zxDaveM

Probably update the 'the' to 'this'

Saw the friday night performance too - enjoyed even more (as had a better idea of what was going on, and could match the dancing to the synopsis points). Still a bit phased by the gaps in the music, but did love some of the tunes they used. And c'mon- it was Alina and Johan!! Makes me realise just how much I've missed them over recent years

oops - I did! (and I've corrected, so thank you)

I really enjoyed the evening. Made me realise I'd not seen Alina dance for ages - and that I had resigned myself to never seeing Johan Kobborg dance again - let alone juggle, and ride a unicycle! Although he only danced with Alina briefly, it did bring the glorious memories flooding back, I can't deny. It is always a pleasure watching Alina dance, she is so expressive, and I particularly loved the sections where she danced with the Angels (Marc Jubete and David Rodriguez) either as a duet or a trio. The 'corps' of 6 dancers made up the other characters (of the circus, Gelsomina's mother), and were rather a filler when the main characters not on stage, though what they did was pleasant enough. The main interest of course, was between Gelsomina, Zampano and Il Motto (Alina, Mick Zeni, Johan respectively). Sold to Zampano by her mother, his initial desire quickly turned to abusive jealousy. Il Motto's intervention seemed to give her hope, but he seemed disinterested in her, more keen on the confrontation with Zampano, which ultimately led to a fight in which Il Motto died (despite seeming to have the upper hand through most of the fight). Despite being remorseful, Gelsomina understandably was frightened of him, and the joyful circus life became more of a scary nightmare. The dancing wove around this plot (my loose interpretation), with the angels occasionally freezing the action as a sort of inner world of Gelsomina. The score was snippets of music (recorded) from a variety of film score sources (a list - and long list it was - in the programme) which did give the piece a rather 'bitty' feel, as most of those snippets were only 2-3 minutes, with blank pauses between. The dancers did make the most of each snippet though, some of the dancing (as mentioned, between Gelsomina and the Angels) was sublime. Nice touch in the curtain calls - Alina herself gave all the cast and creatives a single rose, and Johan got a kiss as well 🙂

win win win win Fore! in other words....

no, nor me - I struggle to imagine why anyone would tbh

you can always politely say "no thank you" and they don't seem to mind that

I was really sad to hear this. The last few years had been a struggle for him, hence the lack of reviews. He was one of those FB friends you meet online I really wish I'd known in real life, so to speak.

Blimey - that IS a wild guess! And would be pretty much a one off

I wish Yasmine and Will were doing at least a third Manon performance (as I'm missing their second)

Finally I get to see Yasmine Naghdi's Manon - for me, years and years overdue! And to see her dance with such marvelous partner in William Bracewell was an added bonus. Will's opening courtyard solo was rather good, no wonder his Manon was duly smitten; their first pdd filled with beautifully danced steps, and no little ardour. As an aside, good to see Chisato Katsura (as one of the dueling courtesans) slowly getting back into meatier roles. The ensuing bedroom pdd was a thrilling watch - but once Des Grieux had slipped out to be surplanted by her brother Lescaux (splendidly portrayed by Luca Acri) 'pimping' her out to the overly entitled M GM (a sinister Thomas Whitehead) and his pots of cash and jewels and fine clothes. The mask of Manon's loved-up joy slipped as we could visibly see her, as GM's jewels caressed her throat, exchange love's bright and fragile glow, for the glitter and the rouge. After a brief tinge of regret whilst examining the bed where they had once lain, off she went with GM on a cloud of anticipated wealth and finery. The expressions on Yasmine's face as this unfolded were gripping. Seeing her sweep into the brothel party in act 2, that wealth and a sense of her own worth until she spotted Des Grieux and the underlying insecurity briefly slipped out - a picture writing a thousand words. Succumbing to the heart rather than the wallet (though some ill gotten gains from the card table may have helped) the pair fled to the bedroom of his lodgings again, where the pdd (which we saw Laura Morera coaching them recently) was heartfelt and utterly engrossing to watch. Act 3 normally a bit of an ordeal to watch for me - and until they flee to the swamp after seeing off the vile gaoler (the ever masterful Gary Avis). No different this time, but worth the setup for the emotionally wringing pdd for Yasmine and Will, as Manon inevitably dies in the poverty and misery she had so dreaded, that had set her on this path to doom In short, marvlous night, and I'm really sad I will miss their next performance

ah - the star of the show

More comprehensive cast sheets - naming dancers in minor, but significant roles. For example in Manon right now: the beggar boys in act 1; the 5th uncredited courtesan, and the trousered girl (boy?) in act 2; the mysterious, guiding fairy in Nutcracker. The list is a long one! I shouldn't commit this wish to being written down though, as the powers that be would never grant one of mine! 🙂

The cross in the RB version, is two 'sticks' tied together though, giving it an air of an unofficial marking of the grave, rather than a place in a graveyard (though if they were poor, that may be all they could afford?). So perhaps no religious aspect there - just a marking of where she lay. There again, as you say, the power of protection her grave gave Albrecht would hint at some religious protection, so the graveyard comes back into play. And even if it was just tucked away at the edge of a graveyard, you'd think the designers could paint a few gravestones on the backdrop or side tabs A never ending, circular argument for either approach it would seem! 🙂

she definitely appeared in it (there is a clip on the ENB website) and I've seen her dance it. Perhaps she just didn't enjoy performing this production; there may be things in it (or things not in it) that did not play to her strengths

Yes, very unfortunate for Oliveira but I think you're being very harsh on Takahashi. She had danced superbly the night before, and stepped in at the last moment with a different partner for act 2. Hats off to her. Your alternative was to end the show after act 1

yes, 'ghostly' wilis, swans, night-time nymphs etc, with a healthy tan from a well spent summer, hardly convinces! lol

After setting the scene at the start of act 2, I don't see why the lighting has to vary so widely as to make some scenes too dark to actually see. A minor niggle I guess, but a distraction all the same

On Cojocaru: in the RB production, I remember one time during the 'mad scene', she looked out into the audience whilst plucking the imaginary petals, and a tear rolled down her cheek. That just set me off, I can't deny. Oh - and don't you dare delete your account! 🙂

Was that the stuff that gave them lead poisoning?

LOL Giselle leaps up onto the stage from the audience, and all that

I share your woe! There's 'atmosphere', and then there's dancing in the dark. In black costumes. With a black set...

I went to the Saturday evening performance and found myself once again astounded by Erina Takahashi. She has been dancing with ENB from virtually the first time I saw them, and just does not seem to age! (A picture in the attic?). Her performance was emotionally rivetting, and technically enthralling. Good rapport with her Albrecht, debutant Daniel McCormick, and ably supported by the rest of the cast, including a compelling Emily Suzuki as Myrtha, and other-worldly Zulma/Moyna showing from Ivana Bueno and Francesca Velicu (who also did a very fine peasants pdd with Shunhei Fuchiyama, both making debuts in the roles) respectively. A most enjoyable and satisfying performance all round.

Yes, the National Princesses leading their national dancers is way better than having 6 prospective brides clashing in the same dress!! My only problem (a small one) is the ending. But then many other SL's falter there - so much plot to get into a short stretch of magnificent music

I think Francesca Hayward was the first since Alina Cojocaru (this century anyway). Since then they have come more frequently it seems. Used to be that the Rose Fairy's went on to dance SPF (and become Principals) rather than Claras I very much doubt the angels on point; they are supposed to do tiny steps to move around, without disturbing their 'robes' to look like they are floating