BRB Nutcracker streamed from Birmingham Rep 18 Dec 2020

[alison]

Yes, I wasn't too sure about the trying to turn Drosselmeyer into Dr. Coppelius bit, either

[Dawnstar]

4 hours ago, Jan McNulty said:

I suspect this section was filmed before the live performances had to be cancelled ... or perhaps she is in the other bubble that we hope is going to be streamed in January.

I'd forgotten about the possible second cast. Maybe she'll be the Sugar Plum Fairy for that one, if it does happen.

 

I quite enjoyed the Coppelia-like bit at the start of Act II not least because, thanks to having seen 4 performances of the ROH's Coppelia this time last year, I understood the mime!

[Odyssey]

Was the new prologue (outside as family arrive for the Christmas party) the section choreographed by Carlos Acosta? Interesting that it is similar to part of Sir Peter Wright’s prologue for the the RB production.

[Jan McNulty]

CA is credited, along with Sean Foley, with the production.  Choreography is credited to Peter Wright, Lev Ivanov, Vincent Redmon, adaptation David Bintley.  

 

[Bravissima35]

I really enjoyed the cut down version of it and thought the dancing was lovely.  It was great seeing the costumes in detail  as I have only seen it via the Mikado Yoshida DVD from the 90's.  Not quite sure on having a genial Drosselmeyer compared to the Joseph Cipolla (sp?) on in the DVD, who was very charismatic 🤗 and had an air of danger about him. 

[trog]

Digital program for the Nutcracker at The Rep available

[JohnS]

I managed to catch the BRB Nutcracker on Christmas Eve and would very much like to see the production in a theatre that can accommodate the sets and designs to appreciate their full impact, particularly the Christmas tree transformation and the John Macfarlane designs. Also post COVID, it would be good to see the full complement of dancers and no cuts. But I’m not sure that the full experience will offset some issues I have with the production, particularly in comparison with the Royal Ballet’s production. Two points seemed really troublesome to me. I found Drosselmeyer decidedly creepy as there didn’t seem to be any underpinning motivation. And the ‘It’s only a dream’ rationale just seemed weak: I recall years ago an English teacher at school witheringly dismissing the device (although I don’t remember what had triggered the criticism). I wasn’t convinced about the SPF/Prince appearing in Act 1 and I’m afraid I even wondered if this were an economy measure, a thought that once in mind I couldn’t quite dislodge, despite the fabulous performances on display. I agree with the comments about some odd cuts and the lack of applause and as I say will look forward to seeing the full version hopefully next Christmas. But if anything, seeing the relay has underlined just how much I enjoy the Royal Ballet’s production: it’s the King’s Christmas Eve Readings/Carols Festival and Clara recognising that she has her necklace given to her by the SPF that for me herald the start of Christmas. 

[capybara]

43 minutes ago, JohnS said:

But if anything, seeing the relay has underlined just how much I enjoy the Royal Ballet’s production: it’s the King’s Christmas Eve Readings/Carols Festival and Clara recognising that she has her necklace given to her by the SPF that for me herald the start of Christmas. 

Unfortunately, in this year’s RB version, it is Drosselmeyer who drapes the necklace on Clara and sticks a badge on the Nutcracker while the SPF and the Prince keep their distance .

[northstar]

Was there the new addition of male snowflakes in this production? I seem to remember an all female ensemble in the performances I'd seen at the Hippodrome. 

 

I noticed a few differences some have mentioned, particularly the curtailment of the codas in the grand Pas de Deux. But I most admit most other abridgements barely registered, so delighted and entranced was I by seeing BRB perform this classic. I would love to see another cast, particularly Samara Downs as the SPF, whom I last saw as Odette/Odile in March, just before you know what ...

[Jan McNulty]

No, the winds (the male dancers) have always appeared in the snowflakes (as have flower attendants in the waltz of the flowers).

[northstar]

Thank you Jan, I was looking through my previous programs to check but couldn't find any photos of the winds. 

[JohnS]

58 minutes ago, capybara said:

Unfortunately, in this year’s RB version, it is Drosselmeyer who drapes the necklace on Clara and sticks a badge on the Nutcracker while the SPF and the Prince keep their distance .

Many thanks capybara - I haven’t seen the COVID safe version and I suppose I’m now hoping that I won’t or it would mean we’re still COVID stricken next Christmas. But at least Clara has her necklace and she hadn’t been dreaming! 

[Jan McNulty]

3 hours ago, JohnS said:

I managed to catch the BRB Nutcracker on Christmas Eve and would very much like to see the production in a theatre that can accommodate the sets and designs to appreciate their full impact, particularly the Christmas tree transformation and the John Macfarlane designs. Also post COVID, it would be good to see the full complement of dancers and no cuts. But I’m not sure that the full experience will offset some issues I have with the production, particularly in comparison with the Royal Ballet’s production. Two points seemed really troublesome to me. I found Drosselmeyer decidedly creepy as there didn’t seem to be any underpinning motivation. And the ‘It’s only a dream’ rationale just seemed weak: I recall years ago an English teacher at school witheringly dismissing the device (although I don’t remember what had triggered the criticism). I wasn’t convinced about the SPF/Prince appearing in Act 1 and I’m afraid I even wondered if this were an economy measure, a thought that once in mind I couldn’t quite dislodge, despite the fabulous performances on display. I agree with the comments about some odd cuts and the lack of applause and as I say will look forward to seeing the full version hopefully next Christmas. But if anything, seeing the relay has underlined just how much I enjoy the Royal Ballet’s production: it’s the King’s Christmas Eve Readings/Carols Festival and Clara recognising that she has her necklace given to her by the SPF that for me herald the start of Christmas. 

 

Funny (in a good way) how differently we all see things.  I really do not like the RB version at all but think BRB's is the best bar none!

 

In act 1 it is usually Harlequin and Columbine who do the dolls section but I must say that I personally found the substitution in this version really effective.  I would guess the substitution had more to do with anti-Covid measures than "economy" as the normal production is incredibly sumptuous with not an economy in sight.

 

I've seen a number of versions where Act 2 is a dream and that always makes sense to me.

 

 

[JohnS]

Many thanks Jan. I was very conscious of how highly you (and others) rate BRB’s Nutcracker production and would very much like to see the complete production in the theatre post COVID. I was hoping I too would be really impressed and I may well be when there’s chance to see the Christmas tree transformation and the full sets. But from the relay I had my reservations - Drosselmeyer's character and the ‘just a dream’ explanation (which I accept suffices but seems dull). 
What intrigues me is what you so dislike about the Royal Ballet version? Perhaps you’ve posted on this previously which I’ve missed or it may have been some years ago before I’d heard of BalletForum.

[SheilaC]

I'm afraid I disagree with John S. Far from thinking that BRB's Drosselmeyer is too creepy I regard Jonathan Payn's performance as way too genial. After all, the character is based on the Hoffmann story. Nowadays productions such as Nutcracker and Coppelia, although based on Hoffmann, are often far too sanitised.

And the BRB production is a wonderful testament to Diaghilev's views that ballet should combine wonderful design, music and choreography where the whole comes to more than the sum of the parts. The designs are truly magical.

[Jan McNulty]

21 hours ago, JohnS said:

Many thanks Jan. I was very conscious of how highly you (and others) rate BRB’s Nutcracker production and would very much like to see the complete production in the theatre post COVID. I was hoping I too would be really impressed and I may well be when there’s chance to see the Christmas tree transformation and the full sets. But from the relay I had my reservations - Drosselmeyer's character and the ‘just a dream’ explanation (which I accept suffices but seems dull). 
What intrigues me is what you so dislike about the Royal Ballet version? Perhaps you’ve posted on this previously which I’ve missed or it may have been some years ago before I’d heard of BalletForum.

 

To me the RB version makes no sense at all.  I started watching ballet in 1984 and saw the RB version in January 1986.  I was so bored by it that if it was the first ballet I had seen I never would have gone again!  I don't like the Hans-Peter/Nephew scenario and I hate the angels.

 

By the time I saw the RB version I had already seen the Ronald Hynd version for LFB (now ENB) and a version at Northern Ballet (possibly by Robert de Warren) and they, to me, were both a delight.  By the time SPW created his gift for the City of Birmingham I had also notched up a version by Scapino Ballet Rotterdam and Peter Schaufuss' version for LFB and enjoyed both of those too.

 

Thinking that my taste may have changed I went to a cinema screening of the Royal Ballet's version a couple of years ago and I'm afraid I was just as bored as I had been in 1986.

 

The first performance I saw of BRB's production was a matinee on (I think) 2nd January 1990 with Kevin O'Hare as The Prince and I think Miyako Yoshida as Sugarplum.  I loved the production from the second I saw the front curtain.  I love the build up to and party scene.  It makes perfect sense to me that Clara's Mum is an ex-dancer and that there is plenty of dancing at the party.  I know it sounds silly but it took me years to realise how one of Drosselmeyer's tricks is done - and I felt very silly when I did realise!  The first time I saw the transformation scene, and bearing in mind it was a matinee with loads of children in the audience, everyone started cheering when the tree grew.  I have seen several performances of this production every run it has been on since its first season and the transformation scene has never failed to enthralled me and and bring a lump to my throat.  I have shivers running down my spine when the giant fireplace glows and King Rat appears.  I just adore the sublime duet for Clara and the Prince.  It is so captivating that I never notice the transition from the tree to the snow scene.

 

The opening of act 2 has been tweaked over the years and after Clara has arrived (flown in by the snow goose - cue more cheering) we now see something of a recap of the fight between the Rats and Soldiers in Act 1 culminating with the Rat being caged and wheeled off so that the dances can begin.  I love the moving backdrop and the giant flowers hanging down (giving maximum dance space on the stage).  In the "normal" production it is much clearer that Clara becomes Sugarplum and it then makes perfect sense that what has happened has been Clara's dream. It's also nice to see which of the party guests in Act 1 become the national dancers in Act 2.

 

I also very much enjoy Northern Ballet's current production which has a much simpler set for ease of touring.  In Act 2 there is a giant tea caddy at the back of the stage where Clara and her Prince sit to watch the dances.  At a talk by David Nixon he explained that the national dances represent countries on the routes used by tea traders (hence the tea caddy) and in his version Act 2 is also Clara's dream.

 

I agree that I find Jonathan Payn's Drosselmeyer too genial.  Joseph Cipolla, who created the role, had the most enormous stage presence and while he was not as sinister a character as I have seen in other productions he had such charisma that what happened after the party all seemed to fit together.  In more recent years I have greatly enjoyed Valentin Olovyannikov's and Rory MacKay's more quirky performances.

 

 

[Dawnstar]

7 hours ago, JohnS said:

Two points seemed really troublesome to me. I found Drosselmeyer decidedly creepy as there didn’t seem to be any underpinning motivation. And the ‘It’s only a dream’ rationale just seemed weak: I recall years ago an English teacher at school witheringly dismissing the device (although I don’t remember what had triggered the criticism).

 

I thought Jonathan Payn's Drosselmeyer was pretty genial & avuncular. When I saw the full production in Birmingham last year Rory Mackay was Drosselmeyer & I thought he he came across as much more sinister than Payn did. I feel a bit sorry for Clara with the "it's only a dream" ending because presumably she'll never get to meet the Nutcracker/Prince again as he wasn't real, whereas in the RB's version you can think that the Nephew will now be staying with his Uncle Drosselmeyer in the neighbourhood so she'll meet him again very soon. (Although with this particular cast I though Max Maslen as Clara's dancing partner at the party was more handsome than Cesar Morales as the Nutcracker/Prince, so I felt a rather less sorry for her as if I was her I'd've gone for the dancing partner anyway!)

 

2 minutes ago, Jan McNulty said:

It's also nice to see which of the party guests in Act 1 become the national dancers in Act 2.

 

I wasn't sure if this was deliberate or not. As in, for this performance, should Clara have been recognising the female Arabian dancer as her mother (if so then seeing your mother wearing not much slinking around with 3 men would be most teenagers' worst nightmare!) or is it just that we the audience realise it's the same dancer but they're two unrelated characters within the world of the ballet. I'm sure there are productions that deliberately transform the Act I party guests into the Act 2 characters but I'm not sure if this is one of them.

[Jan McNulty]

4 minutes ago, Dawnstar said:

 

I wasn't sure if this was deliberate or not. As in, for this performance, should Clara have been recognising the female Arabian dancer as her mother (if so then seeing your mother wearing not much slinking around with 3 men would be most teenagers' worst nightmare!) or is it just that we the audience realise it's the same dancer but they're two unrelated characters within the world of the ballet. I'm sure there are productions that deliberately transform the Act I party guests into the Act 2 characters but I'm not sure if this is one of them.

 

I think the Mother/Arabian combo may have been as a result of the bubbling arrangements...

 

Yes, I've seen at least one production where the gifts the guests bring give an indication of which dance they will be doing in act 2.

[Dawnstar]

53 minutes ago, Jan McNulty said:

I think the Mother/Arabian combo may have been as a result of the bubbling arrangements...

Shouldn't the dancer playing Clara's father have also been doing the Arabian then? I was trying to work out if the partnering throughout was being limited by bubbles but couldn't discern any definite patterns, though that may partly be ebcause I've not seen enough of BRB to recognise all the dancers.

[Jan McNulty]

44 minutes ago, Dawnstar said:

Shouldn't the dancer playing Clara's father have also been doing the Arabian then? I was trying to work out if the partnering throughout was being limited by bubbles but couldn't discern any definite patterns, though that may partly be ebcause I've not seen enough of BRB to recognise all the dancers.

 

Valentin mostly does character roles now and I don't think I've ever seen him in the Arabian.  He has done snowflake winds, Spanish, flower cavaliers that I can recollect.

 

(Given that Marion Tait frequently performed the role of the Mother in recent years it is not always a given that roles will be doubled up.  Desmond Kelly was often the Father too.)

[alison]

5 hours ago, Jan McNulty said:

I don't like the Hans-Peter/Nephew scenario

 

Isn't that bit relatively authentic?  I seem to recall the Queen of the Mice turning someone into a nutcracker because he killed all the mice, or something.  Edit: even more authentic than I thought:

https://en.wikipedia.org/wiki/The_Nutcracker_and_the_Mouse_King

 

Quote

I just adore the sublime duet for Clara and the Prince.  It is so captivating that I never notice the transition from the tree to the snow scene.

 

Isn't that the same in both RB and BRB productions anyway?  If not, it's surely very similar.

[Ivy Lin]

I always find the Royal Ballet decor very overstuffed. I hate those frosted wigs on the SPF and Cavalier, and the birthday party that seems like a Buckingham Palace Christmas party. The BRB decor seems much more imaginative and beautiful, something out of a childhood dream. 

[Jan McNulty]

8 hours ago, alison said:

 

Isn't that bit relatively authentic?  I seem to recall the Queen of the Mice turning someone into a nutcracker because he killed all the mice, or something.  Edit: even more authentic than I thought:

https://en.wikipedia.org/wiki/The_Nutcracker_and_the_Mouse_King

 

 

Isn't that the same in both RB and BRB productions anyway?  If not, it's surely very similar.

Authentic, yes, but I still don’t like it!
 

Yes, but I think it works more effectively with the BRB set.  I would expect similar/same choreography given that both versions are by SPW!

[EMoo]

 Really lovely to see this production again. I was one of the party children back in the day (sadly absent here!) so it brought back a lot of good memories - that red living room! And of course 10-year-old me was SO smug knowing how Drosselmeyer's tricks were done. Sadly I can't remember much more about the show apart from the spectacular flying goose, but I enjoyed this reduced version anyway. I liked the addition of the male snowflakes, and I thought the dancing was all very strong - unfussy and refreshingly direct. Wish we could have seen (or that I could remember 🙄) the Act 2 set, which in Youtube clips looks stunning.

 

For me the 1984 RB version will always be the gold standard, as I grew up watching the VHS with Lesley Collier and Anthony Dowell. I can see how it might come off a bit stuffy compared to other versions but to me that's part of the charm - even the infamous wigs (which I love! Perhaps in a minority of one). Such beautiful designs (the owl clock, that deep blue dropcloth before the snow scene, the SPF in gorgeous ivory and peach). I like the sense of hierarchy in the Kingdom of Sweets, with the SPF welcoming Clara and Hans-Peter to the court and reappearing for the PDD - she is established as a character rather than simply showing up to dance. I much prefer Hans-Peter's mime to a return appearance of the Rat King himself, who I think should be defeated in Act 1 and left there!

 

That being said, I do not particularly enjoy the various changes that seem to have accumulated over the years - too many angels and too much Clara/H-P (sorry). If the BRB goose could fly over to the original RB version then that would probably be my perfect production! But then I have never seen Balanchine's....

[Jeannette]

Nutcracker was created in the Imperial Russian Ballet. The 1984 version by Sir Peter Wright, with Wiley’s Stepanov-research portions, perfectly captured that Imperial spirit. Clara & the Nut Prince are crowned, robed and sent to the dais to watch the divertissements from thrones... In an enclosed cream-colored courtyard, with design motifs from Sans Souci-Potsdam.  

 

Why, oh why, did Sir Peter ruin the exquisiteness?!  The RB’s unique Imperial version lost its identity around the year 2000.

 

The BRB version is great too...so different. More proletariat/inclusive. I guess that Sir Peter was trying to blend the two perspectives.

[alison]

Welcome to the forum, EMoo.  Lucky you, to have been a part of it!

[Odyssey]

5 hours ago, Jeannette said:

Nutcracker was created in the Imperial Russian Ballet. The 1984 version by Sir Peter Wright, with Wiley’s Stepanov-research portions, perfectly captured that Imperial spirit. Clara & the Nut Prince are crowned, robed and sent to the dais to watch the divertissements from thrones... In an enclosed cream-colored courtyard, with design motifs from Sans Souci-Potsdam.  

 

Why, oh why, did Sir Peter ruin the exquisiteness?!  The RB’s unique Imperial version lost its identity around the year 2000.

 

The BRB version is great too...so different. More proletariat/inclusive. I guess that Sir Peter was trying to blend the two perspectives.

I agree with this. The original version Sir Peter created for RB had some distinctive, ‘authentic’ features, as you describe, which have now disappeared . There’s also the wonderful pas de deux moment ( discussed previously on this forum) when the Prince places the material on the floor for Sugar Plum to glide across - magical, but sadly no more. 
It seems to me that over the years, with every alteration, the two Wright versions have become increasingly fused, which is a shame .

[Sim]

I love both versions.   They both have so much joy to offer.  

[JohnS]

Many thanks Jan and others for reflections on the BRB and Royal Ballet Nutcrackers. It’s always interesting to read alternative views.

 

A couple of points about BRB.
 

It seemed very odd to me that in Clara’s dream she has the fabulous pdd with her Prince but then spends Act 2 seeing him dancing with the SPF? I was going to say wouldn’t it make for a more satisfactory dream if Clara were to become the SPF? But then I’ve just looked again at the posts above and Jan said: “In the "normal" production it is much clearer that Clara becomes Sugarplum and it then makes perfect sense that what has happened has been Clara's dream.” I’m afraid I completely missed that from the relay and would be very keen to see how this is made clear in the theatre, although if we have two separate dancers, isn’t it a bit of an ask?

 

With no back story for Drosselmeyer, I’m afraid I struggle to understand hIs motivation. Is he simply providing magic tricks? Why the bizarre shaking and extraordinary expressions in Act 1? And what’s his role in Act 2? ‘Creepy’ may not be the best description but he certainly didn’t come across to me as genial.

 

In support of the Royal Ballet’s Nutcracker, I’m very taken with the stronger narrative, Drosselmeyer desperate for Hans Peter to be released from his Nutcracker imprisonment. The Clara/Hans Peter story I think works really well throughout the ballet, albeit Clara’s partner at the party rather loses out. Clara’s recognition that she has her necklace is a fabulous touch, as is the Drosselmeyer/Hans Peter close, and we’re left thinking/hoping that Clara and Hans Peter may well have a future together and that they will aspire to the ideal they saw in the SPF/Prince pdd.

 

I don’t go along with the criticisms of Act 1, either that too much is going on or that it’s boring. I can quite understand that (pre COVID) the Royal Ballet is choosing to draw on a very large number of dancers, including many from the Royal Ballet School who may be getting their first experience of performing on the main stage. That decision may mean that some of the party dancing is not as elaborate as other productions (and I certainly enjoyed the BRB dancing for Clara and her friends). But I rather like to think that some of the young dancers may well find they join the Royal Ballet and one or two of the youngest girls, who jump on grandpa’s lap, may well dance Clara and SPF (Francesca Hayward?) and I guess a number of Fritzes may also become Hans Peters and Princes. So given that the Royal Ballet’s production is deliberately drawing on students of all ages, I think it’s a bit unfair to complain about too many children (if that’s one of the criticisms): after all it’s very much a family Christmas party for all ages, including the grandparents. 

 

I appreciate there are criticisms of Clara and Hans Peter joining in many of the Act 2 dances. I recall (dimly) when Clara was danced by a young student and she and Hans Peter were very much observers in Act 2, enthralled by what was presented for them. But I’ve always liked their involvement in Act 2 and see the Royal Ballet’s Nutcracker as very much Clara’s so having them participate and observe seems good to me. I know people see Drosselmeyer as pulling the strings. But he doesn’t have full control: Clara dispatches the Rat King without any help/encouragement from Drosselmeyer; and Hans Peter has to make his own way to Drosselmeyer, with a bit of help from Clara.

 

As I’ve said earlier, I’m very keen to see the full BRB production in the theatre to have a proper chance to appreciate it, even more so now Jan has pointed out that Clara becomes SPF. 

 

 

 

 

 

 

[DanJL]

Thanks JohnS, your views on the Royal Ballet Nutcracker are very similar to my own and much more eloquently described than I could've done! Just to add, in Act 1 for me there is the perfect balance between the charm of including the younger dancers whilst still including some great dancing - due partly to Clara being played by an adult from the company. This is in contrast to the Balanchine version for example, where Act 1 is full of much younger children. It's very warm and charming, but there's much less scope for interesting dancing and no pas de deux after the fight with the Mouse King. So I really appreciate that the Royal Ballet gets the best of both worlds in that respect.

 

I would strongly recommend going to see the BRB Nutcracker in the Hippodrome when it's possible (hopefully next year!). It's a wonderful experience 🙂

[Jan McNulty]

I don’t think you can really compare a cut-down version of BRB’s production performed on a much smaller stage with the full RB production.

 

You mention numbers of children - apart from Fritz there are usually 12 children.  Clara usually has 6 friends and there are an equivalent number of cadets.

 

In act 1 we see dances for the children, friends & cadets and adults including   much tomfoolery with the boys and their toys culminating in the breaking and repair of the Nutcracker doll.

 

Drosselmeyer’s movements when he reappears are the efforts he puts in to making the room grow to giant size.

 

In BRB’s production Drosselmeyer is a hired magician.  I suppose it is all part of Clara’s dream that he comes back to transport her to exotic lands.  
 

If the BRB production deviates from the story on which it is loosely based does it matter?  I enjoy it for the quality of the dancing, its magic and its production values.  I love this production, I don’t like the RB production.  I’ve seen at least 5 different ENB/LFB productions - all different.  I’ve loved 2, been bored by 1 and disliked 2.  It doesn’t matter.  For me, what matters is that BRB were able to stream a cut-down version of their production which I was able to watch and enjoy..

[northstar]

Quote

For me, what matters is that BRB were able to stream a cut-down version of their production which I was able to watch and enjoy..

 

That pretty much captures what I feel. And that glorious first moment when the curtain goes up and Mrs Stahlbaum in her xmas red dress putting final decorations on the tree is really iconic for me and was preserved in this this BRB 'covid' version. 

 

I actually didn't miss the waltz of the flowers too much, except that meant also that the wonderful Rose Fairy didn't appear. I remember seeing Celine Gittens for the first time in this role and being instantly astonished by her. 

In the RB version I do like the soldier and vivandiere doll section. 

[Dawnstar]

14 hours ago, JohnS said:

It seemed very odd to me that in Clara’s dream she has the fabulous pdd with her Prince but then spends Act 2 seeing him dancing with the SPF? I was going to say wouldn’t it make for a more satisfactory dream if Clara were to become the SPF? But then I’ve just looked again at the posts above and Jan said: “In the "normal" production it is much clearer that Clara becomes Sugarplum and it then makes perfect sense that what has happened has been Clara's dream.” I’m afraid I completely missed that from the relay and would be very keen to see how this is made clear in the theatre, although if we have two separate dancers, isn’t it a bit of an ask?

 

Drosselmeyer transforms Clara into the Sugar Plum Fairy part-way through Act II (Clara first does the joining in with the divertissements as in the recent streaming). The mechanics of it are that Clara ducks under Drosselmeyer's cape on one side & the SPF emerges on the other side. Most of the company are on stage at that point so the SPF gets on stage by minging as unobtrusively as possible with them & Clara exits ditto. The swap back at the end was pretty much shown on the stream except that Clara usually enters unobtrusively during the last group dance before she is revealed being held by the Prince whereas on the stream she could be visible beccause he wasn't supposed not to be there, if that makes sense. As for the plausibility, I suppose that depends on how good you are at suspending disbelief! Personally I'm not very good at it. I can remember age 9, when I first saw the production on TV, being completely unable to belive that blonde, English Sandra Madgwick could turn into black-haired, Japanese Miyako Yoshida.  I didn't find it any more plausible last year seeing Rachele Pizzillo turn into Yijing Zhang live. I was pleased that the livestream didn't include the transformation, as Karla Doorbar into Momoka Hirata would hardly be plausible for me either.