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MJW

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Posts posted by MJW

  1. Had the very good fortune last night to be sitting next to a lovely lady down from Manchester (her husband was sitting elsewhere). Her son was in his last year at RBS and was performing in Different Drummer as one of the characters in a gas mask. She was clearly very proud of what her son had already achieved - he had played Fritz previously in the Nutcracker, and was in Manon and will be Swan Lake as well. Such hard work and sheer commitment required from someone so young was very impressive and she was justly proud. Please to say he has a job offer to start in August so that must be a welcome relief.

     

    I said I would say hello if we happened to catch each other at the Summer Performance in July. 😆

    • Like 11
  2. 15 minutes ago, MJW said:

    I saw ROH were advertising the 40% discount for the Macmillan triple on IG earlier today. I've never done so before, but I cancelled my existing ticket in the balcony for one in the grand tier and saved myself about £40.

     

    I should just add that £40 will inevitably be spent on an extra ticket for something else in the future!

    • Like 2
  3. 2 hours ago, Jan McNulty said:

    Long-time followers have been waiting and hoping for a revival of this magnificent production of Romeo and Juliet devised and produced by Christopher Gable and choreographed by Massimo Moricone and first performed in Bath in 1991.  I was talking to someone who was there in the premiere week and I and other friends saw it in Blackpool in its second week.

     

    This production proved to be a landmark for Northern Ballet where Christopher Gable laid out his stall for the way he wanted to take the company the company and the company still follows his dream to this day as carried forward and expanded by Stefano Giannetti, David Nixon and now Federico Bonnelli.

     

    I don't know how many performances I saw over the years before the production was rested but from the first performance I saw on a Saturday afternoon in Blackpool (24th February 1991) I have never failed to be moved and I have seen so many memorable performances.  It is my favourite production of Romeo and Juliet.  When I saw the season announcement I was ridiculously over-excited as were most of my NB-watching friends.  As the months past and the opening day was approaching I was so excited but somehow nervous that, with this production meaning so much to me, I may be disappointed in the revival.

     

    So Friday evening came and went entered the Grand in Leeds in a state of high excitement!  I was fortunate to have been invited to the drinks reception before hand and was very star-struck by the presence of Mthuthuzeli November.  It was so lovely to chat to him for a few minutes.

     

    At the reception Federico Bonelli gave a short but beautiful speech about what this production meant to him and about how Christopher had envisioned the production.

     

    It was also lovely to bump into both Jayne Regan Pink and Viki Westall-Eyre in the interval.  What a trip down memory lane.

     

    Then we were in the auditorium, the lights went down and the overture started.  When the curtain rose I've got to admit to being a bit overwhelmed and tears started making their way down my cheeks - that is how much the revival of this landmark production means.

     

    The set has been magnificently realised (after having been destroyed by floods some years ago.  Lez Brotherston's set is absolutely genius - aged Roman-looking pillars which can be moved to represent different locations with the words Amor Vincit Omia on the movable wall at the back.  The costumes looked absolutely glorious with the Capulet men's black leather tops and the ladies in black and red particularly spectacular.  Christopher explained at the time that he believed that audience concentration reduces after 35 to 40 minutes so the acts are kept shortish and simple.  There is no padding in this production and it flows along beautifully.  The fighting scenes are exciting to watch, the friendship between Romeo, Mercutio and Benvolio is beautifully judged and the relationships Juliet has with her parents, Paris and Romeo are meaningful and insightful.  The whole production flows organically.  Am I waxing over-lyrically - you bet I am!!!

     

    Opening night honours were given to the sublime Dominique Larose and Joseph Taylor.  Joseph was full of joy at the start as a young man about town with his mates and enjoying taunting Tybalt and his Capulet henchmen.  Goodness me, Harry Skoupas was outstanding as a mean and moody Tybalt.  The fighting comes to an end when the Duke of Verona arrives and the body of a young girl killed during the fighting was found.  As the crowd disperses Mercutio (a spectacular and virtuosic performance by Aaron Kok - WOW!!) and Benvolio (a joyful and nuanced performance from Stefano Varalta (who is actually from Verona!)) try to persuade Romeo to crash the Capulet ball.

     

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    In the second scene Juliet is very excited to be going to her first "grown up" ball and is being very animated with her Nurse.  I felt as though I really was watching Juliet so subsumed was Dominique into the role.  Heather Lehan was a warm, comforting and joyful nurse so pleased for Juliet.  (Fortunately there is no child's doll in this production - it's all about a young girl coming of age.). Her mother arrives with Paris and Juliet is captivated by him when Lady Capulet (an outstanding performance from Abigail Prudames) tells her they are due to be married.  Jackson Dwyer was an elegant and caring Paris who is obviously hurt by Juliet's subsequent rejection of him.

     

    IMG_2750.thumb.jpeg.6eff4884b8733cbc442b11c7b9e3d168.jpeg

     

    The Capulets are very martial in the ballroom scene, showing off their power very effectively.  The 3 lads arrive and are trying to chat up the ladies when Juliet and her friends arrive.  There's so much to watch in the ballroom scene that you could actually miss Romeo and Juliet meeting!  Fortunately when they are interacting the scene behind them is frozen.  Their short duets are gentle and loving in this scene.  Mercutio and Benvolio have seen what has happened and they distract Tybalt.  Aaron was outstanding!

     

    IMG_2750.thumb.jpeg.6eff4884b8733cbc442b11c7b9e3d168.jpeg

     

    Then to the balcony duet ... it was so beautiful I had a bad attack of hay fever and shivers were running up and down my spine.  It is innocent, lyrical, sensual and passionate.

     

    In act 2 the opening scene is festive with the Montagus in bright costumes dancing and having fun.  There's a wonderful but ribald scene where the nurse arrives to give Romeo the letter from Juliet.  When he eventually reads it he is so overjoyed and rushes off to meet Juliet and get married.  Then it's back to the festivities.  Tybalt and his henchmen and their ladies arrive and the trouble starts brewing during the "cat dance" - the Capulet motif is feline.  Romeo has arrived back and is being teased as he is acting all goofy and in love.  He tries to calm things down but as the tension rises and Mercutio intervenes there are fatal consequences as he is stabbed.  Cue the very dramatic fight between Romeo and Tybalt ending with Tybalt's death.  Abigail Prudames was splendidly grief-stricken as Lady C and the act ends on a VERY dramatic note.

     

    Act 3 opens with the final duet - so full of emotion and despair.  Dominique and Joe were just breathtaking together (cue another hay fever attack).  Juliet's rejection and ultimate acceptance of Paris was heartbreaking and then it was just an emotionally draining conclusion.  I could hear people sobbing around me and I was definitely joining in!!

     

    Of course there was a standing ovation - very well deserved.

     

    After the main curtain calls the Duke and Duchess of Edinburgh came onstage to applaud the company.  While he couldn't be "political" the Duke made a heartfelt speech about the company and particularly mentioned the orchestra.  It looked as though he and the Duchess looked as though they had obviously enjoyed the performance.

     

    WHAT A NIGHT!!!

     

    We had to do it all over again on Saturday!!

     

    I will admit to a total bias here - I have adored watching Kevin Poeung dance since we saw him performing as a student with the company so Saturday afternoon was a dream come true for me.  Kevin more than lived up to my hopes as Romeo with his virtuoso dancing and utterly believable performance as Romeo.  I was totally bowled over!  His Juliet was Sarah Chun and she was just divine.  Archie Sherman was superb as Benvolio and that man Aaron Kok gave another outstanding performance as Mercutio.  Antoni Cañellas Artigues was a wonderfully thuggish Tybalt and Helen Bogatch was superb as a loving nurse.  George Liang as Paris was so loving, courteous and gentle that it would have been understandable if Juliet hadn't even noticed Romeo! After many attacks of hay fever I came out of the theatre on an enormous high.

     

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    On Saturday evening the Friday evening cast, already outstanding, upped their game even further and at times I was trying to cope with both hay fever attacks and forgetting to breathe!

     

    To sum up, this year sees my 40th anniversary as a ballet-watcher and this past weekend has been so uplifting and emotional that I think I can count it as my best weekend of ballet-watching ever.  To be able to watch it in the company of good friends was the icing on the cake.

     

     

    Thank you Northern Ballet.

     

     

     

    PS - the campaign to save Northern Ballet's orchestra goes on.

     

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    Thanks for the terrific review (and pictures). Will you be seeing any of the other casts?

     

    Looking forward to seeing this in London late May.

    • Like 2
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  4. I've read everyone's comments with interest and the offering at Saturday's matinee was certainly a mixed bag.

     

    On the plus side I enjoyed Rotunda (though perhaps a bit bland) and surprisingly I enjoyed Pam Tanaowitz's work (despite having thought her offering as part of the Diamond Celebration at ROH appalling). I could have done without the piano being moved across the stage which added nothing.

     

    I can't say I was overly impressed with Duo Concertant - the dancers standing at the piano at the start was fine but didn't need to be repeated. I struggled with the Stravinsky. 

     

    Lastly, Love Letter (on Shuffle). Parts of this worked really well but it was marred by the terrible costumes, lighting effects and the music accompaniment which I found painfully loud (the chap next to me put is headphones on at point). For some reason this work produced quite a lot of whoops and cheers (though perhaps they were reacting to the rugby score?)? It would be interesting to see this work again with better music and fewer lighting effects so one can actually see the dancers.

     

    Anyway, that was my first visit to Sadler's Wells and the first time I have seen NYCB. Given I'm not likely to see them very often, I'm still glad I went.

    • Like 3
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  5. On 06/03/2024 at 13:29, MJW said:

    I would certainly echo many of the comments above regarding last night's performance. Despite a long day at work and suffering from a mild cold (I managed not to have a coughing fit or sneeze throughout) I so glad I decided to go ahead last night (having booked for this performance some time ago); partly as James Hay was performing but also having seen Calvin Richardson perform the bedroom scene in the Diamond Celebration in 2022 and having thought I good he was.

     

    So glad the run seems to have sold so well (without the need for discounting) and that so many people have enjoyed the performances.

     

    From last night:

     

    https://www.instagram.com/p/C4K6Affo9lK/

     

    Just following up on my earlier post regarding Tuesday's performance:

     

    1. Bag searches - I know these are a pain but necessary but the chap who was supposed to check my bag barely have me time to even unzip it before he waived me off. What's the point? If an eco-demonstrator manages to get in and spray paint or whatever, I wouldn't be surprised.

     

    2. Having seen Gary Avis as Monsieur G.M. in my two previous performances in this run,  his not performing on Tuesday just showed what an excellent actor he is - the malevolence and arrogance of his character could be felt across the auditorium. I'm afraid Christopher Saunders came across more as an avuncular uncle.

     

    There was a third point, but I can't remember what it was now...

     

    p.s. apologies if this comes across as a very formal post with numbered points, but I am still in work mode 😆

    • Like 5
  6. I would certainly echo many of the comments above regarding last night's performance. Despite a long day at work and suffering from a mild cold (I managed not to have a coughing fit or sneeze throughout) I so glad I decided to go ahead last night (having booked for this performance some time ago); partly as James Hay was performing but also having seen Calvin Richardson perform the bedroom scene in the Diamond Celebration in 2022 and having thought I good he was.

     

    So glad the run seems to have sold so well (without the need for discounting) and that so many people have enjoyed the performances.

     

    From last night:

     

    https://www.instagram.com/p/C4K6Affo9lK/

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  7. 46 minutes ago, Fonty said:

      Where??   Is it with an agency?  I get emails from the ROH, and religiously fill in their surveys, but I haven't seen any cut price ticket offer.

     

     

     

    Have you booked for the MacMillan triple? If so I suspect you won't get the offer. I have booked and didn't receive anything.

  8. 19 minutes ago, art_enthusiast said:

     

    Totally agree, she was superb. I really liked the piece overall. I have huge appreciation for November as an artist and choreographer, and I thought that although Magri seemed the most comfortable with the choreography, Joonhyuk Jun and Leo Dixon - and I think Blake Smith, one of the Aud Jebsen dancers - also did a great job. I was definitely one of those in the audience applauding them loudly. It had a real joie de vivre to it that I really liked, very much needed in these times. I felt energised after watching. I also thought the costumes were beautiful. As he stated, it involves South African street dance with some classical moves and I really liked the fusion. (Perhaps something that also appeals to Magri culturally, as she grew up in Brazil and I think has mentioned the impact of it on her performance style.)

     

    The idea of having the video clips before each work was a very good idea - especially for someone like me who prefers not to spend money on programmes. I agree that some were a bit too long - we don't need to know that much about costume design/every step of communication involved - but it was a great way to add context for the audience.

     

    Twinkle was clearly the strongest choreographically. I thought it was very good, well paced, although I'm not a massive fan of the nursery rhyme - preferred the lullaby music at the beginning. I hope to see more work from Jessica Lang. Beautiful set and costumes as well. Having the pianist on stage was an excellent idea. It felt a bit odd to me when the audience laughed at some parts, but I understand it was intentional. Perfect choice of dancers as well.

     

    Boundless - some good parts, loved the PDD between Naghdi and Hirano, but probably not something I would want to see again. Ditto Never Known, though I really liked Junker's choice of music - now listening to it on repeat on Spotify! I really liked the way it started, but it didn't really grip me as it went on.

     

    I think this way of presenting 4 new works - a "quadruple bill" as someone next to me described it - is a great way of giving a new choreographic taster without drowning the audience in something that doesn't engage them with no chance of escape (e.g., Wayne McGregor's Untitled). Much better to give 4 different pieces of reasonable length that don''t overwhelm the audience.

     

     


    I suspect that the relatively cheaper seat prices have helped !

    • Like 3
  9. 13 hours ago, MJW said:

    Twinkle was an absolute delight. Perfect. How wonderful to give Kate Shipway such a prominent position.

     

    Four very different works, three of which I would be very happy to see again and even the fourth I wouldn’t try and avoid.

     

    Boundless was impressive in parts though perhaps a few cuts here and there are needed. For what it’s worth certainly brought a smile. 
     

    Not overly keen on Never Known - nothing that I haven’t seen before but the dancers are impressive as always.

     


    Last nights Twinkle:

     

    https://www.instagram.com/reel/C3Z40KlovUr/?igsh=MWduaDR0ODQ5ZG53Mw==

    • Like 5
  10. Twinkle was an absolute delight. Perfect. How wonderful to give Kate Shipway such a prominent position.

     

    Four very different works, three of which I would be very happy to see again and even the fourth I wouldn’t try and avoid.

     

    Boundless was impressive in parts though perhaps a few cuts here and there are needed. For what it’s worth certainly brought a smile. 
     

    Not overly keen on Never Known - nothing that I haven’t seen before but the dancers are impressive as always.

     

    • Like 6
  11. 1 hour ago, alison said:

    I've just found this still open in another tab, courtesy of last week's Links.  I'd meant to flag it earlier, but have only just realised it was there.  I don't know if the share token is still valid, but it says at the bottom of the article that it's an abridged version of a speech he recently delivered to the House of Lords - does that mean it will appear in Hansard or somewhere in due course?

     

    Melvyn Bragg: ‘We are sleepwalking into permanent mediocrity’ (thetimes.co.uk)

     

    "It’s strange that over the past decade the creative industries have grown at 1.5 times the rate of the wider economy. They have contributed billions of pounds of business activity and exports. But again and again these profits drain away and the only begetter, the arts, is left stranded on overdrafts."

     

    Hugely depressing.

     

    The start of the Lords' debate is at the link below

     

    https://parliamentlive.tv/event/index/4a103539-5cf0-4704-81e0-5a2616ae04b1?in=11:51:21&_gl=1*1ceoixq*_ga*MjUwNjE3ODY4LjE3MDc1MDkzNjQ.*_ga_L0NJWDWMGN*MTcwNzUwOTM2NC4xLjEuMTcwNzUwOTM5OC4yNi4wLjA.

     

    • Thanks 1
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