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JohnS

Royal Ballet Insight and In Rehearsal discussion

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Events- happy memories.

The two questions I used to get most often at educational conferences  were -

Where are the loos?

and

Do you know if the trains are running normally?

🙂

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I've not been to any RB Insight events but I've been to pre/post event talks from other companies. While audience members asking really obvious questions can be a bit annoying, I find it much worse when people use the guise of asking a question to assert their own opinions in as longwinded & dogmatic a fashion as they can get away with. I don't feel that a Q&A session is an appropriate occasion for that sort of thing.

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Does anyone know if the insight tonight was filmed/streamed? Just had mention of it from a friend who attended, but I don’t think I’ve seen anything from ROH/RB news page or social media, so assume it was not broadcast. 

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What was it?  I didn't know there was one on - although that's not unusual for me :)

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It was Anna Rose O’Sullivan and Marcelino Sambé rehearsing Romeo and Juliet with Leanne Benjamin. It wasn’t filmed. 

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Was it for higher-ranking Friends, or something, then?

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No, I got tickets the day general booking opened. 

It was just a straight rehearsal with a little interview with the dancers part way through and a Q&A at the end. Leanne Cope compèred. 

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I really enjoyed this evening's Romeo & Juliet Insight livestream, especially the sword fighting rehearsal. I find Christopher Saunders the most engaging of the coaches I've seen on the Insights. I liked what we saw of Reece Clarke's Romeo, which is good given I'm booked to see him with both his Juliets, & Nehmiah Kish's Tybalt, who I'm guessing I'm also likely to see given he's rehearsing with Clarke.

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Particularly good Insight this evening. I always enjoy watching Christopher Saunders rehearse-don't think he's the easiest taskmaster but he certainly gets results. And Ed Watson proves,to be an excellent coach. His comments were relevant and helpful. Will watch this again.

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Unfortunately, Firefox decided to mess me around so I lost the first 15 minutes of this, but it was obviously well worth watching, so I'll catch up with the bit I missed later.  Good to see that Kish is at least doing Tybalt now he's not doing Romeo any more.  Both coaching sessions were quite fascinating.

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A good Insight - lovely to see Beatriz Stix-Brunell and Reece Clarke  happily taking on all sorts of  detailed corrections from the wonderful Edward Watson (a new Company role for him?)  and Leanne Benjamin. She really seemed to know her stuff, having been instructed herself, I gather, by MacMillan. 

And clearly (despite a sore throat) Christopher Saunders was having a lot of fun getting Reece Clarke and Nehemiah Kish exhausted through rehearsing their  sword fight!

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I too really enjoyed the Romeo insight and like others really enjoy Christopher Saunder's rehearsals. I could listen to him all day (even when he's got a bad throat!) He seems to me the epitome of a good coach in that he explains everything clearly and with some humour and proves that you don't have to shout or be aggressive to dancers to get great results (as according to tradition might have been the case many years ago). He and Christopher Carr are my 2 favourite coaches but it's interesting to see others doing it and especially someone like Leanne Benjamin who's so much experience of performing the role. It was great to hear her tell Beatrix to be less 'classical' and to tell the story by her feelings as well as the steps. Ralph Fiennes as Pushkin in White Crow said something similar about acting the steps not just executing them and I wondered if that was something he actually said or something David Hare wrote for the film. It's just that I've felt for a while now that Russian dancers seem to place more emphasis on technique rather than acting and that might be one of the reasons I increasingly would rather see British Companies rather than the Russian ones as all British companies place a very high emphasis on acting as well as technique. Obviously technique is still important but it is there as a basis to better let dancers portray their characters rather than being the most important element.

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I've just caught up on the Juliet/Paris section - Benjamin and Watson proving as good a team on the coaching front as they did on stage.  A really good insight evening - I wish I could have been there.  And it no doubt helps that Watson has performed Paris as well as Romeo (and Benvolio, and heaven knows what else).

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enjoyed the Insight [Medusa] last night. Full marks to anyone who could recognise the masked men! Think I managed two. Osipova and Matthew Ball impressive. Definitely looking forward to this.

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Posted (edited)

Joshua Junker; Calvin Richardson; Joseph Sissens; Nicol Edmunds; Lukas Bjorneboe Braendsrod; Matthew Ball

 

 

 

Edited by capybara
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Oh drat, did I miss an insight?  Was it ... insightful?

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I'm afraid I didn't enjoy the Insight livestream much. The choreography wasn't much to my taste and, having understood the music was to be Purcell, the sudden lurch into what I think was described as "techno" was disconcerting. I also spent the whole of both rehearsal sections hoping that Matthew Ball doesn't injure himself with all that writhing around before Friday's R&J! I'll read the reviews once it opens but I'm curently thinking I might just see Within The Golden Hour then go home early.

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I've only seen the first half but spent more time trying to work out whom the male dancers were and why it is deemed necessary to hide their identities in such hideous masks! I then had to go and watch The Dream; proper ballet and beautiful music (though probably not at all relevant to anything apart from my appreciation of beauty and excellence!)

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2 hours ago, Dawnstar said:

I'm afraid I didn't enjoy the Insight livestream much. The choreography wasn't much to my taste and, having understood the music was to be Purcell, the sudden lurch into what I think was described as "techno" was disconcerting. I also spent the whole of both rehearsal sections hoping that Matthew Ball doesn't injure himself with all that writhing around before Friday's R&J! I'll read the reviews once it opens but I'm curently thinking I might just see Within The Golden Hour then go home early.

 

By all accounts, you shouldn't miss Flight Pattern ...

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25 minutes ago, MAX said:

no sidi larbi cherkaoui ?

 

He had a prior engagement in Germany. 

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2 hours ago, Dawnstar said:

I'm afraid I didn't enjoy the Insight livestream much. The choreography wasn't much to my taste and, having understood the music was to be Purcell, the sudden lurch into what I think was described as "techno" was disconcerting. I also spent the whole of both rehearsal sections hoping that Matthew Ball doesn't injure himself with all that writhing around before Friday's R&J! I'll read the reviews once it opens but I'm curently thinking I might just see Within The Golden Hour then go home early.

 

Give it all a go, Dawnstar. Flight Pattern is a very affecting piece.

It will be interesting at the performances where Sambe has the lead in that and in Medusa as well.

 

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18 hours ago, alison said:

Oh drat, did I miss an insight?  Was it ... insightful?

 

It's still on the ROH website under "News", I found it very interesting, the choreography is certainly individual, very soft and curvy, and I was glad to see the costumes which were shown on stands, not worn, I don't know the actual Medusa legend which might help since it has been altered, nice to see Leanne Cope introducing although my computer sound has a problem, I think I've learnt how to say "Osipova" from her though!

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Posted (edited)
19 hours ago, Dawnstar said:

I'm afraid I didn't enjoy the Insight livestream much. The choreography wasn't much to my taste and, having understood the music was to be Purcell, the sudden lurch into what I think was described as "techno" was disconcerting. I also spent the whole of both rehearsal sections hoping that Matthew Ball doesn't injure himself with all that writhing around before Friday's R&J! I'll read the reviews once it opens but I'm curently thinking I might just see Within The Golden Hour then go home early.

 

I was fortunate to get a ticket for the Clore Studio to watch the Medusa Insight live and I found the whole evening provided a very satisfactory glimpse into Sidi Larbi’s new work . The main role of Medusa was danced by Natalia Osipova who was very fierce and danced with power and style. The men, as listed above by capybara , represent Greek Soldiers and Matthew Ball was Perseus though that was not completely clear at first. Osipova is on pointe although the style is largely contemporary as we would expect from the choreographer. The assistant choreographer Jason Kittelberger ran the dancers through one main scene where all the men are controlled by Medusa. In their Greek Helmet masks which are made of a mesh of bronze wire with plumed Mohawk decoration, the men appear anonymous. But from the fourth row of the Clore I could clearly pick out each individual dancer.

I loved the choreography which uses a lot of turns and twists of the hips, Jason referred to Larbi’s Moroccan background and the fact he uses hip movements a lot as it is ‘his heritage’. There were some exquisite arms too, sinuous and beautiful. 

Afrer a discussion by Leanne Cope (the presenter) with Olivia Pomp the costume director, we were shown a duet between Matthew Ball and Natalia Osipova where they are each attempting to annihilate the other! This was very compelling to watch and they were really getting into their characterisation, especially Ms Osipova ! We also saw her try on her snake-y headdress and mask.

 

Until we can see the entire work it is impossible to review the ballet but I for one am very glad to have 2 live and one filmed performance to look forward to.

Edited by Mandy Kent
Some additional sentences
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36 minutes ago, Mandy Kent said:

we were shown a duet between Matthew Ball and Natalia Osipova where they are each attempting to annihilate the other!

 

Yes indeed, more of a duel than a duet!

But I agree this was very compelling (as well as interesting in terms of the creative process) and I think it  has the potential (perhaps strangely given the context) to be  a quite beautiful, moving, sequence, aided by the haunting music. 

Presumably Perseus is trying to avoid meeting  her direct gaze,  but they did seem to look at each other a couple of times. No ill effects fortunately!

Osipova looks formidable in this role, and I will also look forward very much to Takada's interpretation. From Juliet to Medusa in under a fortnight!  

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19 hours ago, jmhopton said:

I've only seen the first half but spent more time trying to work out whom the male dancers were and why it is deemed necessary to hide their identities in such hideous masks! I then had to go and watch The Dream; proper ballet and beautiful music (though probably not at all relevant to anything apart from my appreciation of beauty and excellence!)

 

Maybe it's a cunning plan to avoid announcing cast changes: if the dancers aren't recognisable they won't bother!

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Did anyone attend the Insight event last night, Romeo and Juliet and Me? The various people listed as contributors suggested that it would be a very interesting event.

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