Linnzi5

Totally agree with this. When I looked at all the scheduled performances that will be going on at the time, I can see why casting must be a nightmare. I also thought, yes, that's true but someone had to schedule and approve the performances in the first place and surely they considered how challenging casting would be?

I'd take a glass of free champagne any time! 🤣 For me, as I'm sure it is for some others, it's more about seeing the cast I want so I don't have the hassle (and potentially not the seats I want) or rebooking while financially losing out. Alas, I cannot book to see every performance and that booking period is pretty chaotic and fitting it in around real life and commitments I already have is tricky enough. I do not solely support ROH so I can book early - I take that as a bonus. I did it after Covid to support them and will continue to do so even if I have the odd gripe about booking or casting.

I am so sorry to hear this, Lin. You have been so unlucky recently. I hope you feel better soon and can get a ticket for 8th. Exciting! I can't wait to hear about the debuts. I like Donnelly and Boswell and am so interested to know how they do (and the other dancers in the main roles, of course). Enjoy! This made me giggle! This also made me giggle!

Without going too off topic, I’m one of the few people who don’t mind the costumes. 🤣

I’d pay to see that! 🤣

I listened to that fantastic podcast too (it was just brilliant). I have to say that the Bracewell/Ball pairing in Corybantic Games was stunning and I loved watching them dance together, so I think a male/male love story would be great!

🤣

I like your idea! Total genius! 🤣

🤣 I think that could be potentially disastrous! I feel your pain, as I am the one of those William fans! I thought I was being clever for the MacMillan but have had to book more tickets - what a shame! 🤣

Yes. It is interesting that new works are generally do not appear to be created on him. Though there may be ones I don’t know about. I love looking at the different pairings as each bring something unique to the table - even if I don’t like certain aspects of the characterisations, I still love watching them. I also love reading the different opinions voiced here - they always give me food for thought.

I would agree with this, as I have watched his Manon with Sarah Lamb quite a few times and I feel his acting and ability to emote has improved dramatically since then.

I have to admit that I did find the Beggars a little scruffy in this performance generally, certainly compared to other performances I have seen. I’m embarrassed to say that I can’t remember who I have seen previously in the Beggar chief roles, but they have been excellent and I did feel Junker fell a bit short in comparison, yes. I will go and check to see who they were. Edit: Daichi Ikarashi and Taisuke Nakao.

It’s a bit strange for me as the performances I prefer can be anywhere in the run and I often can’t express why I like some over others, even for the same casts! 😳

There was mention of Ashton casting in my Friends email this morning: Due to a number of factors, the Ashton Les Rendezvous, The Dream and Rhapsody casting is currently not available as it is still changing, and we do not wish Friends to book for a certain cast which will then not reflect who dances in that performance. I wonder when it will be finalised?

I can’t add much more to what’s been said already really. The star of the show, for me, was Fumi Kaneko. What can I say? She was sublime and, had I not known, I would never have guessed this was her debut. Her Manon was so likeable and I had no doubt that she loved DG. The depth of her love throughout was a different interpretation in some respects, in that the riches and wealth offered didn’t really seem to appeal to her as much as the love she felt for DG and her brother - she felt a duty to do as asked. The revulsion for Monsieur GM was apparent instantly, though, at times, she played her part as his mistress well - even though it would not have been her choice to do so. Technically, I felt she was superb. Fumi’s nuanced performance meant I couldn’t take my eyes off her. I felt Muntagirov was a bit lacking in Act I, which surprised me - almost seemed a bit nervous to start with? I generally have found that for Act I anyway, and that it takes a while for everything and everyone to warm up a bit. However, he certainly made up for this in the next two acts, where his love for Manon was obvious and heartfelt. Technically, he was as assured as usual - especially in the latter acts and I enjoyed his Act II solo very much, particularly. Both Dias and Sissens were very technically assured, giving it their all, though I was not a huge fan of Sissen’s mean, cold glares in Act I - they didn’t quite work for me. They were both good debuts, though I have preferred more experienced performers interpretations of the roles in this run. Just personal preference on my part, possibly? Gary Avis’ Gaoler was as vile as ever, though Saunders’ Monsieur GM was not as nuanced (or revolting) as I would like. It was a thoroughly enjoyable evening and I have to congratulate Fumi particularly on her marvellous debut. The end of Act III was absolutely heartbreaking. Well done to all. it was lovely, as usual, to meet up with forum members between acts - always a pleasure for me. 😀

Just a little bit! 🤣🤣🤣

Yes. I couldn't take my eyes off her either - and barely started rehearsals! I remember her last run in the Spanish Dance and she was just brilliant.

I've been checking too and nothing has appeared for 8th as yet Typical you have no trains - AGAIN!

I saw those and am annoyed to say I am away that weekend and can't make that performance! 😡

I got my reply. Basically said that the offer of not paying a fee to return tickets is one that comes with being a Patron only and is standard for that level of membership only and therefore would not be extended to Friends. Apologies were given for the lack of casting - it was stated that it's because they don't want to give casting they are uncertain of and then it be necessary for it to change. So, I didn't get anywhere really.

I have just emailed - I'll report back when I have a reply. I've always found Customer Services excellent, so fingers crossed I am contacted soon.

Wow. I'm not surprised he has taken another job either, though I do hope his new role is a positive one for him and as sad as I am to see him leave, I wish him every success and happiness. I am so surprised he was not cast in any of the upcoming works, though casting has only been announced for Principal roles in SL, so maybe he would have been cast as Benno again? Unless he was not even cast for that? He was cast in Different Drummer though, I saw. But not for the Ashton or WT? I agree that it seems not financially viable to employ a Principal and then have lesser-ranked dancers taking on Principal or senior roles when a Principal is not being regularly cast. I don't pretend to understand casting decisions, which must be tricky, but I do hope there will be some ones I like in the Ashton coming up - if I ever find out what they are. My booking period is coming up soon and I really don't want to take pot luck and be disappointed not to see my preferred casts. I know casting can change but I am feeling a bit concerned about this, as casting for the Ashton IS important to me. I'm not a Patron, so will I be afforded the right to forego admin fees if I rebook because I can't see who is cast for the Ashton and need to change my tickets once it is? I should email and ask, I think. Has Campbell ever danced Siegfried at RB? I can't find mention of it in his bio. If so, I wonder why not. Then again, Morera never danced Juliet, so . . .

A few thoughts after my second viewing. I enjoyed the second half of the programme the best, as last time. Boundless was somewhat repetitive, with some interesting choreography but I can't honestly say it reminded me of children playing - had I not seen the introductory video, I would have had no idea that was the intention of Gemma Bond. Yasmine Naghdi was brilliant, as she usually is, with some very challenging moves to master. She had an excellent partner in Hirano. The music was interesting and the pianists (Rob Clark and Kate Shipway) mastered the challenging score brilliantly. I did like the costumes. Did I love it? I can't say I did but I did enjoy aspects of it. So, having viewed twice, I would watch again in a mixed programme but wouldn't go out of my way to see it. Never Known I found more tedious on second viewing. As last time, I didn't particularly like the music. The whole work just reminded me of Pite so much that I just felt it offered nothing new - and I'm not a huge Pite fan. As last time, I did not like the strip lighting that descended in one part, it actually hurt my eyes. The highlight for me, was the lift and that was quite impressive. I felt the costumes were ok but again, nothing exciting or different - all a bit bland. I again felt the duet at the end was out of place with the rest of the work and don't understand why it was included really - to me, it didn't make sense and could have been a separate work. However, I didn't dislike Never Known, I just found it went on too long and didn't offer anything new. Would I watch it again? Not really. It was competent as an homage to Pite and other choreographers and the odd bit of choreography was interesting. The dancers were excellent though and gave 100% and I can't fault any of them. For What it's Worth was as enjoyable second time as first for me. In fact, I noticed a lot more that I found appealing. It was colourful, beautifully danced and a real snapshot of African dance culture. Magri was superb in her opening solo and I loved some of the different shapes created by the ensemble. I thought the costumes were lovely and it was an uplifting, at times exciting, then a gentle and beautiful work. I'd watch this again. Twinkle remained my favourite by a whisker. It was generally beautifully danced, as before. It's not a work that's going to set the world alight - it's not deep and meaningful. However, it is fun, elegant and cheeky and I felt it was a fitting end to the evening. Kate Shipway played beautifully. I loved the costumes and staging. I obviously loved the music too. I think this piece really did remind me of children playing, being cheeky and at times serious but just dancing around having fun and enjoying freedom. I think William Bracewell led this brilliantly and Fumi Kaneko was as elegant and delightful as she always is. I do like this couple dancing together, so that was an added bonus for me. I do wonder when I will see them dancing together again though. I am glad I went again to this - I do feel it was excellent value for money and was well worth a second viewing, especially for the second half of the programme. It was lovely to see Forum members last night, who always are delightful to catch up with.

I loved his presenting. I hope he may be able to do some? Congratulations to Alex. What a wonderful opportunity for him, though I will miss his beautiful dancing very much. He seems too young to retire from dancing!

I am most definitely a pleb! I suppose I'll just have to risk and book if the casting isn't announced before my booking opens. It usually doesn't work out well when I 'blind book' though (not that I've had to do it that often, but paying the £4 admin fee is a little tiresome if I return the ticket).