The Royal Ballet: La Bayadère, London, November 2018

[Blossom]

8 hours ago, Scheherezade said:

Can anyone confirm what the changes were?

 

Fumi Kaneko replaced by Mayara  Magri as D’ajampee.

 

Itziar Mendizabel and Beatriz Stix-Brunell replaced by Fumi Kaneko and Julia Roscoe in the pas d’action.

 

Beatriz Stix-Brunell replaces by Elizabeth Harrod in the Shades.

 

i spent a lot of time trying to work out who the changes were having not seen the replacement sheet when I picked up a cast sheet from a busy programmes desk. I noticed on our way out - having realised there were changes while watching. 

 

It looks like they might have moved things around so much to replace Stix Brunell specifically so hope she is ok!

 

1 hour ago, Geoff said:

 

And not only ordinary fans. By chance my seat was next to a member of the current ENB company. He estimated at least twenty of the company had come to see their former colleague! 

 

More than suggests that he is very much respected and liked by his peers. Would love to know where the much deserved cheers were coming from! 

 

Have followed Corrales since his spectacular Emerging Dancer win and delighted to see such a successful first night. 

[cackles]

I had no problem last night - walked in, picked up cast list plus changes slip from the front desk (Bow Street entrance). Reading the above I must have been lucky! My heart always sinks though when I see them on the desk.

 

I am surprised that no one has commented on the candles flying around in the last act and how carefully both Nela and Natasha avoided tripping on them.

[Anna C]

39 minutes ago, Sim said:

But if they are pretty much hidden, how do we know to ask for one?  Or do we now have to ask programme sellers at every performance “so....any changes this evening/afternoon ?”

 

That’s precisely what I’ve started doing. 🙁

[Esmeralda]

9 minutes ago, Vanartus said:

Calvin Richardson 

 

Thank you! Anything else to say or better not speak about it?🙂

[Xandra Newman]

42 minutes ago, Josephine said:

Also it would help if they could publish late cast changes on social media, and this would support the paper saving objective.

 

It feels as if the ROH/RB PR-Social Media team are performing "Sleeping Beauty" right now and fell asleep (hopefully not for 100 years!) after the "Open Up": casting not or too late updated or put up in a total mish-mash that makes no sense, many newly implemented changes totally unnecessary (the previous system worked very well), no or late social media announcements. Who is in charge of the RB Press & Social Media to ensure all is properly communicated to the paying audience??

[Vanartus]

4 minutes ago, Esmeralda said:

 

Thank you! Anything else to say or better not speak about it?🙂

LOL - no, he was good - honest!

[bridiem]

1 hour ago, Mary said:

I had to ask for a cast sheet in Mayerling the night Bratfisch changed- and as the usher fished under her desk for one she said 'It's not an important one'.  I demurred, and explained why it was important, and said it mattered to have the full cast recorded in writing.

It makes me wonder- if Osipova had been replaced would they have had plenty of sheets available? Is there some judgement going on about what 'matters'? Certainly the 3 Shades are significant roles.

This is worrying- I am all for saving paper but I have no doubt they waste plenty of it on much less important things than notifiying the audience of the cast.

 

That's interesting - almost every time I've asked for/had to pester someone for a cast change slip, they've said 'it's not an important one' or words to that effect (regardless of how significant the changes have been). Are they told to say this to everyone then?? I get a strange sense that the ROH is somehow embarrassed by the fact that there are last-minute changes, as if it's somehow a sign of inefficiency or an admission of failure, so that from a PR point of view it's not desirable to make much (or anything) of it. Which really does imply that the people in charge now have no idea what ballet is about, or what matters.

[Esmeralda]

55 minutes ago, Vanartus said:

LOL - no, he was good - honest!

 

It sounded so neutral at first, so I wondered. But thank you for being honest😄!

[capybara]

Richardson is unusually long-limbed to be cast as the Bronze Idol but he brought it off with style.

 

The corps was impressive again last night. A special mention for Letitia Dias who features in the Bayadere sequence at the beginning, the D’Jampe dance, the Grand Pas (purple girl), the Shades and the Act 3 candle dancing. Her delightful presentation somehow encapsulates the quality in depth within th RB.

[alison]

1 hour ago, cackles said:

I had no problem last night - walked in, picked up cast list plus changes slip from the front desk (Bow Street entrance). Reading the above I must have been lucky! My heart always sinks though when I see them on the desk.

 

They weren't there when I got there just before curtain-up - although there was one clipped to a board standing there.  I wasn't able to ask for a hard copy.

 

2 hours ago, Sim said:

But if they are pretty much hidden, how do we know to ask for one?  Or do we now have to ask programme sellers at every performance “so....any changes this evening/afternoon ?”

 

That presupposes that we have time and the inclination to stand in a queue of maybe half-a-dozen programme buyers before we can speak to someone. 

 

2 hours ago, Josephine said:

Also it would help if they could publish late cast changes on social media, and this would support the paper saving objective.

 

Not so much, I think.  I wonder how much of their audience is actually mainlining the ROH's Twitter feed?

 

I think that if I were a union rep or other prominent union person in a performers' union, I would be mighty upset to hear that my members weren't being given due - and obvious - credit for the work they were doing.  The ROH is unusual among ballet companies in that it has its cast sheets printed off-site and ahead of time, so it is even more important that changes be fully acknowledged.  (That said, BRB on Saturday night must have run their cast sheets through the photocopier pretty early on, because they still had Tyrone Singleton down as dancing when he'd been replaced - apparently several hours earlier - by Brandon Lawrence)

[Sharon]

3 hours ago, bridiem said:

The full changes:

 

Mayara Magri replaced Fumi Kaneko as a D'Jampee Dancer

Fumi Kaneko and Julia Roscoe replaced Itziar Mendizabal and Beatriz Stix-Brunell in the Pas D'Action

Elizabeth Harrod replaced Beatriz Stix-Brunell as the third Shade

 

The only reason I knew there were changes was because I heard a programme seller say this to someone buying a programme. So I asked for a slip. When I suggested she put them on the counter top so people knew they were there, she said that the ROH is moving towards using less paper and that there was a sign about the changes at the front of the desk. There was - a very small sign that you would only see if you bought a programme that side of the desk. I said that if they don't want to use paper they need to have BIG signs everywhere, otherwise it's very disrespectful to all the dancers involved. She said she would pass that on.

I did buy a programme -but didn't notice the sign. I only knew of the changes when the dancers appeared (or didn't) on stage.

[Rob S]

Wow, how long until the Bronze Idol is known simply as The Idol to save on paint and Swafega!? 

 

If they want to save paper, or more likely save the money spent on paper, then surely they need to invent the tradition of the Cast Change Notice Board, a feature placed in various carefully considered places where people will see them, get it sponsored by Asprey or Snappy Snaps and everyone’s a winner 

[Esmeralda]

31 minutes ago, capybara said:

Richardson is unusually long-limbed to be cast as the Bronze Idol but he brought it off with style.

 

The corps was impressive again last night. A special mention for Letitia Dias who features in the Bayadere sequence at the beginning, the D’Jampe dance, the Grand Pas (purple girl), the Shades and the Act 3 candle dancing. Her delightful presentation somehow encapsulates the quality in depth within th RB.

 

Thank you Capybara, this is why I asked when Vanartus said Richardson - but glad to hear only positive things!

 

Letitia Dias is always worth watching! When she was dancing with BRB I wondered always why she wasn´t at RB. She just has something very special!

[JohnS]

On 04/11/2018 at 13:32, JohnS said:

 

 

Apologies - I thought I'd read that the database was being updated but I can't at present find the reference and clearly there's a lot missing.  I'll ask the ROH and get back.

 

Perhaps moderators might move the various posts about accessing past performances to a different thread - it's an important topic and might get lost in the Bayadere thread?

 

Just to say I had a very prompt reply from ROH Collections.  The ROH maintains an up to date performance database for internal use and is looking to update the public online version.

"Plans to update the online version are being worked on and it is hoped that this will happen in the near future." 

They'll be news coverage when plans are firmed up.  Meantime it's possible to contact Collections for specific information.

 

[Blossom]

1 hour ago, Sharon said:

I did buy a programme -but didn't notice the sign. I only knew of the changes when the dancers appeared (or didn't) on stage.

Me too! I decided to buy a programme afterwards as I don’t have one for Bayadere yet. I don’t mind taking changes from a board and taking a quick snap with my phone but they should have it in a more prominent place.

[Nogoat]

At the moment the Royal Ballet resemble a fine chocolatier - drawing on their tradition and experience to craft from their array of the finest ingredients concoctions that delight the senses. Yes, they are an expensive indulgence, but I would honestly have paid twice as much for the two slightly different 'selection boxes' they presented last Thursday and last night. Those differences invite (demand?) comparison but, at the risk of mixing metaphors, only in the way that one might compare views in different directions from the top of Everest - the most important thing to remember is you are at the top of Everest!

 

In a nutshell, my ideal indulgence would be to take Act 1 from Thursday, Act 2 from last night and either Act 3.

 

An easy place to start is the Bronze Idol. Calvin Richardson gave a very good account - sharply-delimited, precise movement and excellent elevation. Given that the gold standard (making him the Gold Idol?) seems to be Kumakawa (for instance, the way he touches wrists and elbows together in some of the audience-facing jumps, which neither Campbell or Richardson achieved), Calvin probably deserves Silver Idol status.

 

The approach to the High Brahmin differed between Avis (Thursday) and Gartside (last night). Since the higher levels of any organised religion increasingly rely on theatricality, Avis' histrionics made sense - here was someone who revelled in esoteric, arcane ritual, and whose responses to the more 'base' temptations of desire and jealousy (perhaps his first?) were similarly melodramatic. Gartside's Brahmin was much more down-to-earth, and probably not quite so virtuous; he had less far to fall as he hadn't climbed quite so high up the ladder of religious righteousness.

 

That Gamzatti is key to the story is a given, but what intrigued me was the differing (and almost equally effective) approaches taken by Nunez and Osipova. To me, Nunez played her as someone looking for a marriage-of-convenience or a 'trophy husband' (and Corrales' Solor would fit the bill for either very nicely indeed, thank you); this is caricaturing it a bit to make the distinction, but it was more a business arrangement than a love story (so her anger at Nikiya was more to do with her messing up her plans). Osipova, in contrast, made it clear from the moment she saw him (and then through the acting masterclass that was the chess game) that she was head-over-heels in love with Muntagirov's Solor and would do anything - including murder - to avoid losing him. The closing moments of Act 1 (with Gamzatti slowly closing in on Solor) also reflected that - Osipova resembled a predatory cat ready to pounce on and devour Solor; Nunez more like the cat who was getting the cream. I think it was this novel, to me at least, way of playing Gamzatti that just tips the balance in favour of Thursday's Act 1.

 

Act 2 is also a close call (remember, I'm at the top of Everest here!) but I'd go for last night. The corps seemed flawless (I saw a few wobbles on Thursday, though my partner says there were also a few last night; I guess it depends where one's attention is at the time). I was impressed with Yuhui Choe's shade variation last Thursday, but even more so last night - her ability to stop, motionless is just preternatural (or more prosaically some clever arrangement of magnets and glue) and she looks like she knows it - it was lovely to watch! And Osipova gave a portrayal of Nikiya that evolved beautifully and naturally from the initial gossamer, ethereal, melting moves with Solor to the much more tangible, increasingly desperate manifestations of her final solo runs. It was as if Solor's drug-induced vision was morphing from the joy of reunion to the harsh reality of her death and his loss. And talking of Solor, Corrales' solo ended with him motionless, back arched, head almost touching the floor, for what seemed like ten to fifteen seconds while the applause rang out; he then jumped to his feet and exited the stage with a leap and a turn that shouted 'I nailed that!' - and indeed he did!

 

For a first appearance on that stage in a major role, Corrales was impressive and whetted the appetite for treats to come. His Solor wasn't as 'noble' as Muntagirov's; I could imagine him getting into a bit of a scrap with the tiger during the hunt (whereas Muntagirov would have dispatched it from afar with a single, well-aimed shot from his bow). Corrales' Solor was also better-defined than Muntagirov's; what you saw was what you got. But I don't necessarily see that as 'better'. The nice thing about Muntagirov is that his understated characterisations give you a framework on which you can hang your own feelings and interpretations; I think this works really well.

 

The final Act was too close to call. I'd choose last night on the basis of the 'silver' Bronze Idol, but last Thursday for Gamzatti's solo (remembering I'm at the top of Everest). I certainly wouldn't base my choice on the projected effects. I don't know if it's climate change, but there certainly seems to be some strange weather on stage at the moment - though at least that feeds into our national preoccupation with it. With Mayerling there was some discussion about the nature of the rain/sleet/snow in the graveyard, and at the risk of precipitating (sorry!) further debate I couldn't decide if, last night, we were treated to a sandstorm or some fine, misty rain as the gods vented their anger; either way, there were certainly some big hailstones falling!!

 

[Odyssey]

4 hours ago, zxDaveM said:

 

 The treasured 'one-off punter' buying said programme (as souvenir, to find out what's what?), may not know any of the dancers, originals or the replacements, so the slip is pretty meaningless

I go to the Opera house only rarely and as such enjoy the programme when I do. I am fully aware of the dancers and see the casting online so a slip is not meaningless to the likes of me. . 

 

 

 

 

[Blossom]

Love your reviews Nogoat!

[bridiem]

3 minutes ago, Blossom said:

Love your reviews Nogoat!

 

Me too!

[Mary]

Just picked up tbe teeniest season guide... about 2x1.5 inches...must be paper saving...

[alison]

But at least it has dates on it, which is something  

[Rob S]

2 hours ago, Mary said:

Just picked up tbe teeniest season guide... about 2x1.5 inches...must be paper saving...

 

Is the amendment sheet to the season guide A4 size?

[penelopesimpson]

2 hours ago, Mary said:

Just picked up tbe teeniest season guide... about 2x1.5 inches...must be paper saving...

That's so that you can eat it after reading

[Shade]

Really enjoying all these reviews. Sadly I had a ticket for 1 November but was too ill to go (awful virus). I do have tickets for Friday 16 though so am looking forward to that, trains etc permitting. I haven't seen the RB Baydere since Bussell danced Nikyia!

By the way there are tube strikes tomorrow and Thursday on some lines if anyone is travelling.

[bridiem]

50 minutes ago, Shade said:

Really enjoying all these reviews. Sadly I had a ticket for 1 November but was too ill to go (awful virus). I do have tickets for Friday 16 though so am looking forward to that, trains etc permitting. I haven't seen the RB Baydere since Bussell danced Nikyia!

By the way there are tube strikes tomorrow and Thursday on some lines if anyone is travelling.

 

Sorry you've been ill, Shade. Really hope you enjoy 16th November!

[Shade]

Thank you Bridiem

[alison]

(The Tube strike on the Piccadilly line is apparently off, BTW, but those on the Central and Waterloo & City are still on, as far as I know)

[Mary]

Really enjoyed a very different performance tonight-different to the first night- but the corps were the same heavenly vision- bravo to them. Takada and Naghdi such elegant dancers, even if I felt their performances were still -as of course they must be -works in progress compared to the really incomparable Osipova/Nunez pairing- and McRae a much sadder, more reflective Solor than I expected:  he seems to have matured greatly as a dancer this season and I loved his portrayal, not to mention those amazing jumps.

 

Some people ( from what I overheard)  including my companion, new to Bayadere, were confused by what was going on- it strikes me that giving Nikiya 3 different costumes in Act 1 in 3 different colours really didn't help ('who are all these women?')

 

 

[Melody]

Is there any chance of a DVD of this production? The nearest cinema showing it is nearly 150 miles away. Pretty sure I won't be able to talk my husband into a trip like that during the week after Christmas.

Edited November 7, 2018 by Melody

[Richard LH]

Takada, Naghdi, McRae  - such exemplary, expressive, classical dancing !

As Mary  says,  McRae put in some incredible turning leaps, the like of which I don't think I have seen before, and his characterisation was very assured and clear. He was a great support for the two ladies. You would not have thought it was only their second outing in these roles. 

I found Takada particularly exquisite in her poise and control. She is so graceful and gives Nikiya such a beautiful, poignant character. 

By the way all three got little ripples of applause at their entrances. And of course great applause for them at the end!

Finally what a wonderful Act II, again, from the corps - so precise, so ethereal. Just lovely!

 

 

[annamk]

Takada was a dream of a Nikiya yesterday: meltingly fluid arms, sublime classical elegance, deeply expressive. 

 

The Solor's seem to have been given licence to compose their own versions of their final variation at the close of the shades scene in Act 2. McRae's choice looked to me more like it belonged in DonQ with some flashy but ugly, awkward looking jumps (Corrales did one also - I wish I knew the name) which seemed to cause McRae to run out of steam and deliver and a concluding manege of somewhat earth bound tours en l'air. Not a patch on Muntagirov's elegant and more appropriate grand assemble en tournant. I wasn't sure why McRae didn't leave the stage immediately before his variation. (Perhaps someone can correct me if I have the terminology wrong.) 

 

 

 

 

[Blossom]

20 hours ago, Nogoat said:

 

 

The approach to the High Brahmin differed between Avis (Thursday) and Gartside (last night). Since the higher levels of any organised religion increasingly rely on theatricality, Avis' histrionics made sense - here was someone who revelled in esoteric, arcane ritual, and whose responses to the more 'base' temptations of desire and jealousy (perhaps his first?) were similarly melodramatic. Gartside's Brahmin was much more down-to-earth, and probably not quite so virtuous; he had less far to fall as he hadn't climbed quite so high up the ladder of religious righteousness.

 

Have watched the DVD since seeing Gartside on Monday and this is definitely the comparison in a nutshell.... I definitely prefer Avis' take!

[Blossom]

4 hours ago, Melody said:

Is there any chance of a DVD of this production? The nearest cinema showing it is nearly 150 miles away. Pretty sure I won't be able to talk my husband into a trip like that during the week after Christmas.

 

Do you mean an existing DVD of Makarova's production? If so, this version has Marianella Nunez as Gamzatti, Tamara Rojo as Nikiya and Carlos Acosta as Solor.