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Thanks very much to everyone who has taken the trouble to reply to my query (especially Alison who sent me a personal message). Now all I have to do is to decide which date to attend! Given that one rehearsal date is 15th March and the other 10th May could those who have attended previously give any idea which ballets may be rehearsed. Is it ballets that are currently being performed at the time or ones more in the future?

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From the ones I've seen, I'd say it's likely to be something that will be performed in the fairly near future.  (Or was there a Nutcracker one in the first batch in early December?)  It's also a fairly small space, so more likely to be a solo or pdd than a group dance, I would think.

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I know what you mean: I finally managed to get one of these rehearsal tickets: but hoping I won't be treated to a run through of  the bit where Frankenstein chucks body parts round the  stage....🙂

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I'm looking at booking for one of the events in the Hamlyn Hall but I'm unsure which way the 'stage' is facing. Is the front literally in front of the word Stage on the diagram? If so it seems strange that they would have so many seats that would have a view of the dancers' backs! Can anyone advise?

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The "stage" faces towards the auditorium, so you just have a small number of balcony seats where the view is of their backs.

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2 hours ago, alison said:

 

Well, the box office has taken the rehearsal ticket back, which is good.  Hopefully someone will snap it up, although of course online booking has finished.

Alison, you say that you had a restricted view seat for this. Where and what was the number. I was there this morning and wondered where the restricted view seats were. By the way seeing Durante coach Clarke and Hamilton was quite an experience. Sitting 3 feet away as he lifted her high into the air was quite an experience. Nothing but admiration for both of them!

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Row C are restricted, Tony, and some of the balcony ones.  Further, I can't say, because I'm still trying to work it all out.

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11 minutes ago, alison said:

Row C are restricted, Tony, and some of the balcony ones.  Further, I can't say, because I'm still trying to work it all out.

Thanks Alison.  I had row A for class and row B for the R&J rehearsal. Neither were listed as restricted. Balcony seems interesting. I assume these were the restaurant seats. Seemed to me that these were better than any row B or C seats in the main hall

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Well, you do have a significant metal rail in the way, plus you're looking through a pane of glass.  I'm not sure how many of them count as restricted.

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The session with Mellissa Hamilton and Reece Clarke being coached by Viviana Durante was one of the most interesting of these events. They were rehearsing the first Act 1 pdd outside the ballroom and the final (bedroom) pdd. The dancers were clearly some way into the rehearsal process so the focus was less about the mastery of the steps and more on the fine tuning and it was fascinating to hear their discussion. Reece Clarke looked mighty impressive in the ease with which he partnered Melissa Hamilton, the tricky shoulder lift was executed with effortlessly. I loved how once they started dancing she totally lost herself in the role, not everyone can do that in these insight events and it was very moving. I'm really looking forward to their performances. 

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3 hours ago, alison said:

Well, you do have a significant metal rail in the way, plus you're looking through a pane of glass.  I'm not sure how many of them count as restricted.

 

Apparently, the people upstairs (suitably spaced between the restaurant tables) couldn't hear what the dancers said but were OK with the coaches, who were 'miked'.

Someone also mentioned to me that, unless one was tall, being in anything other than the front row downstairs was a waste of time.

I think that Melissa Hamilton and Reece Clarke 'sold' quite a few tickets for their shows as a result of today's rehearsal. Contrary to my own expectations, I enjoyed the second segment more (Mercutio (Acri) vs Tybalt (Avis) in their fight, followed by Mercutio's death scene and his early solo. The second session was coached by Ricardo Cervera and introduced by David Pickering who added significant value from his own experience in R & J.

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Posted (edited)
45 minutes ago, annamk said:

I loved how once they started dancing she totally lost herself in the role, not everyone can do that in these insight events and it was very moving

I absolutely agree...lovely to see her in this, it is a great role for her. Clarke was impressive too, although perhaps concentrating more on the steps and technique than the acting, at this stage. I am sure he will develop this aspect as he gets into the role.

 

The second rehearsal was also very enjoyable, with Avis and Acri clashing swords as Tybalt and Mercutio, followed by the latter's death scene. Does anyone know who was leading the coaching?..I didn't catch his name, but he was very impressive.

Edited by Richard LH

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Just now, Richard LH said:

The second rehearsal was also very enjoyable, with Avis and Acri clashing swords as Tybalt and Mercutio, followed by the latter's death scene. Does anyone know who was leading the coaching..I didn't catch his name, but he was very impressive.

 

 Ricardo Cervera - until relatively recently, a very effective Mercutio. [He is now a Ballet Master but will join the RBS as a teacher in September. Lucky students.]

 

{[I think that you and I must have posted simultaneously, Richard.}

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Posted (edited)
1 hour ago, capybara said:

I think that you and I must have posted simultaneously, Richard

Yes indeed...thanks capybara. Cervera seems an excellent dancer and actor, and now coach,  and I am sure Acri will be learning a lot from him for this role. I neglected to mention the rehearsal of his earlier solo- thanks for reminding me. He packed a lot into the 50 minutes! Is this Acri's debut as Mercutio? 

Edited by Richard LH

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10 minutes ago, Richard LH said:

 Is this Acri's debut as Mercutio? 

'

Mercutio is listed online as being one of Acri's roles already but it didn't seem as if he had been coached by Cervera before.

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Posted (edited)
14 hours ago, capybara said:

Someone also mentioned to me that, unless one was tall, being in anything other than the front row downstairs was a waste of time.

 

We found it perfectly  fine in row B downstairs,  just  occasionally moving one's head from side to side to get a clear view

Edited by Richard LH

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Posted (edited)

I was in the balcony for both rehearsals with slightly mixed results. For the first one I was in seat 38 on a back corner. The seat itself was brilliant for seeing everything but I could scarcely hear a word anyone said and that included Viviana Durante (sorry I said Leanne Benjamin previously) who was miked up for the coaching. It was doubly disappointing as there was far more talk than dance and I ended up feeling rather frustrated, especially as it had taken me about 4 hours to get there including running the last part of the way as the bus I got from Euston got gridlocked. The second rehearsal was far better. I was still in the balcony but facing the performers. There was more dancing and it was more like the streamed insights we're used to seeing. Also I could hear just about everything Ricardo said. I don't know if that was because I was better positioned, seat 44, or because he spoke clearer, possibly a bit of both. I liked the balcony because you had more space because of the tables and a great view. I think if I was going again I might try the stalls as it were, but only if I could get the front row . But I do think any coaches teaching in the Floral Hall should have a bit of a dummy run through first as the poor acoustics make it very different to the Linbury. 

Edited by jmhopton
wrong information

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Posted (edited)

I also found it hard to hear much of what was said in the first rehearsal, despite being in row A  downstairs for that one. Viviana Durante does seem to speak very quietly, such that the miking had little effect.

 

The Hall is very  echoey. 

 

Yes the second rehearsal was far better for sound, David Pickering and Ricardo Cervera spoke very clearly and  were also  better at engaging the audience. 

 

11 hours ago, jmhopton said:

I think if I was going again I might try the stalls as it were, but only if I could get the front row .

 

I wouldn't rule out Row B by any means, as I indicated above   - we saw the second rehearsal from there and thoroughly enjoyed it. 

Edited by Richard LH

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Thanks everyone for this very useful detailed feedback which will be invaluable for informing future booking.

 

I suppose after all the Hall was never meant to be a theatre....

It seems almost perverse in a way having these events there!

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Posted (edited)

Not  a theatre, no, but I think it is fine as a studio for these rehearsals, provided they make the best of  the sound issues. Being "in the round" it is probably better visually than the Clore ( or at least offers some different perspectives to the usual audience/stage view).

Edited by Richard LH

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The 'RB Studio Live' is, in my view, a brilliant concept - just about the best thing to come out of the 'Open Up' initiative. It enables an audience to see rehearsals 'how they are' in a way which other events do not. There need to be more such sessions.

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Ballet Studio Live today was firstly Yasmine Nagdhi and Matthew Ball rehearsing PDDs from Act 1 and Act 3 of R&J ... this  was especially joyous because the wonderful Ed Watson was coaching the pair. He clearly knows all the moves off by heart and has a clear and empathetic manner in helping the young dancers try to perfect the choreography handed down through the Company from MacMillan onwards.

The second rehearsal (if I heard correctly .... the sound was not as good for this one) was an early go at part of a new Wayne McGregor work for 2020, I believe. Mr McG officiated and put Beatriz Stix-Brunell and Marcelino Sambe through some intricate choreography. It was lovely to see their enthusiasm.  I  suppose when you have so much artistry and skill at your disposal as a dancer, it must be wonderful to experience it being used in different and challenging ways in the creation of a new work. 

 

 

 

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2 minutes ago, Richard LH said:

The second rehearsal (if I heard correctly .... the sound was not as good for this one) was an early go at part of a new Wayne McGregor work for 2020, I believe.

 

Part of the new McGregor will be premiered in Los Angeles during the RB tour this summer. The remainder is to be added in the 2019/20 RB season (May, I think).

I agree that the sessions were very good. The poor sound seemed to be attributable to McGregor's microphone falling under his T-shirt.

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Class today was enjoyable to watch. There were a few Aud Jebsen dancers who look so, so young but danced beautifully. In terms of all of the dancers, class really demonstrated just how hard they have to work, how focussed they have to be on all of the tiny little details. Wonderful simply watching the dancers’ feet to see how much strength, flexibility and fluidity they can work through them.

 

Matthew Ball took class and it was easy to see why he has made principal- striking focus, super strong technique,  so precise. So hard to take eyes off him....

 

Representing  the ladies were Mayara Magri- again a cut above, the wonderful Itziar Mendizabel and Leticia Dias who were delightful to watch. One of the AJ ladies finished the class with a crazy number of fouetté turns only exceeded by one of Magri and Mendizabel but can’t remember which. 

 

Joseph Sissons also wonderful to watch and one to watch! Also lovely to see David Donnelly in  class.

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