capybara

I am of a ‘vintage’ with a tendency to recoil from PR phrases such as those which heralded the New Works programme. But I thought I’d take “…..commitment to embrace and champion diverse voices in choreography” at its word. After all I am interested in where ballet is going, having four new commissions on the main stage seemed more promising than some of the (sorry) turgid evenings in The Clore or Linbury spaces, and the line-up of dancers at all levels of the Company was a big draw. The filmed introductions from all four choreographers were a good addition but not universally helpful to me: · Gemma Bond (ex RB and ABT dancer; now international choreographer) spoke about removing the boundaries within which ballet was normally constrained but, then, didn’t really deliver on that intention – in fact, even before anyone moved, the very stiff designs for the ballerinas almost worked against her choreographic aim for the dancing to be as free as children playing; · One could identify with Joshua Junker’s challenge to convey his own vocabulary while his ‘team’ was immersed in The Nutcracker and Manon (and his personal achievement as a relatively junior Company member in presenting his work on the main stage). But what was his starting point; what was he trying to say to his audience? I was ‘all ears’, but he didn’t tell us; · Mthuthuzeli November (who hails from Cape Town but is now choreographing more widely than his original UK Company – Ballet Black), on the other hand, offered us ‘himself’ as well as his creative motivation – and, my experience of his piece was enhanced in consequence; · Jessica Lang (the most experienced choreographer of the four) provided an introduction which was comprehensive in terms of telling us what to expect – except the ‘why’ for the use of the Brahms in the opening male solo (which felt tacked on). All four choreographers were wonderfully served by their casts. How could one not enjoy such a feast of talent – but with some caveats: Boundless (the Bond piece) was elevated by Yasmine Naghdi as the lead ballerina (no surprise there) supported by Ryoichi Hirano (they looked good together). As I have suggested already, set against what we had been told to expect, to me the ‘featured’ movement looked quite formal, indeed rigid, although the ensemble work seemed a lot freer; Never Known (from Joshua Junker) seemed at times more acrobatic than balletic. He certainly moved his dancers around the stage with skill but left me wondering, “Why?”, especially about the ‘add-on’ duet for Liam Boswell and Francisco Serrano. They were terrific (of course) but I missed clues as to their relationship – perhaps none was intended; perhaps we were meant to be left wondering and take our cue from the title of the work? For What It’s Worth (by Mthuthu) came across to me on an altogether different level. Mayara Magri’s quality of expression, as the ‘Mother Africa’ figure, was really moving and beautifully contrasted with Leo Dixon’s rendition of sequences which drew with huge energy on street dancing and various African styles. Having Joonhyuk Jun and Blake Smith alongside Leo at times served to emphasise this mix – indeed the incredible combination of races of which South Africa consists. I found that thought-provoking and very affecting too. Among the four works, this was the one which, for me fulfilled the promise of enabling audiences to see not only new works but distinctive ones; Despite its overly twee name, I had very high hopes for Twinkle (the Jessica Lang): an experienced choreographer, working in the classical genre, and choosing for her central couple Fumi Kaneko and William Bracewell. Perhaps I had set my expectations too high? It was an enjoyable piece and a nice contrast with the more contemporary offerings which had preceded it. But, for me, the opening solo for Will did not display his trademark beauty of movement to full advantage and, compared with what we are accustomed to from him and Fumi, the pas de deux felt a touch ‘empty’. All the solos ‘built’ on the strengths of the chosen individual dancers with Sae Maeda, Meaghan Grace Hinkis and Daichi Ikarashi, as well as Fumi, knocking theirs out of the park. Thus the evening ended on a high with an enthusiastic reception from an audience with seemingly more ‘first-timers’ than is often the case at the ROH. So well done RB.

But there are a surprising number of would-be attendees who need to make early requests for leave and make bookings for transport and accommodation if they are to secure affordable rates. Since this can make the difference between being able to go to the ballet or not, early casting information is pivotal. And the summer Ashton programmes are of huge interest and significance to many people, not just those who speak up on this Forum.

I’m feeling very underwhelmed by the 75th Anniversary offering overall. Come on ENB; you can do better than this. Excite me, please!

As others have intimated, the ‘hand’ of the choreographer is very obvious in the casting for TWT. ‘Twas ever thus with Wheeldon.

Couldn't agree more. You make a powerful point about not seeing certain Principals again in certain roles. I'm now feeling that there are some potentially potent 'matches' between Principals and roles which we once might have hoped to see but which, now, we might never see .

Quite!

I like Viola Pantuso and am pleased for her that she is cast as Perdita. But I’m not altogether ‘with’ using more junior dancers quite so much as seems to be becoming the trend. After all, several Principals and First Soloists have only just made it into the TWT roster after spending quite a while climbing the ranks. Where’s the motivation and the reward for others if it can all be had within a couple of years of graduation?

Good timing!

The cast sheet is up for the General Rehearsal today (14th Feb.) New-Works-General-Rehearsal-Cast-Sheet-14-02-24.pdf

So I ( Principal A) have been working with the management team I pay for myself to secure marketing opportunities which, yes, advertise products but also enhance my social media presence and, hence, my ‘brand’ and then the ROH swoops in to take advantage? An understandable development for the ROH but a questionable move at what is a late stage!

If I’m not mistaken, each of the main debutantes is paired with someone who has danced the ‘opposite’ role before. The casting of Cesar Corrales caught me by surprise but, surely, Christopher Wheeldon would’ve been mightily impressed with him in Like Water for Chocolate, both in his brief created role and by the way in which he (with Yasmine Naghdi) elevated that ballet into something remarkable. He will also, I think, be able to look old enough on stage as Leontes whereas (and I’m guessing🧐- sorry) maybe William B would not (just yet).

I’m sure I saw her in the role. Apologies for not re-setting the 2024 list but I was up against a related deadline

The Winter's Tale Casting is now available: Winters Tale Casting 2024.pdf

There will surely be some new Leontes at least?

There are, in fact, six Principals who transferred from other companies. Admittedly only Osipova and Muntagirov joined as Principals but, with 25 years as the main marker in the RB’s sand, further acknowledgements seem unlikely.

And the Empress in Mayerling 😊

The Casting for Swan Lake has now been issued: details for The Winter's Tale and Ashton programmes will follow in due course. {In haste to post this so I might have started a new thread unnecessarily.} Swan Lake Casting Summer 2024.pdf

The second of these posts refers to the hope that this initiative will become an established part of the ballet scene. It must do. The evening itself was fantastic: a superb mix of performances by both differently abled and abled dancers (several of them working in beautiful harmony). I was ‘educated’, moved and very much entertained throughout. Congratulations to everyone concerned. You can certainly dance! And Organisers -WOW! Please keep going!

In my (clearly minority) view, continuing to have Darcey as the face of cinema relays does not help today's audiences to 'move on' to today's stars and appreciate how very wonderful they are. [And as Forum members might have noticed from other threads, I have a 'bit of a thing' about improving public recognition of those stars.] I have left a cinema viewing more than once to the strains of people talking about Darcey as if she had been the lead when they have just been watching performances by some of the best dancers in the world today (whose names they don't appear to know). That is not, of course, her fault as her profile (post Strictly) remains high and that can be beneficial to ballet generally - but maybe not in this particular instance.

Or not at all. Her continuing ‘public’ presence with the RB is (yet another) factor which, to my mind at least, is getting in the way of the current generation of dancers gaining wider recognition for the huge stars they are.

I understand that Patrons (whose booking deadline has passed!!) have been told that the information is imminent. Some dancers appear to know about their casting so things are obviously stirring behind the scenes.

I’m afraid that I can’t resist a segue from these posts to the kind of comment which is being made within other threads. On the face of it, we British fans (and media) seem to find it easier to elevate non UK ballerinas to superstardom status than to recognise that we have their ‘equivalents’ in our midst - each with their unique qualities, of course, but no less worthy of celebration.

Yes, and Hayward, Sambe and Campbell get (yet another) opening night. Interesting prominence for the recently promoted Giacomo Rovero.

The casting for the MacMillan Triple is out. Also now online. MacMillan Programme Casting.pdf

Not to take anything away from Nunez but I don't think we should overlook 'the Bolle factor' in terms of the early booking pattern for Manon. To attend a performance by him in Italy is as near to being at a 'rock concert' as it gets in ballet and he has legions of extremely enthusiastic fans following him all over the world.