JNC

To make it clear I’m not trying to diminish how physically demanding dancing is, particularly the big solos and pas de deux. I also certainly think people should applaud during the performance as imagine this is very positive for the dancers and pushes them on, as well as creating a nice atmosphere for the audience. I certainly wouldn’t begrudge a bit of a pause in the wings while the applause continues. Bowing on stage during the plot doesn’t spoil the performance at all. It’s more in the slightly irritating preferences category. I appreciate others in the audience probably like showing their appreciation in this way directly right after a particular solo.

@San Perregrino I think any professional dancer knows the difference between a gala, where an excerpt is danced and yes you still convey emotion and character but it’s only a segment, so once you’ve performed of course you take your applause and bow straight after. This is different to a full story ballet being performed where dancers (in my opinion) should be in character when on stage until the very last curtain drop. I appreciate that dancers perhaps feel they are responding to the prolonged applause and “thanking” the audience for this, but I’d rather the conductor swiftly moved the music along and the dancers saved the bows for the curtain call (unless as already mentioned it could be part of the plot where they’re dancing to an audience in the ballet itself, in this case I think they’re still in character). It’s obviously not easy to keep dancing with maximum effort but they shouldn’t “need” to have an on stage bow for stamina reasons, other dancers can manage. The choreography/music is designed so after a big solo or pas de deux they have some rest time in the wings while the other dancers do their bit. This isn’t be being critical to Nunez/Muntagirov specifically, I don’t like it when any dancer does this type of thing. Galas and plotless ballets are different! Imagine if Hamlet broke character for a bow and some smiles to the audience after a big soliloquy? Ultimately anything that is definitely a break in character before the final curtain call I tend to find removes me from the plot slightly and therefore removes some of the “magic” of the story they’re trying to tell. It’s not going to stop me seeing performances by great dancers or writing into ROH to complain but it’s my preference.

I can’t answer your question but I very much agree with this. On opening night there was almost a mini “curtain call” (no curtain) for Marianela and Vadim after the act 2 pas de deux. Deserved but it totally broke the spell of the plot for me and yes felt “untraditional” to ROH - in as I see this more from Russian companies but it didn’t really happen much at ROH previously? I suppose they are only responding to fans but I do wish they wouldn’t do it at certain points. It maybe doesn’t make sense but I have less of an issue with it in Act 3, as there it’s almost a performance within the plot for the court, so a little bow to the applause doesn’t detract from the plot here for me as it’s like they are showing off and bowing to the audience *in the plot* (I.e. courtiers watching them). Similarly I don’t mind the bows in the sleeping beauty pas de deux finale or even after Aurora’s act 1 solo as they both in plot audiences at those points. But I would be annoyed at Manon and Des Grieux taking a bow after their bedroom pas de deux!

@Lindsay I agree that we had a few “golden years” just before the pandemic when we had first soloists with the calibre of Kaneko, Magri, O’Sullivan etc. This chimed with when I started to regularly attend ROH so I perhaps took it a little for granted at the time. Now I look back thinking I was spoiled with such casts (and the pricing back then!). I think the RB is still an incredibly strong company across the ranks but I admit no one has really caught my eye at (first) soloist level the way Kaneko, O’Sullivan, Magri did on the female side to be honest. This is probably because I attend fewer performances now, and I also appreciate the pandemic years probably had some sort of impact. And I definitely think the talent is there - I think Gaspirani may be the one I would say comes closest - she really impressed me in Danses Concertantes recently. And Annette Buvoli and Ashley Dean are also a few that have caught my eye. On the male side of course Sissens and Hay (since Bracewell and Clarke have now been promoted). But (in my non technical opinion) I don’t think they’re quite principal level yet, although I’m sure many of them might be in a year or few years. (Hay is maybe the exception and should perhaps have been promoted a few years ago.) What we essentially had before the pandemic/promotions was multiple principal level dancers on the male/female side dancing as first soloists in non-principal roles for a relatively sustained period of a few years, and this is unlikely to be the case again anytime soon. I look back on those years now to think how lucky I was to see some of those fantastic casts. Kaneko and Magri as big swans for example, O’Sullivan and Sambe in the Neapolitan dance…what a dream!

I think the first time I watched this production I was surprised how little dancing the princesses did. Given they’re credited individually on the cast sheets I expected a bit more. I think more actually dancing is given to those in the “national dances” segment. Not a problem but I just found it at odds with the way the cast sheet displayed the princess casting more prominently. I can’t recall how this compares with other productions as I’ve not seen too many others live (and certainly not recently). Now I’m used to it I do enjoy Act 3 (in fact I think it’s my favourite act in this production) and the presentation of the princesses and the fact they don’t do too much dancing does make sense in the context of the plot. And the national dances give excellent opportunity for soloists/artists to shine. But I do feel the casting of the princesses is a bit wasted!

I was trying to see things from all potential perspectives/interpretations. I don’t think it was a weight comment either but I just wanted to clarify if it was (which is very much not likely) that obviously wouldn’t be acceptable.

I think the mods on this forum do an excellent job of deciphering what is opinion (critical or not) vs things that overstep in unacceptable ways (dancers’ appearances for example as well as perhaps sharing of personal/confidential information). I personally don’t see an issue with the original post. I don’t think it’s unfairly personal - of course when we talk about individual dancers on here it is personal to an extent they are individual humans! But also they are performers, professionals and we comment on them here in that capacity. Pseudonyms are accepted on this forum. We comment as not professional dance critics but audience members (a spectrum from those who may be well versed in technique like dancers, teachers, parents etc to those with no training or discernible eye). We also single out dancers for positive criticisms, so I really don’t see the issue with the same for negative criticism (as long as it falls within the rules as above, eg nothing on personal appearances or anything overtly cruel etc…) To say the swans are a disaster might not be nice and could be on the borderline of too far/harsh but it is a valid opinion and I don’t think it’s overstepped the line both in terms of forum rules but also valid opinion? The heaviness of the cygnets is a bit more tricky as that risks potentially being a comment on weight (which definitely breaches forum rules and is a very personal comment that has nothing to do with technique/dancing), so that’s something that perhaps should be avoided without clarification. Even this though at this stage is probably not quite overstepping the mark as it could also mean the cygnets were not as “bouncy” as one might prefer (for example) so giving benefit of the doubt it’s not about weight, I think it’s fine to stand. As much I enjoy reading glowing reviews I also find the more critical reviews insightful. I don’t agree with them all (the same way I don’t agree with the positive ones sometimes!) but I find the different viewpoints the benefit of this forum. Professional critics tend to only review one cast of each performance so coming on here and reading various reviews of different casts, and different people finding different points to comment on (both good and bad) and contributing to the discussion is why I come here. It’s unclear from your post what you think the resolution is? If you think that the comment should be deleted? (Because it’s broken forum rules?) then report the post. If you disagree with a post, you can reply accordingly, which you have done - fair enough. But what I take issue with is expressing concern about whether or not someone’s post is valid because we don’t know whether they are “qualified” to make such comments and because they haven’t provided the detail for this feels a bit unfair to me and risks people only posting positive and glowing reviews on here. By way of similar example, I could say “I didn’t enjoy Naghdi’s performance” and I don’t need to give a justification for this if I simply wanted to post that. (I didn’t see this performance, it’s just an example!) I really hesitated whether or not to post this but in the spirit of the lively discourse of the forum decided to do so. If the mods/others feel that the comments were overly harsh / unfairly personal and therefore breaking forum rules I’ll go and refresh myself on the forum rules and also would be interested to know why this did fall into that category, as I don’t think it had crossed that line so open to being challenged on that but would need a bit of rationale.

In response to Ian’s article - allowing a short picture or video is a real slippery slope. It means audience members who call out these behaviours (because ushers don’t notice or are too far away) will receive rude(r) and more emboldened pushback as now they’re “allowed” to do it. A photo becomes a video, a short clip becomes recording a whole scene etc. Lunacy from Birmingham I’m afraid, if this were my local venue I’d be writing to tell them I’d no longer be attending performances there until they get rid of that allowance. Why would I spend money to see a unique live performance only risk being distracted by the audience! I always remain baffled at people who don’t understand why live performances are so exciting. You are physically there, in the moment, watching it with your own eyes not through a screen. Why you want to shove a phone in front of your face to record it, just go home and watch the DVD? If you want social media “bragging” rights taking a photo of the curtain call, or pre curtain up, or in the floral hall etc should suffice. Maybe they should make attending a theatre compulsory for all schoolchildren (I know I know unrealistic with current funding etc) with a pre production talk from the company about why it’s so important to be in the moment and how cameras ruin it for everyone. I wonder if they do pre talks for the school matinee performances that could cover this! A pipe dream to build a generation of theatre/dance etc loving children!

Sorry for misinterpreting I think for some reason I (incorrectly) assumed glasses breaking and swearing meant a fight but from follow up reports it’s clear the individual had some issues they were dealing with. In any case I think ROH staff can’t prepare for absolutely every eventuality, so whilst I agree it’s always good to think about “lessons learned” and if anything could have been managed better, in the moment when things are unclear and it’s all very stressful it sounds like it was managed as well as it could have been to a certain extent. Or at least there was minimal (to no) disruption to the performance happening on stage, though of course it would have been disruptive to those around. Anyway, re the bill itself - I hope Requiem is revived in the future (5-10 years?) although I would like to see other works not seen in a while first like Gloria, Song of the Earth, Rite of Spring etc. I’m also intrigued by one mentioned in the programme where notations are lost but some sort of video exists so being that back to the stage through some dance detective work could be an interesting project for a choreographer (or maybe even Laura Morera?) Reading the programme notes seems she is doing an excellent job in her new role and I’m pleased ROH retained her.

At this stage just rumour (unless someone has some insider confirmations which presumably they couldn’t share on here anyway).

What on earth goes through someone’s head when they behave like this! A slow handclap for what purpose? If you really don’t like something generally you just fit through and bear it (or have a nap), it seemed he at least had the right idea when he left the first time if he really couldn’t contain himself for whatever reason but can’t imagine what possessed him to then storm back in!! Unless there are some mitigating mental health type factors to be aware of, I really don’t understand this behaviour. @RHowarth hope your evening wasn’t totally spoiled!

I think so yes but also think it’s unlikely to get this and Alice (2 full Wheeldons) in one season. I would expect it therefore maybe a following season, unless it really didn’t sell well/wasn’t well received when they might scrap it altogether or wait a bit more. Did Dante sell well at its revival? If not as well as expected perhaps it indicated it was too soon to revive so they may delay LWFC further. I’ve noticed a bit of a formula with RB seasons now - Christmas ballet (Nutcracker usually but also we’ve had Coppelia or now Cinderella - essentially something with tutus and a child friend plot) - One of the Tchaikovsky two of Swan Lake/Sleeping Beauty - one of the MacMillan three of Manon/Mayerling/Romeo and Juliet - an adult/dramatic (non comic) ballet, e.g. Giselle, Bayadere, Woolf Works, Onegin, A Winter’s Tale, Like Water for Chocolate - a contemporary triple (eg new work, Pite, Wheeldon, MacGregor, Marston etc) - another triple that’s a bit more neoclassical/heritage (eg Balanchine, Ashton, Robbins, Firebird, Raymonda, one act MacMillans etc) - a comic/child friendly ballet separate to a Christmas - eg Alice, Cinderella, Don Quixote, La Fille Ashton, MacMillan, Wheeldon, McGregor are usually always represented at least once during the year (ie a minimum of a one act somewhere). There’s also usually at least one new commission (usually McGregor but also recent works by Tanowitz, Zuchetti, Pite, Abraham, Marston etc do show some variety!), not necessarily it’s own separate category but definite as either a full length (McGregor) or a shorter piece as part of a mixed bill. Usually it’s covered/overlaps with the above already but there’s also a category of “full length McGregor” which pops up most years I’d say! Of course this is all pure guesswork on my part but that’s why I think if we have Onegin as an adult/dramatic ballet I’m not expecting to see Sylvia or Bayadere or Giselle. And why if we have Alice I wouldn’t expect to see La Fille as well (also because Ashton is already represented by Cinderella so that will either be it for him or he’ll get maybe a one act in a mixed bill and not another three act).

Oh dear sorry to hear there was a fight (!!) but glad the police arrived and sorted it reasonably quickly (?). I feel awful for those nearby in the amphi who certainly would have been at the least distracted, otherwise pretty scared and with a ruined evening. Glass smashing is scary and emphasises why glasses shouldn’t be allowed in the auditorium. That combined with the swearing, if the dancers did hear it they were totally professional and carried on, I couldn’t notice any difference in their performance. Sounds like the individual needs a lifetime ban from ROH (maybe all theatres!) and some sort of police record / fine. I couldn’t hear the fight at all from where I was down in the Stalls Circle but imagine it would have been pretty distracting and a bad atmosphere up in the amphi. I hope no one was injured. And I hope the fainter recovered quickly as well. With regard to the final lift in Requiem my respect grows further for Matthew Ball (and Sarah Lamb who has to fully trust him not to drop her!). I noticed Ball appeared to be exerting a little more effort than usual (only a tiny tiny amount that I imagine many wouldn’t have noticed) and wondered if perhaps it was meant to be Hirano and Ball lifting together and he was left to do it solo. This would still be impressive but I’m just in awe that this was done last minute under these conditions and very grateful to the dancers for remaining absolutely professional throughout these various events on/off stage to try and give the audience the best performance possible. Despite the sad/unpleasant events it was a good evening for me and I’m glad I went, mainly because Requiem was beautiful. Such a shame this set of performances had to end this way though.

Good news!

Well onto the review … DC I liked this piece but didn’t love it. It felt like MacMillan trying to do Ashton (maybe because it was) and whilst there were some really nice choreographic moments it didn’t reach the heights of Scenes de Ballet or Symphony in C or if we’re talking MacMillan Concerto for me. It was early on in his choreographic career and you can see hints of his style developing but it’s not quite there yet. There were some really lovely parts - Gaspirani in particular was lovely in this and just absolutely wonderful. The costumes were quite quirky and to be honest I’m not sure they worked for me. I thought they were ok but a revamp which isn’t a total redesign but changes elements of the patterns and the hats would be something I’d be interested to see. Alas it seems they are to be preserved in aspic due to the (deserved) reverence that Georgiadis has. Overall this is something I would happily see again as part of a triple but not something I’d go out of my way to see again. DD It’s personal preference (as always) but I just didn’t like this piece. Sambe and Hayward were brilliant in it (making me regret to have missed their Manon) and we do see MacMillan’s strengths on show with some great pas de deux, lifts and “tortured” movements. But it felt a bit too bleak for me and like too much detail to cover in one act making it a bit over complicated and overwhelming in parts. I didn’t like the sets and costumes (please explain the bathtub and the electricity line?) and despite googling the plot (as it wasn’t in the programme or on the cast sheet!) I still didn’t understand who particular characters were or what their motivations were. I’ll add that I’m not against grim/depressing ballets (eg I like Manon, or the sad Woolf Works) but I feel like trying to tackle something on this level in one act felt a bit rushed. I had similar thoughts about Anastasia Act 3, and also Creature. I wouldn’t be interested in seeing this again to be honest, though if it was the middle of a triple where I wanted to see the other two works I’d sit through it. (If it was at the end or beginning I’d be tempted to skip…) Requiem The highlight of the evening, MacMillan’s genius in full force. Just a really thoughtful piece with some sublime choreography that is quite different in tone to other works making it feel very fresh but also timeless at the same time. The music completed it perfectly (perhaps I wasn’t so strongly keen on the other two musical pieces which may have affected my overall thoughts). Sarah Lamb was so ethereal and magical in this role. The whole thing went so quickly for me as I was so engaged and just mesmerised by it all. Excellent partnering from Hirano, some really smooth lifts and turns (so sad he’s injured and I’m lucky to have seen the perfect duet with him prior to that). Ball also a tour de force with his solo - I feel it would have been easy for him to make it very masculine and almost aggressive but it was strong yet also soft. All dancers in this fantastic in the ensemble pieces, Luca Acri was also a welcome addition. I’ll state the obvious but I’d love to see this again! Overall the bill was a bit disjointed for me. I’m glad to have seen three works I’ve not seen before and 2/3 worked for me (one more than the other!). If I’m being honest I’m not sure they flowed very well together. I wonder if something like Concerto (which I’ve seen before and loved) or Song or the Earth/Rite of Spring (not seen before so perhaps way off base here) would have worked better in the middle. Or maybe it’s too similar to Requiem (I’ve not seen it so again could be way off) but perhaps Gloria in the middle? DD just felt a bit too off in tone for me in the middle to be honest. It was positive to see in the programme Kevin O’Hare talked about how he’d like to bring more MacMillan’s one acts back to the stage so I hope to see more of his works that haven’t been seen for a while revived!