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Royal Ballet Spring 2018 Casting

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Jan McNulty

Jan McNulty

Posted
Posted
3 hours ago, alison said:

I'd suspected as much - it was just that you sounded surprised, and I wondered if Lescaut casting hadn't been announced early enough last time (in fact, I don't think it was - I remember Acosta's Lescauts not being announced until late on, so I assume it was the same for all the others too)

 

 

A little bird tipped me the wink before casting was officially announced.  My friend and I were then stressed until we picked a cast sheet up in the foyer in case anything had gone wrong!

 

I'm always glad when I see a performance I may actually be able to get to!

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FLOSS

FLOSS

Posted
Posted (edited)

As has already been noted the company is staging a new production of Swan Lake in the summer booking period and it will come as no surprise to me if there are another twenty plus performances of the new production in the 2018-2019 season as well as the company will be keen to recoup its costs as quickly as possible and for those who have made role debuts to consolidate and develop their interpretations. A new production of any of the Petipa nineteenth century classics requires a major investment of time and money.It may be only two years since Dowell's production was pensioned off but that does not make the new Lac any less of a major undertaking for the company. I am not going to speculate about who is likely to be cast with whom except to say that I shall be surprised if any one who made their debut as Aurora or the Prince last season does not find themselves in the leading roles in Lac which means that a lot of coaching needs to take place. Depending on what choice is made about the choreography for the waltz and act 3 divertisements there could be some very interesting opportunities for dancers who do not appear as Odette/Odile and the Prince in the initial run. The one thing that is certain is that no one will want the new Swan Lake to look under rehearsed or like a series of extended stage rehearsals on its first night or in its next three or four performances. 

 

I suspect that it is the demand for rehearsal time made by the new production that in large part explains the bare-bone casting details for Elite Syncopations . The ballet uses a lot of dancers a dozen of whose names appear on the cast sheet and eight of whom get to do the bulk of the dancing in various combinations. In these circumstances saying as little as possible about who is to dance at each performance is a wise move as it saves management having to issue amendments to the advertised cast at every turn. I don't intend to speculate on casting but those who indulge in such activities might like to try to work out who they think will dance the section originally performed by Derman and Sleep a very tall girl and a very short man. As for me I shan't worry about casting as the company has a lot of very talented up and coming dancers who need to be given performance time. The ballet is not a great favourite of mine and it is likely to be improved in my eyes, at least, by not being cast with all the usual suspects. 

 

As far as the casting for Manon is concerned might I remind everyone that neither the roIes of Lescaut nor that of his mistress are minor ones. They were originally created by MacMillan at de Valois' suggestion because she thought that Manon needed a bit of light relief among all the emoting, death and suffering in the ballet. The  fact that the original cast were David Wall and Monica Mason should indicate to everyone that they are not insignificant roles and that they need dancers who are technically strong and have real stage presence. Lescaut needs to have clean sharp footwork and be as excellent as a partner as he is as a soloist. His mistress needs real technical power. I am inclined to see it as a nice juicy role for for Naghdi rather than as a secondary one. The fact that it has not always been cast from strength in the past does not make the role a minor one. As far as Lescaut is concerned  I have to say that I am rather relieved to find that Soares' name does not appear anywhere in the Manon casts. He has always been a variable dancer and the prospect of him giving yet another edited highlights account of Lescaut was not something that I was looking forward to seeing. 

 

Once again the casting information if going to play havoc with my bank balance. But better that than be faced with casts who render a series of performances virtually unwatchable. I shall have to make choices but at least I am not faced with casts which immediately eliminate any desire I might have had to see the ballets programmed for performance. 

Edited by FLOSS
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alison

alison

Posted
Posted
1 hour ago, FLOSS said:

The ballet is not a great favourite of mine and it is likely to be improved in my eyes, at least, by not being cast with all the usual suspects. 
 

 

*Are* there "usual suspects", FLOSS?  I think it's only been given once (2013?) in recent memory, hasn't it?  (I recall Lamb, Soares, McRae, possibly Nunez?, Harrison, but not many others, off-hand)  They certainly have some options for the "tall/short" pas de deux at the moment, don't they? 

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penelopesimpson

penelopesimpson

Posted
Posted (edited)
1 hour ago, FLOSS said:

As has already been noted the company is staging a new production of Swan Lake in the summer booking period and it will come as no surprise to me if there are another twenty plus performances of the new production in the 2018-2019 season as well as the company will be keen to recoup its costs as quickly as possible and for those who have made role debuts to consolidate and develop their interpretations. A new production of any of the Petipa nineteenth century classics requires a major investment of time and money.It may be only two years since Dowell's production was pensioned off but that does not make the new Lac any less of a major undertaking for the company. I am not going to speculate about who is likely to be cast with whom except to say that I shall be surprised if any one who made their debut as Aurora or the Prince last season does not find themselves in the leading roles in Lac which means that a lot of coaching needs to take place. Depending on what choice is made about the choreography for the waltz and act 3 divertisements there could be some very interesting opportunities for dancers who do not appear as Odette/Odile and the Prince in the initial run. The one thing that is certain is that no one will want the new Swan Lake to look under rehearsed or like a series of extended stage rehearsals on its first night or in its next three or four performances. 

 

I suspect that it is the demand for rehearsal time made by the new production that in large part explains the bare-bone casting details for Elite Syncopations . The ballet uses a lot of dancers a dozen of whose names appear on the cast sheet and eight of whom get to do the bulk of the dancing in various combinations. In these circumstances saying as little as possible about who is to dance at each performance is a wise move as it saves management having to issue amendments to the advertised cast at every turn. I don't intend to speculate on casting but those who indulge in such activities might like to try to work out who they think will dance the section originally performed by Derman and Sleep a very tall girl and a very short man. As for me I shan't worry about casting as the company has a lot of very talented up and coming dancers who need to be given performance time. The ballet is not a great favourite of mine and it is likely to be improved in my eyes, at least, by not being cast with all the usual suspects. 

 

As far as the casting for Manon is concerned might I remind everyone that neither the roIes of Lescaut nor that of his mistress are minor ones. They were originally created by MacMillan at de Valois' suggestion because she thought that Manon needed a bit of light relief among all the emoting, death and suffering in the ballet. The  fact that the original cast were David Wall and Monica Mason should indicate to everyone that they are not insignificant roles and that they need dancers who are technically strong and have real stage presence. Lescaut needs to have clean sharp footwork and be as excellent as a partner as he is as a soloist. His mistress needs real technical power. I am inclined to see it as a nice juicy role for for Naghdi rather than as a secondary one. The fact that it has not always been cast from strength in the past does not make the role a minor one. As far as Lescaut is concerned  I have to say that I am rather relieved to find that Soares' name does not appear anywhere in the Manon casts. He has always been a variable dancer and the prospect of him giving yet another edited highlights account of Lescaut was not something that I was looking forward to seeing. 

 

Once again the casting information if going to play havoc with my bank balance. But better that than be faced with casts who render a series of performances virtually unwatchable. I shall have to make choices but at least I am not faced with casts which immediately eliminate any desire I might have had to see the ballets programmed for performance. 

Wonderful post, Floss.  Makes me understand so much more.  I thank you.  I often come with newbies to the ballet and they are always amazed by my knowlege.  I do own up and say I owe most of it to this forum!

 

In terms of cost,  is the cost of a new production ever published?  I couldn't help thinking that Alice must have been heavy on the pursestrings.

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capybara

capybara

Posted
Posted
1 hour ago, FLOSS said:

 

 

Lescaut needs to have clean sharp footwork and be as excellent as a partner as he is as a soloist. His mistress needs real technical power. I am inclined to see it as a nice juicy role for for Naghdi rather than as a secondary one. The fact that it has not always been cast from strength in the past does not make the role a minor one. As far as Lescaut is concerned  I have to say that I am rather relieved to find that Soares' name does not appear anywhere in the Manon casts. He has always been a variable dancer and the prospect of him giving yet another edited highlights account of Lescaut was not something that I was looking forward to seeing. 

 

I do agree with you FLOSS, especially over what I have quoted,  but I wish so much that you wouldn't use phrases such as this when you write on BCF:

1 hour ago, FLOSS said:

 

 might I remind everyone that neither the roIes of Lescaut nor that of his mistress are minor ones.

 

I appreciate that your ballet knowledge is far greater than that of most of us on here and, in common with many others, I learn a lot from you. However, sometimes you come across as preaching, I'm afraid.

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JennyTaylor

JennyTaylor

Posted
Posted
On ‎17‎/‎10‎/‎2017 at 17:20, annamk said:

Interesting that the RB feels the need to invite 2 male guest principals ..... Bolle, talent though he was, at 42 is surely past his prime for a role like Des Grieux ? 

Possibly but he and Marianela are a dream team at the moment.  I'll be booking for this one!  .. and remember him with Zenaida.  One of the best Manon performances I have ever seen. 

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MAB

MAB

Posted
Posted

Regarding Manon, the beggar chief (Sleep), Mons G.M. (Rencher) and the now redundant gaoler's mistress (Parkinson)  were all danced by principals so perhaps those two remaining should also be considered principal roles.  Just saying.

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MAB

MAB

Posted
Posted (edited)
20 hours ago, FLOSS said:

 

 

As far as the casting for Manon is concerned might I remind everyone that neither the roIes of Lescaut nor that of his mistress are minor ones. They were originally created by MacMillan at de Valois' suggestion because she thought that Manon needed a bit of light relief among all the emoting, death and suffering in the ballet.

 

How can the role of Lescaut be created?  Admittedly I've never read the original book, but Manon's self serving brother appears in both of the operatic versions I've seen, he is pivotal to the plot as he breaks up the budding romance thereby sowing the seeds of the final tragedy.  There is absolutely no light relief where Lescaut and his mistress are concerned, unless one finds hitting a woman across her face amusing.  He strikes her because she is flirting with a young man, but in the brothel scene it is clear that is her profession, a profession no doubt inflicted on her by her lover.  As for Lescaut's drunken antics, yes they are amusing, but people in their cups tend to reveal their true natures (In vino veritas) and I suspect Lescaut would be more inclined to smash the place up rather than provide everyone with a good laugh, particularly if you saw the brutal interpretation of David Wall in the role.  Light relief it ain't.

Edited by MAB
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  • 4 weeks later...
Sim

Sim

Posted
Posted
On 10/19/2017 at 10:15, MAB said:

 

How can the role of Lescaut be created?  Admittedly I've never read the original book, but Manon's self serving brother appears in both of the operatic versions I've seen, he is pivotal to the plot as he breaks up the budding romance thereby sowing the seeds of the final tragedy.  There is absolutely no light relief where Lescaut and his mistress are concerned, unless one finds hitting a woman across her face amusing.  He strikes her because she is flirting with a young man, but in the brothel scene it is clear that is her profession, a profession no doubt inflicted on her by her lover.  As for Lescaut's drunken antics, yes they are amusing, but people in their cups tend to reveal their true natures (In vino veritas) and I suspect Lescaut would be more inclined to smash the place up rather than provide everyone with a good laugh, particularly if you saw the brutal interpretation of David Wall in the role.  Light relief it ain't.

In 2014, the last time the RB did Manon, I re-posted the interview I did with David Wall, creator of Lescaut, in 2005.  He has some interesting things to say about it, and also about Rudolf/Mayerling.  I am posting it again here, so that those who haven't read it can do so if they wish (or for those who have, you can re-read it if you like;  I just have after a long time!).  As well as being an amazing artist, David was a truly lovely man.  We always meant to do Part 2 of this interview, but sadly never got around to it.  I regret that to this day.  However, at least we have Part 1:

 

 

https://mail.google.com/mail/u/0/?ui=2&ik=4caaedc949&view=att&th=15fd9007169018f1&attid=0.0&disp=inline&safe=1&zw

 

 

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now voyager

now voyager

Posted
Posted (edited)
4 hours ago, Sim said:

In 2014, the last time the RB did Manon, I re-posted the interview I did with David Wall, creator of Lescaut, in 2005.  He has some interesting things to say about it, and also about Rudolf/Mayerling.  I am posting it again here, so that those who haven't read it can do so if they wish (or for those who have, you can re-read it if you like;  I just have after a long time!).  As well as being an amazing artist, David was a truly lovely man.  We always meant to do Part 2 of this interview, but sadly never got around to it.  I regret that to this day.  However, at least we have Part 1:

 

 

https://mail.google.com/mail/u/0/?ui=2&ik=4caaedc949&view=att&th=15fd9007169018f1&attid=0.0&disp=inline&safe=1&zw

I'd really like to read this, but everytime I've clicked on the link, it says the Gmail account is temporarily unavailable!  I've tried 2 different browsers, to no .  Help!

Quote

 

 

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