San Perregrino

Sissens

the balcony standing so perhaps that's what makes it difficult

I'm always amazed at how well you do on Friday Rush. I have only managed to get one ticket that I have wanted on FR since the Pandemic. I wish I had your good fortune.

In Germany or globally? I’m not familiar with this topic but surely, in the UK at least, talent of any height can audition otherwise this would be discriminatory?

Not getting that when I load the site on my iPhone. Perhaps some testing going on?

My personal theory is that by walking around all day with headphones or ear buds and music thumping through their heads for extended periods, many people today have done/are doing irreparable damage to their hearing hence the need to turn the volume up on everything. Even the Police & emergency services sirens have had to turn the volume up to attract attention (or so it seems to me).

REHEARSING: SWAN LAKE CLORE STUDIO - NO INTERVAL - CAMERA FILMING INSIGHTS: THE ROYAL BALLET IN REHEARSAL 22.02.2024 7:30 PM SWAN LAKE – Choreography by Marius Petipa and Lev Ivanov, production and additional choreography by Liam Scarlett, music by Pyotr Il’yich Tchaikovsky. APPROXIMATE TIMINGS The rehearsal lasts about 1 hour 15 minutes. There is no interval.

Tonight’s cast: Leo Dixon, Téo Dubreuil, Nadia Mullova-Barley, Julia Roscoe

that's what I love about dance performances, there are so many different reactions to what we see and hear in front of us. I gave Creature a fair chance, seeing two casts in the original run, then the film premiere at LFF (the most enjoyable presentation by far of this work and how it was originally conceived). I spoke directly with the theatre several times and also the choreographer and his team about the aural torture suffered due to the sound levels and was advised that these were known to be a problem in the first run and consideration was being given to them being adjusted for the revival. thinking that they were going to be, I booked one cast at the revival so that I could enjoy Jeffrey Cirio's return to reprise his jaw-dropping priceless performance. they weren't. I had to wear industrial strength ear-plugs throughout to reduce the volume to an acceptable level. personally, I would rather be water-boarded than to see Creature live again.

I don’t know about Plymouth but Sadlers Wells booking was never on the cards for today (unless perhaps for BRB Friends?). The Wells has its own schedule for its next booking period as yet unannounced.

I like to think of the ROH website as having the reactions of a large dinosaur. If you tread on its tail it takes at least 3 days or more for any reaction

https://www.royalacademyofdance.org/rad-announces-alexander-campbell-as-its-new-artistic-director/ Alexander’s last performances with The Royal Ballet will be as Des Grieux in Kenneth MacMillan’s Manon on Saturday 2nd and Friday 8th March 2024.

For all you eager beavers, ENB Nutcracker & Skeaping Giselle are now on-sale 🙂 . NUTCRACKER AT THE COLISEUM: Children under 16 go half-price: up to 2 under-16s per full paying adult. Note that children under 5 are not allowed in the auditorium. Family-friendly performance: Saturday 4 January 2025 at 2.30pm. Children only pay the booking fee (up to 2 under-16s per full-paying adult), and children under 5 are allowed to attend. Schools matinee: Wednesday 18 December 2.30pm. Please note this performance welcomes school groups – £10 per pupil (in Balcony) or £15 per pupil (in Upper Circle) + 1 free teacher ticket per 10 students. Multibuy: Book for English National Ballet’s Nutcracker and Giselle at the same time and save 15% (not valid on top two price tickets, or in conjunction with any other offer or concessions). For more information, please contact the London Coliseum on 020 7845 9300 or box.office@londoncoliseum.org SKEAPING GISELLE AT THE COLISEUM: Book for English National Ballet’s Nutcracker and Giselle at the same time and save 15% (not valid on top two price tickets, or in conjunction with any other offer or concessions). Children under 16 go half-price: up to 2 under-16s per full paying adult. Note that children under 5 are not allowed in the auditorium. Schools performance: Friday 17 January 2.30pm. Please note this performance welcomes school groups. For more information, please contact the London Coliseum on 020 7845 9300 or box.office@londoncoliseum.org

I enjoyed it too 🙂

Creature being IMHO the biggest one

hi @Fonty you're right of course. these are just my thoughts. being of it's time, Giselle is awash with female roles while there are far less for men. as such, i was struck in the Skeaping Giselle by the massive underuse of the ENB pool and wealth of it's male talent. it's almost a crime to have these dancers doing little more than decorating the stage in act 1 and doing little more than wandering around in an almost jet black forest in act 2, (essentially acting parts). indeed many dancers can clock off at the interval and have an early night. in act 1, the main non-Giselle/Albrecht/Hilarion choreography is the peasant pas de deux which affords an opportunity to only two dancers to shine, whilst the RB version has the pas de six, thus expanding on the roles available and giving the audience a chance to see more dancers. add too this that, for me at least, at several recent performances of the Skeaping version, rather than being a jewel to treasure, the peasant pas de deux was underwhelming and perhaps this can be addressed for next season. IIRC I've read elsewhere that, being of short duration, Giselle used to be preceded by another one act ballet. as such, maybe a piece to showcase the male talent could be included in the evening to balance things out.

As I stated in capital letters in my original post my comment is written TONGUE in CHEEK.

Maybe just Peregrine ?

Even though I am writing this TONGUE in CHEEK , I’ll probably still have to change my identity or even enter a witness protection programme by suggesting that, all other things being equal, perhaps there is no widespread appetite for or support for a production of La Fille? 😉 On a more serious note, I know of more than one person who has confused Dance for Ukraine tonight with Ballet Icons next month and going to the Coliseum website (the last venue for DfU) to book has found only a few seats available and decided not to go.

I’ve seen this programme three times in three days. It impressed me at the general rehearsal and has improved on repeat viewing. 4 contrasting pieces of pure choreography showcasing the depth and breadth of Royal Ballet talent on stages empty save for sympathetic lighting design. It’s rare to be able to see 5 principals in one evening all with plenty to do. Nadghi & Hirano shine in Boundless, Magri in For What It’s Worth and Kaneko & Bracewell in Twinkle. (When we we see the latter pair partner one another again at the ROH?). All outstanding performances. Add to this a Principal Character Artist and the joy of watching a seemingly infinite number (i think I counted 36 ??) of First Soloists, Soloists, First Artists, Artists, Aud Jebsen Young Dancers and a Prix de Lausanne Dancer displaying their considerable talents with nowhere to hide. A veritable feast of an evening for a bargain price. Wheeldon was watching yesterday, MacGregor & Ferri this evening and the CEO of DNB was also present. And, yes I agree it was wrong to hide this programme in with the other Festival events making it hard to identify in the listings.

TodayTix currently has discounted tickets on sale for midweek performances: 27/3, 28/3, 2/4, 3/4 & 5/4

We forget how blessed we are to have early casting announcements from the RB compared to most other ballet companies. Yes it’s frustrating sometimes but the odd delayed announcement every now and then isn’t the end of the world surely.

I wonder if trialling a 7pm start time might encourage more ticket sales. For a ballet close to 3 hours an earlier finish might work better especially if children are coming along.

TodayTix is currently selling discounted tickets for mid-week performances on 27/3, 28/3 & 2/4, 3/4, 5/4.

Bello might be back for his later performances. Seems like the potential crossover with Black Sabbath fans returning to try a traditional ballet hasn't materialised. Except for matinees, ticket sales for the Birmingham dates are slow with midweek evenings very poor. Even Cesar Morales last show on 28th February has more unsold than sold seats. I sincerely hope that sales pick up.