Royal Ballet 2017/18 season

[Guest]

Regardless of why they did it, it still shows a somewhat popular Macmillan ballet wouldn't be popular enough to sell well two seasons in a row.

 

The amphitheatre was very sparsely attended on at least one of the nights I attended, I remember being able to move five years further to the front at the interval as there was a huge block of empty seats in the central area.

Wow! A whole five years!! Maybe you can tell us the content of next season then?

[ninamargaret]

Please let's keep men as men and women as women in ballet! I may get shot down for saying it but I'm heartily tired of women playing men's roles in the theatre. The idea of a female Rudolph horrifies me. Seriously though, the names put forward for future productions of Mayerling all sound interesting - Calvin Richardson particularly so. I'm thinking about four or five years ahead here.

[Mary]

Oh I don't know. I would prefer to see things mixed up a bit - a lot - more.

 

But maybe not Rudolf.

 

I love the originality of your ideas though Bruce.

[Sim]

Please let's keep men as men and women as women in ballet! I may get shot down for saying it but I'm heartily tired of women playing men's roles in the theatre. The idea of a female Rudolph horrifies me. Seriously though, the names put forward for future productions of Mayerling all sound interesting - Calvin Richardson particularly so. I'm thinking about four or five years ahead here.

I couldn't agree more, Ninamargaret.  I am not a prude or closed-minded, but I'm afraid I just don't see, for example,  how King Lear is enhanced by a woman playing the king.  OK, it's different, but a woman isn't a king!  Maybe in the case of Shakespeare they are just reversing the situation from his time when men played women, to see how it works.  I know that many wonderful actresses can do this (e.g. Glenda Jackson and Fiona Shaw) but it just bugs me somehow.

 

Having said this, I went to The Globe a few years ago to see a woman (whose name I can't remember) playing Richard III.  I didn't want to go for the reasons stated above, but I was humouring some American friends and it was ruddy brilliant!!   

[capybara]

My future line-up for Rudolf includes: Ball, Richardson and both Muntagirov and Clarke taken out of their perceived 'comfort zone'. The latter two not only have excellent partnering skills but both have shown strong dramatic ability which can get overlooked on here.

 

For the next run, however, Muntagirov and Ball should surely get their go ahead of a return RB appearance from Sergei (much as I love Sergei's dancing)..

[Bruce Wall]

 

 

Having said this, I went to The Globe a few years ago to see a woman (whose name I can't remember) playing Richard III.  I didn't want to go for the reasons stated above, but I was humouring some American friends and it was ruddy brilliant!!   

 

Credit where credit is rightly due, Sim.  KATHRYN HUNTER.  She has also played King Lear!!!

Edited March 9, 2017 by Bruce Wall

[Colman]

This is entirely off topic, but as a new comer to ballet the strict gender role stuff is one of the weirdest things. From the days when "Men were MEN and women were WOMEN". The Russians go so over the top it often seems to turn into parody.

[Vanartus]

This might of interest:

http://www.oxfordtoday.ox.ac.uk/opinion/victorvictoria-frankenstein-0

[Saodan]

Melissa Hamilton has posted a video on instagram of her and Eric Underwood working, at the Royal Opera House, on a new piece by Craig Davidson. Potentially several interesting implications for next season…

[John Mallinson]

Can't remember if anyone has already given the date for the RB 2017/18 season's announcement but it's at 10am tomorrow (April 5).

[Sim]

And our very own BBB will be at the press conference, so we will get the information as soon as we can after it is announced.

[alison]

Looking forward to it.  Would like it even more if the items on my wishlist got included, but I've got used to that not happening by now.

[MayKwok]

Season announcement link here: http://www.roh.org.uk/news/royal-opera-house-2017-2018-season-announced

 

Specifically ballet and dance here: http://www.roh.org.uk/news/ballet-and-dance-at-the-royal-opera-house-201718

[Jane S]

Deleted - info already in post above

Edited April 5, 2017 by Jane S

[MayKwok]

Highlights for those who don't have time to go through the links:

 

Alice's Adventures in Wonderland (Wheeldon)

Jeux (Eagling, in the Clore)

Concerto (BRB) / Le Baiser de la fée (SB) / Elite Syncopations (BRB, ENB, NB, RB, SB) (MacMillan)

The Judas Tree (RB) / Song of the Earth (ENB) (MacMillan)

Sea of Troubles (MacMillan, in the Clore, performed by Yorke Dance Project)

Gloria (NB) / The Judas Tree (RB) / Elite Syncopations (BRB, NB, RB, SB) (MacMillan)

The Illustrated 'Farewell' (New, Tharp) / The Wind (New, Pita) / Untouchable (Shechter)

Sylvia (Ashton)

The Nutcracker (Wright after Ivanov) 

Giselle (Petipa after Coralli and Perrot)

The Winter's Tale (Wheeldon)

New Mcgregor / The Age of Anxiety (Scarlett) / New Wheeldon

Manon (MacMillan)

Obsidian Tear / Marguerite and Armand / Elite Syncopations

Swan Lake (Scarlett)

 

Edited April 5, 2017 by select*from
Added join company performance info

[Lindsay]

Well personally I find that very disappointing.  Other than the Concerto and Obsidian Tear triples and possibly Giselle if there is interesting casting, there is literally nothing that I would book for.   Sylvia is the weakest Ashton and just too silly, I cannot abide either of the Wheeldon full lengths (both in one season? Really???), not a Manon fan (cannot bear McMillan's 'whore scene' ballets) and after Frankenstein I'm going to give the Scarlett Swan Lake a miss.  What a shame.  I hope Tamara has some interesting plans.

 

Edited to add that, after the Sleeping Beauty and Jewels have given the company such a good technical workout recently, it's a shame that there is not much in the next season to stretch them in the same way....

Edited April 5, 2017 by Lindsay

[MayKwok]

Some stats, obtained from program listings already on the site:

Alice: 13 performances, of which 4 are matinee, of which 3 are on weekends

Concerto triple bill: 2 evening performances

Judas Tree double bill: 2 evening performances

Gloria tripe bill: 2 evening performances

Tharp / Pita / Shechter triple: 5 evening performances

Sylvia: 9 performances, of which 2 are matinee, both on weekends

Nutcracker: 24 performances, of which 12 are matinee, of which 3 are on weekends, 1 of which is a Paul Hamlyn Christmas Treat for invited audiences only

Giselle: 15 performances, of which 2 are matinees, both on weekends

Winter's Tale: 10 performances, of which 1 is a matinee on a weekend

McGregor / Scarlett / Wheeldon triple: 8 evening performances

Manon: 15 performances, of which 3 are matinees, 1 on a weekend

Obsidian Tear triple: 8 evening performances

Swan Lake: 24 performances, of which 4 are matinee, 1 on a weekend

 

At time of posting the exact dates and times of the Clore performances are not yet available

Edited April 5, 2017 by select*from

[Jacqueline]

9 minutes ago, Lindsay said:

Well personally I find that very disappointing.  Other than the Concerto and Obsidian Tear triples and possibly Giselle if there is interesting casting, there is literally nothing that I would book for.   Sylvia is the weakest Ashton and just too silly, I cannot abide either of the Wheeldon full lengths (both in one season? Really???), not a Manon fan (cannot bear McMillan's 'whore scene' ballets) and after Frankenstein I'm going to give the Scarlett Swan Lake a miss.  What a shame.  I hope Tamara has some interesting plans.

I agree absolutely and have nothing to add to what you have said above, other than I had all but given up on Cinderella and so was ready for it not to be on the list. To my eyes, there are also one or two odd combos. Gloria, The Judas Tree and Elite Syncopations? Mmmmmm....

Edited April 5, 2017 by Jacqueline

[bridiem]

I find quite a lot to be excited about! I can imagine some interesting Sylvia casting. Thrilled to see Gloria, Concerto, Le Baiser de la Fee, Song of the Earth; pleased to see Elite S. Would prefer an Ashton one-acter to one or other of the new or revived works, though I'll be interested to see all the new works. Collaboration with the other companies - brilliant idea. Can't write more now - I'm at work!!

Edited April 5, 2017 by bridiem

[Bruce Wall]

At first glance I am a bit disappointed.  Don't know what I was expecting.  A bit like an un-wrapping at Xmas where the smile becomes somewhat forced.  That said I perked up at Sylvia.  No question of that.  So many interesting cast combinations now to see in this.  So looking forward to seeing Hayward and Muntagirov in Manon again too.  Such brilliant depictions.  Grateful for Tale but will have to go light on Alice I fear.  For me it is an entertainment rather than a ballet.  Oh, and Concerto; one of MacMillian's (like Ratmansky's) finest works.  The Tharp certainly could be fun - and wonderful to have a chance to see her work back on these shores; time waiting, of course, for no (wo)man.  Happy to see Jeux again ... and intrigued by Sea of Troubles.  Would so wish for an Ashton revival of, say, Month or Daphnis rather than M&A - a far weaker work ... but then I suppose it could be the Box Office return of Ferri and the Osipova/Polunin combo.  Then of course there is the prospect of a Naghdi/Ball Giselle and maybe a Hayward/Sambe one?  Well, one can dream, can't one?   (Had thought that Bayadere might have made a reappearance - given its BRB disappearance - but these things are probably all planned well in advance off the latter's news.) 

 

Grateful certainly for the collaboration in celebration of MacMillan.  (This explains the very short McMillan performance sequences on tour previously detailed by NB.)   Wonder if any of these will actually show a mix of dancers from the different companies under one setting.  That would be grand (but obviously expensive).  Elite could be such fun - and perfect I think for that kind of perspective.  That said after the last time I saw Judas Tree I promised myself that 'was it'.  I've tried but I'm sorry - and I know there are those here who love it - but I really do find it repugnant - and I am truly sorry to have to say that. Thus I was distressed to see it will appear twice and once in the middle of the bill.  Difficult that - for me at least.  

 

Certainly I'm very grateful for another peek at Obsidian Tear ... but surprised that Untouchables will return ... (won't the Farage echo now seem a tad passe?) ... and somewhat surprised at The Age of Anxiety's.  I wonder - after the NYC reviews - if Scarlett will make changes.  Somehow I doubt it.  

 

And then comes Swan Lake ... fingers et al crossed.   BUT 24 OF THEM!!!!!  I thought they would want to work it in more slowly ... giving an initial glimpse so that the next sojourn might be fully burnished.  Not the case obviously.  Let's pray this is not - in a manner of speaking - over-egging the birth.  So much pressure on young Scarlett.  All best wishes to him. 

 

Have to say I'm sad at the prospect of not a single work by Balanchine.  Ah,well .... I will delight in Jewels and Tarantella all that more avidly knowing this to be the case.  

 

And still not a single Peck ... and yet the world - even the balletic world - marches on.  All the more reason to savour the prospect of the PNB season in Paris next summer.  (That has a McGregor and Wheeldon in its mix too aside a celebration of Robbins - specific works yet to be announced..) 

Edited April 5, 2017 by Bruce Wall

[MayKwok]

3 minutes ago, Bruce Wall said:

Wonder if any of these will actually show a mix of dancers from the different companies under one setting.

 

Looks like:

Concerto by BRB

Le Baiser de la fée by SB

Judas Tree by RB

Song of the Earth by ENB

Gloria by NB

 

Then Elite Syncopations will be a mix of dancers from BRB, ENB, NB, RB and SB.

[David]

All very complicated! The interest for me will be in the detail, particularly in the castings. Several of the McMillan Celebration items are already scheduled in the individual companies' own programmes.

Edited April 5, 2017 by David
spelling!

[Lindsay]

I agree with you about Judas Tree Bruce.  It's dated and I cannot stomach it.  And yes, very surprised that Age of Anxiety is returning.  And the repeating within triples continues to be irritating - of the two programmes, I want to see, Elite Syncopations is in both. I don't think I can recall a more 'safe' and conservative season being programmed by any major company director.  

 

And I'm afraid that the cross-company 'national celebration' strikes me as a gimmick with no artistic justification - a collaboration between ballet and more contemporary companies is of some artistic interest.  Just mixing up dancers from ballet companies has none, other than a kind of 'soap opera' casting fascination for the fans. 

[aileen]

How are the collaborations with other companies going to work? Specifically thinking of ENB, the company is taking Song of the Earth on tour in the autum and is performing it in London in January 2018 which is not the date period mentioned in the RB's press release. Does that mean that some of the RB dancers are going on tour with ENB?

[SPD444]

My initial reaction is one of slight disappointment. I was hoping they might give Nutcracker a year off. Full runs for Alice and Winters Tale does nothing for me and, whilst I adore Giselle and have absolutely loved both of the ENB versions, I think it will be the casting that will draw me in. Could we see a Frankie and/or Yasmine debut? The thrill for me will be the anticipation of could we see the wonderful Alina back on the RB stage, That is something I will definitely be getting a ticket for.

[Lindsay]

On a more positive note I am highly amused by the season trailer video on the ROH page - Stephen, Sarah and Vadim look as though they are in the credits of Beverly Hills 90210 circa 1991  

[Bruce Wall]

28 minutes ago, Lindsay said:

 I don't think I can recall a more 'safe' and conservative season being programmed by any major company director.  

 

 

Wonder if this might be due to the fiscal (and time) investment in the new SL?  

 

Vis a vis the Ashton ... I also wouldn't have minded a revival of Two Pigeons given that it provides a hotbed of meaningful opportunities for the RB's current stunning crop of youthful talents.  Also it might have helped really bed the production back in the minds of the ROH audiences that this work is now safely returned to the RB rep.  

Edited April 5, 2017 by Bruce Wall

[Fonty]

Oh dear, I think my money will remain safely in my pocket for most of this. I like the idea of the various ballet companies coming together, as in theory I can see dancers I would not normally get a chance to see.  Just a shame that they are collaborating on programmes that hold no real interest for me.  

 

I must be missing something here.  I didn't realise that Elite Syncopations is such a great ballet that it needs to appear in 3 separate triple bills.  Personally, I've always found it rather irritating, with its relentless jauntiness.   

 

  

[Lindsay]

I wonder whether Elite has been chosen as the 'cross-casting' ballet because its divertissement form minimises the need for joint rehearsals across companies? Exactly the kind of thing I meant when I said that this 'national celebration' seems to be driven by practical/gimmicky rather than artistic considerations, as I agree with you Fonty that it seems too slight a piece to merit repetition in multiple programmes.  

Edited April 5, 2017 by Lindsay
typo

[Lizbie1]

I make it 2 and 1/3 Wheeldons to 1 and 1/3 Ashtons (and in my view M&A hardly counts) - I'm not sure who would view that as being the correct way around

[bridiem]

39 minutes ago, Lindsay said:

I don't think I can recall a more 'safe' and conservative season being programmed by any major company director.  

 

And I'm afraid that the cross-company 'national celebration' strikes me as a gimmick with no artistic justification - a collaboration between ballet and more contemporary companies is of some artistic interest.  Just mixing up dancers from ballet companies has none, other than a kind of 'soap opera' casting fascination for the fans. 

 

Well there are 4 new works, all but one from 'contemporary' choreographers (which in my view is actually rather odd, but hardly 'conservative'), a big new production of a classic and a lot of interesting revivals (whether or not I like all of them). And I'm not sure why ballet dancers from different companies collaborating is any less interesting than ballet and contemporary dancers collaborating.

Edited April 5, 2017 by bridiem

[Lindsay]

I wouldn't class either Scarlett or Wheeldon as contemporary choreographers - they are both very firmly in the safe, neo-classical camp and their predominance in this season is a big part of the reason why I find it conservative.  The only Scarlett works I have enjoyed are Asphodel Meadows and Viscera - Sweet Violets, Age of Anxiety and Frankenstein are all confused, meandering, sometimes unintentionally unpleasant and reveal a very unimaginative, old-fashioned approach to 'narrative'.  The Tharp and McGregor may be more interesting I grant you.

 

To your other point, the companies are not really artistically 'collaborating' as I understand it - they are just going to perform works they would programme in any case on a different stage.  We could see any of the dancers involved dancing McMillan if we were prepared to travel, and many of them perform in London in any case.  Whereas putting contemporary dancers in a work with ballet dancers might move them both out of their comfort zones and foster artistic experimentation.  

[Lizbie1]

I can see why they've done it, but the collaborative programmes are annoying me: I was quite ready to travel to see BRB and NB for their triples but now it turns out that it would only be for the sake of Penguin Cafe and Las Hermanas respectively, which, as it happens, are the bits I'm most interested in!  I'd ditch the ROH programmes if it weren't for the Clore shows and Judas Tree (I'm hearing all your reservations but I've never seen it!).  I'd be content with the Judas Tree/Song of the Earth double bill except that I want to see ENB's Sylphide and have no interest in le Jeune Homme.  Add into the mix Scottish Ballet's Baiser de la Fee, which is programmed with Concerto and Elite (appearing pretty much everywhere else), and which I wouldn't travel to Scotland for but am intrigued by, and I'm plain frustrated by the way they've arranged it all!

 

Aargh!

Edited April 5, 2017 by Lizbie1