's EVERYWHERE WE GO at the Chatelet still ring in my ear.  I again asked Martins last summer about London and he reiterated that he didn't feel the Company would return here under his watch.  There is not the incentive for them to do so.  Much to their credit, Spalding/Sadlers Wells has made London a truly vital mark on the international contemporary front.  In a good sense - in celebrating that - it gives us a chance to more especially cherish our own home BALLET companies - who have such great talent in their ranks just now.  That's the positive I bear in my own mind ... and I also look forward to the travel - which I think is absolutely vital if one is to be able to wrap these fine British Companies in the rightful perspective they deserve.   Between the two you have the best of both worlds .... Of course, it doesn't come cheap ... but then I suppose - in the vast majority - it never did.    

 

(Paris is especially lucky because they not only get to see this concerted cross-section of BALLET companies - PNB is there for three weeks next year with a Robbins rep and other contemporary ballet pieces including Peck's first major ballet 'The Year of the Rabbit' - but also get to vitally keep abreast on the British score a  la the Royal Ballet via the cinema broadcasts.  KO'H is right to see that as an especially important asset.)  

  

 

 

Edited by Bruce Wall
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We had a large number of overseas ballet companies visiting the UK a few years ago but have had very few recently apart from the Bolshoi and the Mariinsky. San Francisco Ballet sold very well at Sadler's Wells but the others, certainly those at the Coliseum, had a harder time. I suspect that many companies lost money touring to the UK and that word has got around. 

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Thank you Bruce - as always very informative - but also rather sad. Issues regarding ticket prices, repertoire and venues could surely be resolved in the light of experience if the will was there? Your comparison with the RB is telling. Apart from the cinema relays the RB, via Opus Arte, produce more DVDs than the rest of the ballet world put together, they tour widely and their repertoire choreographers and and dancers are widely available. The Company has a sense of mission. In contrast the NYCB seem little concerned to spread the word re their choreographers and work. Their recent disk - their Balanchine programme in Paris - was v welcome (it includes Robert Fairchild's sister dancing Sonatine by the way), but apart from Jewels hardly any of the work of the american choreographers is available on disk unless you include crossover musicals!

 

Just seen your post while I was typing Aileen. It's a shame if you're right that companies have given up on us. I particularly  enjoyed the visit by the Ballet Nacional de Cuba back in 2010 at the Coliseum though I guess that must have been heavily subsided. 

 

 

 

 

  - 

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9 hours ago, Bruce Wall said:

I so look forward to thrill of seeing the Fairchild/NYCB family members when NYCB (their spiritual home) returns to Paris in 2019 with a rep celebrating such modern masters as (Justin) Peck (a Paris favourite) and Ratmansky. 

 

 

How do you know that NYCB will be in Paris in 2019?

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I first saw An American Paris in London in the previews in March. With an elderly friend who insisted we sat quite far back in the stalls. Oh heavens, £70 for a seat far back in row P and with somebody's head in front of me. Grrrr. Happy to report, I went back last week to see Robbie Fairchild in the starring role just before he hoofs it back to his home in USA.! It was sensational. Loved it.  Yay, sat in front row and paid just under £30 for the ticket. Yes, you get some of the dancer's feet cut off but it's just fab sitting there imho. Oh it's just a fantastic show. Leanne Cope: so beautiful and just fantastically perfect in that role of Lise.  Front row is ace.

 

I just couldn't stop singing for about 4 days after the show; was doing Stairway To Paradise.  Haydn Oakley is utterly fab at this. 

 

 

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5 hours ago, aileen said:

certainly those at the Coliseum, had a harder time. I suspect that many companies lost money touring to the UK and that word has got around.

 

It's funny.  I was at the HK Foundation gala tonight (Brandon Lawrence and Delia Mathews were a definite highlight in the Nut PDD) ... but I ran into a (now ex) senior FOH team member from the Coliseum.  She told me that all the wonderful senior Coli FOH team - short of Adam - has gone because the management wanted 'to make them casual'.  People like Dominic and Tony had been there FOR YEARS.  It won't be the same - It can't.  I don't think ballet can now - in any way - be a priority AT ALL.  It may not even be a casual thought.  As I wrote earlier the musical 'Bat Out of Hell' extended its summer run before it even went into previews.  I don't expect there will be a major ballet company at the Coliseum for the foreseeable future ... At best you will find the one off concert parties (Russian Icons, etc.)   This is sad - especially for those - especially now - who find themselves unable to travel because it only encourages the idea of a divide based entirely upon wealth.  

 

4 hours ago, toursenlair said:

How do you know that NYCB will be in Paris in 2019?

 

Will send you a PM, Katherine. 

 

5 hours ago, David said:

In contrast the NYCB seem little concerned to spread the word re their choreographers and work.

 

David, I don't think that is entirely accurate.  The works referenced are recorded - on a reference basis only - and can oft be found in the Robbins' Collection which is open for free to all comers - although some more recent works it is true are restricted to those with permission.  I'm sure they would love to have occasional worldwide cinema broadcasts but - as Ellen Barr notes - they have proven to be far too costly to be cost effective - for a company which itself has nowhere near the extent of public subsidy as the Royal Ballet - even with the cuts in their last ACE portfolio review.  That said NYCB do do excellent videos with small segments of works being presented on their own internet channel.  I think it is instructive that this most recent NYCB DVD was of a live performance in Paris.  Fingers crossed that there might be other same there in the future.  

 

This all being said ... hopefully we can get back to the subject at the hand of this thread ... An American in Paris. :)

 

 

Edited by Bruce Wall
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2 hours ago, Bruce Wall said:

 

 

 

This all being said ... hopefully we can get back to the subject at the hand of this thread ... An American in Paris. :)

 

 

 

It's worth noting that there are a number of really excellent clips on YouTube including the trailer of the Broadway show, an AinP medley live at the Royal Variety Performance 2016 and, my favourite, An AinP live on the Late Show, all with RF & LC. Treasured memories of an unique experience!

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Apparently now that Ashley Day has taken over as Gerry Mulligan his understudy is Max Westwell, ex ENB. From something I read on another forum his first performance is tomorrow afternoon and then will be Monday nights in some weeks time.

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12 hours ago, Picturesinthefirelight said:

We have booked Kidsweek tickets in August which includes a workshop for dd with a company member.  Looking forward to it.  Didn't get a choice of seats as they were ones allocated to Kidsweek but we are Stalls Row P.

Hope you both enjoy it. Treated dd to tickets as a treat a few weeks ago, she loved it. 

Miss Kidsweek now dd too old. 

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I caught this show several times, just for the pleasure of seeing Robert Fairchild on the London stage but I haven't seen it since Ashley Day took over the Jerry Mulligan role. I haven't seen any subsequent reviews and I'm wondering now if anyone has seen him in the role?

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I saw Ashley Day at a matinee a few weeks ago - I really enjoyed his performance, both dancing and personality wise, but didn't manage to see Robert Fairchild, so unable to compare.  On a general note, I loved the costumes, sets and of course the dancing although I must admit, despite having read several reviews and comments about the show, and the fact that it was Christopher Wheeldon at the helm, I was surprised just how balletic it was.  Great for me as a ballet lover, but I did get a slight sense from some of the audience, that it wasn't quite what the expected!

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