capybara

I like James Hay in the role too. They're keeping very quiet about Edward Watson being replaced, though, aren't they? Just on the cast list; no announcement. Hope he's OK.

The Insight on the 13th October is currently showing 4 tickets for sale.

Elizabeth Harrod has also been one of Alice's sisters in the current run.

For those who, like me could not access the drop-down, I have found it elsewhere> The RB will rehearse Judas Tree, BRB will rehearse Concerto and those taking part will include Monica Mason, Darcey Bussell, Alessandra Ferri and Leanne Benjamin. [Apologies for now appearing to duplicate the post from Josephine to whom many thanks for uncovering the details.]

And more changes here relating to performances of Elite Syncopations and The Wind: http://www.roh.org.uk/news/cast-changes-elite-syncopations-and-the-wind

Getting back to World Ballet Day. Am I alone in thinking that it felt somewhat bitty and rushed this year? I'm all in favour of the reach extending to a range of other companies in broadly the same time zone as each host company but, in the case of the RB, the only element where the viewer was permitted a longish stay was the Class (in an overcrowded studio!!!!). We were then rushed from segment to segment, from snatched interview to snatched interview and backwards and forwards to BRB, ENB, Scottish etc. Don't get me wrong, I did enjoy it but it left me with questions about the structure and, indeed, about the vehicles with which the RB chose to display itself to worldwide view.

It was Nathalie Harrison. They showed a reminder of what had happened earlier so it was possible to double-check. Other tall, fair or fairish women in the RB are, as suggested above, Julia Roscoe, Isabel Lubach, and Gina Storm-Jensen - and, of course, Melissa Hamilton. Grace Blundell is also fair.

Not even every production. Alexander and Kristen are doing so well.Why do we need Ore?

Thank you both, especially for the Press Release, John. Still no firm information on the ROH website or on its Facebook page.

Yes, very interesting and I don't understand why the ROH hasn't put this up on its website of Facebook page.

A new guest of Spanish origin who is a Principal Dancer in Uruguay: https://www.ballet.org.uk/people/ciro-tamayo/

WELL SAID !!!!!

Maybe times have changed, FLOSS?

Also, please let us not forget that the Insight events are now relayed live and can be easily accessed on PCs and hand-held devices. In fact, watching them this way has almost become my preference.

You never bore us, Jan. We love your reports. I am especially grateful to be kept up to date with performances from BRB and NB and news of their dancers because I see them so rarely.

The Gardeners at the rehearsal were: Calvin Richardson, Giacomo Rivero and Joseph Sissens - I think. Last night (28th), they were David Yudes, Calvin Richardson and Leo Dixon - I think. However, I wasn't sitting very near the stage and the caps do tend to change dancers' appearance.

A stunning, beautifully danced and winningly acted debut as Alice from Anna Rose O'Sullivan last night. Huge congratulations to her. Joseph Sissens, another first-timer, made a big impact as soon as he came on stage as the Magician and morphed into an excellent tap-dancing Mad Hatter. Others essaying roles for the first time included (I think, although I am not an Alice connoisseur!): Helen Crawford as The Cook, Ashley Dean as the Dormouse (very nice!), Teo Dubreuil as The Fish, Harry Churches as The Executioner, and Leo Dixon as a Gardener. There were also some new lead flowers and leading cards but these dancers are not, alas, named on the cast sheet. It was a good, buoyant show all round with massive applause at the end, especially for Joseph Sissens, Alexander Campbell (White Rabbit), Steven McRae (Jack) and Anna Rose who received a great big pile of bouquets and a rapturous reception.

Laura Morera replaces Zenaida Yanowsky in Alice on 27th September: http://www.roh.org.uk/news/cast-change-alices-adventures-in-wonderland-on-27-september-2017

It has been announced on the Staatsoper website that Yonah Acosta is now dancing Petruccio in the Taming of the Shrew (first night) on 28th September in Munich. He replaces Osiel Gouneo who is injured.

We reached our seats upstairs at Sadlers Wells about 7 minutes before curtain up and spent those minutes being knocked on the head by passing handbags, bumped into by from behind by passing bottoms and being enveloped by passing coats. HOWEVER.... it did look as one of the seats in front of us might not be occupied. But, wait......here comes a late arrival and, sure enough, the tallest man imaginable lowered himself into the vacant seat. OK, tough luck, but we can just about see the stage if one of us leans to the left and the other to the right. Whoops, no we can’t because he’s leaning forward to put his drink on the floor and bending forward again to pick it up, something he kept doing throughout the show. He also had a special line in raising his elbows to one side or another or scratching the top of his head, all perfect for blotting one’s view entirely. Two seats along, someone decided to lean forward throughout Act 2, thus impeding the scene for the person behind her. Further towards the front, phones were being switched on and off and shining brightly. And, towards the end, my seat was being kicked from behind. Don’t people realise the extent to which what they do affects the audience members around them? Don’t answer that ....... clearly they don’t!

In the best possible way, I’m exhausted by the wonder that is Khan’s Giselle. I was very fortunate in being able to see all 4 casts (from various parts of the theatre) and each experience was special. Tamara Rojo, Fernanda Oliviera, Crystal Costa and Erina Takahashi gave very different interpretations of Giselle from (in that order) the most gutsy to the more vulnerable. Takahashi, making her debut this week, was very emotionally affecting and very clear in her story-telling. Last year, the role of Albrecht felt somehow under-developed but, now, the character seems better drawn in every portrayal. James Streeter, Fernando Bufala (who was unfortunately injured after about 10 minutes), Aitor Arrietta and Isaac Hernandez registered in a way which didn’t happen for me in earlier runs. The dancing from Hernandez, in particular, was both beautiful and riven with an emotional depth I hadn’t seen from him before. The Myrthas were shared by Stina Quagebeur (a quivering, glamorous, evil presence) and Sarah Kundi (making her debut and extremely, powerfully effective). And, as for the Hilarions: what can I say? What a role and what astounding performances from Cesar Corrales, Ken Saruhashi and guests Oscar Chacon and Jeffrey Cirio. It almost goes without saying that the stage presence of Corrales edged it but the impact of all was huge and their menace could be felt wherever one was sitting. Then there were the Landlord party and the Corps. There are amazing sequences in Act 1 where the migrants move across the stage in silhouette and at great speed, none more effectively than Erik Woolhouse who made such an impact in the Sacre corps earlier this year. He is surely a Hilarion in waiting? The female Corps, of course, not only exerts all that energy in Act 1 but doubles up as Wilis with huge emotional, venomous commitment in Act 2. Here, in the midst of the menace, one’s eye is drawn to Francesca Velicu (a memorable Chosen One in Sacre). A Giselle in waiting, perhaps? Lastly, who could forget the contribution of the ENB Philharmonic, whose playing is integrated with recorded music and sounds to deliver the haunting score. A big BRAVO and THANK YOU to all but especially, perhaps, to rehearsal director Mavin Khoo who has, if anything, delivered an even better production and even better portrayals this time around. WOW just WOW!

And a lot of clapping standers in the Stalls on Wednesday night too

The person who runs the school has links with these dancers through his own schooling or families. This was explained in the pre-performance blurb. So good for him for using his contacts so effectively.

Luke Jennings refers to "latest revisions". Can anyone enlighten us?

This opened last night with a stunning first performance. I loved it. More thoughts from me when I've seen other casts.