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8 minutes ago, jmhopton said:

 

Yes my original was a PDF but as I had such a bother to transfer it to the Forum I changed it to a Word doc but still had bother so that's why I just ended up copying it in full. How did you do it JNC? My technical skills aren't that great!

Like you JNC I don't know why it can't be easily available on the wonderful new website. I tried again searching for it several times under every permutation I can think of and still can't find it. So I emailed them again to thank them for getting back to me so promptly and for the information but asking for a URL so I can access it every season without having to email but I haven't heard back yet.

I'll keep you posted!

 

So I clicked the 'choose files' and found the file in my downloads folder. Sorry I know you had a right nightmare uploading and I don't doubt that you did the same thing as me...I have previously struggled to embed instagram pictures/videos on here which others seem to have no issue with (and I believe I followed the instructions as it were) so I guess sometimes it just doesn't want to do it!

 

 

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13 hours ago, capybara said:

 

 Her 'debut' is at a 'family matinee' so, presumably, the asterisk is there.

I suspect you are right, just questioned it as Magri has the debut asterix next to her public performance instead of the schools one. Perhaps ROH classify school and welcome performances differently. 

 

Looking forward to these debuts (also and particularly Francesca Hayward)!

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Just had a look at Winter pricing: Swan Lake is I think the same as the Autumn Sleeping Beauty (i.e. steep); Onegin is the same as Manon; and the Marston/Scarlett bill is the same as the Concerto mixed bill.

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37 minutes ago, Lizbie1 said:

Just had a look at Winter pricing: Swan Lake is I think the same as the Autumn Sleeping Beauty (i.e. steep);

 

And I think Beauty is even steeper than the first-run performances of Swan Lake, isn't it?

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23 minutes ago, alison said:

 

And I think Beauty is even steeper than the first-run performances of Swan Lake, isn't it?

 

Like-for-like, yes, at least those tickets within my budget are - and furthermore the seats I had last time have been bumped up a band on top.

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Just received from the ROH:

Our records show that you are due to attend a performance of The Cellist/Dances at a Gathering. We are contacting you to let you know about the following cast changes:

Friday 28 February, 7.30pm
Wednesday 4 March, 7.30pm

Marcelino Sambé is replaced by Calvin Richardson.

 

Edited to add that I've checked the casting on the production page and Marcelino Sambé is now down to do the first cast - i.e. they've just swapped casts.

https://www.roh.org.uk/tickets-and-events/the-cellist-dances-at-a-gathering-dates

 

Edited again as another email has just arrived:

Our records show that you are due to attend a performance of The Cellist/Dances at a Gathering. We are contacting you to let you know about the following cast changes:

Monday 17 February, 7.30pm
Tuesday 18 February, 7.30pm
Tuesday 25 February, 7.30pm
Monday 2 March, 7.30pm

Calvin Richardson is replaced by Marcelino Sambé

 

 

Edited by Bluebird
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6 minutes ago, Bluebird said:

Just received from the ROH:

Our records show that you are due to attend a performance of The Cellist/Dances at a Gathering. We are contacting you to let you know about the following cast changes:

Friday 28 February, 7.30pm
Wednesday 4 March, 7.30pm

Marcelino Sambé is replaced by Calvin Richardson.

 

Edited to add that I've checked the casting on the production page and Marcelino Sambé is now down to do the first cast - i.e. they've just swapped casts.

https://www.roh.org.uk/tickets-and-events/the-cellist-dances-at-a-gathering-dates

 

 

That's interesting - the email which I too have just had implies that Calvin Richardson has been replaced in all four performances not that there has been a swap ! Don't they proof read these messages before sending them? 

Edited by MJW
addition of wording

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Just now, MJW said:

That's interesting - the email which I too have just had implies that Calvin Richardson has been replaced in all four performances ! Don't they proof read these messages before sending them? 

 

I think you've misinterpreted the cast change.  Calvin Richardson is replaced by Marcelino Sambé in the first cast's four performances.  He replaces Marcelino Sambé in the other two.

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5 minutes ago, Bluebird said:

 

I think you've misinterpreted the cast change.  Calvin Richardson is replaced by Marcelino Sambé in the first cast's four performances.  He replaces Marcelino Sambé in the other two.

 

Yes I know - the email doesn't say that though.

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1 hour ago, MJW said:

 

Yes I know - the email doesn't say that though.

 

Over the two emails it makes sense about what has happened.

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Actually glad to see just a swap! I’m not going until March 4th and was worried at first that Sambe must have a serious injury for them to be announcing his “replacement” now! 
I only got the email referring to the performance I was attending. 

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3 minutes ago, LinMM said:

Actually glad to see just a swap! I’m not going until March 4th and was worried at first that Sambe must have a serious injury for them to be announcing his “replacement” now! 
I only got the email referring to the performance I was attending. 

 

When I got the first email I thought maybe he’d accepted a role in a film like Francesca Hayward did...then the second one came through and they’re just swapping dates 

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40 minutes ago, Rob S said:

 

When I got the first email I thought maybe he’d accepted a role in a film like Francesca Hayward did...then the second one came through and they’re just swapping dates 

 

I got the first, not the second! 

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I wonder if this has been decided for some time or if the original casting was a mistake? Considering Sambe was rehearsing with Cuthbertson/Ball in the World Ballet Day rehearsal, it seems like he was always initially perhaps meant to be in this first cast? I wonder if Richardson did any rehearsals with Cuthbertson/Ball at all or if it has been Sambe from the beginning? 

 

Also (not that I'm a fan of 'hierarchy' and these things) but I did think it was perhaps irregular for Richardson (Soloist) to have a new ballet created for him and to do the opening night honours with two principals. I don't/didn't have a problem with it and thought it was a great opportunity for him, presumably Marston picked him out, etc., but did think it seemed out of the norm. I hope he's not been swapped for this sort of bizarre reason and hope it was either a casting mix up or the dancers organically decided a different fit worked better, with Sambe already building that creative relationship/partnership with Cuthbertson and Ball. 

 

I do think it's a bit of a shame, I think Stix-Brunnell, Sambe, and Corrales seemed like a really interesting mix actually and think they complement each other well. All three share a vivacity and energy and character on stage! Similarly I think Cuthbertson/Ball/Richardson would have worked well (they are all quite tall and again I see them having similar dancing styles, elegant, lyrical and emotive). 

 

Also, when are they going to release casting for Dances at a Gathering? We're less than 3 months away now, this seems highly unusual and late for Royal Ballet standards - surely rehearsals must be starting now? 

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It's not at all unusual, certainly not for DAAG.  I don't even remember whether we got any advance casting in the past couple of runs.

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Back in the day at NYCB - certainly while Balanchine was alive - the casting would go up on a weekly basis in framed boxes either side of the main entrance of what was then called 'NY State Theater'.  How I remember eagerly dashing on the subway and climbing those stairs to see what riches were potentially on offer.  I'd then bound across the marble to the box office and buy my Fourth Ring standing room for copious performances.  

 

In the case of Robbins - most especially for new works - the casting would often be announced on the day - and frequently written in by hand.  In fact I once remember seeing Robbins standing there just before the half hour while the box was opened - and making a change to casting in his own hand while the rest of us crowded about.  Robbins was known to rehearse a number of principal casts and then choose individuals from that mix at seemingly the last point in time where it was possible to do so.  It must be said he gave many young dancers their first prominent opportunities (Chris Wheeldon was certainly one dancer where this was the case in the late stages of the Choreographer's career) and re-invigorated others who had - even momentarily - appeared to be somewhat lost in their rank.  There were also occasions - such as Wendy Whelan in The Cage - where one dancer would make a considerable success in a Robbins' role and then seem to more or less own it forever more whilst they were about.  (That certainly would have been very 'un-Balanchine' at that point given that you'd see a revolving door of potential glory in his ballets which would, the new ballets that is, just keep coming more regularly than the buses on Broadway - or at least such seemed to be the case with the one I took to go home - the M17 - where you'd often see the likes of MacMillan or Tallchief standing amongst the crowded mix.)  It would not then have been strange to get casting to DAAG very late in the day  ... as this was one instance - like, say, Goldberg Variations or Four Seasons - where Robbins would ensure that many young dancers would be given notable chances.

 

I am more than happy to wait til the day for the RB's current DAAG celebration.  The Company is so rich in the depth of its ranks I hope than many are presented with this glorious opportunity.  It will be I know to the benefit of us all.  For this reason I have booked to see them every performance.  Such a gift. 

 

 

Edited by Bruce Wall
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Thanks @Bruce Wall for your insight. 

 

Unfortunately I neither have the time/availability nor finance to see every performance (hence why casting would be appreciated).

 

I do however agree the RB is in a very strong position so I have high expectations every cast will be very good. And if this is the way the performance has been historically done I suppose it does add an element of authenticity/tradition and excitement/surprise. 

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Well I’ve a good seat for the 4th but might go for  cheaper esp standing ticket if rave reviews of casts etc....though not that many performances altogether of course 🙁

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