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13 minutes ago, Dawnstar said:

Having read all the reviews, I'm now feeling kind of guilty that I didn't notice most of the issues that the critics variously point out.

 

Really don't feel guilty, Dawnstar! I wouldn't say that critics 'point out' issues anyway - that implies that they're always right. They just have opinions, though sometimes their writing can also be very helpful and informative. I'm just glad I don't have to justify my reactions to performances, as they have to.

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15 minutes ago, Dawnstar said:

I do have justification for not noticing anything wrong with the balcony pdd: for much of it I was crying too much to see the dancing in focus!

And that, Dawn, is what it’s all about!  

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1 hour ago, Sim said:

And that, Dawn, is what it’s all about!  


Agreed. Without enjoyment, what, frankly, is the point? Given the choice between a work of arid technical perfection and a flawed performance that touches the soul, I know which I would choose every time. 

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21 minutes ago, Scheherezade said:


Agreed. Without enjoyment, what, frankly, is the point? Given the choice between a work of arid technical perfection and a flawed performance that touches the soul, I know which I would choose every time. 

Well said!  I totally agree.  

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I had quite a transformative teaching moment many years back. I'm quite proud to have introduced many newbies to the ballet in my early twenties, with a vast majority going on to go of their own accord and take people with them; apparently, being able to break down the storylines with passion, point out just enough choreographic highlights (and over wine), and bringing awareness of cheap but decent seats was a winning strategy.

 

But one performance at the Coliseum with the ABT was humbling. I don't remember the production, but Gillian Murphy was dancing the lead, and I neither loved her interpretation, nor her performance on the day. I remember the exchange vividly. Me: "You call that an arabesque penche?!" (demonstrates with arms)

Friend: "I loved that moment... let people enjoy things that are nice to them."

 

I think there is a perfectionist tendency, with the "high" arts, to obsess over the performance aspects but especially the technical: the more we know, the more performances we see, the more we are educated and can truly appreciate the exceptional. I think there is some truth in that. The depths and breadths to which Rojo & Polunin's Marguerite & Armand stirred me in her swan song were through being able to subconsciously make comparisons to every other interpretation and performance I had seen, bring in forgotten emotions from the lives I lived building up to then, and I truly believe it was heightened because of that. But when I learned to appreciate beauty in rawness, and (partially) switch off the analytical brain, I did find a new - albeit different - source of enjoyment. 

 

I book for role debuts much more these days!

Edited by Meetmeatthebarre
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A  little while ago there were many unsold seats for tomorrow's matinee (ROH debuts for Kaneko and Bracewell*)  but interestingly there are now relatively few left, all in the Amphi apart from 6. Perhaps people have been enthused by the opening night reports, or by the recent promotion of £25 Young ROH tickets (200 available per performance)?

 

*(Getting a bit excited now for Fumi and William) !

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1 hour ago, Richard LH said:

 

Great, thanks Richard LH - I was afraid this wouldn't be up before I leave in the morning. (I find the spacing on the lists a bit tricky - it was only when I thought Bennet Gartside was down to do Nurse that I realised I was reading the wrong lines...).

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6 hours ago, Richard LH said:

A  little while ago there were many unsold seats for tomorrow's matinee (ROH debuts for Kaneko and Bracewell*)  but interestingly there are now relatively few left, all in the Amphi apart from 6. Perhaps people have been enthused by the opening night reports, or by the recent promotion of £25 Young ROH tickets (200 available per performance)?

 

*(Getting a bit excited now for Fumi and William) !

One of them is me! (And my 'student promotion' days are half a century away, alas).  Really looking forward to it.

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1 hour ago, capybara said:


Some changes from the rehearsal on Monday: Avis now Lord Capulet ( not Saunders) and Richardson now Benvolio (not Sissens).

 

I hope they're not due to injuries only 1 performance in to the season. I suppose one good thing about the dancers being unable to perform much last season is that, as far as I can infer from casting, most of them at least in the higher ranks seem to be available & uninjured for the start of the season.

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It may not be that uncommon for different supporting dancers to be swapped in for a stage rehearsal, perhaps if someone else is rehearsing something else elsewhere, or if a dancer doing a new role needs stage time, or something.

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5 hours ago, Richard LH said:

Good to see Calvin Richardson back, as he was injured for Athelhampton, but yes I hope Sissens is OK.


I see from Instagram Joseph Sissens has tonsillitis. I do hope he recovers quickly and look forward immensely to seeing this cast on 23 October.

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Possibly because Tuesday was the opening night and an opening night which sometimes seemed destined never to happen, with the lockdowns and Covid restrictions? I’m sure my emotions would have been on a knife edge of joy had I been there on Tuesday but perhaps that is what is missing (understandably) today?

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What marvellous performances this afternoon from William Bracewell and Fumi Kaneko.

 

Rather an early start but London at 10am was rather lovely with the sun shining through the mist.

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I have left the ROH and am wandering the streets of London in a daze.  I have been an emotional wreck for three hours.  I don’t know what happened to me in there today, but whatever it was was incredible.  Be still, my beating heart!  

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