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JohnS

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  1. Many thanks Sim. Do you know when these photos were taken - I’m sure they can’t have been at the public performance but as you say they really capture Anna-Rose’s memorable Juliet?
  2. And a good review: https://www.theguardian.com/stage/2019/apr/17/night-of-100-solos-review-merce-cunningham-barbican-london?CMP=Share_iOSApp_Other Francesca Hayward ‘makes movement glow’.
  3. Lots of coverage on Today, both in the news bulletins and interviews, although the focus was on a ‘mindfulness’ concert possibly to be performed in pitch black. I’m not sure David’s link works so you might want to try: https://www.bbc.co.uk/proms
  4. What a joy to see the BBC Proms website with its easy to use listing by composer or musician/performer (although I’d have preferred to find the Vienna Philharmonic under V rather than W as it’s referred to throughout by its English name), and a very simple calendar. The ROH needs to take a look and provide a better way for people to navigate its website - or simply revert to its earlier format for ‘what’s on’ and calendar.
  5. Very saddened by yesterday’s dreadful fire and destruction of that fabulous ribbed roof and spire but also humbled by the response first of firefighters in saving so much of the building and its treasures, then the outpouring of grief from Paris, France and so many places, and now the determination to make good the conflagration, rebuild and renew the Cathedral, matched by many generous offers of support. I trust the injured firefighter is recovering and that President Macron’s 5 year restoration plan is a great success.
  6. I check the links each day but may not spend much time following them. It is irritating when the links are restricted and I tend to take the view that it’s simply too much effort to sign up etc to see the full article. I’m very grateful for the immense effort put in to provide such a comprehensive service.
  7. I feel a little apologetic for questioning the assumption that dancers should expect to reprise their roles every time there’s a revival which might have rather fanned the flames: and the many differing opinions voiced highlight the difficult judgements that Kevin O”Hare has to make. I certainly hope we’ll see Laura Morera as Tatiana, Anastasia and Mary Vetsera (I thought she was the most compelling 17 year old Mary), and in many other roles. But I guess I’d still favour a further marginal shift towards extending opportunities to the younger, up and coming, wonderfully talented dancers - the single public performances for such fabulous debuts as we’ve seen this run and 2015 I think make a telling case for scheduling second performances.
  8. I do worry a little about the suggestion that because dancers have a particular role in the repertoire, whenever there is a revival, they should reprise their role. On that basis when Swan Lake is revived, how are others given an opportunity to make their debuts? I guess one of the real challenges for Kevin O’Hare is ensuring all dancers renew their repertoire and develop new roles which I think inevitably means that dancers will need to retire some roles. My sympathies are with Kevin O”Hare on this but I do think there’s a lot to be said for giving young dancers more opportunities in Romeo and Juliet. We’ve had two extraordinary double debuts (Saturday’s matinee and 3 October 2015) and a second public performance would have been wonderful. Yes, Kevin O’Hare does encourage and nurture his dancers and, being greedy, I’d welcome a little more - I still think a trick was missed with the Mayerling Mary Vetsera casting.
  9. In reply to capybara’s comment above Haven’t we been here before with that other memorable R&J public debut matinee for Yasmine Naghdi/Matthew Ball (3 October 2015) and again just one public performance?
  10. Thanks Ian Nutcracker’s relevance? I’d have thought heralding Christmas was relevant for many people, even Ebenezer Scrooge eventually. Or will pernicious kill joys warn of the irrelevance of suggesting dreams can come true?
  11. Thanks Dave - I did ask whether the filming was for Japanese TV (as with Frankenstein) but Front of House staff were quite sure it was a camera rehearsal for the live relay as it was “ROH equipment and Japanese TV brings its own equipment.” I have to say it makes more sense if it was for Japanese TV given the different casts and surely ROH’s experience in filming R&J? But that was not the ‘official’ story. I know some seats immediately adjacent to cameras are not sold (available for staff)/heavily discounted but I doubt if many seats are discounted and would have been a bit miffed if I’d been sitting in H4 which is several rows from the camera. I’d asked the usher at the matinee when it was unclear if there was to be any filming and she said that if there’s a problem, they look to move people - it would have been very difficult to do with a full house.
  12. I certainly enjoyed last night’s performance and Akane Takada’s Juliet particularly but I wasn’t as engaged as with the matinee. I think that’s because Anna-Rose O’Sullivan and Marcelino Sambe were simply so believable as a couple and you cared desperately as to every twist, hoping that the inevitable would just for once be vanquished. Another fantastic cast last night with James Hay outstanding as Mercutio and three great harlots - Itziar Mendizabal, Claire Calvert and Mayara Magri. As regards the filming, the website ‘filming’ more accurately refers to the presence of cameras but filming requires camera operatives as happened in the evening. I was told it was a camera rehearsal for the live relay so the matinee performance was not filmed - it’s simply the time required to set up the cameras that meant they were in place fir the matinee. I imagine this will also be the case for 27 April when again matinee and evening performances have a ‘filming’ note. I have to say I was very fortunate to be in H4 for the matinee and H29 for the evening - I think my view would have been pretty restricted had I been in H4 when filming was actually taking place. I’ve always wondered why a camera is placed at A6/7 rather than A1/2. If I know filming is scheduled, I will avoid my favourite H3/4 seats but some filming dates are added after booking opens.
  13. A fabulous afternoon. I was mesmerised by Anna-Rose O’Sullivan’s journey from young girl to lover and how towards the end of the Act 1 pdd she took control. Immaculate dancing as expected but so much more and a wonderful portrayal of the absolute horror she found oppressing her. Marci Sambe was tremendous - a complete performance and I think one of the best Romeos I’ve ever seen. I very much agree with the plaudits for Luca Acri’s Mercutio and I thought Teo Dubreuil an equally fine Benvolio. How good to see Kristen McNally as the lead harlot (she is such a fine dancer), with Mica Bradbury and Romany Pajdak. Elizabeth McGorian ‘s Lady Capulet was gripping at the end of Act 2, such a contrast from Alastair Marriott’s weak Escalus - would the Capulets and Montagues give him the time of day, let alone give up they’re swords? I’d had a quick pasta before going to the Stage Door to hear that Marci and Anna-Rose had already been out but whilst chatting to a couple I was delighted to see Anna-Rose emerge from the Stage Door and was able to have a quick word. It certainly added to my sense of occasion. We’ll see how this evening compares.
  14. Hugely excited at the prospect of today’s double Romeo and Juliet - I’ve been looking forward to the public debuts of Anna-Rose O’Sullivan and Marcelino Sambe ever since the casting was announced (and for some time before then) and I’m delighted that Akane Takada and Ryoichi Hirano are dancing this evening. How wonderful to escape the everyday pressures, Arts Council pronouncements and ROH management irksomeness etc, and be transported by the fabulous Royal Ballet’s pursuit of excellence. All good wishes to today’s performers, many of whom I’m sure will be dancing/playing in both performances.
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