jmhopton

I was sat in the side amphi yesterday afternoon and an usher remained in the theatre most of the performance I saw (I missed the early part) presumably monitoring mobile phone use. In the evening one was actually sitting in the back row of the stalls and was very proactive in intervening with people using phones especially during the overture and the end of the short later performance break.

What review? I've never been sent one and so far I've attended 4 performances this season. Anyway they can't be that interested in people's opinions if there is no room for individual comments. X I'm going again this Saturday evening so I might mention the cast change list then.

She certainly was going for it in my opinion last Saturday matinee and I too was disappointed when she wasn't cast for it in the cinema relay. But then I saw her do an equally fabulous variation in Concerto so it's swings and roundabouts really. To change the subject to cast changes there were a whole list of them read out before last Saturday's matinee. When I went to the main desk in the foyer and asked if they had a cast change list I was told they didn’t do them any more and I either had to copy them manually from their list or photograph it on my phone which I did. Leaving the theatre at the end of the performance I walked past the same desk which now had a pile of cast change lists on it which would probably end up being thrown away as being too late for most people.

I had an email to say We are contacting you to let you know about the following cast changes: Monday 23 December, 7.00pm Saturday 28 December, 7.00pm The role of Dr Coppelius will be performed by Bennet Gartside. It was originally scheduled to be Marriott.

Yes I thought it was a strange night to do it. Mixed bills never seem to sell as well at the cinemas and to broadcast one when many people will be either attending firework displays or staying in with pets seems quite inexplicable, especially given the very generous number of performances. Anyway not having either children or pets I really enjoyed the triple bill at the cinema. I actually preferred it to last Saturday's matinee at the ROH. I don't quite know why as both were excellently danced. Perhaps the close ups helped me 'get' the ballets more. Unfortunately our Odeon cinema at Preston had the sound set far too loud for Concerto and some of the high notes were actually going right through your head; very unpleasant. I suspect they'd been showing an ordinary film in the afternoon and not altered the sound level. It wasn't just me as I was part of a queue of disgruntled ballet lovers in the interval. They did reduce the sound but it still seemed louder than normal. I really love Concerto; the music and choreography go together so seamlessly it is a joy to watch. I was slightly disappointed not to see Francesca as I thought she was stunning in it last Saturday but Anna Rose and James Hay (good to see them getting some well deserved international recognition) were really brilliant and Yasmine and Ryio very romantic in the second movement. Magri added an amazing Concerto solo to the equally amazing Raymonda solo I saw last Saturday. is there anything she can't do? Surely a principal promotion can't be that far off for her. Enigma variations I think benefited from the cinema close ups. You could see what a nuanced ballet this is with every look and gesture counting. I thought I slightly preferred Gary Avis' Elgar to Christopher Saunders but both were excellent as was Laura Morera as Lady Elgar. I thought I saw Romany Pajdak doing the same beautiful solo she did last Saturday but the cast sheet didn't mention her. Perhaps I got it wrong. it was great to see Romany last Saturday and I'm so pleased that at last she is getting some of the parts her talent deserves. Francesca was an adorable Dorabella. Was it her debut? if so it was incredible; she was made for the role as she was for the young girl in Month in the Country. I thought both Matthew Ball and Luca Acri were excellent in their very fast solos and it was nice to see Wayne Sleep explaining Luca's role. I think on balance I slightly preferred Alex Campbell as Troyt but both were good even though they perhaps haven't quite achieved the speed, finish and authority of Dowell. But that can't really be expected in their debut season. Finally Raymonda. Love the set and it was great it got it's customary applause. The Hungarian dances were spectacular (love the cossacky costumes!) though sometimes I got the feeling the stage was a bit cramping for some of the groupings. What can I say about Osipova and Muntagirov that others haven't already said? They were just so spectacular both as individuals and together. He sailed through his variations, defying gravity as usual and always with his megawat smile. As for Osipova I thought she was sensational. She even made me consider seeing the ballet full length if she was Raymonda something I thought I'd never say as I think it is very boring as a three act ballet. She just commanded the stage like the great artist she is. All in all a great night. Now all I need is the dvd, please Mr O'Hare.

Strange how we see things differently as I didn't like the opening scene at all! It is totally against the book to have Dracula as a grotesque. He invites Jonathan Harker to his castle to finalise a deal on a house purchase and intends to pass himself of as a Victorian gentleman (at least on a superficial level) so this is just not appropriate. I also found myself remembering bits of the Christopher Gable version which I thought in many ways superior; much closer to the book and both creepy and sensuous without being OTT. Also the memory of the amazing Jeremy Kerridge (one of the finest dance/actors I've ever seen) as a tortured but never grotesque Renfield is unforgettable. The final scene in the graveyard when all these grey objects came alive really cruddled my spine and I loved the Whitby scenes (ignored in this new version). Having said that there was plenty to admire in this version. the pas de deux were stunning and very Macmillanish I thought. the dancing and acting was of a high quality and the atmosphere very Gothic. I wouldn't mind seeing it again but don't know whether I'd want to see it a lot.

Several pages of the new (November) Dance Europe magazine are devoted to the RB Manon with some great pictures including one of Francesca in THAT dress and a large pull out one of Nunez and Bolle on one side and Campbell and Hayward on the other. There is also a separate illustrated interview with Corrales and several pages devoted to BRBs Giselle.

You and me both BeauxArts. It seems to be down to Osipova and Kevin O'Hare letting her have the partner of her choice. If it was me I'd choose Shkylarov every time! Having said that I've been more than satisfied with all the male RB dancers I have seen in this Manon. At the end of the day do we really even need great interpreters like Shkylarov undoubtedly was for me at least, when we've got dancers of the calibre of Campbell, Coralles, Sambe, Ball, Ryio and, of course, Vadim.

The Bolshoi did it in their Coliseum season in 1999. For me, especially memorable as it's the only time I ever saw the fabulous Nina Anashavilli dance live and she did Raymonda. I don't know if they've ever done it since and I can see why. Even by ballet standards the plot is non existent and the hero, despite returning from the Crusades is totally boring (well to me anyway). The only interesting person is the villain who tries to kidnap Raymonda. He has a terrific variation with really exciting music but sadly is killed before the last act. At one time when ballet was new and exciting to us we put this variation, danced by the amazing Gediminas Taranda on whenever anyone came round as we felt we had to share this awesome dancing with everyone. It perhaps accounted for the sudden drop in visitors!

Exactly what I think Dawnstar. Living a considerable distance from London my first thought is 'are any of the cast/s I want to see doing a matinee?' to save an overnight stay. The second thought is 'Are any of them dancing Friday/Saturday' as if I need to stay over (and I always do for an evening performance as there are no trains home) then weekend is easier for travel and sometimes marginally cheaper for London hotels. The third consideration is 'are any of the casts I want to see doing a Friday evening/Saturday matinee' or any other combination then I can see 2 casts for the price of one evening overnight. For me this worked out splendidly for Coppelia as I was able to see the 4 casts I wanted to see on 2 consecutive Saturdays; Dec 28th and Jan 4th. If after all these considerations there was a choice like Dawnstar I would probably go for a later performance.

Many thanks RutheE. I have bookmarked it this time. it looks a very useful and interesting source of information so obviously not readily and easily available on the ROH website.

Phrased my previous post very badly. hadn't really forgotten I'd just seen Alex last Saturday (apologies Janet). I really meant to say has he danced it before this current run and my query about finding out about previous cast runs still stands if anyone can help.

Has Alex ever danced De Grieux before? I know there is somewhere on the ROH site that you can find out these things and a link to it has been mentioned previously on this Forum but I forgot to bookmark it and of course trying to find anything useful on the new ROH website without assistance is just a complete waste of time.

For me first choice would have to be Osipova/Muntagirov. Not only do you have the excitement of Muntagirov's debut in the role (which for me at least promises to be one of the ballet events of the year) following on from his amazing Lensky but you also have the added attractions of Hayward/Ball as Lensky and Olga. What more could anyone want?! I just hope Matthew isn't too tall for Francesca as he must be at least a foot taller. Wasn't there a bit of a height issue when she danced it with Golding? Anyway I'm confident it will be an amazing, possibly definitive performance. Having said that Naghdi/Bonelli must run it close, especially with Joseph Sissons as Lensky, probably his most prominent role yet and partnering Anna Rose O'Sullivan who I can imagine to be a really perfect Olga. I intend to go to both casts but if I had to choose it would have to be Muntagirov/Osipova. However, given the RB perform this splendid ballet so seldom I really would urge FionaE to attend both casts. It is criminal neither is being filmed. I'm only hoping when Reid Anderson sees the amazing dance/acting I'm sure both casts will produce he will relent and let the RB film it at its next run. Clutching at straws I know but it's all the hope I've got.

I too was at yesterday's matinee and while being totally absorbed in the terrific dancing of the soloists and principals it is interesting to pick out some of the more unsung but still technically excellent dance actors in the RB. I too noticed Teo Dubreuil who is one of my favourites and I hope is soon promoted. It was great to see Joseph Sissons too as a beggar (always a favourite and can't wait for his Lensky) though I was slightly disappointed not to see him as one of the 'three gents' in the second act. Francisco Serrano was a beggar again following on from his excellent beggar in Don Q. Another great character I'd like to see promoted. Enrico Montes was a great gent and always manages to bring a great sense of character to whatever role he inhabits. Everywhere you look in whatever ballet you watch the RB have such a great breadth and depth of talent in every department at the moment. As for the principals.... words almost fail me. Francesca Hayward (I nearly wrote Francesca Manon!) was absolutely terrific. Is there nothing she can't do? For me she is definately one of the great dance/actresses of her generation and I'm so pleased I saw her Manon again. Her dancing expressed every emotion and did those beautifully expressive eyes. Possibly even better than last time. Alexander Campbell is a great partner and a beautifully romantic De Grieux. Coralles and Magri made hugely impressive and charismatic debuts. Indeed Magri reminded me a bit of Laura Morera when she made her entrance. Another Manon I've never seen but going to rectify that this Wednesday. Had a great day out with a friend who'd never seen Manon and never been to the ROH before. She immediately became a huge convert to both and it was so refreshing and heartwarming to see both the beautiful building and outstanding performance through the eyes of someone who'd never seen either before.

This ticket has now been resold.

Disappointing the timescale is so limited. I'm in London on the 23rd to see Morera/Bonelli Manon and I might have been interested but the timescale at 5.30 pm to 8pm is really too tight and would be very rushed.

http://www.roh.org.uk/seasons/2019-20 Try this RHowarth. I find it invaluable. If it still works. Sometime the ROH send me these links after I've asked for them and they work at the time, then when I try them at a later date they stop working and you get 'This page cannot be displayed' or something similar. So now when I get something really useful like this I save it to my task bar so hopefully it will function until next summer.

... To return to Manon. I was at the ROH matinee last Saturday and it was like returning home after a long absence. I sank down in my seat, kicked off my shoes (metaphorically I hasten to add!) and settled down to enjoy the perfect performance I've come to expect from the Royal Ballet. Vadim was on fire and gave the most passionate yet nuanced performance I've seen him give as De Grieux. While Sarah Lamb isn't my favourite RB dancer I thought she was excellent as Manon, all her personal dilemmas clearly etched on her face and in her movements. The way she held herself so stiffly in the second act as if she was trying to blank out the way she was being passed around as if she was a commodity not a person was heartbreaking. I thought Ryio, Itzibar and finally Gary as an extremely loathsome gaoler (hardly typecasting!) excellent also. The only person I didn't think was quite as good as usual was Christopher Saunders as M. GM. I'm not sure why as he's usually my favourite GM. Perhaps I'm used to seeing him in close up at the cinema broadcasts. He was still very good but perhaps not quite as good as I remembered. Anyway it was a wonderful performance enhanced by seeing many of the cast at the stage door afterwards being their usual friendly and pleasant selves. Now I can't wait to see Hayward/Campbell and Morera /Bonelli.

I did suggest it to Kevin O'Hare in my letter to him. Although I had a polite acknowledgement of my letter he didn't address any of the points I raised including this one. I suppose this sort of performance takes a lot of organising and quite a lot of what they're doing is in the current rep. So it may not be thought suitable to do it in a gala type performance in London. Having said that some is new and would be great to see.

I'm afraid my opinion of Hallberg's dancing is closer to Nevsky's than Kevin O'Hare's. That said I've only seen him 'live' twice; once at the Fonteyn Gala doing the Romeo and Juliet pas de deux with Osipova. The other occasion was the Act One of Giselle where Ball took over splendidly in the second act after Hallberg's injury. So neither occasion was particularly ideal. However at one point I was really concerned about his partnering in Romeo. Some lifts look strained or off balance and I found myself thinking if he is like this for a relatively short pas de deux how will he stand the pace for a full length ballet, especially Manon with the very physical pas de deux right at the end of a strenuous three act ballet? Still, on the plus side it's helped my bank balance a bit as I wasn't remotely tempted to see him in Manon though I wouldn't have minded seeing Osipova, and if she'd had Shklyarov as a partner you couldn't have kept me away!

I have personally found myself underwelmed with most of Matthew Bourne's productions I have seen (not very many as I tend to avoid them). The exception was the triple bill of his earlier works that I saw in Blackpool last year which I thought was very inventive and which I enjoyed far more than his full length works. However, I was considering going to see the Red Shoes at the Lowry, partly to see Adam Cooper and partly because of the music score as the Red Shoes score is my husband's favourite music score. The casting link above doesn't refer to specific performances. Is Adam dancing the role of Boris Lermontov in every performance?

I have a spare ticket for this performance, it is K48 in the amphi, end seat with a single armrest and uninterrupted view of stage. it is priced at £27 as I think I got it as part of an amphi package but I will accept £20.

Apologies if this has already been mentioned but the above lecture was livestreamed from Gresham College on Tuesday and is still available. https://www.gresham.ac.uk/lectures-and-events/diaghilevs-beginnings This is part of a lecture series on the Ballet Russes. The others are :- Tuesday 29th October 6pm. The Ballet Russes: courting the exotic Tuesday 21st January 2020 6pm. The Rite of Spring: a failure and a triumph. Tuesday 18th February 2020 6pm. The Ballet Russes: playing with the past. Tuesday 7th April 2020 6pm. The Ballet Russes: turning French Tuesday 12th may 2020 6pm. Diaghilev and Prokofiev: return to emotion There are many years of lectures available on the site covering a wide range of interests.

Delighted with the confirmation of a Christmas day broadcast. However, I don't know if a tv broadcast in itself will generate a 'huge new audience'. I would have thought those disinclined to watch ballet won't bother with it unless it has well targeted advance publicity showing it is somehow 'different' to a traditional ballet. Surely showing it in a variety of mainstream cinema outlets like Cats would generate a wider audience and interest in ballet.