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Richard LH

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  1. Richard LH
    Unfortunately I didn't get to see much of him, apart from his Creature in Frankenstein, which I did enjoy. Best wishes for his future career!
  2. Richard LH
    Thanks Sim, and thanks to others, for explaining this. The way you put it, it does indeed appear a perfectly plausible reaction for Juliet to have, so well done Yasmine for upping the agony even more ! (I suppose other Juliets I saw may have done the same, but not so obviously seen in the absence of the camera close-up). I agree also about the knife - I was feeling that too !
  3. Richard LH
    Wow those pictures of Francesca Hayward are simply gorgeous!...I feel as if have just fallen in love with a water-nymph! This piece must have been so good to see....
  4. Richard LH
    Thanks...Ella must have been pretty impressive then, as Sambe had a great audience response last night. Ella was also very good last night as Benvolio. I was drawn to him the most when the three boys danced together outside the Capulets' house.
  5. Richard LH
    Do you mean last night or earlier as lead mandolin?
  6. Richard LH
    I watched in the cinema, and I didn't really "get" Ball's Romeo, even close up...he seemed too reserved, indeed "wan" to steal Bruce's word, even assuming that he was performing for the camera, rather than auditorium, as Bruce implies. Naghdi was certainly far more expressive, indeed (for me) rather overly so at times, but then that is probably what is needed to reach the whole auditorium - perhaps she was geared more to that, than to the camera. Beautiful dancing from her (and deserving of the lovely flowers she received at the end), but for whatever reason, I didn't really see the wonderful Naghdi/Ball connection that so many others have enjoyed. Indeed I found myself wondering why Juliet was so taken with Romeo, as opposed to the rather dashing Paris of Nicol Edmonds. One thing I noticed is that in the tomb, at first Naghdi's Juliet seemed pleased to see Romeo prostrate on the floor, as if she didn't realise he was dead, only doing so when she knelt down to him. As far as I recall, other Juliets realise at first glance that Romeo (like Paris) is dead; Naghdi's interpretation (if intended) is certainly novel (and potentially even more heart rending) but I am not sure it is believable given the context. The sword fighting came across very well at the cinema - really punchy and dramatic. But as in previous screenings, in my cinema at least, the stage lighting was far too dark in places. Stand out supporting performance of the night was surely Sambe as lead mandolin... becoming a Principal seems to have put even more spring in his step!
  7. Richard LH
    Good to see Romany Pajdak again prominent, this time moving sideways, so to speak, from Nurse to Harlot (as she did in the Nunez cast). Also pleased to see Mica Bradbury given a good role opportunity, alongside Romany and Beatriz Stix-Brunell. Looking forward also to Benjamin Ella as Benvolio - not seen much of him yet in soloist roles, but others have reported very good things!
  8. Richard LH
    Yes I had, but I put it in the wrong thread and was effectively admonished! Edit - I see JohnS has already leapt to my defence!
  9. Richard LH
    I am surprised they would be doing the 2018 Nutcracker, as we already have the 2016 version (better, in my view), unless it is down to rising stars O'Sullivan and Sambe being Clara and Hans-Peter. Otherwise I am rather disappointed about the continued fixation with choosing Nunez/Muntagirov (much as I like them) for Live Cinema, thus limiting the choice of casts for later disc releases, at the expense of other dancers. Personally I am particularly hoping for the 2019 Don Quixote (Takada/Campbell) to be out on DVD/Bluray in due course.
  10. Richard LH
    Nor me. Is it set in a secure mental unit? I wish Bourne would leave off with his depressing, tired "contemporary re-imaginings of/ modern day twist on" classic works, and try to find inspiration elsewhere. Incidentally my local cinema has Matthew Bourne cast as Romeo for tomorrow night's Live Cinema screening of R&J from the ROH. Now that should be interesting !
  11. Richard LH
    I have tried Firefox on my desktop as well, and don't get this problem. Is it something to do with the Windows version? (mine is Windows 10)
  12. Richard LH
    Great review Nogoat; knowing these dancers pretty well now (as well as a good chunk of the works performed), with the aid of your descriptions I almost feel as if I were there!....
  13. Richard LH
    Strange ! I don't get that myself (with Chrome).
  14. Richard LH
    As Sambé's well-deserved promotion has opened up a potential knock-on effect, might I suggest this could comprise Nicol Edmonds to First Soloist, Joseph Sissens to Soloist, and Leo Dixon to First Artist?
  15. Richard LH
    By way of an idle fantasy, my knock-on suggestions resulting from Sambés well deserved promotion would be Nicol Edmonds to First soloist, Joseph Sissens to Soloist, and Leo Dixon to First Artist.
  16. Richard LH
    I haven't noticed Campbell, or any of the dancers, indulging in any "excessive" or objectionable smiling during or after difficult passages in Symphony in C. His passages come during the immensely joyful third and final movements of this ballet, during which many smiles and happy expressions are only to be expected (and there are plenty in the NYCB version I have seen). Would it not be strange if that were not the case? I can't imagine that Balanchine stipulated exactly what facial expressions would be de rigueur for every passage, but even if he did, are not these artists allowed a degree of their own interpretation? For me, Campbell is simply communicating, and sharing, his delight in the thrill of dancing this wonderful ballet. Indeed Mark Monahan writes this in The Telegraph "The Australian ripped through the third movement with the broad smile and complete self-assurance of a dancer who knows he is absolutely the master of the music, and the results were superb. Slightly compact as he might be for the great Mr B’s grand style, his was the performance that stood out".
  17. Richard LH
    Oh I forgot to mention how striking Muntagirov, Sissens and Corrales looked together as they jumped and spun in Symphony in C !
  18. Richard LH
    I had wondered how Yasmine Naghdi would come across as the Firebird after first seeing this role danced so strikingly by Leanne Benjamin (recorded) and Itziar Mendizabal. Well I thought Yasmine was brilliant, quite literally, given the costume and lighting, as well as figuratively in terms of her beautiful technique and spot-on interpretation. I think this is the first performance of hers I have really felt her completely capture the character. A great casting choice ! I loved the first section of the ballet, as the Firebird was caught by Ivan Tsarevich (Edward Watson back with us, and bringing Christmas a little early) and eventually negotiates her freedom. And it was good to see Christina Arestis as the Tsarina, with her cohort of enchanted princesses. Following on from the odd dropped apple, in what seemed a bit like an out-of-hours games practice at a girls’ boarding school, it all got rather strange: stunning to look at in places, with some great visual set pieces and tableaux, especially when the stage was full of all the characters, but rather lacking in terms of memorable dance content and narrative with which one might empathise. Then a total contrast in A Month in the Country. Ashton’s way of telling a story through dance and mime is so clever, as in the humour that is included to lighten, and add a another layer to, what might otherwise have been a stock melodrama. Nunez, Hayward and Hay were particularly outstanding, I thought. Exemplary dancing and acting from them. And it was also great to see Romany Pajdak as the maid. And then to finish with the tutu-tastic Symphony in C – what more can one say about this work, except that I can’t think of better way to end this fantastic RB season (at least for me) than this dazzling, joyous display of neo-classical ballet performed so well by such a company of outstanding dancers. Thank you, Royal Ballet!
  19. Richard LH
    It was great to meet you too, albeit briefly, and the others. I was impressed by the speed of your later review of the triple bill, which I thought was spot on, by the way!
  20. Richard LH
    I see from the website that Hamilton and Clarke are kicking off the season with the Manon Welcome matinee on 02 October, and that Choe and Acri are listed for the Coppelia Schools matinee on 28 November. Nunez and Muntagirov are listed for the Sleeping Beauty Welcome matinee on 11 January.
  21. Richard LH
    We also tend to get there about that time...so we will be on the look-out in the amphi terrace area. As it is our last visit to see the RB this season I will be dazzling in a light blue waistcoat and maroon bow tie....also sporting a very wide central parting !
  22. Richard LH
    The lady concerned has been Director of Audiences and Media. That post is advertised as follows "to engage and grow current and future audiences. Reporting to the Chief Executive, they will have responsibility for several specialist functions including: audience development, analytics and audience data, broadcast, communications, creative studios, digital products, distribution, marketing and oversee around 60 employees and relationships with a number of external agencies". Her blurb says that her team includes "Analytics and Audience Insight, Marketing Communications, Broadcast Production, Media Distribution, Creative Studios and Digital Product Management" . We don't know how many of her team are full-time, part-time, or casuals. Is 60 for these various functions particularly high out of a permanent workforce at the ROH of over 1000, plus casual casual and freelance workers? I really don't know, but I wonder if it is fair to conclude this to be an extraordinary number. Other performing arts institutions may employ less for those functions, but how comparable are those institutions in their scale and their roles to the ROH ? But presumably a good number of the 60 staff were established in their functions already, and are employed for various purposes, not least to help maintain existing income. I can't imagine a new team of 60 extra staff have just been brought in with the sole purpose of increasing income. A fairer analysis would look at any increase in staff, and other, costs, attributable to this claimed £2m increase in income. By the way if anyone is up for taking on this role, here is the link. You have a week to apply...! http://recruitment.roh.org.uk/vacancyView.php?requirementId=3546 Edit - I was too slow to compose this - I see the link has also been posted by Lizbie on the previous page of this thread.
  23. Richard LH
    Is a BCF group likely to form there before the start of the triple bill tomorrow night, or only during the intervals? Intervals can be a bit rushed for us what with ice-creams, loos etc.....
  24. Richard LH
    Sorry yes that's true, my mistake.
  25. Richard LH
    I would think so; there is unlikely to be a 1:30 matinee on a Thursday.
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