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.

10 minutes ago, PeterS said:

We forget how blessed we are to have early casting announcements from the RB compared to most other ballet companies. Yes it’s frustrating sometimes but the odd delayed announcement every now and then isn’t the end of the world surely. 

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.

16 minutes ago, JNC said:

Particularly with younger dancers down the ranks we’re more likely to see them in these pieces again, but now it’s unlikely I’ll ever get a chance to see Marianela and Lauren in those roles again. 
 

if there is space for first soloists and soloists if there are a large number of performances it differs slightly but as there are so many principals now it still feels like we don’t see many principals that often anymore. 

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 .

28 minutes ago, Sim said:

Yasmine has had to wait seven years as a Principal before dancing Perdita!

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).

6 minutes ago, FionaM said:

Such interesting casting … @capybara thank you for sharing

 

I thought Claire Calvert performed Hermione before?

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?

44 minutes ago, Nina99 said:

Since KOH has recently marked the 10 year and 25 year anniversaries of Osipova and Bolle joining the RB, I wonder if he will now do the same for Muntagirov. His first performance of Manon on the 23rd of February will be exactly 10 years and four days since he joined the RB. IMO this was definitely a significant date for the company and worthy of one of Kevin‘s nice speeches to commemorate it.

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

7 hours ago, FionaM said:

And do read Joe Powell-Main’s posts of how this all came about … with photos and videos 

 

Part 1

https://www.instagram.com/p/C3GrL0JII3-/?igsh=MTM1cDhneDJldGx4eg==

 

Part 2

https://www.instagram.com/p/C3G1E7aIAsw/?igsh=MTdhNjdodTI1N2RpYg==

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!

6 hours ago, LinMM said:

I do not understand how Darcey Bussell is getting in the way of the younger dancers ….she doesn’t perform any more …or have I

missed something 🤔

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.

11 minutes ago, bridiem said:

 

Completely agree. And, fond as I am of Darcey Bussell, I've got to the stage where I just find it too nervewracking watching her.

I think she should be used for rehearsal extracts or informal chats with dancers, not for formal presentation or interviews.

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.

1 hour ago, Blossom said:

With booking open for some in only 12 days' time, it's disappointing that there still isn't any casting information.

There are so many clashes to manage over the summer season between the different ballets and RB/Sarasota that it would be helpful to have the information in order to prioritise.

 

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.

24 minutes ago, Dawnstar said:

I'm slightly surprised that it's the "less starry" casts for Dances Concertantes & Different Drummer that are getting the cinema relay.

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

4 hours ago, Missfrankiecat said:

There is currently an unusually strong (especially for the men) roster of principal dancers and, while I 'get' individuals would like to see their favourite multiple times in leading roles, I can understand the sense in each being given the chance of a couple of performances - it builds company esprit, 'hands the baton' of teaching from distinguished predecessors (especially in MacMillan and Ashton) to as many as possible as well as spreading the burden of generating ticket sales.  To me it speaks well of the ethos of a company that does invest precious time with each couple and illustrious teachers for 'only two' performances - they will take that knowledge into other companies if they leave and build the long-term legacy if they stay.  

As for any suggestion that the likes of Nunez, Osipova and Lamb should be denied further chances to perform these roles while they remain at the top of their game, I deplore it, not only because of ticket sales [though it was very noticeable that Nunez and Osipova performances sold much faster than Muntagirov with Fumi for eg - which surprised me as I thought he would be an equal draw with Nunez] but because they still offer the best of RB as well as offering the living template to future stars.  In any event, I think people make bold assumptions about imminent retirements.  I would be unsurprised if Osipova moved elsewhere in the next few years to pursue much broader dance ambitions - all the more reason to drink in her classical work now - and equally unsurprised if Nunez didn't wish to emulate Fonteyn/Ferri in dancing longevity.  

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.