art_enthusiast

What sort of pieces will they be performing? Classical and contemporary I guess?

I certainly hope it ends up on the Stream and on DVD! I would certainly be buying it. I am looking forward to seeing Sissens as Lescaut on Tuesday - I don’t expect him to have nailed the character as well as the Campbell and Hirano portrayals (unfortunately missed Acri’s), but I think this is his first time playing a morally dubious character, from what I understood in the rehearsal insight anyway! I’m sure his interpretation will continue to evolve.

I have to agree with you there - after seeing Gary Avis as G.M with Hayward and Osipova, I didn’t get the same impression when seeing Saunders as G.M alongside Nunez. I didn’t feel the same level of revulsion at his character as I did before. Of course, Avis as the Gaoler brings all of that, to the point where I can barely watch that scene.

Same here, can't wait!

I agree, not this year anyway. I think the interesting thing about it though is that it will leave spots open in other ranks for other company members to move up once someone is promoted - I assume that's how it works but of course I'm not privy to how promotions work in ballet companies. I suppose Alexander Campbell might come back to the RB as a guest coach in future?

He and Hayward were superb together, their version ended up in the Stream I think.

Definitely - he and Hayward were great together in the 2022 triple bill.

Happy for him - very glad I got to see him as Lescaut twice during this Manon run. What a talented dancer and actor he is. He still seems at his peak, but as others have said that’s a good time to take the next step. I’m sure his final performance will be very emotional. I thought he might finish the season in Ashton - was hoping to see him as Oberon - but oh well! Also wish I’d managed to catch him in Cinderella! I also don’t wish to divert the topic, but I guess having a principal spot open might create some more upward movement for the rest of the company? Though I think it would be premature to add to the number of principals right now, it’s interesting to consider for the future.

Guess that would be too much to expect these days

Indeed - almost made me gasp when I first saw her enter in it. Something I would definitely like to wear myself!

I saw Sambé/Hayward on the first night, they certainly took my breath away. After their Mayerling I made a point of booking for them as a pairing. (Hoping they’ll also be doing The Dream together) I agree that Mayara is extremely ready for Manon - she’s certainly given stunning performances as Mistress so far - but I guess that there may have been some final performances reserved for the more experienced principals in this run (hopefully not final for all, but you never know).

Looking forward to reviews! I would have loved to go, but it's a combination of ticket prices, trains and timing for me as Sunday night is never the best time to be out, with a work week ahead.

This is unfortunate as they could make more money charging for streaming!

There really are better things to spend money on…. Does it really cost that much to rebrand? Yikes How about spending the money on actually improving the service!

Shame they couldn't have sent a text or WhatsApp message instead!

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.

Being born in 2023/24 - the post Covid/recession/war filled/climate change stricken years - doesn't seem a bundle of laughs though. No offence meant, I just wish I could see more of older people appreciating their long lives and experiences more instead of bemoaning old age (which is a privilege to achieve, particularly in a world like this one. I'll be grateful if I get to see 30, not sad about it).

I remember her from the summer show. Great performance. Just wondering if anyone knows which company Alix van Tiggelen went to? One of the Aud Jebsen dancers of last season

I saw her Juliet with Clarke in 2022 and loved it, unfortunately they only did one performance (because of having Covid) but I think she really nailed the characterisation. (She was very invested - I think to the point where she might have gone up the wrong stairs at the end of the balcony scene but not too noticeable!) I thought Manon would be perfect for her in terms of representing the character's journey and I think it definitely was. Fingers crossed this recording ends up on the stream at some point, as Cuthbertson's Swan Lake did. I was sorry to miss Cuthbertson's Manon, none of her dates worked for me. I think she and Ball are a great pairing after seeing their Romeo and Juliet (and the Cellist). Hoping to see her in the upcoming Macmillan triple bill.

Glad about Akram Khan’s Giselle and Forsythe as I haven't seen either one live.

Yes, and I think it’s the way in a lot of companies that dancers get their ‘break’ when a more experienced one is injured or indisposed. Otherwise how else would they get the exposure or experience. Or - they get thrown into a big role straight away at a young age. I think this was/is common in NYCB, from what I’ve read/heard. Sarah Mearns as Odette/Odile for example. In a ballet like TWT Perdita is not the only main role anyway, it’s less of a big role than Juliet I would have thought? Can’t comment yet though as I’ve only seen clips of the ballet.

I really hope this gets recorded!

I think I watched this on Marquee TV or somewhere with Sarah and Vadim, and Marcelino/Beatriz as the lead dancers round the tree (not sure exactly which combination, I think Hirano was Leontes but not sure). Such delightful music and the set looked enchanting, as well as the beautiful dancing.

I'm also interested in hearing about it - I've got a ticket for tomorrow evening as well. The Mthuthuzeli November work looks interesting going by the photos I've seen on Instagram

Yep, I read a few reviews that said this. I thought that 2 stars seemed a little harsh (not that I pay much attention to mainstream media opinions on the arts anyway!)