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Royal Ballet Cinderella March/April 2023

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Sim

Sim

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What a ravishing final performance from Yasmine Naghdi tonight.  Sumptuous, joyful and beautiful dancing.  Lovely chemistry with Matthew Ball as always.  A wonderful evening.  

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capybara

capybara

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5 hours ago, Sim said:

What a ravishing final performance from Yasmine Naghdi tonight.  Sumptuous, joyful and beautiful dancing.  Lovely chemistry with Matthew Ball as always.  A wonderful evening.  


Yes  - Yasmine and Cinderella seem made for one another. 

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Jane S

Jane S

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Paco,  on the French site dansomanie, reports that last night's performance featured a tribute from KO'H to the theatre's 'chef machiniste'  - I'm not sure how 'machiniste' translates - could someone help, please?

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zxDaveM

zxDaveM

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27 minutes ago, Jane S said:

Paco,  on the French site dansomanie, reports that last night's performance featured a tribute from KO'H to the theatre's 'chef machiniste'  - I'm not sure how 'machiniste' translates - could someone help, please?

 

One of the stage hands, who has worked at ROH for 40 years

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Bluebird

Bluebird

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28 minutes ago, zxDaveM said:

 

One of the stage hands, who has worked at ROH for 40 years

 

I think he was higher up than a stage hand. Kevin O'Hare did say that he started as a stage hand and progressed through many jobs until he reached his current position.

 

I didn't remember the name so I've googled it and come up with the name of Peter Sullivan, Head of Technical Operations and Logistics who, according to Linked In, has been at the ROH since 1983.

 

Even if this is the wrong person it's someone who should, most certainly, be congratulated for working for the ROH for such a long time.

 

Maybe somebody else who was there could confirm or correct?

 

Edited to add that I'm grateful to Thalia who has provided the correct name:

 

"It was Gary Whiffen who is a Production Stage Senior Manager".

 

It shows that Google can't answer every question!

Edited by Bluebird
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Sim

Sim

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34 minutes ago, Jane S said:

Paco,  on the French site dansomanie, reports that last night's performance featured a tribute from KO'H to the theatre's 'chef machiniste'  - I'm not sure how 'machiniste' translates - could someone help, please?

He is in charge of all the mechanics of staging a production:  ensuring everything moves how, when and where it’s supposed to.  

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Lizbie1

Lizbie1

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5 minutes ago, Bluebird said:

Even if this is the wrong person it's someone who should, most certainly, be congratulated for working for the ROH for such a long time.

 

Probably my favourite moment of the last Ring cycle at ROH was when after the final Gotterdammerung the entire stage crew - some positioned high on the set, hard hats and all - received a curtain call.

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Thalia

Thalia

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14 minutes ago, Bluebird said:

Maybe somebody else who was there could confirm or correct?


It was Gary Whiffen who is a Production Stage Senior Manager. He came out for the curtain call and was presented with a bottle by Kevin O’Hare. It was a lovely moment.

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Ondine

Ondine

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I came across this little piece of 'Cinderella' and RB history. Unsure of the year, possibly 2003?

https://www.rohcollections.org.uk/performance.aspx?performance=4925&row=7

but clearly the previous production! The choreography remains, even though productions and dancers change. And the choreography remains as beautiful as ever.

 

https://www.facebook.com/dmakhateli/videos/found-this-in-my-archives-rehearsing-with-jaimie-tapper-and-my-coach-alexander-a/2672597049641613/

 

https://www.facebook.com/watch/?v=2672597049641613

 

 

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bridiem

bridiem

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1 hour ago, Thalia said:

It was Gary Whiffen who is a Production Stage Senior Manager. He came out for the curtain call and was presented with a bottle by Kevin O’Hare. It was a lovely moment.

 

Wonderful! A reminder of all the brilliant people who work so hard behind the scenes and without whom none of the performances we so enjoy would be possible. I wish they received public acclaim more often.

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Rob S

Rob S

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47 minutes ago, Dawnstar said:

A couple of photos of the presentation (not the best photos so if anyone - @Rob S? - has better ones then I can delete mine).

 

P1600769.jpg

 

P1600779.jpg

 

Has Mr O'Hare had his chin pushed back by The Dancing Master from Act 1?😄

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Richard LH

Richard LH

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16 hours ago, Dawnstar said:

I wonder if the Act II entrance of Cinderella has been slightly amended. I'm sitting in the same seat I was in 8 days ago. Then my view of Cinderella descending the steps was significantly obstructred by the ensemble standing at the side. Tonight I had a clear view of Cinderella & the ensemble were barely visible, so I wonder if they've been moved wingwards.

On Friday we were at the extreme right side front of the Stalls Circle (A97 & 98) and even from there we could still  see Fumi's lovely procession in full from the bottom of the stairs to the front of the stage, although her earlier passage down the stairs was somewhat obscured. The onlookers bow down/ curtsey as she progresses, which must help from some viewpoints.

Not much of the fireplace to be seen from those seats, otherwise we could see virtually everything including the starlights on the arches, and those are great seats for being close to the dancers....Fumi and Will were just magical together, as they have been in previous productions e.g. R&J and SB. I am particularly impressed with how Will is growing as a Principal...here putting a lot of characterisation into what could be a fairly anodyne role. A great partnership is being forged!

I would like to put in a word of praise for Mica Bradbury's Summer Fairy....on what I think was her debut. She really conveyed the sense of a hot, languid, Summer's day and to me  looked very confident in the role. She also impressed me in the SB Insight the other night. Hopefully a Soloist in the making?

 

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alison

alison

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2 hours ago, Dawnstar said:

A couple of photos of the presentation (not the best photos so if anyone - @Rob S? - has better ones then I can delete mine).

 

 

Thanks, Dawnstar.  I don't think Rob was taking photos that early in the proceedings.

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MJW

MJW

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Regarding the cast sheet, what does the reference to "the role of x is supported by" mean? I know that the Music Director is partly financed by a charitable trust for example but I don't quite understand what the situation is here.

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Rob S

Rob S

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2 hours ago, alison said:

 

Thanks, Dawnstar.  I don't think Rob was taking photos that early in the proceedings.


I take pics as soon as the proceedings start but didn’t take any of this chap.

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Guest oncnp

Guest oncnp

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23 minutes ago, MJW said:

Regarding the cast sheet, what does the reference to "the role of x is supported by" mean? I know that the Music Director is partly financed by a charitable trust for example but I don't quite understand what the situation is here.

One of the philanthropic options is to support a role. Under "Support a production"

https://www.roh.org.uk/join-and-support/philanthropic-engagement

 

When I saw the ABT earlier this year, almost all of the Principal dancers were supported by someone.

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CCL

CCL

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A belated few thoughts about last Saturday evening’s performance…I was there with my mum, who is 80 later this year. She has been an avid watcher of ballet for her entire adult life, and has spoken of her admiration for Francesca Hayward, having seen her on screen a few times. So to be able to take her to see Francesca perform was very special. It really was a magical evening and a magical production. I liked the design and set very much – my favourite part was the beautiful staircase (to heaven?) in Act 3. I also liked most of the costumes (my mum didn’t like them as much). I like what Sim said upthread about magic being in the air and the Prince anticipating something happening (yes, it is very like ‘Something Good’ from West Side Story! – that line ‘the air is humming’ makes me think of the beautiful music that heralds the imminent arrival of Cinderella!) Francesca Hayward was magnetic, truly spellbinding;  Alexander Campbell was perfect as her prince. I hadn’t seen Annette Buvoli in a big role before and thought she was utterly delightful as the Fairy Godmother. Finally, the score, which is one of my favourites, sounded wonderful under Koen Kessels. I will remember this evening for a long time.

 

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Benjamin

Benjamin

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3 hours ago, Beryl H said:

Looks like the intervals have been reduced to 25 minutes, hurrah!

Finally! I wondered why they we thirty minutes, maybe because of the set change? But that was an hour total of interval is now 50 mins.

I assume they’ve got the sets all worked out and they can do it quicker?

Edited by Benjamin
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Bruce Wall

Bruce Wall

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Thought this evening's Cinderella was simply sublime.  The detailed focus of the stunning step-sisters (the formidable team of Gartside and Hay) made all the difference for me - as opposed to other combinations I've seen.  It let the production and - crucially the audience - not only breathe - but relax sufficiently to fully enter into the story being told as enveloped in the glorious genius of Ashton.  Tonight people on both sides of the footlights not only responded - but listened.  One without the other is always lacking in my book.  Somehow on those occasions the shoe simply doesn't fit - or, if it must - it does so somewhat awkwardly.  The squeeze pinches.  Not so here.  The enchanted largess of Kaneko and Bracewell as our heroic protagonists were entirely magical both together and apart as were the corps and the soloists.  This was a very special occasion which glistened rapturously at the pinnacle of the staircase of my own mind's eye.  It was a privilege to be there.  The entire evening was gold tossed. 

 

 

 

Edited by Bruce Wall
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