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Good news. Let's hope that more dance teachers start to realise that many people in the target age group are not retired, so it would be nice if they didn't schedule all their Silver Swans classes in the daytime when people are at work.

Set designers often omit the higher levels from their considerations. It's extremely irritating to hear people oohing and ashing about something and not be able to even glimpse it let alone experience it as the designer intended. I was sitting higher up at QPAC for those 2017 Winter's Tale shows, and had no trouble seeing the bear. OTOH sitting higher up at the State Theatre in Melbourne or (shudder) the Sydney Opera House, can't even see the "ceiling" style scenery let alone projections that supposedly enhance the sets! A production of Swan Lake with a projected Swan that people raved about comes to mind. Invisible Swan more like!

Tonight was amazing - Vadim and Fumi just WOW. I will write more when I’m less tired and can process it better. One amusing anecdote from the stage door though. When Kevin O’Hare came out all set to rush off, a very young (about 6 or 7 years old) Japanese boy planted himself firmly in his path. He stated “I want to ask you a question!” Kevin said “Oh? Go on then.” Then the little boy asked “Why are you not putting on any classical ballets next season?” Ouch! Obviously an adult had put him up to it knowing that it would be much harder to snub a child!! I couldn’t help but giggle. Kevin’s response was, “Well, we did Sleeping Beauty last season and we’ve just done Swan Lake, but we are doing classical ballets next season.” The child then specified Tchaikovsky ballets! Kevin said we are having a break next season, but rest assured there were more in the pipeline…. Given the conversations on here, I couldn’t help but laugh!

I couldn't recall any of hte music from a decade ago so I was surprised in Act II when suddenly there came a section of music that sounded familiar. I quickly realised that it's because it is used for the intro for the ROH cinema broadcasts. I had no idea it was from Winter's Tale! The sea & boat projections, especially in Act I, made me wonder if they should include a trigger warning for sea sickness!

Thank you @oncnp! 🙏

https://www.roh.org.uk/tickets-and-events/43/swan-lake-by-liam-scarlett/cast-list/54735

I'd rather that than the other way around! And she did retire exceptionally late. (If the likes of Nunez or Lamb care to emulate her then I'd be quite happy.)

Could someone possibly send me a link to the cast list? I stupidly didn’t look.

Crikey, I thought the £51-57 price for most of the operas was the equivalent of the £73 for Alice & Cinderella. Is that actually the price for the small number of behind pillar seats with a terrible view? If so then that is ludicrous.

Anyone who missed this and lives in the London area could put them to him at the Ballet Association later this month - I think it may be the 14th. Will they? I seem to remember even the (autumn) Romeos proving a bit difficult to shift last time around. Yes, I did that with Leanne Benjamin. I ended up with another 6 performances of Giselle from her - over I think 3 runs

Don't worry yourself! It sounds like she had a fabulous time and danced beautifully. They are only little so they are not going to exclude your daughter for pulling her sock up! If you've got the potential they are looking for ( not every school looks for the same things!) you can turn up in a bin bag and be accepted. Professionals can spot potential a mile away no matter what you're wearing. Having said that it is preferable wearing something very plain in a colour that suits you if you can - don't want anyone thinking they should actually wear a bin bag haha.

Thanks @San Perregrino I didn’t find a mention of the casting of Nicol in the forum. Congratulations to Olivia Cowley too.

I would say that most auditions will be around intermediate level and possibly inter/ advanced 1 for a couple of schools. They are looking for physical suitability and really good, solid technique, plus musicality and performance. They are not interested in candidates being super advanced. Sounds like she'll be at a perfect level to showcase those things.

Yes this is right, I think there are a few RBS students regularly in the casts at the moment

Sensational night.

Tonight was one of those “I was there” evenings. Fumi and Vadim - sheer heaven. Heartbreaking. Thrilling. Unbelievable. It will take some time to come down from what I have just seen. Until then I really can’t write any more.

The changes were announced and made to the website last month. THE WINTER’S TALE Tuesday 21 May 7.30pm; Tuesday 28 May 7.30pm; Saturday 1 June 7.30pm Ryoichi Hirano is replaced by Nicol Edmonds as King Leontes Anna Rose O’Sullivan is replaced by Sae Maeda as Perdita Also Olivia Crowley replaces Claire Calvert as Paulina in the Kaneko/Mutagirov/Pantuso/Sissens cast.

D35 now taken

High praise for last night's opener from Mark Monahan in the Telegraph (5 stars). (Behind paywall) https://www.telegraph.co.uk/dance/ballet/the-winters-tale-royal-ballet-review-shakespeare Marco Masciari described as "a star to be"

That was the most complete performance of Odette and Odile I think I’ve ever seen live. Utterly remarkable from Fumi Kaneko. World weary, sincere and beautiful in the white acts - she really found every last microsecond of the music to extend those endless arms. I really felt like Odette’s death wasn’t a preordained walk to the gallows, but a true act of desperation and sacrifice. Her Odile was a comprehensive vixen - hedonistic and seductive. Those fouettés - whipped off in an initial series of doubles with arms in changing attitudes - words fail me. The strength of the performances by the three leads - Kaneko, Muntagirov and Braendsrod - really hit me in Act IV, which is never usually the highlight for me. The struggle between the three for power and freedom really came across this evening with a strong sense of real jeopardy. Braendsrod was vital to this - he is a very active Rothbart with a commanding presence you really felt he could overwhelm and incapacitate. I was hugely impressed with him throughout. In Act 1, he didn’t sneer at Siegfried with condescension the way many Rothbarts do. Instead, his gaze was that of a challenger - impassive and political. Muntagirov - we all know how good he is in this role and plenty has been written about it already. One thing I will say though is that he looked incredibly ‘free’ tonight - the joy was emanating off him in the black swan pdd and he really seemed to luxuriate in Odile’s every touch. This partnership really, really works in the big classics.

Agree with above. She’s at the right level. Vocational schools don’t expect more than intermediate by year 11. Plus it doesn’t really matter anyway. What matters is how she dances at the audition, that’s what they will be judging her on. But it’s handy to have your intermediate I would say.

Well?

He's a joy and seems to really enjoy it. He was the best thing about the terrible film of Cats and it was worth fastforwarding through large parts of the rest of the film just to watch him dance. I just love his tap skills as Skimbleshanks. I could watch him do that for ages. So if he's in Alice on the day they do the cinema relay I will definitely get a ticket.

I’m an aisle person too….ever since I had my one and only terrible coughing fit when at Sadlers Wells sat right in the middle of one of their long rows!! Ever since I like to be at the very end of an aisle even if not quite so central etc.