bridiem

No, it shouldn't be a problem; it's only turned into one because of the way it's been done. (And I don't think it actually matters how many people are seriously interested in who is performing; it should be recorded properly as a matter of principle.) I think it's OK to do this for a cast change, not for a cast list (which is what your original post mentioned). (And I suspect there are fewer unplanned cast changes in theatre than in ballet, for obvious reasons.)

I'm not referring to the front of house staff, LinMM - I agree that 'where they can' they are very helpful (whether or not they are opera/ballet lovers, which I'm sure isn't a requirement of the job). I think they are being undermined by the higher echelons.

I think this is the nub of the problem. The ROH is minimising the significance of any cast changes because they don't fit in with the propaganda-ish ethos that the ROH and so many other organisations have now adopted. Everything is good and as planned and under control. Whereas in fact they are dealing with human beings in an unpredictable art form. It's a complete conceptual mis-match.

It hasn't been the case for anything I've seen at SW, and I do think it looks extremely amateur. OK for a mini production in a pub theatre; not OK for a big production in a mainstream theatre.

1. Yes, most people (but not all) would have a pen; but is it really feasible for lots of people to be standing in front of the few notices or screens in already crowded areas, writing down the changes? 2. As far as I can remember, I haven't been to such a theatre, and would think it a very amateur arrangement. If the ROH wishes to do away with cast change slips, it has to a) make suitable alternative arrangements (e.g. large signs in sufficient locations), and b) TELL PEOPLE. We are finding out these (unsatisfactory and inconsistent) new arrangements by chance and rumour, and it's frankly ridiculous. The other aspect that is really disturbing is that the staff do seem to have been asked to lie about this. They constantly say 'oh the changes are only minor' even when that's clearly not true, so it's obviously the 'script' they have been given. Why??

Sorry Fonty - I would actually love to see it revived too! I find it fascinating.

Perhaps the RB could do Ashton's R&J??

In respect of BRB: I hope they remain a clearly classical company but I wouldn't want to name particular works for next season. I hope the new AD is announced soon. (And my hope would be for a Webb/Barbieri double act.) In respect of ENB: I hope that Lest We Forget will remain firmly in the repertoire, and I'd like to see Etudes brought back. I also hope that the move to East London is a success. I can't wait to see what Akram Khan and Hofesh Shechter do next.

Four Schumann Pieces for Muntagirov (and others) would be blissful. Cinderella, Requiem, Concerto Barocco, The Four Temperaments, Apollo, Tombeaux, Scènes de Ballet, Les Noces. Swan Lake with a different ending. Woolf Works; other than that, I'd be happy with no new works by the 3 resident choreographers (though I know that's not going to happen). Commissions from Marston, Bintley and Ratmansky (though I wouldn't put money on that happening either). I wouldn't mind a season without any of the MacMillan biggies; I feel a bit emotionally exhausted by them (and will no doubt feel even more so after so many R&Js this year).

Though of course since Ashton didn't want anyone other than Fonteyn to dance Marguerite it would seem a bit off to see someone else dance it in a gala for Fonteyn. I know that bird has flown, but still... I do hope that BRB are involved too, though. And that perhaps Dame Beryl Grey could be involved in some way.

Do you have info then as to what is in the tribute section, bangorballetboy? The programme for that evening as linked in the relevant thread doesn't include further details. (Though it does show R&J pas de deux as a separate item.)

Well I agree about the likely content of the evening, but for me that could still be exciting. I also agree that R&J might not be a good choice, though since it's being performed near the time I fear it may indeed figure. I haven't been to a gala for many years, since normally they're too expensive and the content too potentially unsatisfying. I will aim to get a ticket for this one, but I'm sure it will be difficult.

The dates for that bill are 4th, 5th, 12th, 13th and 14th evenings and 7th 12 noon, with the Fonteyn Celebration on the 8th evening.

Yes - well I hope there is scope for strong/obvious candidates to be honoured over the next couple of years.

I like to think it could be both, not either/or!

And Happy New Year TO the Mods! You do a wonderful job and I and I'm sure many others are extremely grateful to you. Without the members there would be no Forum; but without the Mods, it would be a different and lesser Forum.

I understood the 'really?' to be in relation to the level of the honour, not the congratulations, though obviously alison can speak for herself. I completely agree with you about Collier and Seymour. And I'm assuming that Bintley will now be in the Birthday Honours.

I imagine the 'uplift' is because Xander Parish is being honoured for his role in Anglo-Russian relations as well as dance.

I'd forgotten about Tierney Heap in Corybantics! She was brilliant and for me far the best thing about the ballet. I can't wait for her to be back on stage.

Anita Young has been awarded an MBE. Congratulations to all the honours recipients.

I would prefer Clara not to be 'infatuated' with anything; she's a young girl who goes through experiences that will transform her. That's where the magic is, and in the music.

That's true, Sim; but I do think it's a bit problematic in terms of Act 1, especially when you have a very charismatic Benno (e.g. Campbell on first night! Though since his prince was Muntagirov there was no real danger of the prince being outshone by anyone). I like the solo where it is, though, so I'm torn about this.

Dancers often look remarkably different in different costumes and wigs etc!

Well yes - I think you always need to be careful/sensitive about what you say in the hearing of others; that's always true everywhere. If others are enjoying themselves or enjoying new experiences a degree of tact and sensitivity is needed and any criticism should be made in an appropriate way.

And to you too, penelopesimpson! (More Christmas wishes to be found in the Not Dance forum). ☃️☃️