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JohnS

Royal Ballet Insight and In Rehearsal discussion

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Events- happy memories.

The two questions I used to get most often at educational conferences  were -

Where are the loos?

and

Do you know if the trains are running normally?

🙂

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I've not been to any RB Insight events but I've been to pre/post event talks from other companies. While audience members asking really obvious questions can be a bit annoying, I find it much worse when people use the guise of asking a question to assert their own opinions in as longwinded & dogmatic a fashion as they can get away with. I don't feel that a Q&A session is an appropriate occasion for that sort of thing.

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Does anyone know if the insight tonight was filmed/streamed? Just had mention of it from a friend who attended, but I don’t think I’ve seen anything from ROH/RB news page or social media, so assume it was not broadcast. 

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What was it?  I didn't know there was one on - although that's not unusual for me :)

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It was Anna Rose O’Sullivan and Marcelino Sambé rehearsing Romeo and Juliet with Leanne Benjamin. It wasn’t filmed. 

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Was it for higher-ranking Friends, or something, then?

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No, I got tickets the day general booking opened. 

It was just a straight rehearsal with a little interview with the dancers part way through and a Q&A at the end. Leanne Cope compèred. 

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I really enjoyed this evening's Romeo & Juliet Insight livestream, especially the sword fighting rehearsal. I find Christopher Saunders the most engaging of the coaches I've seen on the Insights. I liked what we saw of Reece Clarke's Romeo, which is good given I'm booked to see him with both his Juliets, & Nehmiah Kish's Tybalt, who I'm guessing I'm also likely to see given he's rehearsing with Clarke.

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Particularly good Insight this evening. I always enjoy watching Christopher Saunders rehearse-don't think he's the easiest taskmaster but he certainly gets results. And Ed Watson proves,to be an excellent coach. His comments were relevant and helpful. Will watch this again.

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Unfortunately, Firefox decided to mess me around so I lost the first 15 minutes of this, but it was obviously well worth watching, so I'll catch up with the bit I missed later.  Good to see that Kish is at least doing Tybalt now he's not doing Romeo any more.  Both coaching sessions were quite fascinating.

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A good Insight - lovely to see Beatriz Stix-Brunell and Reece Clarke  happily taking on all sorts of  detailed corrections from the wonderful Edward Watson (a new Company role for him?)  and Leanne Benjamin. She really seemed to know her stuff, having been instructed herself, I gather, by MacMillan. 

And clearly (despite a sore throat) Christopher Saunders was having a lot of fun getting Reece Clarke and Nehemiah Kish exhausted through rehearsing their  sword fight!

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I too really enjoyed the Romeo insight and like others really enjoy Christopher Saunder's rehearsals. I could listen to him all day (even when he's got a bad throat!) He seems to me the epitome of a good coach in that he explains everything clearly and with some humour and proves that you don't have to shout or be aggressive to dancers to get great results (as according to tradition might have been the case many years ago). He and Christopher Carr are my 2 favourite coaches but it's interesting to see others doing it and especially someone like Leanne Benjamin who's so much experience of performing the role. It was great to hear her tell Beatrix to be less 'classical' and to tell the story by her feelings as well as the steps. Ralph Fiennes as Pushkin in White Crow said something similar about acting the steps not just executing them and I wondered if that was something he actually said or something David Hare wrote for the film. It's just that I've felt for a while now that Russian dancers seem to place more emphasis on technique rather than acting and that might be one of the reasons I increasingly would rather see British Companies rather than the Russian ones as all British companies place a very high emphasis on acting as well as technique. Obviously technique is still important but it is there as a basis to better let dancers portray their characters rather than being the most important element.

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I've just caught up on the Juliet/Paris section - Benjamin and Watson proving as good a team on the coaching front as they did on stage.  A really good insight evening - I wish I could have been there.  And it no doubt helps that Watson has performed Paris as well as Romeo (and Benvolio, and heaven knows what else).

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