Wheeldon Triple Bill - February/March 2016

[aileen]

I've said it before: the intervals are too long. I think that more performances should start at 7pm. I suspect that after the over-long and rather unsatisfying Strapless (applause for which was respectful rather than enthusiastic) some people had had enough and, with their homeward journey in mind, decided to leave before a 30 minute interval and then another 30 minutes of dance.

 

Going back to Strapless, I agree with Vanartus that Wheedon got into difficulty because he didn't stick with one approach. It was partly expressionistic but then resorted to a lot of dull acting and cliched choreographic filler. It might have worked better if it were shorter and tighter, consisting of a series of episodes along the lines of what McGregor did with the first section of Woolf Works. Personally, I had no problem with the black costumes because, seeing the work from the amphitheatre, the dancers were dancing largely against the white floor. I think that the designer went for a largely black and white colour palate with the exception of Amelie and Dr Pozzi's scarlet outfits.

[Jillykins]

Wow! What a fascinating topic! I am so excited that I am going to see the programme tonight. Especially as, for once, I am sitting in the stalls circle not my usual amphitheatre seat. All your posts have increased my anticipation of the programme. Thank you.

[zxDaveM]

I've said it before: the intervals are too long. I think that more performances should start at 7pm. I suspect that after the over-long and rather unsatisfying Strapless (applause for which was respectful rather than enthusiastic) some people had had enough and, with their homeward journey in mind, decided to leave before a 30 minute interval and then another 30 minutes of dance.

 

.

 

7pm starts in the week would utterly knacker me have to confess, as the best I can do with trains (on time), is get to ROH after a day at work at 7.05-7.10. So on a purely selfish note, I hope they DON'T do that!

I'd have thought the interval timing dependent on constructing (and deconstructing) the set, rather than as an annoyance to the audience. Indeed, some may like a longer interval than the minimum, to chat with friends and have a glass of something fun. As an aside, I thought the 2nd interval in this triple was 25mins, and the last piece 35mins running time. But as you say, perhaps those that left had had enough - or had only come to see Ms Osipova

[Jan McNulty]

Well I am finding the 12:30 starts for matinees on Saturday very hard.  As I have to take my dog for a walk before I set off, the earliest train I can easily get is the 0847, which is due in at 11.  That would seem to be plenty of time, but as I discovered on Saturday it only takes a problem on the line to put things completely out.

 

I would probably get that train even for a 14:30 start so I could have a little mooch around the BM and lunch before the start.

 

12:30 also makes eating problematic - too early for lunch beforehand and too late afterwards!

[GTL]

Re: programming

Another vote here for more 7pm starts and less interval, people can then drink and chat with their friends after the show without constraint. If the ROH technical staff cannot yet cope with shorter intervals, as per the commercial theatre, they should learn how.

(We haven't had a timings/catering revenue/loo queue rant for a while, time perhaps to revive one?)

 

Isn't it more important for the audience to be able to use the time watching the dancers perform?

[MAB]

Train operators are quick to shut down services when there is ice on points/rails. and it was very cold last night. Perhaps that was why people took the decision to leave early.

[Don Q Fan]

Well I am finding the 12:30 starts for matinees on Saturday very hard.  As I have to take my dog for a walk before I set off, the earliest train I can easily get is the 0847, which is due in at 11.  That would seem to be plenty of time, but as I discovered on Saturday it only takes a problem on the line to put things completely out.

 

I would probably get that train even for a 14:30 start so I could have a little mooch around the BM and lunch before the start.

 

12:30 also makes eating problematic - too early for lunch beforehand and too late afterwards!

Couldn't agree more - ROH needs consider not everyone lives in London!!!  2pm or 2.30pm seems to be fine for every other company I know, maybe they are taking the word "matinee" literally.

[Balletfanp]

If I come up for a matinee I have to come from Plymouth - and like Janet, I like to leave plenty of time to allow for traffic problems or other unforeseen delays. Plus, of course, lunch! It's doable by train (unless it's a Sunday, when the earliest train from Plymouth wouldn't get me there in time!), but trains are expensive so I've started coming by coach, which, of course, takes even longer....

 

An overnight stay isn't always financially viable when you add in the cost of the performance ticket, plus travel, plus food etc.

[SPD444]

Couldn't agree more - ROH needs consider not everyone lives in London!!!  2pm or 2.30pm seems to be fine for every other company I know, maybe they are taking the word "matinee" literally.

They also have to consider what the evening performance is, some Opera sets are huge and complicated.

[Balletfanp]

Just realising that travel arrangements have hijacked this thread again.....! Better return to topic ????

[alison]

That would be a good idea

[bangorballetboy]

On matinée timings, I have noted that the 1230 RB starts are usually on Saturdays when there is not also an RB performance in the evening.  If it's a double header, the matinée starts later.  I assume that this is for the dancers' benefit, so that they have more of their Saturday to enjoy if there's no evening show.

[alison]

Come to think of it, it can't be much fun for the dancers who have to wait around until really late for the ballet they are in.

 

Yes, but someone's always got to be on last. The people I'd feel most sorry for would be e.g. the extras in Infra, having to wait all that time just to walk across the stage.

   

 

 

Personally, I had no problem with the black costumes because, seeing the work from the amphitheatre, the dancers were dancing largely against the white floor.

 

Yes, it certainly shows up better from upstairs.

 

Another vote here for more 7pm starts and less interval, people can then drink and chat with their friends after the show without constraint.

 

"Without constraint"? Well, not unless they abandon the practice of booting everyone out of the building ASAP afterwards. In my experience, most people are going to head off home afterwards, regardless of finishing time. Or stand outside the stage door for hours, I suppose.

 

Couldn't agree more - ROH needs consider not everyone lives in London!!!  2pm or 2.30pm seems to be fine for every other company I know, maybe they are taking the word "matinee" literally.

Exactly. And what ludicrous time is this year's RBS matinee? Am I right in thinking it's 11 am, and on a Sunday, or am I imagining it?

[RuthE]

 

Yes, but someone's always got to be on last. The people I'd feel most sorry for would be e.g. the extras in Infra, having to wait all that time just to walk across the stage.

 

Or just have a much later call to begin with?

[Fonty]

12:30 also makes eating problematic - too early for lunch beforehand and too late afterwards!

 

12.30 does seem exceptionally early for a matinee.  And it means people come out of the theatre at a slightly odd time.  Too late for lunch, too early for drinking (well, for me, anyway!)

[bangorballetboy]

too early for drinking

 

Does not compute.  Does not compute.

 

[bangorballetboy]

 

Exactly. And what ludicrous time is this year's RBS matinee? Am I right in thinking it's 11 am, and on a Sunday, or am I imagining it?

 

You're imagining it.  It's 1130 on Saturday 9 July.

[SPD444]

Alison, The RS Matinee is 11.30 on Saturday 9th. July. I think that's the end of term so they go home.

[capybara]

 I assume that this is for the dancers' benefit, so that they have more of their Saturday to enjoy if there's no evening show.

 

I would like to think that that were so. However, I recall an Insight event a few years back when the head of technical staff explained that their union had insisted on having 3/4 hours between shows (depending on whether or not there was a production change).

[Fonty]

Does not compute.  Does not compute.

 

 

  I knew there would be one person who starts early!

[RuthE]

12.30 does seem exceptionally early for a matinee.  And it means people come out of the theatre at a slightly odd time.  Too late for lunch, too early for drinking (well, for me, anyway!)

 

Personally I enjoy the 12:30 matinees... I don't come from far away, so I don't have that aspect to consider, but after a late breakfast/brunch, it's rather nice getting out of the theatre just as all other matinee audiences else have left the nice restaurants empty

[GTL]

  "Without constraint"? Well, not unless they abandon the practice of booting everyone out of the building ASAP afterwards. In my experience, most people are going to head off home afterwards, regardless of finishing time. Or stand outside the stage door for hours, I suppose. Exactly.

If the revenue is important to the ROH, they could keep the bars and restaurant open post-show, as the National Theatre does.

[GTL]

I would like to think that that were so. However, I recall an Insight event a few years back when the head of technical staff explained that their union had insisted on having 3/4 hours between shows (depending on whether or not there was a production change).

And yet most short-haul airlines can achieve a turnaround - arrive, disembark passengers and luggage, refuel, load new passengers and their luggage, do the necessary technical stuff - in half an hour. In fact, in less time than some ROH intervals.

[Vanartus]

If the revenue is important to the ROH, they could keep the bars and restaurant open post-show, as the National Theatre does.

I agree!

[JennyTaylor]

I went to see this triple bill last night in anticipation, being a big fan of Christopher Wheeldon. 

 

I was so disappointed with Strapless.  In fact, I was bored, which bearing in mind the great cast was a big let down. The music was a big factor in this - it did nothing for me, and I couldn't find any sort of tune and the ballet aroused no emotions whatsoever - except boredom.  We had to wait an awful long time for the strapless moment and then - so what.  The lady next to me fell asleep. Oh dear.  Haven't felt so let down for ages. 

 

In contrast, I felt Marianela and Thiago were sublime in the main After the Rain pdd. Such partnering, grace, control, togetherness. Oh, one could say a lot more. ........

 

I also loved Within the Golden Hour, as did the rest of the audience.

 

So contrary to all my expectations, I loved the two more abstract ballets and disliked the story ballet.  A complete contrast to my normal  preferences.

[alison]

You're imagining it.  It's 1130 on Saturday 9 July.

 

Thanks.  Was it last year's I was thinking of, then, or am I confusing two separate performances?  I'd still have thought it was ridiculously early for friends and relations coming from hundreds of miles away to get to the ROH in time without shelling out for a hotel the night before.  Still, I suppose it would have the advantage of finishing just in time for the Wimbledon Ladies' Final to start

 

Anyway, thank you very much, Jenny, for getting this thread back on course, and my apologies for slightly diverting it again.

[Jamesrhblack]

Finally, getting around to competing my thoughts on last Saturday's matinee. I won't comment further on Strapless as I've expressed my thoughts on that as well as commenting on a few other posts.

 

I absolutely understand what people are writing when they say that After the Rain comes in two parts that don't necessarily add up. However, for me, the choreography and construction was so involving in the first section (and wonderfully danced too by the second cast) and the Pas de Deux so exquisitely rendered by Yanowsky and Clarke that any critical faculty was essentially removed. There always seems something extraordinarily moving in seeing a more mature female dancer tenderly partnered by a younger man and the combination of music, choreography and on-stage chemistry seemed very special here.

 

Although I enjoyed Within the Golden Hour, I seem to have responded a little less positively than many others. Undoubtedly, there were delectable moments (the Choe, Campbell and Acri, Sambe duets in particular), but I wasn't entirely sure that I felt the logic musically and choreographically between the separate sections. There seemed some rather awkward lurches of musical key and dramatic tone. However, Francesca Hayward is always lovely to see, and Akane Takada and Tristan Dyer were as perfectly matched as I remembered them being in DGV, whilst the final image is remarkably potent. 

 

It was a very good programme for me, despite the challenge of making a 1230 start form darkest East Sussex, and I seem to have enjoyed Strapless rather more than many others.

[FLOSS]

As far as the starting times for matinees are concerned I think that we all have to remember that they are affected by what is happening in the evening. It is relatively straight forward if the evening performance is ballet less straight forward if the evening performance is an opera. The opera schedule for any season is fixed up to four years in advance because of the need to sign up the singers. Clearly there are evenings which are left free at the time that the opera schedule is set which are allocated to the ballet but the company may not have a great deal of leeway about the start times for its matinee performances if they take place on a day when there is opera in the evening. Not all operas begin at 7.30 pm and some have exceptionally complex sets

 

.It would be wonderful if matinees were always scheduled on days when the evening performance was due to begin at 7pm or 7.30 pm. Even better perhaps if they were scheduled for days when the evening performance was ballet rather than opera. I suspect that if the ballet company only scheduled matinees on days when the evening performance was due to begin at 7pm or 7.30pm there would be fewer matinees than at present and that the number would be even smaller if they were only scheduled on days when the evening performance was also ballet.

 

On Saturday there was no evening performance. The House and an area in Bow Street were being prepared for the BAFTA ceremony. The preparations seem to be more elaborate each year and clearly the audience, least of all the ballet audience, is of little concern compared to this showbiz extravaganza which I assume must be a very nice little earner.

 

As for the length of the intervals between ballets that must be influenced by the length of time it takes to put up a set  and the length of time needed to take it down. In ballet programmes dancers. particularly the more junior ones often appear in more than one ballet. They need time to go and change costumes and make up. I suspect that nothing is as easy as it seems to us outsiders. Using different members of the corps in each ballet and ensuring that senior dancers only ever appear in one ballet in an evening would probably have an adverse effect on the preparation of other programmes.

 

It can do no harm to remind the powers that be at the Royal Ballet that matinees beginning at 2.30 pm and early start evenings make it possible for those who live a long way from London to see performances that their taxes pay for but it may not make much difference to what actually happens.

Edited February 18, 2016 by FLOSS

[Beryl H]

I saw this triple bill again last night, enjoyed Strapless much more, even started to like the music, but there really isn't enough dancing for JSS and Belleroche, strange that the only real pdd is for Dr. Pozzi and Amelie, I get the feeling the ballet is one long solo for her, Lauren Cuthbertson and Valeri Hristov were gracious and elegant, and Reece Clarke is a star, his performances in such different roles in After The Rain and Strapless (he at least did deserve a 30 minute break) were amazing!  In general I found After The Rain starting to bore me, even Within The Golden Hour didn't look quite as good, this could be due to the lengthy intervals taking their toll of my patience and increasing boredom, the theatrical momentum does need to be kept going even in a triple bill!

[Don Q Fan]

They also have to consider what the evening performance is, some Opera sets are huge and complicated.

So they could start at 8pm like lots of others on the continent do.

[SPD444]

So they could start at 8pm like lots of others on the continent do.

 

Only on some things surely. Wagner would not work for an 8pm start; they would have to serve breakfast in the restaraunts not dinner.

[alison]

So they could start at 8pm like lots of others on the continent do.

 

Then even Londoners relying on trains would be struggling to get home.

[Jillykins]

I think all I had read in such interesting posts helped me enjoy last nights triple bill. Although it is repetitive of previous posts I have to marvel at the seamless beauty of the pas de deux in After the Rain performed by Zenaida and Reece Clarke. Wonderful to see her dancing extended with such a splendid partner. Really enjoyed balLet and music.

I think Lauren did her best in Strapless, she is an elegant,dramatic dancer. I want repeat previous posts but did have a struggle to keep awake at one point. Sorry! I was wide awake and really enjoyed Within the Golden Hour. I liked the costumes and loved the changing backdrop. I liked some of the music too. Loved Yuhi and Campbell together and pleased to see Zuchetti back on form.

So, really enjoyed sitting in Stalls Circle, a real treat. I think maybe as eyes dim perhaps fewer performances and more expensive seats. Overall a good evening.