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The Royal Ballet: Manon, London, March-May 2018


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2 hours ago, ninamargaret said:

Do Companies employ the equivalent of a producer to help dancers 'act' their roles or do we just have even more talented dancers than I thought we had? I believe Nicholas Hytner was bought in to do sessions when Winter's Tale was first out on  - is this something that sometimes happens?

 

IIRC, Hytner and some actors were brought in to help the dancers understand the text, because before they had struggled with it.  I don't think there was any help given with their acting, as such.

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I may have mentioned this before in a similar context.  Away back in the time of the ROH's 12-strong Opera Ballet, it was decided that the dancers should have acting lessons.  So they duly turned up in the Crush Bar one morning to find that their tutor was John Gielgud, and I hear it all went very well.

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2 hours ago, capybara said:

I have a feeling that quite a few of us saw the Hamilton/Kish rehearsal and, perhaps partly because of that, will not be going to their actual performances. Unfortunately, it is not appropriate to comment on rehearsals.

 

I haven’t seen either rehearsal or performance by this cast, and hope it isn’t inappropriate to pass comment as follows:

 

Last night I spoke to a number of people who attended the rehearsal and, as a result, almost returned their tickets for yesterday’s matinee, but unanimously expressed their opinion that they were very glad they didn’t.

 

More detailed comments were made, but those, I feel, would not be appropriate to share in the context of one of the subject matters being a rehearsal.

 

Suffice to say that on the basis of the detailed reports I heard of yesterday’s matinee, I am seriously considering trying to get a ticket for the second Hamilton/Kish performance. Even though I’m general I am a fan of neither Hamilton nor Kish. 

Edited by RuthE
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3 hours ago, alison said:

 

IIRC, Hytner and some actors were brought in to help the dancers understand the text, because before they had struggled with it.  I don't think there was any help given with their acting, as such.

I remember the Insight when this  was mentioned, and I agree that the main reason for his visit was, as you say, to help with the play itself which is certainly complex. But I feel sure that work of this kind is probably more helpful to the dancers, and that they don't need actual help with how to act. 

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I was at the Hamilton / Kish Matinee as well as at the Hayward / Bonelli evening performance and I must say you Londoners are terribly spoiled (spoilt?). Yes, at the beginning Kish didn't convince me in his solo, also the music was much too slow but they were quite fabulous in the second bedroom scene (when she doesn't want to leave all the nice things behind), and Hamilton's dives in the second Act were thrilling. I think they both went for it, and they were building it up to the end.

 

In my opinion Zucchetti is the best Lescaut, he was a proper villain, and dangerous even when funny. He also doesn't overplay the drunk scene. You always feel he's on the verge of getting really violent. He's more than a little scoundrel and a jester and therefore his death was truly shocking.

 

Also Bennet Gartside was a veraciously disgusting GM and I enjoyed the performance very much!

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Just a quick warning to anyone who might be planning to get about in London by Jubilee Line later today.  It is currently out of action because of a power failure.  I have no idea how long it will last, but because the whole line is out, there may be quite lengthy disruption later on.  

 

Just a quick warning for anybody who might be going to the ROH this evening, and were thinking of coming in early for some reason.

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Back from Lamb/Muntagirov Manon, with Hirano as Lescaut, Mendizabal as Lescaut's Mistress and Avis as Monsieur G.M.

 

A magnificent, heartbreaking performance. Muntagirov danced throughout most beautifully, making the choreography breathe and grow and endowing every step with love, yearning, passion and purity whilst retaining a perfect classical line and conveying every nuance of the story with complete brilliance. Lamb was stunning too - this time, I understood Manon's behaviour and empathised with her situation almost from the outset. With Des Grieux, she suddenly became so aware of her power and sexuality that she thought she could control what was happening - that she could use Monsieur G.M. and then return to the ecstasy of being with Des Grieux. She was naïve rather than amoral; greedy rather than evil. And during his first solo, she devoured Des Grieux with her eyes as he leapt and turned and danced his love for her. Her behaviour with Monsieur G.M. was nothing but a dangerous game, that proved to be fatal.

 

And Hirano - what an incredible Lescaut! This time, I did laugh at the drunken solo, and he made me interested in the character and dominated the stage with his presence. I found his death very shocking and tragic. A flawed character who overreached himself and paid the ultimate price; just like his sister. And Mendizabal was excellent as his Mistress, and very amusing in the pas de deux.

 

I could hardly bear the end. How could this have happened, and to this Des Grieux?! Who wanted only to love and care for Manon, and who was instead betrayed and bereaved. And to Manon, this lovely young girl who misunderstood everything. Such a terrible, tragic waste. Really quite traumatic. And all conveyed through dance of the highest possible quality.

 

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I agree with every beautiful word you wrote, Bridie. A magnificent performance all round. Hirano was a revelation as Lescaut and after one performance already rates as one of the best I've seen. I really hope he gets a crack at Rudolf next season. Mendizabal was the perfect foil for him, and Avis made me shudder with his evil, sleazy GM. Lamb and Muntagirov turned in two stunning performances and took my breath away.  All four of their pdd tore at different emotions and I felt wrung out at the end. 

 

I am so glad this was committed to film. 

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I can't really add much to the reviews above. This surely has to be Lamb's best role? That perfectly conveyed mix of innocence, knowingness, and cunning - plus wonderfully assured dancing. And Muntagirov was just heartbreakingly wonderful. The performance was so intense I felt almost battered at the end. 

 

Everyone was fantastic and the drunk dance was very funny but not overdone - just totally convincing (not that I would know anything about being drunk, of course! 😉). But Muntagirov's passion and beautiful lyrical dancing (the way he uses his hands and arms conveys so much emotion  - how does he do it?) will stay with me for a long time.

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Many thanks bridiem and others - you've certainly whetted my appetite for next week's cinema relay.  

 

The casting for the Autumn was published a couple of weeks ago and Hirano is dancing Rudolph so Sim should be pleased.

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10 minutes ago, alison said:

Ugh.  Another one of those blasted things on Facebook that you have to sign in for :(

I am not a member of Facebook and for something like this I just press the 'Not Now' button underneath 'sign-in'.  Have just watched this (lovely!) with no problem. Hope that might help.

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Unfortunately I'm having to miss the performance.  I was just about to set off from Cumbria this morning when I noticed water dripping from the bathroom light!  Emergency plumbing required and a tiny split identified in one of the cold water tanks.  Good job I noticed or I might have come home to disaster but very disappointed to miss this cast and special debuts - I'd picked up a fabulous ticket just a couple of weeks ago which not surprisingly the Box Office have managed to resell.  I shall look forward very much to reading your posts.  Sadly I don't think I can get to the second performance. 

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1 minute ago, Mary said:

James Hay was a superb Lescaut...

Totally mesmerising.  :) .... and, oh, how those eyes can snarl :) swarm, knot, wink, guffaw and presume ... all at one and the same time.  

Edited by Bruce Wall
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