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I'm sure that Leanne Cope will appear - bring it home as t'were - but I wonder if Robert Fairchild will join her for the opening of the London run - perhaps for a few months.  He said in the NY Times that he would do London - but it would mean missing much of the NYCB summer season - though I guess he could easily be back in time for Saratoga.  If he does do the opening of the AiP London run it would be lovely if the two of them could guest for a performance of something at the Royal Opera House ... so that fans of Ms. Cope (acknowledging of course that she only was a First Artist) could have a chance for an 'official farewell' much as the Royal Ballet belatedly gave for Ms. Rojo after her departure ... and as Fille will be in the upcoming season for Ms. Marquez - both of whom of course are prinicpal performers (as Ms. Cope is in AiP).  It would be great if Cope/Fairchild could do one of the After the Rain performances ... or perhaps one performance as one of the primary couples in Emeralds ... Certainly Mr. Fairchild has done both.  

Edited by Bruce Wall
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We usually like to keep all discussion on a subject on one thread, but in this case I think this is important enough information for it to have its own thread, at least for the time being. It may be merged back at a later date.

 

The original thread on the production is here: http://www.balletcoforum.com/index.php?/topic/5115-christopher-wheeldon-american-in-paris/

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Seat prices not too bad by West End musical standards: £17.50-£65 for previews, £19.50-£72 normal. Plus of course the superseats on top of that. The advantage of booking a large theatre, I guess.

 

Does anyone have any experience of the theatre, seating, views and legroom-wise? I've only ever sat in rear stalls.

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Does anyone have any experience of the theatre, seating, views and legroom-wise? I've only ever sat in rear stalls.

 

My friend recalls attending a rock concert there, sitting towards the front of the Circle and feeling like he was miles from the stage.

 

We've just booked front row stalls for a midweek preview - £52 each, which we thought seemed very reasonable for something like this.

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  • 4 months later...

"DS" means dear or darling son just as "DD" means dear or darling daughter. You will find it used on this site in the context of the poster's children who are studying dance. 

 

Well, there's a surprise: I read the Doing Dance section of this site often but have always though it meant dancing son or daughter.

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Interesting casting from James Orange Casting who are renowned for their musical theatre work. I heard of quite a few well known female ballet dancers from our top classical ballet companies who auditioned for this but lost out as they didn't have the more musical theatre vibe that they seemed to be looking for.

Edited by tabitha
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Yes I think it will probably have helped to have had at least one experience of appearing in a musical

 

I am sometimes in class with one of the dancers chosen for this and she is a beautiful classical dancer so the standard must be pretty high anyway but perhaps having experienced being in a musical already is an advantage......though of course there are always some first timers in most productions.

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Yes I'm sure they haven't all got previous musical theatre experience, but maybe some former training or even just the right look.

Anyway my point was really that I thought this production might be looking for more authentic classical ballet dancers, especially with Wheeldon's background and the context of ballet and I was really surprised at some of those turned down but it seems a more musical theatre approach has been taken and the appointment of James Orange seems to confirm that.

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I have a photo of the original audition notice however I haven't the technical knowhow to post it. It clearly says

 

"Applicants must have extensive ballet training and excellent classical technique, including pointe for women. Ability in jazz dancing and singing is an advantage but not essential." It also went onto say

"Applicants who do not meet the requirement stated above should not apply."

 

I believe they were a huge amount of 'authentic' ballet dancers who auditioned and the selection process was rigorous. Quite unlike a 'normal' ballet audition. My understanding is that MT applicants were auditioned separately.

 

From my extremely limit knowledge of those in the ensemble, I can name four who are currently working in major ballet companies and who have never worked in MT. Others have been named within this topic.

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Happily Playbill has announced that NYCB principal Robert Fairchild is to leave the London production of AN AMERICAN IN PARIS on 19th June 2017 and that Ashley Day will replace him thereafter.  I say happily as there were previous reports that Fairchild would run a year in London which would surely be too great a loss to NYCB. This means simply a commitment of three full months after the initial preview period and will still be long enough to entitle him (should such be deemed prudent by any nominating committee) for an Olivier nod.  It also means that he will only miss out in creating key NYCB roles in the Spring Season of next year and will still be back in time to appear in the final rep of that season and the annual MSND week as well as to make his annual appearances at Vail under the direction of the amazing Damien Woetzel.  .  

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  It also means that he will only miss out in creating key NYCB roles in the Spring Season of next year and will still be back in time to appear in the final rep of that season and the annual MSND week as well as to make his annual appearances at Vail under the direction of the amazing Damien Woetzel.  .  

 

NYCB's Spring season ends May 29 in 2017. and Robbie Fairchild was not at Vail last year (though he was this year).

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