JNC

Good spot! But why have they announced this without announcing the full season yet? still confused as to why they’re holding off so late but no use in moaning and one week to go I suppose.

As much as I’d love to it’s an issue of money and me not living in London! It’s the way it goes with casting, I’ve enjoyed Cinderella much more than I thought I would so I’m hoping that at some point in the future (24/25 season perhaps, although without going too much off topic would much rather see Fille and Sylvia and Ashton one acts I’ve not seen first!) it’ll get a revival and I can try and see more casts then. I also have to stop at some point, you can’t see them all (well maybe you can but I need to draw the line somewhere!).

I don’t think qualities such as physique etc should come into it as that seems unfair but technically I agree I was unimpressed by her lilac fairy. To be fair she did improve the second time I saw her (so once in the 2019/2020 run and once more recently) so maybe it is a thing of time and experience. Having said that even with improvement I didn’t think her lilac fairy solo was smooth and flowing, it felt overly technical like a class rehearsal that she was thinking a lot about rather than a performance on stage with “character”. I think it’s also a case of individual likes/dislikes as well, I just haven’t ever been wowed by her on stage the way I have with others (but equally there are many other dancers I also haven’t been wowed by so it’s not Storm Jensen it’s just my own preference!) sorry don’t wish to be mean and single her out, it’s just like when you go to a good restaurant you know everything on the menu will be good but you will still have things you want to order and things you’re not fussed by!

Selfishly I am disappointed Magri isn’t paired with Morera/Ball as that’s the final cast I’ve booked and I wanted to see her in the godmother role. I also think Menzibal would have been good as I liked her Firebird. Might get shot down for saying this but not sure Storm-Jensen is right for the role, or at least not my preference but will try and keep an open mind!

interesting theory Rob but given the way the sisters recoil from her I think she is meant to look ragged and poor? Unless they are just anti outsiders generally. I like the costume and think the cobweb wings (?) do give a dramatic shadow but it doesn’t make sense as part of the old woman disguise and agree that perhaps a ragged cloak would have been more effective. Similarly without wanting to nitpick too much Cinderella’s clothing/dress doesn’t look particularly dirty or ragged to me. It’s got a clean cut, you can see a few patches on it to indicate it’s old but I would have preferred something more visibly dirty/tattered looking. Like the blue being visibly dirtied at the hem or a darker colour generally (but could see that might not pop against the background/sets). While we’re on costumes aside from the colours of the fairies in act 1, I didn’t like the top which just seemed to be an adapted leotard so a bit of a boring/less flattering cut then the top of a tutu style leotard - ie a non round neck. It just looked to me like someone had dyed a bog standard leotard and attached some flowers/leaves to it!

Agree with many of the positives already noted here about the performance last night. It did feel magical in some way. Kaneko/Bracewell do have a lovely partnership and definitely brought a sense of emotion and depth to what are generally pretty 2D roles. I’ve never seen Cinderella before (only the made for TV Fonteyn version which I wasn’t impressed with at all, I felt not enough dancing and too much stepsisters), I was apprehensive about the costumes and light effects and also the music is not that enjoyable for me. So I was happily surprised that I found the production overall really beautiful (dare I say magical?) and overall left feeling very happy by it all thats not to say I didn’t have things about it I didn’t like! I actually didn’t mind the sparkling effect at the overture but if it’s shining in people’s eyes that’s not ideal. But it did add an extra something (equally if it was removed I wouldn’t necessarily miss it). I agree that act 1 felt light on the dancing. I actually didn’t hate the stepsisters as much as I thought I would and this is credit to Hay and Gartside. I was confused by the pink glasses of the father and he felt a bit of a non character (does he have much purpose other than to have a cry and hug with Cinderella, you could convey her sadness over her mother as effectively - or more if she’s alone! - without him I think). I didn’t like the projected light effects for the fairies as it felt a bit too Disney/west end for me. Having said that I didn’t hate them either (although I found the bright green lighting for spring unflattering and distracting, I actually liked the bright glow of summer to convey the sun’s heat though). I do agree that at least one of the fairies didn’t seem technically quite up to the solos, but Choe was fabulous. I really liked the cracking open of the set. The costumes I found too bright, I didn’t mind autumn but the others looked a bit cheap and OTT to me, particularly the fairy godmother. I do agree the bright purple is too similar to the lilac fairy so a blue would have worked better for me. it felt like finally act 1 was really getting good when the stars/tutus joined the stage and I really liked the frenetic geometric choreography (very scenes de ballet!). Sadly once just once it felt like things were finally getting really good the act finished! I do think more could be made of the coach transformation but I appreciate it must be difficult. Visually I don’t mind the pumpkin flying up and splitting but it doesn’t feel that magical. I also felt the set felt cramped at times (a complaint for all three acts) where I think they should have pushed back the arches of the house completely off the stage to give more room for the dancers. I did like the golden wheat design elements. Act 2 felt much better, but again half the date was taken up with the set! I don’t mind it’s set in the garden and the dancing was really good last night; just everything felt it worked really well. My gripe would be that as an amphitheatre watcher we can’t see the clock which feels quite annoying and it’s a pet peeve of mine when sets and choreography is designed with only stalls in mind. (If anything my favourite choreography often works better from the amphitheatre to see the patterns). But really only good things to say about act 2 overall, although would agree that the jester provides some good choreography but is a bit of “filler” and we don’t see enough of the Prince. Act 3, although short, is visually beautiful in the final scene. The veil, the cape, the sparkle, it really is wonderful. (Although again why isn’t the house set fully pushed back and removed and I noticed one of the stars awkwardly dancing around the stool and broom which I thought might have been left for some dramatic purpose but then was removed so apparently a mistake or just unnecessary). the music grew on me a little bit but I still found it jarring at certain scenes in act 2 and it’ll never have the emotion of sleeping beauty, swan lake, Giselle etc for me. I did think it was well conducted and played though (but I’m no expert). so a quick run down positives - Kaneko and Bracewell fantastic, as we’re Gartside and Hay - star choreography - act 2 choreography - sets - some of the lighting effects for the fairies - costumes for Cinderella and the Prince (particularly the last act) some things I don’t like - sets need to accommodate more stage space and be pushed back further as it sometimes feels visibly cramped - I personally don’t think the projections on the house arches are necessary and it feels gimmicky to me - costumes for fairies and godmother feel too bright and OTT - if there is a way to make the coach transformation a little more dramatic that would be great But overall I’m happily surprised that I enjoyed this much more than I thought I would. I didn’t think I would dislike it, but I expected to find the sisters and music intolerable and it actually was ok (maybe because I was expecting it to be worse I enjoyed it more?!) and the sets and most of the costumes are well done. It doesn’t feel too similar to the other works in the rep (eg beauty) which is something I was worried about so I think it’s good it definitely has its own identity not just the choreography (although definitely inspired by Beauty!) but through the sets and costumes. I could probably say more but will leave it there!

Tickets now sold, thanks!

@MichelleS have replied to your DM, please let me know if you want the ticket. Thanks

indeed that and the class dimension which newspaper columnists always make much more of than the audience, or than I’ve ever seen! I’ve often seen the clearly wealthier audience members drinking lots and thinking they can sneak food/drinks in and talk whenever they want and they’re the ones wearing the expensive clanking bangles! It cuts across class in my experience, I wouldn’t say one is more likely to behave a certain way than another. Shame as the rest of the article makes some valid points on bad behaviour.

Likely this may make an appearance in the links tomorrow but it continues … https://www.theguardian.com/stage/2023/apr/10/bodyguard-police-fighting-urinating-seats-ugly-new-side-of-theatre-audiences I feel so awful for James Norton; an absolute violation of the sanctity of theatre and respect for actors. And I feel terrible for the staff. If management want to sell alcohol and food then they need to accept the risk of this sort of behaviour increases and appropriately hire actual security (as unnecessary as that should be). Or of course they could just not allow drunk punters in, stop selling alcohol (at least to drunk people!) and not allow food/drink in the auditorium (reducing said amount of alcohol consumed, at this point it would be fairly easy to hide alcohol in a water bottle I imagine). some other constructive solutions in the article as well. Hope they are actually implemented.

I do think that for most “non regulars” if I had to take a guess Swan Lake, and Nutcracker are the two that they would see, and it pains me to say but therefore I would expect these to be charged higher prices. I feel Romeo and Juliet always seems to be popular even though it’s not classical/tutu (well known story, perhaps appeals more to adults looking to branch out from the two above) so I can see why that is priced higher as well. I am confused why Sleeping Beauty is charged the same as the above (or more) - I love it, and I know it’s a classic with famous music and a full three acts, but it’s quite long for children, and doesn’t have the dramatic story that might appeal to adults who aren’t big on classical ballet (like swan lake has with the emotional drama, in beauty there is nothing really). I’d even maybe put Giselle above Beauty in terms of ballet history/appeal (not that I want them to charge higher prices for Giselle, but hopefully with Cinderella and Sleeping Beauty not having sold as well as they maybe wanted perhaps we can stay safe there). My point perhaps is Sleeping Beauty may be (dare I say) a bit boring if you don’t love classical ballet (I love it but can see it’s not for everyone). The Nutcracker is very seasonal, targeted at children, and only two acts. Swan Lake brings a bit of drama, the classical “ballet blanc” scenes. Sleeping Beauty probably doesn’t bring a strong image to those who haven’t seen it before? I would put Cinderella in a similar category - yes people know the story but they won’t necessarily translate that to ballet or the music, whereas I think swan lake is better known with a strong image and the music (I know sleeping beauty’s music is well known but people wouldn’t necessarily definitely link to the ballet in the same way I think). A bit of a ramble so hopefully not too off topic but it will be interesting to see how the spring beauty ticket sales look closer to the time.

do you have some insider information or are you just making a good guess?

Yes I think I rather meant sometimes when the forum appears to have (almost) lost hope, like with Cinderella, it turns out incorrect! But yes either way if Kevin OH is reading this please do bring it back at some point in the not too far away future!

maybe they could bring Fille… (Slightly joking as they have great repertoire we don’t have in London so I’d rather see that as I’m presuming Fille is in the RB repertoire still.) But yes would love to see Paris Opera Ballet (POB is a much better acronym than BNP…) in London. I know they’re not far away but the cost of Eurostars and a one night stay minimum in Paris makes it prohibitive for most people I’d think. Would also like to see NYCB in London to bring some Balanchine rep. You never know, after all that talk about Cinderella last year and it was actually revived so maybe we’ll all be surprised with Fille. It’s popped up a few times - in recent social media posts and at the diamonds gala so maybe it is in the works. Don’t want to get my hopes up though…

@Lizbie1 you are correct but only those with the actual numbers can say if it’s actually worked! If the most expensive tickets are the ones unsold it’s less likely to work out, particularly if they’re only selling % of those more expensive tickets at a discount as well! Not selling out just seems sad to me for many reasons. I remember when pretty much every performance I attended was a full house.

22 April amphi ticket now sold. still available 22 April 7pm Morera/Ball SCS D42 £12 standing 29 April 7pm Morera/Ball Amphi L39 £34

despite the high prices I’m actually surprised Cinderella isn’t a sell out after the initial, generally positive, reviews. Did sleeping beauty sell out earlier this year with similarly high prices? it is interesting to see that the amphitheatre is often sold out, with the stalls where the tickets that haven’t sold are located - indicating that price is the main issue. I hope ROH take note and blame this rather than the production!

I’m sure it’ll be in the links but given it’s paywalled, for those wondering there is an interview with Hallberg in the Times today. The takeaway is it seems it was Goecke’s incident that led Hallberg to reconsider the programming. Hallberg also essentially confirms he’s retired and doesn’t expect to dance/perform again.

I think it’s not lavish but for 30 minutes it still requires various romantic tutus and a backdrop (though arguably you could get away with no backdrop perhaps if you were being minimalist). I agree it’s probably not mega bucks compared to restaging a proper three acter with various sets and costumes but I was thinking more from the perspective that many modern pieces have little to no backdrop, and almost just leotards for costumes (with generally fewer dancers on stage I sense but I could be wrong!), which would be much cheaper than the romantic tutus and commissioning a full painted backdrop. But I have no idea how much these things actually cost so I may be totally wrong. Anyway I love it, the music is so expressive. I have to admit I’m not a fan of La Sylphide, maybe I wasn’t in the mood for it but the story and choreography didn’t resonate with me and I didn’t like the “Scottish” costumes/setting (I saw ENB’s production). I’d be willing to give it another go though! But it just doesn’t have the same emotional impact as Chopin and the pure dance as Les sylphides for me.

I’d love to see Les Sylphides as part of a bill but it seems increasingly unlikely given the amount of time since they last performed it and the fact they’d have to commission/acquire a new staging with all the costs that entails (costumes, sets etc). Would be so intrigued to see it as part of a ballet russes inspired bill.

+1 for this although I can’t comment on orchestra stalls! compared to something like palais garnier (stunning building though) where lots of the top level seats provide a view with the head in the way in front (is this the same at ROH?) and where I’ve heard the amphi is intolerably uncomfortable as it gets too hot (so I can’t personally comment but I fainted once due to heat at a small central London theatre so didn’t want to risk it) ROH seems well designed - within the confines of its history! The amphi at least is raked well. I do agree that if the blockers in this instance are merely “bystanders” on stage then that is not part of the choreography and compromise should be made (with Soames?) to move them! Do they ever seek audience feedback post the friends rehearsal? Surely that might help and many friends would be happy to contribute!

ok maybe I’ll be ok then as I’m not near the front but I am in the middle section. Where were you sat? I do also have some SCS tickets but again I think central-ish so hoping it will be ok. Fingers crossed.

@Andreas I’m sorry I don’t get notifications on the post so have only just seen this now. I messaged you separately last week asking for your email and giving you my bank details (which I don’t want to put in a public post!) and haven’t received a reply? In any case all tickets are still available - Andreas if you do want one or more you’re welcome but you will need to reply to my PM please.

Disappointing to hear that it seems they haven’t tested the production from all areas of the auditorium! It’s my pet peeve as a regular amphi sitter that set designs of works are clearly designed for the stalls. Not looking forward to this blinding light display and very much hoping I can see the famous act 2 entrance unobstructed. If not I shall certainly email in. I don’t think it would be fair to say something to dancers as they are not the stage designer/manager - best to email I think and then it can find it’s way to the appropriate person.

I’m personally delighted, I appreciate others may have seen Jewels before but I haven’t! Have Australian ballet done this work before I assume. Whilst I’m happy about this the way they’ve gone about it is very poor. I assumed this was an addition to the programme not a replacement so it’s a bit shocking. Particularly if they haven’t communicated to people who have booked for something different. It may be they’re happy with the change so I can see why they’re not doing automatic refunds but they definitely should send a very clear email with an easy “click here if you wish to refund at no cost” button. Very curious as to such a big change and why… Sorry for those that wanted to see the other programme but thinking cynically it’s even less likely for RB to do Jewels now, certainly next year and I don’t hold huge amount of hope for it in future years (unless this sells exceptionally well?) so I’m snapping at the chance to see it live.