Royal Ballet’s The Nutcracker Winter 2021/22

[maryrosesatonapin]

12 minutes ago, Rob S said:

And I’ll not forget their Romeo and Juliet (which provided me with one of my favourite pics) 

 

 

Absolutely beautiful, @Rob S!  They look as though they are floating here.

[Emeralds]

2 hours ago, art_enthusiast said:

I believe they did Manon together before? I've seen the recording and it's definitely amazing.

That’s right- apart from this October when Sarah Lamb and Steven McRae were paired together for Romeo and Juliet, Sarah has been paired with Vadim Muntagirov for the MacMillan double (as I call them) of Manon and Romeo and Juliet for the last 6 years ever since Sarah had to step in (pun unintended) to cover Natalia Osipova who sustained an injury during R&J rehearsals, while still being paired with Steven for other performances. They found Sarah and Vadim worked so well together (her height, experience and neat style of dancing does seem reminiscent in some ways of Vadim’s regular partner up till then, Daria Klimentova, well, at least to an audience member anyway) that it continued for the MacMillan ballers where there’s a lot of intricate and demanding partnering. 

 

I agree the DVD of them both in Manon is wonderful. One of my faves! 

[Emeralds]

42 minutes ago, Rob S said:

And I’ll not forget their Romeo and Juliet (which provided me with one of my favourite pics) 

 

 

Beautifully captured, Rob, and to me so characteristic of Sarah! She’s actually quite difficult for me to photograph from far away at curtain calls or red runs because she moves a lot and very quickly, while Nunez, Osipova, McRae, etc etc often stand quite still in poses to help their smartphone holding fans who want a snap to remember the occasion. The amphi after a Nunez show is almost like the paparazzi pack at the Oscars as all the cameras and phones come out! I have lots of blurry, fuzzy shots of Sarah but still love them all as much as much my clear ones of Nunez, Morera, Hayward, etc etc. 

[maryrosesatonapin]

Not related to dance, but I found this Wiki excerpt interesting and thought you might too:

'A cookbook from 1609, Delights for Ladies, describes boiling fruits with sugar as “the most kindly way to preserve plums.” The term sugar plum was applied to a wide variety of candied fruits, nuts, and roots by the 16th century.

The term sugar plum came into general usage in the 17th century. During that time, adding layers of sweet which give sugar plums and comfits their hard shell was done through a slow and labor-intensive process called panning. Before mechanization of the process, it often took several days, and thus the sugar plum was largely a luxury product. In fact, in the 18th century the word plum became British slang for a large pile of money or a bribe. However, by the 1860s manufacturers were using steam heat and mechanized rotating pans, and it was then available for mass consumption.'

[Guest oncnp]

34 minutes ago, maryrosesatonapin said:

Not related to dance, but I found this Wiki excerpt interesting and thought you might too:

'A cookbook from 1609, Delights for Ladies, describes boiling fruits with sugar as “the most kindly way to preserve plums.” The term sugar plum was applied to a wide variety of candied fruits, nuts, and roots by the 16th century.

The term sugar plum came into general usage in the 17th century. During that time, adding layers of sweet which give sugar plums and comfits their hard shell was done through a slow and labor-intensive process called panning. Before mechanization of the process, it often took several days, and thus the sugar plum was largely a luxury product. In fact, in the 18th century the word plum became British slang for a large pile of money or a bribe. However, by the 1860s manufacturers were using steam heat and mechanized rotating pans, and it was then available for mass consumption.'

 

Thank you for posting because it made me look up this BBC iPlayer - The Sweet Makers - Christmas

 

they discuss sugar plums about 7 minutes in. 

[Shade]

On 11/12/2021 at 13:21, Emeralds said:

Last year’s Covid-modified production was to have been Natalia’s first time resuming Sugar Plum since debuting in it during the 2013-2014 season, but all hers were cancelled by the subsequent  London Tier restrictions, so this December was her first and only one since 2013-2014. (Unless she steps in for someone later in the run!) 

Thanks Emerald so this may have been only her third performance in the RB production since 2013. 

[maryrosesatonapin]

4 hours ago, oncnp said:

 

Thank you for posting because it made me look up this BBC iPlayer - The Sweet Makers - Christmas

 

they discuss sugar plums about 7 minutes in. 

And one of those confectioners looks as though he could be Stephen McRae's twin brother!

[FionaM]

20 hours ago, Shade said:

Thanks Emerald so this may have been only her third performance in the RB production since 2013. 

Natalia has performed Nutcrackers inbetween in Russia … in Novosibirsk with Sergei Polunin, in Perm and Kremlin Palace with Nikita Chetverikov.  Those productions have a joint Clara/SPF role which suits her better IMO.

(Clips on YouTube)  

[Rob S]

 

 

 

 

 

 

 

 

 

Bennet Gartside’s turn to get a silver medal today 👏

[serenade]

Love the pics, thanks for posting 😀

[alison]

When does Christina Arestis get her medal?  She's contemporary with Ed Watson, so must be due for one.

[RHowarth]

4 hours ago, alison said:

When does Christina Arestis get her medal?  She's contemporary with Ed Watson, so must be due for one.

Did she have time out for maternity leave? Not sure whether that would have paused the clock.

[FLOSS]

Time out for maternity leave counts in determining length of service as does time off for injury, to treat it in any other way would amount to discrimination. Perhaps  recipients of the medal  are allowed to choose after which performance they they will receive it. I seem to recall hearing Arestis say that both she and Watson were offered contracts with the company but then were held back at the school  for a couple of months because they had both experienced growth spurts and it was thought they needed time to adjust to their new height. If that recollection is correct that would mean that Arestis joined the company at the same time as Watson did,in which case her award is overdue.

[alison]

She did: they both featured in one episode of The House (which reminds me, I never did catch up with all of them on YouTube), being told that they'd got places with the company.  Little did we know then what either of them would go on to achieve ...

 

I didn't know about any growth spurts, though.

[Sim]

It says a lot for the dancers and the company that there are so many who have or will soon celebrate 25 years as company members.  That makes me very happy! 

[art_enthusiast]

8 hours ago, alison said:

She did: they both featured in one episode of The House (which reminds me, I never did catch up with all of them on YouTube), being told that they'd got places with the company.  Little did we know then what either of them would go on to achieve ...

 

I didn't know about any growth spurts, though.

Just watched a few clips of the House on YouTube - very interesting historical look at the ROH and the different experiences and problems encountered by the RB and RO. 
Is there a thread about it potentially?

[Lizbie1]

4 minutes ago, art_enthusiast said:

Just watched a few clips of the House on YouTube - very interesting historical look at the ROH and the different experiences and problems encountered by the RB and RO. 
Is there a thread about it potentially?

 

It has been discussed a little in various threads over the years.

 

I don't know if you're aware but it was seen as a PR disaster at the time - not unrelated to the fact that it makes gripping viewing even now.

[Tango Dancer]

18 hours ago, Rob S said:

 

 

 

 

 

 

 

 

 

 

 

 

Bennet Gartside’s turn to get a silver medal today 👏

 

Lovely to see Bennet being recognised.  I do his ballet classes online and he's a top bloke and a great teacher as well as being a wonderful dancer.  RB are really lucky to have some amazing character artists.  

 

[RHowarth]

31 minutes ago, art_enthusiast said:

Just watched a few clips of the House on YouTube - very interesting historical look at the ROH and the different experiences and problems encountered by the RB and RO. 
Is there a thread about it potentially?

There is an accompanying book written by Kate Mosse. Long out of print but worth tracking down.

[alison]

Yes, now you mention it, I've got it - in storage  

[jmhopton]

2 hours ago, Lizbie1 said:

 

It has been discussed a little in various threads over the years.

 

I don't know if you're aware but it was seen as a PR disaster at the time - not unrelated to the fact that it makes gripping viewing even now.

I've still got the series on video somewhere.  Never got round to transferring it to dvd as I found it disappointing and irritating.  I was hoping to find out how the ROH was run, how it was decided what ballets/operas were to be staged, the staging process, how the opera company was formed, is there a permanent chorus equivalent of the corps de  ballet; all these sorts of things. Instead the concentration seemed to be on extraordinary not ordinary events, such as substituting star singers at the last minute and management throwing phones across the room. Presumably the makers thought that made for more interesting TV but it was a big turn off for me. I think there was something about one of the dancers having her contract terminated but no explanation seemed to be given. 

[Lizbie1]

2 minutes ago, jmhopton said:

I think there was something about one of the dancers having her contract terminated but no explanation seemed to be given. 

 

Fiona Chadwick - I think it was explained as being as a result of budget cuts.

[bridiem]

3 minutes ago, jmhopton said:

I've still got the series on video somewhere.  Never got round to transferring it to dvd as I found it disappointing and irritating.  I was hoping to find out how the ROH was run, how it was decided what ballets/operas were to be staged, the staging process, how the opera company was formed, is there a permanent chorus equivalent of the corps de  ballet; all these sorts of things. Instead the concentration seemed to be on extraordinary not ordinary events, such as substituting star singers at the last minute and management throwing phones across the room. Presumably the makers thought that made for more interesting TV but it was a big turn off for me. I think there was something about one of the dancers having her contract terminated but no explanation seemed to be given. 

 

The dancer was Fiona Chadwick, and it was to cut costs. Awful.

[jmhopton]

2 minutes ago, bridiem said:

 

The dancer was Fiona Chadwick, and it was to cut costs. Awful.

Thanks for this. I thought it was Fiona Chadwick but didn't want to say so in case I was wrong. Wasn't it after this she went to Matthew Bournes company to play the Queen in his all male Swan Lake?

Re the doc series I thought this was another opportunity missed to say what facilities/support the RB were able to offer in career advice and

re-training  and what sort of careers  ex ballet dancers often took.

Sorry, seem to have gone off Nutcracker topic! 

 

[bridiem]

5 minutes ago, jmhopton said:

Thanks for this. I thought it was Fiona Chadwick but didn't want to say so in case I was wrong. Wasn't it after this she went to Matthew Bournes company to play the Queen in his all male Swan Lake?

 

Yes, she was the first Queen in Matthew Bourne's Swan Lake.

[art_enthusiast]

2 hours ago, jmhopton said:

I've still got the series on video somewhere.  Never got round to transferring it to dvd as I found it disappointing and irritating.  I was hoping to find out how the ROH was run, how it was decided what ballets/operas were to be staged, the staging process, how the opera company was formed, is there a permanent chorus equivalent of the corps de  ballet; all these sorts of things. Instead the concentration seemed to be on extraordinary not ordinary events, such as substituting star singers at the last minute and management throwing phones across the room. Presumably the makers thought that made for more interesting TV but it was a big turn off for me. I think there was something about one of the dancers having her contract terminated but no explanation seemed to be given. 

Thanks for all the above replies everyone - sorry to have misdirected the topic slightly.

Regarding the series, I watched a few clips on YouTube and found it quite distasteful to see all the arguing (and swearing) about funding, and architectural complaints from the Covent Garden community. It seems more like a sustained reality TV argument than an in-depth portrayal of one of the most renowned theatres in the world, I assume that's what the producers were going for.

Also disliked the references to an 'elite' audience of the ROH, and the way they referred to such audiences as 'special' - it seemed quite derogatory to others.

Still great to see Fiona Chadwick (I've never heard of her much before, and have consequently looked up some of her performances) and also Anthony Dowell, and Darcey Bussell.

Edited December 14, 2021 by art_enthusiast

[Emeralds]

I love that this season has become medal season - Morera, Whitehead, Gartside - all artists who give something special on stage, rather than just about longevity. (Am still sad I missed Laura’s show....sigh!) 

 

Seems fitting to mention, in contrast,  that documentary about the Opera House, as Fiona Chadwick was a very talented, humble and versatile ballerina (one of the best Myrthas the company has ever had), who always delivered quality no matter what role she was given, from Odette/Odile to Cinderella to Mary Vetsera, from Balanchine to Bournonville, including a whole host of varied roles in new works of varying styles and quality! She was the first Gamzatti in Makarova’s La Bayadere when it was first mounted for the Royal Ballet, and MacMillan created the role of Princess Epine - the other female lead role alongside Belle Rose - on her when he made his version of The Prince of the Pagodas. It is highly unjust and wrong that as one of the most popular and dependable principals at the time, Chadwick was not given a medal and retired amid flowers and cheers (she could definitely have continued dancing for a lot longer)  but instead was treated so disgracefully. A stupid decision. Glad the House and the company are run so much better now. 

[art_enthusiast]

14 minutes ago, Emeralds said:

It is highly unjust and wrong that as one of the most popular and dependable principals at the time, Chadwick was not given a medal and retired amid flowers and cheers (she could definitely have continued dancing for a lot longer)  but instead was treated so disgracefully. A stupid decision. Glad the House and the company are run so much better now. 

Indeed! It seems very absurd to want to let go of a Principal, especially due to the additional maturity and artistic expertise they bring to their dancing - as evidenced by many of the most experienced principals now.

Edited December 15, 2021 by art_enthusiast

[alison]

Going off at a slight tangent, and it's probably too late to do anything about it for this season, but it strikes me that the ROH may be missing a trick in relation to refreshments.  Now ice creams are allowed in the auditorium, why not sell them shortly before the start of the performance, too?  Then people (children?) can take them in for the start of the performance, leaving the interval free for ... buying more refreshments/food/drink? ... as well as going to the loo and so on.  I suppose it may be a staffing issue, but if you already have people selling programmes, why not?

[capybara]

20 minutes ago, alison said:

Going off at a slight tangent, and it's probably too late to do anything about it for this season, but it strikes me that the ROH may be missing a trick in relation to refreshments.  Now ice creams are allowed in the auditorium, why not sell them shortly before the start of the performance, too?  Then people (children?) can take them in for the start of the performance, leaving the interval free for ... buying more refreshments/food/drink? ... as well as going to the loo and so on.  I suppose it may be a staffing issue, but if you already have people selling programmes, why not?

 

Please NOOOOOOOO!!!! The auditorium is for watching the ballet: it is not a cafe.

This would also mean that fewer people will be wearing masks during the show.

[Rob S]

35 minutes ago, alison said:

Going off at a slight tangent, and it's probably too late to do anything about it for this season, but it strikes me that the ROH may be missing a trick in relation to refreshments.  Now ice creams are allowed in the auditorium, why not sell them shortly before the start of the performance, too?  Then people (children?) can take them in for the start of the performance, leaving the interval free for ... buying more refreshments/food/drink? ... as well as going to the loo and so on.  I suppose it may be a staffing issue, but if you already have people selling programmes, why not?

 

😲

 

Has someone hit you on the head with a pointe shoe recently!?😆

[Fonty]

Are ice creams allowed in the auditorium?  Why????  What next?  People slurping drinks through straws? 

Is this just for the Nutcracker, or will it be for every performance?  When I go to the ballet, I want to watch the ballet, not eat.  I can think of nothing more inappropriate than scooping up a bit of rum and raisin while  the Queen of the Willis makes her dramatic appearance.  Or licking thoughtfully on my plastic spoon while Odette steps on stage.

[Lizbie1]

It's just a temporary measure to dispel crowds in the lobbies at the interval I think.