jmhopton

Coming in rather late with my review of the second Vadim/Fumi Manon as I've been feeling a bit off colour with a lurgy that lead to me cancelling their first performance, something that's never happened before. I thought the performance was really splendid, though perhaps slightly more uneven castwise than the Osipova one where every main cast member was just so good. In the Osipova cast, Alex as Lescault and Magri as his mistress gave (I thought) definitive interpretations; Gary has got Mr GM down to a fine art and Lukas BB was a menacing debut gaoler. With Vadim, Joe Sissens was a debut Lescault who was really good for a beginner though he lacked something of Alex's charm and detail. One of the other Forum members pointed out something I noticed which was quite funny; one of Madame's elaborate bows came off her dress and landed on the floor quite close to Sissens who of course was 'drunk'. He looked at it and I was fascinated wondering what he'd do. Would he fall over trying to pick it up? He made a couple of grabs at it and managed to pick it up without falling over and looked at it in a rather bemused 'what do I do with it now' sort of way and tried to put it in his jacket buttonhole! When he failed he just threw it on the table. The whole thing just took about 10 seconds (less time than it takes to type it) but was fascinating. Letitia Dias was his mistress and I really like her as a dancer but she suffered a bit by comparison to Mayara. Mr GM was Christopher Saunders and there's been quite a bit of negative comment on the Forum about his previous performances being not nasty enough. I was surprised as until this run he was always my favourite GM and I loved Gary as the Gaoler but this time I found Christopher didn’t hold my attention. Someone said they kept forgetting he was there and I found that too; even though I was quite close to the stage I didn't really notice him that much. Gary was the gaoler, and what a performance as always! I just wish he could play Mr GM and the Gaoler every night! The only real overlap is that fantasy bit in the 3rd act and the gaoler isn't in it that much. I'm sure they could find a substitute. In the office scene he really encourages Manon to engage with him. He wants some 'sport'; he's not interested in a dull, lifeless girl, he wants a spark, a struggle. He forces her to look at him and gestures her to 'come on'. Really sickening and chilling. I'll have to see if there's a recording with him. Vadim and Fumi were incredible and, for the first time, I actually saw de Grieux make his entrance. Usually you look up and he's there as if by magic. Vadim can make even walking about the stage quite engrossing which is fortunate as there's a lot of that in Manon for De Grieux to do. His first solo was a thing of poignant beauty, just like a young man whose emotions have been touched for the first time and he's not sure what is happening to him. His subsequent pas de deux with Fumi saw the awakening of that burgeoning desire for both of them. When it ended it was as if neither could believe what is happening to them. I don't think Manon is that innocent. She's not being sent to a convent for nothing as she is very keen to latch on to the old man's money and run off with it. When she walks on she seems to be assessing people in the Inn yard scene in quite a calculating way. Someone on the Forum said it's de Grieux who is the real innocent here, ultimately led astray to cheat and murder for the woman he loves which certainly seemed to be how Vadim played it. In the next scene you don't get the impression Fumi is that keen on GM. She puts up with his needs and demands to save them both (her and her brother) from poverty but you don't get a sense of engagement with him. For her, it seems to be a business arrangement. When she leaves she seems to linger by the bed for longer than most thoughnid like it if some Manons followed that with a backward look when they leave with GM. Act 2 starts off with the harlots as usual. Lescault and de Grieux arrive and he does his drunken dance with his mistress which was very good and got laughs, though when he throws his glass to his mistress she didn't make a thing of it like Mayara did; gesturing to her dress now stained with wine in disgust. When Manon makes her entrance she sees De Grieux right away but ignores him but doesn't actually turn away from him like some Manons. At this point when Osipova went to greet Lescault she pulled a face an waved her hand in front of her face to highlight his drunken breath which I always think rather effective. Fumi is visibly affected when De Grieux picks her up in the dance where she's passed around. It's as if she really wants him and to be with him but daren't with GM there. Vadim's solo is hearbreaking; as if he's being tortured. The few seconds at the end when he just stares at her, pleading, would melt a heart of stone. As Balletfanp said 'I wish someone would look at me like that'! He is visibly distressed with having to cheat at cards but manages to go through with it and they exit after the fight. The next scene is her taunting him with her earrings and bracelet to say she's still got some of the trappings of wealth and Vadim getting angrier with her though I don't think Fumi actually touched the earrings like Morera did in the coaching. As someone said, her control of him is starting to slip and he's starting to see her for what she is. Then the murder of Lescault which is terrible as always. The final scene was really heartbreaking; Vadim trying to breathe life into her, almost by force and Manon getting weaker and weaker; the pas de deux is always heartbreaking but they seemed to bring it to a new level of anguish so you're left feeling drained and in tears as though it's actually happened. Vadim, desperately looking from side to side as if a doctor is going to materialise to save her. His final silent, tortured scream is something I'll never forget. A real tour de force and a fitting end to an amazing evening. The applause and cheering nearly brought the roof down.

So am I, and very put out. I'm not coming to see it as they haven't seen fit to schedule any matinées and I can't afford an overnight, especially for a triple I don't really know anything about. Also, Vadim isn't being filmed in A Winter's Tale. Must be one of the very few years (if not the only one) he hasn't been filmed in any cinema relay. Not a great way for the RB to celebrate his 10th anniversary.

Went well for me this morning as well. In and out quickly and confirmation fairly quickly too. Like Mary, I upgraded to Friends+ just on the strength of the summer of Ashton and I wasn't disappointed. Also amazing to see some standing tickets available in the SC main house (not something I'm really used to seeing). I'm in a bit of a fix re Ashton booking as I targeted the 6-9 June period so I can see a RB rehearsal/first night on 6th and 7th and all Sarasota's 3 programmes on the 8/9 with 3 overnights all together (like Lizbie1, 7 performances in 4 days!) However, I had to book for my husband not knowing if he'd be able to make it as we're relying on our dogwalker to dogsit and she's not sure yet if she can make it though I'm keeping everything crossed. Otherwise we'll have to go separately; not nearly as much fun. One of the dogs is diabetic and needs insulin injections twice a day so we can't put her in kennels. Poor Terry has been great in staying home looking after them while I swan off to the ballet but I'd love for us to enjoy the Ashton together so I'm keeping everything crossed. The last performances we were at together was a wonderful mixed bill in 2019; Firebird, Month in Country and Symphony in C; amazing! We saw Vadim twice in Month and once in Symphony and it was a wonderful 3 nights. Am keeping everything crossed it can be replicated this year. Was able to buy a seat for Terry and a standing ticket just behind for me to cut down on the expense for the Ashton main house. Also 2 standing tickets for Winter's Tale (£14 instead of £63!) so hopefully over the year the extra subscription will pay for itself. Plenty of availability left for main house but Sarasota seems to be selling fast, especially the weekend. Pity they couldn't do that final weekend in the main house then everyone could see all programmes. On the plus side it hopefully sends a clear message to Kevin that there are plenty of people who want to see Ashton! I asked if there would be extra tickets released for ordinary Friends booking and public booking and someone from the Friends said there will be some tickets made available for public booking but didn't mention any for Friends.

Also, if the free returns applied to everyone, not just patrons, some Friends may be temped to buy more tickets than they really need to hedge their casting bets and then if they're slow to return them, make the ticketing situation worse for everyone.

I bet he said 'Mr Barrowclough would never have done that' as he did it!

Saw this headline and got all excited at a faint hope that they MAY be dancing Merry Widow. Of course they're not. Just something I don't want to see, or (as I don't really know what is is) something I'm not willing to spend a lot of money on transport and possibly accommodation on.

And even more stupid to have 2 evenings when both companies are dancing at the same time.

I'm totally with those who think Vadim is very underused so he dances more abroad than at the ROH. Next part of the season seems better with 2 goes at Swan Lake (not that the Prince has that much to do) and then debuting as Leontes. Then there's the Ashton if we ever get casting. I've hopes he will be debuting Oberon as The Dream is in every RB performance. If it's with Fumi that would be a bonus though I wish they'd get rid of that awful strawberry blonde wig. It always looks strange on dancers you know have dark hair and seems completely unnecessary. Re new choreography, I know Vadim explicitly stated he didn't want to dance very modern choreography but does that mean that one of the greatest classical companies in the world can't come up with a classical (or possibly neo classical) choreographer to create something for him? If so, it's rather a reflection of the state of ballet choreography today. I'm sure Zucchetti or possibly even Wheeldon (though I have to say I'm not a fan of Wheeldon and would prefer Zucchetti) could create something for him but presumably Kevin would have to commission it. There is actually a very short piece Zucchetti created with Alice Pennefather on Ball/Hayward filmed at Petworth house, East Sussex that would be wonderful on Vadim so if he can do that I'm sure he can create something original. It used to be on YouTube but can't find it now.

Also at the bottom of Alex's Instagram page there is a lovely, funny birthday tribute to Vadim and a hilarious Q and A session at the end of the links. Alex will be sadly missed for the passion, intelligence and humour he brought to all his roles and to people who waited at the stage door. Such a shame he was so seldom selected to be filmed in major roles but we have some roles to treasure, Basil, Benno, Bratfisch and the Brown Boy in Dances at a Gathering. Hopefully his final, fabulous Lescault will be streamed as a tribute to his great talent. Irreplaceable.

Alex is always very friendly and appreciative and I'll miss his stage door appearances almost as much as his wonderful performances. I'm hoping we may see him there occasionally when Claire starts dancing again, though of course he'll probably be babysitting!

Not sure if Arte is terrestrial TV. I have it saved as a favourite on my computer and tend to watch it online but I notice they are doing a 4 part series about Kiev Opera House; an Opera House in wartime. I think you can cast it to TV. If it's not appropriate here perhaps a mod could move it or tell me where to move it to. https://www.arte.tv/en/videos/114674-001-A/kyiv-an-opera-house-in-wartime-1-4

I asked the Friends office if they thought Ashton casting would be announced by the 29th (Friends+ booking) and they said probably not. A lot of apologies and ' things outside our control' and 'unforseen circumstances ' which wasn't made clear so I'm hoping for a miracle by Saturday but not really expecting one.

I too made the matinee trip from Preston and really loved it for the reasons everyone else has mentioned. However, I have to say I didn't get the Sambe connection other posters seem to. I enjoyed his performance but found I connected more to Matthew Ball's. But that's just me. Looking forward to seeing Fumi and Vadim and see what they make of it. Incidentally, I always love Manon's second act dress and that amazing cloak she wears over it. But the clothing I covet the most is Lescaults fabulous red waistcoat and embroidered black jacket. So it was quite a surprise to see in Robs wonderful photos that Ryios waistcoat is a sort of peach colour and matches the lining of his jacket. I wonder if they can choose as I'm sure I haven't seen that colour variation before. I definitely prefer the red waistcoat and red lining in the jacket. A bit like la Fille where there seems to be different colour schemes for Colas' waistcoat

if they were really considering their out of town Ashton devotees (of whom I'm one) they would have scheduled one of each RB Ashton on each double Ashton Saturday instead of 2 performances of programme 1 on the 15th and 2 performances of programme 2 on the 22nd. I know you could argue that gives people the chance to see 2 different casts on the same day (which is OK by me though I'd overall prefer different programmes) but some people may not be that bothered about seeing 2 casts, just seeing 2 programmes. In fact, they compound programme 2 by performing it on the 21st, just before the 2 performances on the 22nd so if you overnight then you still only see the same programme. It really all comes down to casting as London overnights are expensive if you want to be reasonably central.

Very disappointed yet another non cinema broadcast for Vadim, coming so soon after the disappointment of his Macmillan cast not being filmed. Also no matinees and his 2 performances are over the Spring Bank holiday so accommodation will be difficult and expensive. Casting is interesting, especially the Coralles opening night. Nice to see Clare Calvert given a good part as well. Just wish the casting had been for a more interesting ballet (for me at any rate). Edited just to say no Alex Campbell - again!

Thanks everyone Last time I looked it just gave details of the 2 Saturday performance without detailing one of them was the gala. I knew the evening one was supposed to be the gala and it made sense as it was the performance Sarasota only seem to be doing once but I wasn't sure. So at least that's sorted. But it still seems strange having to choose between RB and Sarasota on the evenings of the 6th and the 7th. Can't be good for sales for either Company.

Rhapsody is also on both the RB triples (just realised our replies were simultaneous, PeterS). The only difference in both programmes is the middle part; Les Rendezvous in one programme and Divertissements in the other. It's a bit frustrating, given all the Ashton short ballets waiting to be danced but I suppose we need to be grateful for what we have and there is the opportunity for interesting casting. For me, the most frustrating aspect is the clash with Sarasota on several evenings in the Sarasota week. Also, what has happened to the Sarasota gala? I did email Kevin several weeks ago but haven't heard anything yet.

I saw this performance at the Odeon, Preston and there were picture issues which other cinemas don't seem to have had. The ratio was wrong and the screen wasn't complete. You'd have thought the ROH would have sent out a test screen so any issues could be resolved before the performance but it continued into the start of the ballet and we missed all of Lescaults opening solo. Anyway it was sorted after that (they said the ROH sent the wrong ratio and they had to contact them to get the correct one) and we enjoyed an amazing performance. I don't think I've seen Osipova perform Manon before and was really looking forward to it and she didn't disappoint. Can't really add much to what everyone has already said about the passion and commitment she brought to the role. Everytime I see it I marvel anew that after such a demanding ballet both of the main protagonists have the physical and mental strength to get through the final pas de deux, let alone deliver a performance of such searing intensity and emotional depth. Sometimes I see other companies do Ashton or Macmillan and while the main dancers are excellent the crowd scenes or character roles don't always have the same impact as they do at the ROH where every person onstage (in however small a role) is invested in contributing to the success of the ballet. We're just so lucky to have such a rich repertoire to call upon and great teachers to impart every nuance of every role. Being filmed as well and showcasing this wonderful Company to the world makes it even more special, especially for a ballet like Manon where every movement and expression is so important in revealing plot and character. It is a bit of a 2 edged sword because you're very aware you can only see what the camera focuses on, whereas in a ballet like Manon there are storylines round every single person on stage. But the camera does enable you to pick up gestures and expressions you may miss in the theatre and does add to your enjoyment and interpretation of plot and emotional depth. I'm going again Sunday and still have 2 live performances of Vadim and Fumi to look forward to as well as Hayward and Sambes matinee. Bliss!

I'm disappointed that the opening night cast isn't being filmed and also there isn't a matinee with this cast as I probably won't get to see Vadim. I can't justify the expense of a London overnight with all the Ashton programmes I want to see. Hope he is filmed in Winter's Tale if he's cast as Leontes, and am definitely keeping everything crossed for an Oberon debut for him.

I did email the Radio Times letters section, praising the Magic of Dance and the decision to show it in its entirety. However, another person beat me to it. But there was another letter in the 3-9 Feb RT by someone who was filmed in the corps de ballet of the Les Sylphides shown in the programme but had missed seeing the original screening. She saw herself dancing on TV for the first time though she is now in her 70s! She said what was even more wonderful was she could show it to her daughter. A lovely story.

SkyArts Sunday 4th Feb 6.10-8.30am RB La Bayadere. It says it's Acosta/Rojo/Nunez but previously they've shown Muntagirov/Nunez/Osipova so may be either.

I've fond memories of seeing Brandon Lawrence in Fille at the Lowry. I think it was the last Fille I saw live. Fabulous that Carlos is not only staging Fille but doing an Ashton celebration in Feb though no details for that yet. Also David Bintleys Cinderella so all my fears about him just staging classical and modern and ignoring heritage ballets were wrong and I've never been so pleased at being wrong! (OK if I'm being really picky I'd have preferred Hobsons Choice to Cinderella but I suppose Cinderella will be more popular.) Like everyone else I hope this doesn't preclude Kevin staging Fille at the ROH in spring or summer next year. If London are only getting 3 performances this autumn that shouldn't be enough to mean it can't be staged at the ROH next year. Also if RB are staging it hopefully it will be filmed for cinema. I keep thinking of all the great RB debuts, though will hopefully see BRB in Birmingham or London. At least Kevin can't be deterred by any pc considerations if BRB are staging it.

This is the photo in the TV guide (tvguide.co.uk). The Australian Merry Widow was filmed for cinema about 5 years ago so I assume this is that version. Steven Heathcote was (I think) the original young hero, Danilo but he might have played the old romantic interest, The Baron, in this version. Having said that sometimes the pictures supplied aren't always accurate. Lost count of the amount of times I've seen a photo for Carlos/Osipova in Giselle only for it to turn out to be the Vadim/Marianela version. The more I see it the more I'd love any of the English Companies to perform it. It would be so wonderful to see it live, especially with the original sets and costumes.

I emailed London City Ballet to ask if Alina was guesting at Cheltenham and also if there were any plans for the Company to visit Blackpool Grand Theatre as I have fond memories of seeing them there, possibly in the 90s. I said their programme was a lot more interesting than the RB Dance Bites! I had a lovely reply back from the Artistic Director, Christopher Marney who confirmed Alina will only be dancing at Sadlers Wells and they hope to include Blackpool as part of the 2025 season.

Skyarts Monday 29th Jan 6-8.05am Romeo and Juliet. A 2019 performance by the Ural Opera Ballet, choreographed by Vyacheslav Samodurov and starring Ekaterina Sapogova and Alexandr Merkushev. SkyArts Monday 5th Feb 6-8am Merry Widow Australian Ballet A performance of the ballet based on Franz Lehar's romantic operetta, created for the Australian Ballet in 1975 by its principal dancer and choreographer Robert Helpmann Surely the latter information is only partially correct as the ballet was choregraphed by Ronald Hynd though Helpmann may have been instrumental in creating/staging it for Australian Ballet.