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  1. I hope someone does share the reason (perhaps the rules will allow sharing after the talk on the 20th when it will be discussed openly?). I agree and understand that gossip/hearsay shouldn’t be repeated on here because it can be detrimental, incorrect and perhaps even hurtful, but if it’s come from directly from Muntagirov/ROH box office this is different to someone having overheard something they shouldn’t have or told something in confidence as it’s an ‘official’ source of information? It seems to be pretty much an open secret at this stage anyway, and forum rules would mean that if someone tried to make something up it would be removed? I don’t wish to partake in idle gossip but as has already been mentioned a lot of people had booked to see Muntagirov especially so to change casting as a late stage it would be appreciated to have some sort of explanation. I am disappointed not to see Muntagirov dance but delighted at Clarke’s promotion (well deserved and long overdue) and happy that if it can’t be Muntagirov it will be him as I think he’ll be brilliant in the role.
  2. Oh no I don't at all - but if it's a choice between no Cinderella and a refreshed version (which I don't know why they would do as it would cost them more surely?) then a refresh would be preferable to it being lost perhaps...but it could be disastrous! Although perhaps costumes/sets could be refreshed but keep choreography the same - therefore allowing a 'new look' selling point but the same choreography?
  3. Thanks @jmhopton for your suggestions! As you say O'Hare has already sorted it all but in case he comes on here looking for last minute suggestions/changes: - Giselle - the casting for this would be sumptuous, I would want to see almost all the principals in this! - More Ashton - agree that it would be nice for Sylvia to return. I would love to see a Cinderella revival or re-working (but keeping a fair chunk of original Ashton choreography) and wouldn't pass up La Fille either. A mixed bill including Symphonic Variations/Daphnis and Chloe/Rhapsody would be lovely. - Woolf Works please, seems a shame it has only been revived once I believe? - Jewels and or more Balanchine in triple bills - Some more 'heritage' including Les Noces (fear this will be lost otherwise) - I think the Linbury gives opportunity for things like the Merce Cunningham Centennial to be done well (perhaps giving an opportunity for dancers to experiment with choreographing too?), it's a shame that had so few performances and it was difficult to get tickets, so more like that, and or as suggested another gala evening could be fantastic. - And finally, I know it's probably too soon for Bayadere to come back but I just wanted to mention it as something that shouldn't be forgotten for so long again, so would love to see it in the 21/22 season, if not 20/21. I think I could do a year without a big three act MacMillan (presumably it would be Mayerling or Anastasia that would return if we did have one...or Prince of the Pagodas?). I would be more interested in some of his one acts being performed, Concerto was wonderful. I imagine we are almost guaranteed Liam Scarlett's new work (which was due this year but has been pushed back) but I wouldn't mind giving new commissions a rest if it means I can get the 'heritage' wishlist above. Also it looks likely the Nutcracker will be back next year as one of the Tchaikovsky 'big three' as we've had Sleeping Beauty/Swan Lake this year - though I wouldn't mind being proved wrong! (Especially if it means we get a Cinderella revival/new work...) For ENB I would like to see them bring back Skeaping's Giselle as I've not yet seen that, and for them to continue working with new interesting choreographers and showcasing things that we don't see at ROH (e.g. Forsythe etc). I'll also be interested to see what Acosta does at BRB, his triple bill showing at Sadler's Wells in the Summer looks very promising. Sorry bit of a long list, can't have it all but I think O'Hare has programmed a well rounded 19/20 season (albeit light on the Ashton) so I am hopeful to see what next year holds! Also it may be interesting to re-read this interview with O'Hare - https://bachtrack.com/interview-kevin-o-hare-royal-ballet-cellist-inferno-sambe-hallberg-october-2019 - where he notes: "The 20/21 season will start with more of the contemporary rep, with more revival rep in the second half of that season. So it’s unusual that it’s a bit more separated than before, but yes, we have to do those classic ballets." Considering the year is top heavy in that the Autumn/Winter seasons have always had more programmes in, I hope this doesn't mean the revival/heritage is slightly underlooked.
  4. Naghdi in Sleeping Beauty. (She also showed her beautiful skill in contemporary in Concerto, she is fast becoming one of my favourite dancers who I want to see in everything!) Close second would be The Firebird/ A Month in the Country/ Symphony in C mixed bill.
  5. @Kate_N I completely agree. Sorry but if a child is incapable of being silent for a whole performance and appreciating it, they shouldn’t be there (same applies for an adult!). I am willing to give a child slightly more leeway on some talking, but the parent/carer should be aware of their behaviours and moderate as appropriate. In this case it was more the mother encouraging the behaviour therefore the child must have thought it was ok to talk. The same way if an adult’s behaviour (talking, phones etc) detracts from a performance, a child’s behaviour is similarly distracting. @Fonty similarly whilst I have a lot of understanding for the situation you describe, I also think this shouldn’t have occurred. I know Saddler’s Wells do audio described performances; I don’t think ROH do but even so I think talking during a performance is very disruptive - no matter how noble the cause might be. Perhaps ROH should offer audio performances, or provide audio description via headphones which would enable them to attend any performance? Although the risk of this is that the headphone noise would leak out so the controls would need to be appropriately set as to not be excessively loud.
  6. But then you have to miss part of the performance for this! Which is why I think shushing is quicker/more effective sometimes, although it does cause slightly more disturbance than glaring. Also the glares only work if you are sat in front/at the side and turn around, if you're sat behind it's really only a shush or a tap/choice words.
  7. It may still be worth getting in touch to ask them to reinstate it - especially if this is something they did before. I agree it would be a useful thing to have!
  8. @alison perhaps you could contact ROH customer services to see if they could make some sort of permanent webpage where you could view the view from each individual seat - it would be helpful to look at to prepare what seats to buy, as well as a general reference. I'm sure it would be appreciated by more people than ROH might expect and if they have the resource of all those pictures why not?
  9. Last week there was a child (perhaps around 8-10?) at the ballet. She was frequently talking to what I assume was her mother during the performance, and the mother instead of telling her to be quiet would engage her in conversation. Sometimes from the looks of things it was often the mother starting the talking by saying something like "look there's the prince" and explaining the plot! I can understand it may be difficult sometimes for children to follow a story, but firstly most children who are interested will intuitively figure out who is who, or even if they don't they can still enjoy the performance. No one seems to want to shush a child as I suppose they don't really know they are doing anything wrong sometimes (especially if the parent is encouraging this behaviour!). But I'm wondering what would have been the best way forward - to shush, to perhaps have a quick word in an interval, or just leave it and resign yourself to these things happening now...would be interested to know what others do/think. To say my personal opinion, I fully support those who shush and am one myself when I identify someone close by. But in this case I felt I couldn't shush a child...but would have been grateful if someone else had!
  10. Great information thank you. Despite this programme being very informative I felt it lacked this 'basic' information (unless I missed something!) i.e. names of the different 'movements/dances' in Act 3 and it would have been nice to have more about their 'meaning' also. I can see why the cast list can't have this information, but it would be nice to at least get the 'names' of the dances like the Act 3 variations in Sleeping Beauty, even if it is credited to 'Artists of the Royal Ballet'.
  11. Not sure if anyone else went to see this last night, but I thought I'd write a few words! For starters, having booked the cheapest seats available (still fairly pricey at £27 including booking fee!) it appeared that tickets didn't sell brilliantly well, so the entire Balcony was closed. Balcony ticket holders were upgraded to Dress and Upper Circle which was a nice surprise. I imagine the poor sales has been due to the lack of advertising, as well as the fact tickets only went on sale a couple of months ago (I believe?) which considering this is a busy time of year didn't really give people much time to advance plan etc. Anyway, I digress. The evening was made up of two works - Like a Breath, choreographed by Mauro Bigonzetti with music by Handel, and Gabrielle Chanel, a new ballet receiving it's London premiere (a collaboration between choreographer Yuri Possokhov and composer Ilya Demutsky). Like a Breath I really enjoyed. The music was recorded, but complimented the choreography well. A sparse dark stage with clean lighting. There were lots of nice solos and pas de deuxs for the various Bolshoi dancers, who were all technically excellent and really highlighted the excellence of the 'Russian' style (there is now way you could have confused them for the Royal Ballet!). The costumes were quite interesting, almost couture/fashion like tutus with interesting shapes. Zakharova was excellent, pitch perfect to the music and made everything look effortless - from her high leg extensions to her flowing arms. It was nice to see some comical/light hearted moments in some of the pieces, and I think gave all the dancers involved good exposure and didn't revolve solely around Zakharova (I'm aware most people probably went to see her but considering the calibre of the other dancers it was nice that they were given more meatier things to do too). Sorry I can't describe much else - I find it difficult to describe contemporary works considering I am not a ballet expertise, but I thought it was a very interesting piece of work. Gabrielle Chanel was the 'main' piece, however I found it a overly long and felt it used a lot of exposition (with some french text interspersing the scenes to set the tone, I can't speak French and no English translation was provided which was a bit annoying), including video screens as backdrops for various settings (cafe/the races/the beach etc) and some of it just felt a bit too 'obvious'. The choreography didn't really do much for me to be honest, I felt an over reliance on the screens, props and costumes to tell the story. It felt a little like a promo piece for Chanel clothing and lifestyle to be honest, everything looked wonderful as you would expect, very sophisticated and glamorous, but for me there was some real emotional core missing. Having said that, Zakharova is a very emotive dancer who really 'feels' a character and gets into the work (it was quite touching to see her emotional response to the audience at the end, nothing over the top but from her face I really felt she appreciated sharing her dancing with us) and I'm glad I got to see this side of her in this narrative ballet. Despite this, unfortunately I didn't really feel this work moved me or excited me in any way. In conclusion - I'm glad I got to see a little more of the Bolshoi, especially their 'contemporary' side, and finally got to see Zakharova perform in the flesh. It's a shame it didn't sell as it should have done, despite not liking the Chanel piece the first work was worth going to see. It would be nice to see the Bolshoi (and other international companies) bring more contemporary works to London (I'm aware this wasn't an official Bolshoi evening) rather than just bringing the old classic three act ballets, but I guess it depends on what sells.
  12. Cast is Oliveira/Caley/Conway/Arrieta/Saruhashi/Maidana. Balcony, A22. Seat was £15.80 (inc £1.80 booking fee) so I don’t mind selling it for £14 ONO. E ticket so can email.
  13. Similarly this year’s Manon programme was exactly the same (bar one article and a few pictures) to the 2017 one which was disappointing.
  14. ROH programmes are expensive but I think good value for money - decent articles, usually some lovely pictures as well (although I always want more) and printed on good paper and sturdily built. So a solid 30 odd pages of content. Compared to the £5 you may spend on a few bits of matte paper with a cast list and one article (short) if you’re lucky and some random photos you get for most plays (usually 10 pages of content if you’re lucky).
  15. Today Tix are doing a special offer on Le Corsaire in London - cheapest tickets £15 (including fee) and other tickets are more expensive but still with significant reductions. Not sure how long the deal will be around for, it’s marketed as Black Friday (and lots of other theatre/west end deals on there too for those interested). Now to wait for ENB to get on with releasing casting...I feel this is much later than usual!
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