The Sitter In

ROH Patrons and super Friends have had to book without casting and still no sign of it for lesser Friends. Is this a first? If so, it is worrying. Surely someone MUST know, so why the secrecy? For the RB/ROH to state (as they seem to have been doing) “well, it doesn’t matter because the company is so good” is not to accept that some patrons might just possibly want to see some dancers and not others. I can think of several dancers who I wouldn’t want to see in the lead roles of Requiem… Shame on the ROH/RB management…

and would they revive the two Nijinska works which she herself staged for the RB? No way, not interested. More RB hypocrisy to stage this an claim that they are honouring her legacy.

On Radio 3 now with Katie Derham saying Aston’s ballet is a masterpiece. When for goodness sake will the RB perform it? Instead we get XXX and YYY (insert the ballets of your choice)

@£14 each. Meaghan Grace Hinkis and Luca Acri as Kitri and Basilio

It has been a noticeable feature of recent seasons (post-Covid?) that the RB’s audiences just aren’t there in the same numbers and that ‘full’ houses are often the result of numerous ticket offers in-house and to ‘selected’ groups. I have identified some possible reasons: 1. The repertoire is no longer attractive. From a purely personal point of view this carries a lot of weight - there are works I simply do not wish to see either more than once or at all. This season features a number in that category. The near total absence of Balanchine (except Jewels) Robbins, Cranko, de Valois, Fokine, Nijinska and much Ashton has seriously impoverished the repertoire and the quality of works by McGregor and Wheeldon is simply nowhere comparable. 2. The scheduling is unattractive. Again, in my view, the severe reduction in triple bills and the often nonsensical composition of the ones which do make it to the stage is a turn off. The interminable runs of full-length works is similarly unattractive - if three programmes existed in the place of one long run of, say Swan Lake, I would be at the ROH three times as much. 3. The dancers are not interesting enough. This is a fraught question. For me, the company is very strong and likeable at present, but also very young and there are, apart from a few clear exceptions, no real ‘stars’ in the way that those who remember the 60s and 70s might understand. There is for me a certain uniformity and sameness which makes viewing multiple performances less likely - I simply don’t think that that would lead to any revelations. 4. The ROH is not exactly keen on ‘regular’ ballet goers and does little or nothing to encourage loyalty. I think anyone with any memory of years past could not deny that this is certainly the impression given, although it may not be the intention. The pursuit of ‘new audiences’ is all very well, but, balance is essential not to alienate those who, of their own accord and without incentive, turn out on a wet November night… 5. The prices are too high. It is clear that, in pursuit of maximising income, the ROH is squeezing the pips out of its paying audience (and not all pay full price…). The exponential rise in seat prices means that, at the top end, fewer people will ‘take a punt’ on unfamiliar works and/or unknown dancers (£150 for Don Q featuring two non-principals is, frankly, extraordinary - and no disrespect to the two dancers, both of whom I like and am eager to see in the roles). At the lower prices, the rises have been as painful for many regulars on limited incomes. Result: people will see one or two performances and not the several of times past. I would be very interested to read any thoughts fellow forumites might have

apologies. I missed the fact that this information is already known. Moderators, please delete.

The following is from a media report/ press release on the company’s June visit to London. A pity their ‘gala programme’ clashes with the first night of the RB’s second Ashton programme… Still, finally something to get excited about at the ROH. Program Information Program 1 (2024 – June 4, 5, 6, 9) Valses nobles et sentimentales Dante Sonata Sinfonietta Gala Performance (2024 – June 7) Valses nobles et sentimentales Varii Capricci Façade Program 2 (2024 – June 8, two performances) Valses nobles et sentimentales Ashton Divertissements Façade

Alas, it doesn’t look like the post of Resident Choreographer will be up for grabs any time soon. The current incumbent has been there far too long and seems he can do no wrong, spend however much he wishes and thoroughly dominate proceedings with an internal profile far greater than either Ashton or MacMillan. More Balanchine, Robbins, Nijinska v. more McGregor? No contest in my book. When will. it all end?

what was the source of your post @The Sitter In? Press release.

The Australian Ballet – 2023 London Tour Orchestra: Royal Ballet Sinfonia Conductor: Jonathan Lo Jewels Wednesday 2 August 7:30PM Thursday 3 August 7:30PM Friday 4 August 7:30PM Saturday 5 August 1:30PM Saturday 5 August 7:30PM Tickets £4 – £115 Choreography George Balanchine © The George Balanchine Trust Music Emeralds Gabriele Fauré, extracts from “Pelléas et Mélisande” and “Shylock” Rubies Igor Stravinsky, “Capriccio for Piano and Orchestra” These performances of Capriccio for Piano and Orchestra by Igor Stravinsky are given by permission of Hal Leonard Australia Pty Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd. Diamonds Peter Ilyitch Tschaikovsky, “Symphony No. 3 in D Major, Op. 29” Staging Sandra Jennings Costume Design Barbara Karinska Costume Design Associate Carole Divet Set Design Peter Harvey Associate Scenic Designer John Carver Sullivan Lighting Design Perry Silvey Casting Wednesday 2 August 7:30PM Emeralds Pas de deux 1: Sharni Spencer, Callum Linnane Pas de deux 2: Rina Nemoto, Mason Lovegrove Rubies Pas de deux: Ako Kondo, Brett Chynoweth Diamonds Pas de deux: Benedicte Bemet, Joseph Caley Thursday 3 August 7:30PM Emeralds Pas de deux 1: Grace Carroll, Jarryd Madden Pas de deux 2: Imogen Chapman, Jake Mangakahia Rubies Pas de deux: Jill Ogai, Chengwu Guo Diamonds Pas de deux: Sharni Spencer, Callum Linnane Friday 4 August 7:30PM Emeralds Pas de deux 1: Grace Carroll, Jarryd Madden Pas de deux 2: Imogen Chapman, Jake Mangakahia Rubies Pas de deux: Ako Kondo, Brett Chynoweth Diamonds Pas de deux: Benedicte Bemet, Joseph Caley Saturday 5 August 1:30PM Emeralds Pas de deux 1: Grace Carroll, Jarryd Madden Pas de deux 2: Imogen Chapman, Jake Mangakahia Rubies Pas de deux: Jill Ogai, Chengwu Guo Diamonds Pas de deux: Sharni Spencer, Callum Linnane Saturday 5 August 7:30PM Emeralds Pas de deux 1: Sharni Spencer, Callum Linnane Pas de deux 2: Rina Nemoto, Mason Lovegrove Rubies Pas de deux: Ako Kondo, Brett Chynoweth Diamonds Pas de deux: Benedicte Bemet, Joseph Caley Premiere April 13, 1967, New York City Ballet, New York State Theater The performance of Jewels, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust. 60th Anniversary Celebration Sunday 6 August 1:30PM Tickets £7 – £135 Casting Alexei Ratmansky, 'Larks' from Harlequinade Sharni Spencer, Marcus Morelli Kenneth Macmillan, Pas de deux from Concerto Amy Harris, Nathan Brook Johan Inger, I New Then excerpt George Balanchine, Tchaikovsky Pas de Deux Ako Kondo, Chengwu Guo Justin Peck, Everywhere We Go Yuri Possokhov, Act Two Italian Pas de deux from Anna Karenina Amy Harris, Nathan Brook Pam Tanowitz, Except from Watermark Alice Topp, Little Atlas Dimity Azoury, Jarryd Madden, Jake Mangakahia Rudolf Nureyev, Act Three Grand Pas from Don Quixote Benedicte Bemet, Joseph Caley

2 best Upper Slips @ £10 each.

The ROH ought to be ashamed of itself. It trumpets is accessibility yet keep hiking prices for shows which don’t sell out. Does no-one in the little Floral St bubble realise that the two are related? For people who, in some cases, have loyally attended the ROH through thick and thin iver many decades, this is a slap in the face. What organisation consciously prices out its most devoted followers? Anecdotally, I know of many regulars who are now coming very little or not at all. I shall not book a single seat for Don Q - a ropey production of a ropey ballet danced by a company it doesn’t suit. Shame on the ROH.

This made me laugh so much. Completely irrelevant, useless and costly, which just about sums up much of what the ROH is currently doing. Instead of focussing on the art forms that it houses, it bangs in about empty puff while encouraging as many people to come in and share the experience i.e. come and buy overpriced food and booze so they can try to cover what we’re losing on over-priced seats which people are not buying and which they later have to offer highly discounted…

Hugely long runs of Swan Lake and Nutcracker are never good news but bring in the cash. Dante Project? Oh please - shut your eyes and listen to the score. Anemoi / The Cellist, possibly the weirdest pairing imaginable - dull, dull, dull. Hurrah for the MacMillan triple - at last a chance to see his variety in three very interesting, stylistically and musically different works plus Manon - excellent. Winter’s Tale…if you like that sort of thing. Don Q - it just doesn’t suit the company. The Ashtons - well, thank you, thank you, especially that Sarasota are coming and doing many of those fascinating pieces the Royal and certainly BRB have no interest in. I could have done with something other than The Dream and Rhapsody from the RB, like Symphonic Variations, but at least June will be a treat and we have a whole year to save up. No Nijinska? An absolute disgrace. Interesting stuff in the Linbury, which is fast outstripping the Wells in terms of putting on good non-mainstream dance.

Pretty disgusting that Candeloro and Perdziola have taken Putin’s Penny to work in Gergiev’s stronghold no less. But then, as Jooss shows us in The Green Table, in times of war, there are always profiteers. There will be plenty of claims about ‘art being above everything’, but for these two to travel to Russia at this time is nothing less than reprehensible.

Depends on the severity of the attack.

The fact that Goecke is a choreographer does not mean that his actions were not criminal. In the UK, he would be charged with Common Assault by beating which would have the aggravating factors of it being a revenge attack and a public humiliation of his victim. He would probably receive a Community Order with compensation to pay, although imprisonment (suspended or not) would also be a possibility.

The Fred Step which, in addition to the endless little variations he gave it including doing it backwards, means that I am watching an Ashton ballet. Pure bliss in itself. There is no choreographer who gives me as much pleasure, delight and satisfaction.

Oliver Symons. Used to do Widow Simone etc.

The Lesson…

Wonderful news that Tatiana Leskova is planning her 100th birthday party early next month in Brazil where she has lived for a long time. She danced with the de Basil Ballets Russes and the Original Ballet Russe and worked with Fokine, Nijinska et al. She was the setter of Massine’s Choreartium (BRB) and Les Présages (AB) twenty plus years or so back. Has been a company director, a great teacher and coach…an amazing lady. Happy Birthday!

Was this in any way a celebratory evening? And if so, of what? I cannot think of a more rag-bag, poorly put-together evening at the RB, except perhaps Ross Stretton’s truly appalling gala for the late Queen. The company are in magnificent form…such a pity what they were given to dance often did not match their artistry. Diamonds was, appropriately, brilliant all round. Thank you, thank you. For Four - intelligent and showing a full understanding of the male ballet dancer’s body. All superb with James Hay and Matthew Ball the stand outs. Prima - fun, cheeky, in homage to the RB’s history but marred by childish costumes. Superb violin paying from Vasko Vasiliev of course. Fille pdd - beautifully danced but not an opener on a bare stage Manon pdd - again beautiful, but as sexy as a packet of custard creams. MacMillan is not ‘nice’ and his choreography should be as even the programme states ‘visceral’. Dispatch duet - interesting but looking like a 1970s mash-up of Cunningham and Clarke…it felt VERY period. Clever and intelligent though. concerto pour deux - inconsequential and dull. Mimsy music, mimsy choreography. see Us!!! - ranting, hollow, devoid of meaningful choreography (as opposed to gestural socio-political shouting). Part Pite, part Shechter, it was unoriginal and in no way celebratory. Why use A-class ballet artists for this posturing? OK for a local community dance group but the Royal Ballet? Depressing that the company felt thus was in any way appropriate. What all this mish-mash had to do with 60 years of the Friends is anyone’s guess. Pity the poor dancers.

A ballet created for the company in 1962 was Rite of Spring (MacMillan)…anyone remember that? They also acquired Napoli Divertissement and the Flower Festival at Genzano pdd…

Simply for information, in the current Paris production, the dancers fire their own guns, the coffin is lowered by the attendants, the lights stay on until the scenes have finished and the hunting party takes place in a snowy forest. I will check again tonight because of my defective eyesight.