English National Ballet 2022-2023 season announcement

[Emeralds]

E(e)k!  Time to chase the Blues away- ENB have announced their autumn plans for the 2022-2023 season. A new Mats Ek ballet is planned, Stina Quagebeur’s Take Five Blues returns, as does Blake Works. Swan Lake is toured to Liverpool, Manchester and London.  Raymonda goes to Bristol, then Southampton. 😊

Edited March 7, 2022 by Emeralds

[capybara]

1 minute ago, Emeralds said:

E(e)k!  Time to chase the Blues away- ENB have announced their autumn plans for the 2022-2023 season. A new Mats Ek ballet is planned, Stina Quagebeur’s Take Five Blues returns, as does Blake Works. Raymonda goes to Bristol, then Southampton. 😊

I think (hope) that Take Five Blues is an extended version of Stina's work.

 

[SheilaC]

So,once again the North loses out. Raymonda was scheduled to premiere at Manchester, but will they show it there?- no.  Instead, yet another Swan Lake. BRB had already announced that they will be touring Swan Lake next season.

[Lizbie1]

While we're waiting on the press release, the What's On page has been updated: https://www.ballet.org.uk/whats-on/

 

And here's the link to a blogpost about the announcement: https://www.ballet.org.uk/blog-detail/2022-2023-season-announcement/

Edited March 7, 2022 by Lizbie1

[Guest]

Does this mean that Oxford and Milton Keynes are dropped completely now ? Disappointed if so.

[Emeralds]

1 minute ago, SheilaC said:

So,once again the North loses out. Raymonda was scheduled to premiere at Manchester, but will they show it there?- no.  Instead, yet another Swan Lake. BRB had already announced that they will be touring Swan Lake next season.

I must admit I was very puzzled that there were no dates for Raymonda in Manchester. Wonder why. Very disappointing for Manchester fans. 

[Guest]

3 minutes ago, SheilaC said:

So,once again the North loses out. Raymonda was scheduled to premiere at Manchester, but will they show it there?- no.  Instead, yet another Swan Lake. BRB had already announced that they will be touring Swan Lake next season.

Given the Arts Council funds both that is ludicrous.

[Jan McNulty]

The press release (sorry it's 20 minutes late being published - I was in Tescos!):

 

 3pm, Monday 07 March 2022 - for immediate release
 

English National Ballet
2022-2023 Season 
www.ballet.org.uk  

• English National Ballet returns to UK touring in autumn 2022
• Raymonda by Tamara Rojo to be performed on tour alongside Swan Lake
• Mats Ek to create new work for English National Ballet 
• Nutcracker returns for the festive season
• Creature by Akram Khan returns to Sadler’s Wells 
• International tours see the Company travel to France and Austria 

English National Ballet today announces plans for its 2022-2023 Season. 

 

Tamara Rojo CBE, English National Ballet’s Artistic Director, said: “This is a Season that truly celebrates the great tradition of classical ballet alongside the innovation and creativity of contemporary repertoire. English National Ballet is committed to bringing world class ballet to the widest possible audience and so I am particularly delighted to return to UK touring – we can’t wait to perform for audiences at our partner venues around the country.”

 

Having received its world premiere at the London Coliseum in January 2022, Raymonda by English National Ballet’s Artistic Director Tamara Rojo CBE, after Marius Petipa, will be performed at the Bristol Hippodrome (23 – 26 November 2022) and Southampton’s Mayflower Theatre (30 November – 03 December 2022). 

 

Updating the ballet’s setting to the Crimean war and drawing inspiration from the groundbreaking spirit and work of the women supporting the war effort, including Florence Nightingale, Raymonda is recast as a young woman with a calling to become a nurse. Starring a huge cast of dancers, this critically acclaimed adaptation with UK sponsorship from Cunard, keeps the best of the 19th-century original including Alexander Glazunov’s score, adapted and edited by Gavin Sutherland and Lars Payne, which is performed live by English National Ballet Philharmonic. 

 

Also touring this autumn is English National Ballet’s hugely successful production of the timeless classic, Swan Lake, which will be performed at the Liverpool Empire (28 September – 01 October 2022) and Manchester’s Palace Theatre (05 – 08 October 2022) followed by the London Coliseum (12 – 22 January 2023). Choreographed by Derek Deane, the production features some of the most iconic scenes in ballet and will be performed to Tchaikovsky’s glorious score played live by English National Ballet Philharmonic. 

November 2022 sees English National Ballet return to Sadler’s Wells, London, to present a triple bill of contemporary work. Renowned choreographer Mats Ek will choreograph a new work for English National Ballet, his first creation for the Company. The piece for 22 dancers will feature costume and set design by Marie-Louise Ekman, lighting by Linus Fellbom and music played live by English National Ballet Philharmonic. 

 

Tamara Rojo said: “It is a huge honour and a privilege to have Mats Ek create a new work on the Company. He is a master choreographer with a long history of impactful and imaginative works, and I can’t wait to see him create closely with our dancers.”

The new work will be performed alongside Take Five Blues by English National Ballet’s Associate Choreographer, Stina Quagebeur, and William Forsythe’s Blake Works I. Originally created for the Company’s 2020 Digital Season and first performed on stage when theatres reopened in spring 2021, Take Five Blues is a joyous exploration of contemporary jazz and classical music which will be extended to a longer one act ballet. Blake Works I is a soulful piece for 21 dancers set to seven songs from James Blake’s album The Colour in Anything, first performed by English National Ballet in spring 2022.  

 

Continuing its annual festive tradition, English National Ballet will present Nutcracker at the London Coliseum over the Christmas period (15 December 2022 – 07 January 2023). This much-loved version, choreographed by Wayne Eagling, features over 100 dancers and musicians who bring to life the popular Tchaikovsky score featuring the Dance of the Sugar Plum Fairy and Waltz of the Flowers, performed live by English National Ballet Philharmonic.

 

Following its debut performances in London and Chicago, Creature by Akram Khan returns to the Sadler’s Wellsstage in spring 2023. Creature is an unearthly tale of exploitation and human frontiers inspired by Georg Büchner’s expressionist classic Woyzeck, with shadows of Mary Shelley’s Frankenstein. Drawing on themes of abandonment, isolation and the fragility of the mind, it is the tale of an outsider and the search for belonging.

 

English National Ballet remains committed to developing and nurturing talent. Recognising the excellence of the Company’s artists, our Emerging Dancer competition will be presented in spring 2023. This annual celebration sees six selected finalists mentored by their peers to perform in front of a panel of eminent judges. The winner of Emerging Dancer is announced alongside the People’s Choice Award and the Corps de Ballet Award, introduced to recognise the hard work and dedication of an exceptional member of the corps. 

Taking the very best of British ballet to audiences around the world, English National Ballet tours Akram Khan’s Giselle to the Théâtre des Champs-Elysées, Paris (12 – 15 October 2022) as part of TranscenDanses in collaboration with Productions Sarfati, and Festspielhaus St. Pölten, Austria (24 & 25 February 2023).

 

Further information on plans for English National Ballet’s spring/ summer 2023 performances will be announced soon. 

 

 

English National Ballet is grateful for the generous grant it has been awarded through the Government's Culture Recovery Fund, which allows it to continue to create, perform and serve its audiences.
 

Notes to Editors

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

Ballymore is Principal Building Partner of English National Ballet.

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

 

Raymonda by Tamara Rojo, after Marius Petipa
A Co-Production between English National Ballet and Finnish National Ballet 
Production Partner: Mayflower Theatre, Southampton 
UK Production Sponsor: Cunard 
Lead supporters of Raymonda: Doug and Ceri King and Sir Damon and Lady Buffini

 

Creature by Akram Khan
A Co-Production between English National Ballet and Opera Ballet Vlaanderen (OBV) 
Co-Producer: Sadler’s Wells, London. Production Partner: The Joan W. and Irving B. Harris Theater
Lead Supporter of Creature: Valentina Kislaya

Take Five Blues by Stina Quagebeur 
Lead Supporter of Take Five Blues: Charles Holloway

 

Akram Khan’s Giselle 
A Co-Production between English National Ballet, Manchester International Festival and Sadler’s Wells, London. 
Supported by Arts Council England 

 

On-Sale Information:
Tickets for Raymonda at Southampton’s Mayflower Theatre are available now.  

Priority booking for English National Ballet’s Patrons and Friends will open for Swan Lake, Raymonda (at the Bristol Hippodrome) and Nutcracker on Monday 14 March 2022. General booking for these performances will open on Thursday 17 March 2022. 

Ek/ Forsythe/ Quagebeur will go on-sale in May 2022. 

 

Booking information for all other performances will be announced shortly. 

 

Become a Friend today to enjoy priority booking, access to exclusive events throughout the Season, and great discounts. Sign up to our e-newsletter to find out when booking is announced. 

Performance details are subject to change. Please see www.ballet.org.uk for the latest information.

English National Ballet’s 2022-2023 Season Listings:

 

Swan Lake 
Liverpool Empire
Wednesday 28 September – Saturday 01 October 2022
www.ballet.org.uk/swan-lake

 

Swan Lake
Manchester Palace Theatre
Wednesday 05 – Saturday 08 October 2022
www.ballet.org.uk/swan-lake

Akram Khan’s Giselle
Théâtre des Champs-Elysées, Paris 
Wednesday 12 – Saturday 15 October 2022
www.ballet.org.uk/akram-khan-giselle

 

Ek/ Forsythe/ Quagebeur    
Sadler’s Wells, London
Wednesday 09 – Saturday 12 November 2022 
www.ballet.org.uk/ek-forsythe-quagebeur

 

Raymonda 
Bristol Hippodrome
Wednesday 23 – Saturday 26 November 2022
www.ballet.org.uk/raymonda

Raymonda 
Mayflower Theatre, Southampton 
Wednesday 30 November – Saturday 03 December 2022
www.ballet.org.uk/raymonda

 

Nutcracker 
London Coliseum 
Thursday 15 December 2022 – Saturday 07 January 2023
www.ballet.org.uk/nutcracker

 

Swan Lake 
London Coliseum 
Thursday 12 – Sunday 22 January 2023
www.ballet.org.uk/swan-lake

 

Akram Khan’s Giselle 
Festspielhaus St. Pölten, Austria
Friday 24 & Saturday 25 February 2023
www.ballet.org.uk/akram-khan-giselle

 

Creature by Akram Khan
Sadler’s Wells, London 
Spring 2023
www.ballet.org.uk/creature
Further information to follow 

 

Emerging Dancer 
Spring 2023
Further information to follow

 

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  

About Ballymore 
Ballymore: 40 years of forward thinking

Ballymore is a leading property developer with a multi award-winning portfolio of some of Europe’s largest and most transformative urban development projects. 

 

Our projects are defined by their vision, originality and commitment to quality and we are driven to set new, lasting standards in design, creativity and architecture.

 

Every place we create has a unique personality inspired by its location, history, people and culture, nurtured through strong relationships with our expert partners and those we develop with local communities.  

We enliven areas well before the first foundations are laid and we remain long after the last brick is in place to ensure our customers are well looked after and the communities continue to thrive.  

 

Our landmark developments in the UK span the breadth of Greater London, from our new riverside communities in Royal Wharf, London City Island and Embassy Gardens, where we have transformed underused land into lively new neighbourhoods, over to Brentford where we are reconnecting the High Street with the waterfront and revitalising the town centre.   

 

In Ireland, we develop homes across a number of counties and have established Dublin Landings as a new commercial centre at North Wall Quay. We are also working in partnership with Diageo and CIE to design and deliver mixed-use developments at the Guinness brewery and Connolly Station in Dublin.  

 

About Cunard 
Cunard is a luxury British cruise line, renowned for creating unforgettable experiences around the world. Cunard has been a leading operator of passenger ships on the North Atlantic, since 1840, celebrating an incredible 181 years of operation. A pioneer in transatlantic journeys for generations, Cunard is world class. The Cunard experience is built on fine dining, hand-selected entertainment and outstanding service. From five-star restaurants and in-suite dining to inspiring guest speakers, the library and film screenings, every detail has been meticulously crafted to make the experience unforgettable. There are currently three Cunard ships, Queen Mary 2, Queen Elizabeth and Queen Victoria with destinations including Europe, the Caribbean, the Far East and Australia. In 2017, Cunard announced plans to add a fourth ship to its fleet.  This investment is part of the company’s ambitious plans for the future of Cunard globally and will be the first time since 1998 that Cunard will have four ships in simultaneous service. Cunard is based at Carnival House in Southampton and has been owned since 1998 by Carnival Corporation & plc (NYSE/LSE: CCL; NYSE:CUK).   

[Lizbie1]

1 minute ago, Jan McNulty said:

The press release (sorry it's 20 minutes late being published - I was in Tescos!):

 

No need to apologise - being in Tesco's is punishment enough!

[Emeralds]

10 minutes ago, Robin Smith said:

Does this mean that Oxford and Milton Keynes are dropped completely now ? Disappointed if so.

I hope ENB will go to both in late spring or summer, but I agree it would be disappointing if they’re dropped. I once saw BRB (then still SWRB) in Oxford and it was one of the best shows I’ve ever attended. Good ol days. 

Edited March 7, 2022 by Emeralds

[Emeralds]

Thanks Jan! No need to apologise- sorry for jumping in first....we just wanted to chat away from the thread about Xander’s news. 😊

[Jan McNulty]

Just now, Emeralds said:

I hope ENB will go to both in spring or summer, but I agree it would be disappointing if they’re dropped. I once saw BRB (then still SWRB) in Oxford and it was one of the best shows I’ve ever attended. Good ol days. 

 

It will be interesting to see what happens when the new director comes in.  There hasn't been a spring tour for some years now as Ms Rojo said it cost too much to tour!!

 

I'm thrilled the company is back in Liverpool (and Swan Lake makes a nice change from the dreadful Nutcracker) in the Autumn and regret the heady days when we used to get them here in spring too.

[Lizbie1]

Venues seem to come and go - Bristol was out of the loop recently.

[LinMM]

BRB in the old guise of Sadlers Wells Touring Company seem to have had a long association with Oxford. 
I saw them at the Playhouse there as a student in late 60’s ( though was at the much less prestigious Reading not Oxford) 

It’s where I first saw Monotones and immediately went out and bought an LP (lol) of Satie’s music which then drove everybody mad playing non stop in Residence Halls. It really does have some interesting pieces on beside the Gnossienne and Gymnopedies pieces though. 
And back to ENB season….well I will be missing their Spring season at the Wells for sure! 
 

[Pas de Quatre]

SW touring also used to come to The Arts Theatre Cambridge. Although a smaller theatre it was on the First Circuit for tours (as designated by the Arts Council) because of the University. I simply don't know how much say any company has in their plans for touring and how much is controlled by the Arts Council who hold the purse strings.

[alison]

Don't forget that post-pandemic theatre availability may also be a factor in where the company can tour.

[TSR101]

Slightly off topic but do you know how often ENB do 'in-the-round' performances and whether they are a very profitable for ENB?

 

Sadly they cancelled the Swan Lake in the round performance because of the pandemic and I was surprised it wasn't rearranged for this year. Polunin's R&J got rearranged twice for 2021 so I can't imagine its the venue being fully booked but its possible. 

[Blossom]

So I feel that this announcement falls a bit flat for a number of reasons:-

 

1. After a long run of Swan Lake in London, do we need another one in January, especially at the time when ENB struggles to sell tickets anyway? From a UK perspective, they may be visiting some different venues to Birmingham but it doesn't look like they have taken BRBs earlier release into consideration and means it could risk more empty seats all round

2. Disappointed from a UK tour perspective how light on the ground Raymonda is also. I feel like the 2022/23 season really needed to give back to the max on the touring front after over 2 years of nothing.

3. Dates seem a little light on the ground overall and not helped by the touring outside of the UK - although this is prob great news in terms of driving profit for the company which long run is a benefit for us all

4. No desire to see Creature again esp without Cirio

5. What happened to a summer performance in June/July time? Will this perhaps be announced later?

 

On the whole, a bit of a 'same old' plan for the year which doesn't even act to celebrate the tenure of Tamara Rojo and her commissions. This year either needed to be a big celebration of the past 10 years (I'd have left Swan Lake as it was Derek Deane's) or a reminder of the jewels of ENBs crown (Corsaire, new Raymonda, possibly Giselle vs Giselle, a female choreographers presentation or a gala at least containing works specifically from the past decade).

 

[JNC]

Thanks for sharing.

 

I know it’s been a difficult few years with covid but can’t help to feel disappointed by this. 
 

Good to see locations like Bristol and Liverpool back in the mix but nothing in the eastern side of the country (Yorkshire, North East etc, what about Leeds, Newcastle, Sheffield etc). I know they can’t tour everywhere but a big gap there. 
 

on the programming side I have to admit nothing sparks excitement. It feels a bit uninspired to do Blake Works again as part of a mixed bill - at least they could have done Approximate Sonata to give audiences something seen not so recently and to perhaps compensate for the truncated bill this spring. 
 

I can understand why they are doing Creature again so soon but London again? I would have preferred to have seen Raymonda again in London as well given the shorter run and for creature to have perhaps toured. Although perhaps this may have meant Raymonda not touring which would not have been good either - touring both would have been ideal, I know touring sets and costumes would add on cost but could be cost effective overall if you have people that would go to see both, or different ones would appeal to different audiences? 
 

I know Swan Lake will also be an earner so understand the decision but would have preferred Sleeping Beauty or Skeaping’s Giselle. Hopefully these will return if they have a strong financial year this year and next to balance out and recover. 

 

Enb always used to provide some good alternatives and fresh programming to contrast and complement the Royal but this is the first year where nothing appeals to me and so I may have a full year without ENB which seems rather odd and a big shame. It’s essentially a repeat and rehash of this year in my eyes. 
 

I would have gone to see Raymonda as I missed it in London due to not being able to make the dates for the shorter run but Southampton and Bristol are too far and costly to travel just for one ballet, as much as I want to see it! And the mixed bill in November may have been of interest but given I’m already seeing Blake Works this spring I’m not sure how much I want to see the other two pieces specifically. 
 

I hope this isn’t a sign of what it will be like without Tamara and I wonder why they didn’t wait to announce the new Director and let him/her shape this season? Presumably this will be their first year in post and they haven’t had a chance to shape or input at all. It’s natural to have a transition period however so hopefully if this has already been decided they can familiarise themselves whilst also thinking about the 2023/24 year and making their own stamp. 

I hope this doesn’t come across too harsh! 

[JNC]

@Blossom you have said what I wanted to say but in a more succinct way! 

I echo the disappointment. It seems like a bit of a filler year that has been considered from a mainly financial rather than creative perspective whilst they await to see who the new Director might be. I will wait till 2023! 

[Blossom]

5 minutes ago, JNC said:

 

 

Enb always used to provide some good alternatives and fresh programming to contrast and complement the Royal but this is the first year where nothing appeals to me and so I may have a full year without ENB which seems rather odd and a big shame. It’s essentially a repeat and rehash of this year in my eyes. 
 

I hope this isn’t a sign of what it will be like without Tamara and I wonder why they didn’t wait to announce the new Director and let him/her shape this season? Presumably this will be their first year in post and they haven’t had a chance to shape or input at all. It’s natural to have a transition period however so hopefully if this has already been decided they can familiarise themselves whilst also thinking about the 2023/24 year and making their own stamp. 

I hope this doesn’t come across too harsh! 

 

Not harsh at all - I think you've hit the nail on the head - and if they can't get their faithful audience filling seats and encouraging others to give ballet a go, then it doesn't bode well.

 

Is this a total fait accompli or is there ever room to tweak the plan?

 

[Jan McNulty]

15 minutes ago, JNC said:

Thanks for sharing.

 

I know it’s been a difficult few years with covid but can’t help to feel disappointed by this. 
 

Good to see locations like Bristol and Liverpool back in the mix but nothing in the eastern side of the country (Yorkshire, North East etc, what about Leeds, Newcastle, Sheffield etc). I know they can’t tour everywhere but a big gap there. 

 

 

The Arts Council has a lot to say about where companies tour.  For instance - BRB's target areas are Sunderland, The Lowry and Plymouth.  NB is mostly Yorkshire.  ENB is the North West-ish, Southampton (who seem to get everyone!) and Bristol.  If companies go elsewhere it is at their and the theatres' risk.

[bridiem]

Well it does say 'Further information on plans for English National Ballet’s spring/ summer 2023 performances will be announced soon.' Maybe that gives the new director the chance to make some choices? Otherwise, the only programme I will book for is Swan Lake because it's an excellent production.

 

[LinMM]

I wonder if this looks like a bit of a repetitive year precisely because the New Director is still undecided. 
In the end the Season has to go ahead and there might not be a new person appointed until the late summer Autumn so can’t really wait until then before deciding the programme for next year. I suspect that from a touring around U.K. point of view Raymonda would definitely attract larger audiences than Creature would but perhaps they could have taken Creature abroad and given us Akrams Giselle in the Spring in London….that would have suited me perfectly of course!  
I do think it’s a mistake to take Swan Lake to both Liverpool and Manchester. Perhaps if they had gone with Swan Lake in Liverpool and Raymonda in Manchester …especially to make up for missing out last year….then they might get people willing to travel between the two cities to see different ballets but doubt whether that would happen with just the one choice. 
Still there are further announcements to be made the email says so will have to see what they are. 

[JNC]

46 minutes ago, Jan McNulty said:

 

 

The Arts Council has a lot to say about where companies tour.  For instance - BRB's target areas are Sunderland, The Lowry and Plymouth.  NB is mostly Yorkshire.  ENB is the North West-ish, Southampton (who seem to get everyone!) and Bristol.  If companies go elsewhere it is at their and the theatres' risk.

I do understand this but it’s “English” national ballet and they have missed a fairly large portion of England! Could they not move the associated cities around the various companies to give a bit of variety for audiences? How are target cities assigned to particular companies? (More a rhetorical question unless someone does know the answer which I’d be interested in!) 

 

also how does international touring work - is this also funded by the Arts Council? I know it’s an exciting opportunity for the company to tour abroad and it is good to put U.K. ballet out internationally but I personally would prefer the costs of going internationally to be put into touring domestically. Unless the international tours generate far more profit (?) but I sense this may not be the case given the additional costs that would be incurred. In an ideal world this would be fantastic but in a world of limited resources I would prefer they prioritised domestic locations personally, and then perhaps one international location every year or other year to give the dancers that opportunity.
 

Hopefully there will be some additional slots announced to accommodate the new Director and if this is a filler year for that reason and they come back with a bang year after it means I just save a bit more money this year I suppose. But I do worry some of their rep is falling away and every year might be Nutcracker/Swan Lake/Khan’s Giselle or Creature plus one or two additions…

Edited March 7, 2022 by JNC

[Dawnstar]

2 minutes ago, JNC said:

But I do worry some of their rep is falling away and every year might be Nutcracker/Swan Lake/Khan’s Giselle or Creature plus one or two additions…

 

I hope that the repeated runs of Khan's Giselle (which from what I've read is not an adaptation I wish to see) doesn't mean that ENB have stopped doing their traditional Giselle production (which from what I've read I would like to see). Since the first time in years that I saw ENB was January 2019 I don't really know how many works they usually do per season but my first reaction to this season's announcement was "Is that all?". I hope the further announcements alluded to will involve other major ballets being performed in the UK.

[Scheherezade]

1 hour ago, bridiem said:

Well it does say 'Further information on plans for English National Ballet’s spring/ summer 2023 performances will be announced soon.' Maybe that gives the new director the chance to make some choices? Otherwise, the only programme I will book for is Swan Lake because it's an excellent production.

 

 

I agree on all points, Bridiem. And I love the ENB proscenium Swan Lake. Still remember the dynamite Rojo/Lendorf performance from a few years back.

[Jan McNulty]

44 minutes ago, JNC said:

I do understand this but it’s “English” national ballet and they have missed a fairly large portion of England! Could they not move the associated cities around the various companies to give a bit of variety for audiences? How are target cities assigned to particular companies? (More a rhetorical question unless someone does know the answer which I’d be interested in!) 

 

also how does international touring work - is this also funded by the Arts Council? I know it’s an exciting opportunity for the company to tour abroad and it is good to put U.K. ballet out internationally but I personally would prefer the costs of going internationally to be put into touring domestically. Unless the international tours generate far more profit (?) but I sense this may not be the case given the additional costs that would be incurred. In an ideal world this would be fantastic but in a world of limited resources I would prefer they prioritised domestic locations personally, and then perhaps one international location every year or other year to give the dancers that opportunity.
 

Hopefully there will be some additional slots announced to accommodate the new Director and if this is a filler year for that reason and they come back with a bang year after it means I just save a bit more money this year I suppose. But I do worry some of their rep is falling away and every year might be Nutcracker/Swan Lake/Khan’s Giselle or Creature plus one or two additions…

 

The places I listed in my post ARE the target cities of the companies!

 

ENB and BRB used to tour to many more venues - for instance the first time I ever went to Leeds it was to see London Festival Ballet (as ENB previously was).  Both companies also used to go to Bradford - I have many happy recollections of trips to Bradford (eg LFB's Swan Lake by Makarova premiered there and one of my most memorable BRB performances of Edward ll was there).

 

Northern Ballet used to go to Plymouth and Doncaster.  It is only in the recent times that they have returned to Newcastle.  In the past I have seen BRB in both Southampton (where they now go again) and Bristol (where they had been again a couple of times before lockdown).

 

As the companies have grown not only in numbers of dancers but size of productions, theatres that they used to go to may no longer be viable for them to visit.  ENB, BRB and NB addressed this by splitting the companies and doing split tours to smaller theatres but they were dependent on Arts Council funding too.

 

The fact is that if companies want to go to other theatres in other places they have to weigh the financial practicalities very carefully.  If English companies want to go to Scotland or Wales they have to apply for cross-border funding.

 

I also remember the enormous fuss surrounding the change of name from LFB to ENB.

 

 

[Emeralds]

2 hours ago, TSR101 said:

Slightly off topic but do you know how often ENB do 'in-the-round' performances and whether they are a very profitable for ENB?

 

Sadly they cancelled the Swan Lake in the round performance because of the pandemic and I was surprised it wasn't rearranged for this year. Polunin's R&J got rearranged twice for 2021 so I can't imagine its the venue being fully booked but its possible. 

In normal times I remember it averaged about every other year. I guess they didn’t commit to a season this year due to the expense and financial risk if Covid still wasn’t over. The Albert Hall in the round seasons are profitable but the outlay is also more costly eg 8 cygnets and double or more waltz courtiers etc for Swan Lake. If I remember correctly, the last show they did in the round there was Wheeldon’s Cinderella in June 2019. 

[capybara]

I understand the pressing financial considerations but to show Swan Lake in both Manchester and Liverpool doesn’t feel ‘right’.

[Emeralds]

2 hours ago, JNC said:

I do understand this but it’s “English” national ballet and they have missed a fairly large portion of England! Could they not move the associated cities around the various companies to give a bit of variety for audiences? How are target cities assigned to particular companies? (More a rhetorical question unless someone does know the answer which I’d be interested in!) 

 

also how does international touring work - is this also funded by the Arts Council? I know it’s an exciting opportunity for the company to tour abroad and it is good to put U.K. ballet out internationally but I personally would prefer the costs of going internationally to be put into touring domestically. Unless the international tours generate far more profit (?) but I sense this may not be the case given the additional costs that would be incurred. In an ideal world this would be fantastic but in a world of limited resources I would prefer they prioritised domestic locations personally, and then perhaps one international location every year or other year to give the dancers that opportunity.
 

Hopefully there will be some additional slots announced to accommodate the new Director and if this is a filler year for that reason and they come back with a bang year after it means I just save a bit more money this year I suppose. But I do worry some of their rep is falling away and every year might be Nutcracker/Swan Lake/Khan’s Giselle or Creature plus one or two additions…

I’m not sure if ENB does it like this, but other companies that tour internationally have said that the host country and theatre invite them, and if they say yes, sponsorship takes care of a large chunk of the costs. The host city and theatre often sort these costs out while the company itself sorts out costs of transporting sets, costumes, staff, artists etc....and whether they bring their own orchestra or their conductor works with a local ensemble (eg BRB’s orchestra has played for lots of visiting companies).

 

Lots of organising to do but it is usually more profitable as the foreign impresario does the PR for the company, bigs it up in their press and news broadcasts, talk shows etc....it’s usually a big event for the city and they work hard to get sponsorship deals done. A bit different to the situation with U.K. touring and even London performances (especially presentations of new works). The only shows I remember selling out  completely even before first night was the Lest We Forget triple bill at Barbican Theatre, when every show that Akram Khan was dancing (as a guest) in sold out.  

[jmhopton]

Having seen the season's email my first reaction was bitter disappointment that Manchester (who should have premiered Raymonda) is being denied a chance to experience it. To add insult to injury, Swan Lake is being shown at both Liverpool and Manchester and Raymonda in Bristol and Southampton.  As LinMM said  why couldn't the North have Raymonda and Swan Lake, and similarly the South? It would appear to make more financial sense as well as people may be prepared to travel relatively short differences to see a different ballet  whether it be Raymonda or Swan Lake. Unless I can make it to Bristol or interrupt my holiday in Rye to see it at Sadler’s Wells I seem doomed to miss it and I was really looking forward to it. Also, like Dawnstar, I would love to see Mary Skeaping's Giselle to compare it to Peter Wright's version. I hope the new director does not sideline this version in favour of Aktam Khan's production. 

Edited to add I am hoping the news still to come may include something like the old small scale Tour de Force that went to smaller theatres but did some interesting mixed bills/divertissments. 

Edited March 7, 2022 by jmhopton

[DanJL]

It does seem unfortunate that Raymonda isn't going to Manchester or anywhere nearby, sorry to hear that for those living in the area.

 

Personally though, the only place ENB ever tour to that I can visit without an overnight stay is Bristol. So I'm very glad they're visiting again after missing it out recently. The one time I saw them in Bristol was for Swan Lake, not sure if they've been back since? But at least it does make sense to bring something different to Bristol this time. Very excited that it's Raymonda!