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  1. I remember sending a bunch of suggestions to the ROH website team months ago. One of the suggestions was related to the announcements of the shows ( or things related to cast change for example) as a pop up in the inferior corner of the page that you could either minimize or close. The other one was putting a head shot of the dancers with their names on the page destined to the dancers ( like literally all the other companies do). Another thing is that since they changed the websote I have no idea how to naturally get to said page ( unless I look up for it specifically on google).
  2. They usually just stay up there @JNC. I don't remember they ever removing an insight video. So be sure you'll be able to check it out later 😉. One of my favourite parts of WBD was Magri's rehearsal of Coppelia. In specific Swanilda's awakening scene (her eyes looked so alive and wondrous, quite lovely) and when she did the slow penché ( she even got an wow from Stephen Wicks ). My other favourite part was definitely all the music played during the warm up class, and getting a sneak peak on Ferri ( who I assume is there for The Dante Project, though nothing has been confirmed). I hope we see others too. I believe she said they would be rehearsing the wedding pas de deux but also solos. So it could be more than them.
  3. @Dawnstar I have noticed how this weekend a bunch of RB dancers have congratulated the company as a whole on social media for going through this crazy week and basically making it work. And I get it that their schedule is crazy right now but I do think certain roles should be announced together with the leading couple, i.e. Lilac Fairy and Carabosse.
  4. Great interview! Mayara is one of my top favourite dancers at the RB ( I like them all but have a few favourite ones ). I’m very happy that she will be dancing Swanilda and Odile/Odette, and I hope I’m available to travel to go watch her debut in Swan Lake 🤗.
  5. From her social media it seems like Hayley was rehearsing for this role before Olivia’s injury so I would say they are unrelated. Her name is on the programme from the photo @Dawnstar posted here ( it’s her maiden name - Forskitt) for tonight performance with Hayward and Campbell.
  6. I guess people will be rewarded with another Hayward/Campbell/Magri/Corrales performance. 🤗
  7. Hayley Forskitt is a former RB dancer, she is married to Brian Maloney, who is a class teacher with the Royal Ballet and former soloist. There is an interview with her where she talks about deciding to retire to raise her kids. I believe her last role before retiring was Carabosse. https://tothepointemagazine.wixsite.com/tothepointemagazine/single-post/2017/06/26/To-The-Pointe-Meets-Hayley-Maloney-Forskitt
  8. Isn't that the reason (meaning the diversity of roles and repertoire) why so many principal dancers in smaller companies later join a bigger company ( like William Bracewell did ) or in the case of the Vaganova school students some prefer the Bolshoi over the Mariinksy? It would be great if the dancers had on average 3 performances to find and develop their roles but I understand that KOH tries his best to give his dancers oportunities, and many dancers have said in interviews ( in english and others in their native language) how much they appreciate his efforts to do so.
  9. Apparently Magri and O’Sullivan were also Florestan sisters ( with Hay as Florestan).
  10. I’m gonna write my thoughts on the triple bill over the weekend but couldn’t pass up saying that I wish Magri was up for variation 4 on the cinema relay after all the rave reviews she received. From what I read in pretty much all the reviews is that she was the one who was really swinging and going for it.
  11. It's sad that they don't do that anymore (unless it's for the cinema relay).
  12. You are correct. Magri will debut as Lilac Fairy and Blue Bird. I really hope she is casted in the cinema relay in one of the two roles since that’s the only way I can see her in those.
  13. Look, I am of the belief that with a project like this, where it’s an adaptation of a beloved musical, it’s good that they have criticism very early on that may help them deliver a better movie in the future when they release it, especially in this case when most of the things they can do to improve it is VFX. If there is one good thing about CGI is that it’s actually constantly being worked on and evolving and with the feedback they now have an idea of what people liked or disliked. I am in the end rooting for it. And by the way, a lot of people were also making fun of the genie in the live action Aladdin when the first trailer hit the web and then after the initial backlash they re-worked on the VFX to improve it and when the movie came out people loved the genie ( the movie was the sleeper hit of the summer surprising people when it hit 1 billion when it was projected to make way less than that number).
  14. What’s actually more staggering for me in terms of production is the proportion of things that don’t seem to really follow a pattern. Also, where are their whiskers? Why keep the human like nose it makes no sense. I think what’s freaking people out is the uncanny valley of visual effects they were thinking of using ( I can’t imagine they keeping things the way they are). Fortunately for them, those are things they can still fix in post production.
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