ENB: Forsythe programme at Sadler's Wells Spring 2022 (changed from originally advertised)

[zxDaveM]

20 hours ago, alison said:

I noticed that at Charing Cross yesterday.  Can't say the photo on the poster did a lot for me, personally.

 

is that the one with Eric in the glittery tank-top? If so, can't say it made me think - 'oh, must see that!'. Just the opposite in fact

[capybara]

On 24/03/2022 at 06:53, Bruce Wall said:

Still no casting with the opening being so relatively soon?  Does that seem odd?  

Maybe a Forsyth preference, COVID hesitancy, or that Rojo is mounting her Cinderella in Sweden?

[Emeralds]

On 23/03/2022 at 10:06, PeterS said:

various tube (London Underground) stations and Charing Cross station amongst other public spaces have been blitzed with posters advertising this programme this week.  ticket sales seem slow, so perhaps some enticing offers will appear ....

No casting and charging £55 to £75 for a show that’s only about 65 to 70 minutes long at most is the reason why ticket sales are slow. In fact, if it wasn’t for the fact that Sadler’s Wells retains hefty booking fees even when they themselves cancel a show, more people who prebooked will be considering returning tickets. A 90 minute story ballet (with elaborate sets and stage effects) is probably just about ok to charge £75 a seat, eg Nutcracker, Giselle, La Sylphide (but even ENB presented their Sylphide with a full ballet last time, ie Song of the Earth or La Jeune Homme et la Mort).

 

Additionally, recorded music is being used which means no live performances from an orchestra or other musical artists, which many might feel isn’t worth £55 and more.

 

I’m not saying that the new extended Playlist coupled with Blake Works and extraordinary performances from all the company won’t be worth £75 (and relatively high prices at the seats with poorer sight lines or at the back) and no live music, but it isn’t an enticing prospect at the box office if you’ve never seen the programme nor the casting.

Edited March 26, 2022 by Emeralds

[JNC]

I wonder if lots of last minute deals will pop up? I feel bad for dancers playing to half empty houses and it does make me wonder whether they really should have done the triple bill as intended (or at least filled another act with some gala pieces was another suggestion I think), and they certainly should have lowered prices to reflect the change (which they might in effect do if last minute deals are going to be pursued). 

I am keen to go but have only paid £25 for the ticket and wouldn’t pay more. I haven’t seen either piece before so if I had I might feel differently, and I’m also not going to book to see the contemporary bill later this year which just repeats Blake Works as I will be seeing it this time. 

 

Is this Tamara’s last official programme as Director? Bit disappointing to bow out on this if that is the case. 

[LinMM]

I am curious that Forsyth apparently said recently that he doesn’t want people to have to “endure” ballet but to look forward to enjoying it 🤔 

There’s probably more to this statement that could make it plausible but seems a bit arrogant to me. 
I did enjoy what I’ve seen of Playlist so far though so was looking forward to seeing more of his work and originally was going to book this and give the RB current triple a miss but when ENB  withdrew Approximate Sonata and didn’t replace with anything at all I decided to switch to the RB Programme and got a very reasonably priced ticket for that instead. 
Travelling is ever more costly(and problematic)  these days so if you are going to the theatre you want to feel the ticket is worth the whole cost (both financial and emotional) ….which happily I usually do but personally do think ENB could have made a little more effort to replace Sonata. 

 

[Beryl H]

I returned my ticket yesterday, although I like Playlist I didn't really want another to listen to another vocal soundtrack (probably played very loud).  Lack of casting information didn't help either.

[Dawnstar]

13 hours ago, LinMM said:

I am curious that Forsyth apparently said recently that he doesn’t want people to have to “endure” ballet but to look forward to enjoying it 🤔 

There’s probably more to this statement that could make it plausible but seems a bit arrogant to me.

 In context it's part of the answer to the 9th question in this article https://www.theguardian.com/stage/2022/mar/13/william-forsythe-i-want-people-to-look-forward-to-ballet-not-endure-it

I agree with you that the out of context headline does make him sound arrogant. In context not as bad but I still feel he's making quite the assumption that loads of people who don't enjoy more a classical style of dance will enjoy his work. But maybe it reads like that to me because for me it's contemporary works that I "endure", when I can't avoid them! (Yes, I am avoiding this programme.)

 

[capybara]

The casting for the first three days (Thursday 31st, Friday 1st and Saturday 2nd) has now been announced:

 

https://www.ballet.org.uk/wp-content/uploads/2022/03/THE-FORSYTHE-EVENING-Daily-Casting-31-Mar-2-Apr.pdf?utm_source=wordfly&utm_medium=email&utm_campaign=DEVPATRONSDHForsytheCasting220328&utm_content=version_A

 

Although this link was sent earlier to ENB Patrons, the embargo has now been lifted.

It's almost too much to take in!

[alison]

Good grief!  In retrospect, I'd probably have been fairly happy with "Cast A", "Cast B" etc.

[Jan McNulty]

The press release gives you the link not the listings (and I can see why).  There's a nice photograph.

 

 

English National Ballet
THE FORSYTHE EVENING
Sadler’s Wells, London
31 March – 10 April 2022
ballet.org.uk/the-forsythe-evening

 

English National Ballet today announces the first week of casting for THE FORSYTHE EVENING, an electric evening of dance at Sadler’s Wells, London, which runs from Thursday 31 March - Sunday 10 April 2022.

 

Photo caption: English National Ballet dancer Erik Woolhouse performing Playlist (Track 1, 2) which features in THE FORSYTHE EVENING from 31 March - 10 April at Sadler's Wells, London

 

With choreography by the legendary American choreographer William Forsythe to modern music by artists including James Blake, Lion Babe, Khalid and Barry White, this is set to be an evening to remember. Find full casting for the first week of performances here, further casting to follow. 

 

The bill includes an extended version of Playlist (Track 1, 2), Playlist (EP), presented in the UK for the first time, which combines ballet classicism and athleticism with the beats of neo-soul and house music and Blake Works I, a soulful piece featuring solos, duets and intricate group formations set to seven songs from James Blake's album The Colour in Anything. 

 

Listen to THE FORSYTHE EVENING playlist now available on Spotify, and watch the trailer on YouTube.

 

 

Listings:
THE FORSYTHE EVENING
Sadler’s Wells, London
31 March – 10 April 2022
www.ballet.org.uk/the-forsythe-evening/

 

Notes to Editors

English National Ballet is a National Portfolio Organisation supported by Arts Council England. 

 

NatWest is Principal Partner of English National Ballet.

 

Ballymore is Principal Building Partner of English National Ballet.

Cunard is Production Sponsor for THE FORSYTHE EVENING.

English National Ballet is an Associate Company of Sadler’s Wells.

 

About English National Ballet 
English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has been at the forefront of ballet's growth and evolution ever since.

 

English National Ballet brings world-class ballet to the widest possible audience through live performances across the UK and on eminent international stages; its digital platforms Ballet on Demand and BalletActive; its distinguished orchestra, English National Ballet Philharmonic; and being a UK leader in creative learning and engagement practice, building innovative partnerships to deliver flagship programmes such as English National Ballet's Dance for Parkinson's.

 

Under the artistic directorship of Tamara Rojo CBE, English National Ballet has introduced ground-breaking new works to the Company's repertoire whilst continuing to honour the tradition of great classical ballet, gaining acclaim for artistic excellence and creativity. 2019 saw English National Ballet enter a new chapter in its history when it moved into a purpose-built state-of-the-art home in east London, Mulryan Centre for Dance, bringing a renewed commitment to, and freedom for, creativity, ambition, and connection to more people, near and far, than ever before. www.ballet.org.uk 

 

About Arts Council England 
Arts Council England is the national development agency for creativity and culture. We have set out our strategic vision in Let's Create that by 2030 we want England to be a country in which the creativity of each of us is valued and given the chance to flourish and where everyone of us has access to a remarkable range of high quality cultural experiences. We invest public money from Government and The National Lottery to help support the sector and to deliver this vision. www.artscouncil.org.uk

 

Following the Covid-19 crisis, the Arts Council developed a £160 million Emergency Response Package with nearly 90% coming from the National Lottery, for organisations and individuals needing support. We are also one of several bodies administering the Government's Culture Recovery Fund and unprecedented support package of £1.57 billion for the culture and heritage sector. Find out more at www.artscouncil.org.uk/covid19

[Emeralds]

20 hours ago, capybara said:

The casting for the first three days (Thursday 31st, Friday 1st and Saturday 2nd) has now been announced:

 

https://www.ballet.org.uk/wp-content/uploads/2022/03/THE-FORSYTHE-EVENING-Daily-Casting-31-Mar-2-Apr.pdf?utm_source=wordfly&utm_medium=email&utm_campaign=DEVPATRONSDHForsytheCasting220328&utm_content=version_A

 

Although this link was sent earlier to ENB Patrons, the embargo has now been lifted.

It's almost too much to take in!

Oh gosh, it looks as though they’ve announced everyone who will be in the ballet, including the corps and new joiners or temporary performers who are so new that they don’t have photos for them. 

 

So essentially, first night cast is doing all the evenings for the first 3 dates, and includes Arrieta, Caley, Cirio, Hawes, Hernandez, Kase. Second cast is doing the matinees includes Caley, Frola, Kase, Khaniukova, McWhinney, Souza. Some dancers are in both casts, doing (apparently) two shows a day on both Friday and Saturday. Seems very tiring to me, and I wonder what happens to other principals ie Oliveira, Takahashi, Mair, (+/- Rojo herself) while the run is going on.

Edited March 29, 2022 by Emeralds

[capybara]

Presumably the Principals named above are rehearsing for future productions, including Giselle in Barcelona.

Edited March 29, 2022 by capybara

[San Perregrino]

42 minutes ago, Emeralds said:

Oh gosh, it looks as though they’ve announced everyone who will be in the ballet, including the corps and new joiners or temporary performers who are so new that they don’t have photos for them. 

 

from the little I know/have seen, these are essentially ensemble/company pieces and as such, so, though the company will include principal dancers, there may not be any 'named principal roles' as such.  

[Candleque]

I was blown away by Playlist when I saw it last time. Just that work alone is worth the price of admission to me, although I totally understand why others feel differently about the shortened program. 

And I do agree with Mr. Forsythe about wanting to make ballet more popular. This is the perfect show for your non-balletomane friends and family. I hope to see lots of little kids at the matinees. You can imagine them asking for ballet lessons afterward, like the way some male dancers talk about being inspired by seeing Billy Elliot. 

[Blossom]

22 hours ago, Candleque said:

I was blown away by Playlist when I saw it last time. Just that work alone is worth the price of admission to me, although I totally understand why others feel differently about the shortened program. 

And I do agree with Mr. Forsythe about wanting to make ballet more popular. This is the perfect show for your non-balletomane friends and family. I hope to see lots of little kids at the matinees. You can imagine them asking for ballet lessons afterward, like the way some male dancers talk about being inspired by seeing Billy Elliot. 

I've managed to convince my husband to come along next week (actually he heard the playlist and convinced himself) despite having decided after some poor choices (Nutcracker in the brief period between lockdowns as he promised to come to something with me in place of us getting to St Petersburg for my 40th in the first May of Covid and Dante Project because he was interested in the subject matter but was too abstract for him to follow without any prior reading!) that he definitely doesn't like ballet (personally I would have preferred him to see some MacMillan). 

 

Also having convinced a friend to join me for the last BRB triple bill which she was surprised she enjoyed, she is bringing her husband and 2 sons along next week too. 

Strongly believe in 'member get member' and this is a prime piece of repertoire from that perspective - can't help but find joy in Playlist.

 

Meanwhile just can't wait for opening night with my daughter!

[Emeralds]

On 26/03/2022 at 09:19, LinMM said:

I am curious that Forsyth apparently said recently that he doesn’t want people to have to “endure” ballet but to look forward to enjoying it 🤔 

There’s probably more to this statement that could make it plausible but seems a bit arrogant to me. 
I did enjoy what I’ve seen of Playlist so far though so was looking forward to seeing more of his work and originally was going to book this and give the RB current triple a miss but when ENB  withdrew Approximate Sonata and didn’t replace with anything at all I decided to switch to the RB Programme and got a very reasonably priced ticket for that instead. 
Travelling is ever more costly(and problematic)  these days so if you are going to the theatre you want to feel the ticket is worth the whole cost (both financial and emotional) ….which happily I usually do but personally do think ENB could have made a little more effort to replace Sonata. 

 

He was referring to husbands and boyfriends “dragged along” to ballets. From my own peers’ and relatives’ experiences though, it is often the husbands who buy all the Swan Lakes, Nutcrackers and Romeo & Juliets (that’s why they sell out) thinking their wives/partners/daughters will like the “pretty” dancing, but they tend to end up enjoying the music and the ballet more than they expect. I’ve also had every single non balletomane male who came along saying they found La Fille mal Gardee genius, and expressed surprise that classical ballet could be fast paced and funny. 

 

Recently, when relatives (non ballet fans) came with me to Putrov and Cojocaru’s gala, one said the McGregor was her favourite (having previously enjoyed Swan Lake but found that the Mariinsky Bayadere “dragged on” and left before it ended) - I didn’t see that coming! I actually went to one of Forsythe’s Frankfurt Ballet productions during the phase where he eschewed classical ballet altogether and said his old works (In the Middle, Vertiginous Thrill etc) were outdated, and found the production really dragged on, even though I wanted to like it, and wished he’d programmed something like Impressing the Czar or Steptext instead. If it wasn’t for the fact that I kept hoping something better would come along in the next 5 to 10 minutes, I would actually have walked out halfway. As it was, my non ballet fan friend was the one who woke me up at the end after it sent me to sleep... 😂 (If any consolation to Mr Forsythe, lots of other new works have sent me to sleep, so his is not the only one! Yet In the Middle, Somewhat Elevated is one of my all time favourite ballets). 

 

Conversely, I  enjoyed Approximate Sonata thoroughly and I knew Playlist would be magnificent within the first 5 minutes, and so it was.  I think with the casting out, sales should pick up considerably. Wise move to have Cirio and Frola in different shows to maximise box office sales. 😁

Edited March 30, 2022 by Emeralds

[Emeralds]

Just to let members know that the rest of the casting has been released on the ENB website now.

 

In answer to my question about where Takahashi and fellow ballerinas are, Fernanda Oliveira and Erina Takahashi have been added to the second cast and Shiori Kase (who was originally in both first and second casts, dancing double shows on two consecutive days) given the day off for Tuesday, Thursday and Saturday afternoon (but dancing in the evening). Shiori and the original matinee cast return for the last show on Sunday afternoon (so Takahashi and Oliveira). 

 

Definitely only guesswork putting two and two together here, but as there are still Covid episodes snaking their way around London and the southeast (eg Nunez, then Osipova, and among Londoners I know- even the triple jabbed) it’s possible that the casting arrangements for this programme may have been similarly affected.