Royal Ballet Cinderella March/April 2023

[Ondine]

1 minute ago, alison said:

Yep.  I had a good view of the Royal Box for the evening performance, and even I would have noticed if any Waleses(?) had been present.

 

And Sophoife, I agree with you - thankfully I was eating a gingerbread biscuit while I read it, which may have reduced the nausea somewhat.

 

According to posts now deleted  (and for a change not posts by me, I note I've vanished into the ether again this morning) six young friends sat in the Royal Box, on four seats, while Kate and Charlotte sat in an adjacent one.

 

Which led to the @Fonty revelation about the private loo.  So if you book the box, you get to sit on the same throne as royalty, though not at the same time. I hope it's a polished mahogany seat with gold fittings.

[art_enthusiast]

5 minutes ago, Scheherezade said:

We can only hope that the children enjoyed their evening treat to see the National Ballet of Canada performing with the RB.

 

In other news, can we expect the National Ballet of Canada to visit the ROH at some point in the future? I believe they were supposed to appear in 2020 before COVID removed the opportunity?

[Guest oncnp]

18 minutes ago, Ondine said:

 

According to posts now deleted  (and for a change not posts by me, I note I've vanished into the ether again this morning) six young friends sat in the Royal Box, on four seats, while Kate and Charlotte sat in an adjacent one.

 

Which led to the @Fonty revelation about the private loo.  So if you book the box, you get to sit on the same throne as royalty, though not at the same time. I hope it's a polished mahogany seat with gold fittings.

Actually there are two thrones in the royal box and only the monarch sits on his/her throne

And the royal loo hasn't been update in a hundred years or so

 

Velvet, Gilt and Glamour....interesting tour

 

 

Edited May 1, 2023 by oncnp

[Dawnstar]

1 hour ago, Ondine said:

It could be the first time any royal has been to the ROH since the death of Queen Elizabeth, and so Hello! is milking the pathos even more than the Ashton stepsister?

 

The King & Queen have been to both Mayerling & Sleeping Beauty this season so it's definitely not the first time any members of the Royal family have been to the ROH since September.

[Ondine]

The Arthur Lloyd site has some interesting history re the Royal Box and associated rooms!

 

 

http://www.arthurlloyd.co.uk/RoyalOperaHouse/RoyalBox.htm

 

White satin. How very grand it all sounds.

 

 

Lucy Worsley has paid a visit.

 

 

 

 

 

 

 

Edited May 1, 2023 by Ondine

[zxDaveM]

I should imagine it has been refurbished since Queen Vic's day!!!

[Guest oncnp]

2 minutes ago, zxDaveM said:

I should imagine it has been refurbished since Queen Vic's day!!!

That's actually it. I imagine there is another more modern one as well that doesn't merit a mention

[Sim]

Yes, I saw this toilet on a tour a few years ago and remember thinking that royal folk must have a different shape from the rest of us hoi polloi!!

[Bluebird]

3 hours ago, Ondine said:

 

According to posts now deleted  (and for a change not posts by me, I note I've vanished into the ether again this morning) six young friends sat in the Royal Box, on four seats, while Kate and Charlotte sat in an adjacent one.

 

It's only a minor point but, in the interests of accuracy (since I assume it's my post you're referring to), all the children were in the Royal Box and the Princess of Wales and other adults were in the adjacent box.

 

Edited to add that there might well have been other adults at the very back of the Royal Box (i.e. keeping an eye on the children) but I would not have been able to see them from my position in the amphitheatre.  I could see the empty throne but I wouldn't have been able to see if there was anyone further back.

Edited May 1, 2023 by Bluebird

[Benjamin]

8 hours ago, Ondine said:

 Cinders? Yep a Christmas 2024 return I suspect.

I wonder when Canada will get it? It’s not scheduled for National Ballet of Canada’s 23/24 season. I would assume Royal Ballet will tour it or revive it before they ship it over.

[JennyTaylor]

Thank you for the YouTube link. I've had a glorious evening watching what I should have seen with my husband when we booked at the Staines (Middx) cinema. Sadly it was cancelled when we got there due to technical difficulties.  It's the only time he goes to ballet now and he particularly likes all the interviews and close ups,  so really good to be able see it.  I saw this cast early in the run so fascinating to compare it to later performances.  After the fabulous performance last Saturday (Morera/ Ball / Richardson / Hay) I came home and announced that this Cinderella is now my favourite ballet. Can't believe I said that even now, but it has given me so much pleasure. My initial feelings at the start of the run were somewhat luke warm so what a transformation.    

[AnneL]

On 30/04/2023 at 18:40, Emeralds said:

Good thinking, Dawnstar! I also pick left for Cinderella (to see the fireplace scenes), right for Giselle (to see her cottage and her grave), right for Nutcracker if you want to see Drosselmeyer going in and out of the clock, but perhaps left if your Sugar Plum and Prince always start their variations and coda from the audience’s right!  Then again, if it’s repeat viewings, I might just go on the opposite side for a bit of a change. But we’re not aiming for the same sections/numbers though- I like to sit higher up to get a “panoramic” sort of view and use binoculars/opera glasses for close up views instead. 😊

I understand the logic of right for Giselle, but when I first saw it my mother bought stalls circle left - not knowing the ballet - and as a result, I had an amazing view of Margot Fonteyn’s ‘mad scene’, right in front of me. Absolutely unforgettable. 

[MJW]

On 30/04/2023 at 08:14, Richard LH said:

@MJW...(or any other attendees)...how did yesterday's matinee go?

 

Apologies I have just realised I didn't respond; my visit was more of an experiment as to whether I could cope with and/or enjoy a standing view. The view wasn't great and the short answer is no I can't! Its rather difficult therefore to comment on the performance I'm afraid.

[Richard LH]

9 hours ago, MJW said:

 

Apologies I have just realised I didn't respond; my visit was more of an experiment as to whether I could cope with and/or enjoy a standing view. The view wasn't great and the short answer is no I can't! Its rather difficult therefore to comment on the performance I'm afraid.

Oh, sorry to hear that....I have never tried standing, but other Forum members do so regularly and may have tips on the best position...

[MJW]

35 minutes ago, Richard LH said:

Oh, sorry to hear that....I have never tried standing, but other Forum members do so regularly and may have tips on the best position...

 

I think if I had been standing more in the centre the view would have been better certainly. I'll have to try again and see if that improves the experience. I did feel somewhat removed from the performance as if I had just wandered in from the street!

[Ondine]

Cinderella related.

 

The Cecchetti Society Trust at the Royal Ballet School Sunday May 14th, with cake and Prosecco and mingling.

 

https://www.cecchettisocietytrust.org/from-studio-to-stage

 

'From Studio to Stage' introduced by Dame Monica Mason.

 

Among other delights, Laura Morera will be coaching RB dancers in the Ashton Cinderella Fairy Summer and Fairy Autumn solos.

 

(Also, Brandon Lawrence.)

 

All details, full programme and booking via that link. Members of the public who love ballet welcome.  Anyone interested I'd book asap.

 

And while you're looking it's also worth browsing the photos from the 2022 Centenary Gala, with RB & BRB dancers. Gorgeous.

 

 

[Ondine]

Back to the Royal Box again! 

 

You can tour that loo and other gems as part of the Coronation celebrations.

 

 

[Fonty]

With regard to the Royal loo, there is also a perfectly normal one that is for the private use of the Royal Box patrons.  Or there was about 30 years ago, which was the last time I saw it.  I don't suppose they show people that on the tour.  

[Ondine]

And all of it Grade I listed (including the loos!) 

 

https://historicengland.org.uk/listing/the-list/list-entry/1066392

[Rob S]

 

 

 

 

 

 

[San Perregrino]

A magical final show last night to bring this run to a close. Osipova sparkled whilst Clarke reigned regally. 
 

[LinMM]

Clarke looks every inch the Prince in the above photos! 
Come back soon Cinderella! 

[Fonty]

Who was the Lilac Fairy?  

 

Oops, sorry, that was a genuine mistake!  Who was the Fairy Godmother?

Edited May 4, 2023 by Fonty

[Benjamin]

7 minutes ago, Fonty said:

Who was the Lilac Fairy?  

 

Oops, sorry, that was a genuine mistake!  Who was the Fairy Godmother?

I believe that’s Gina Storm-Jensen

[zxDaveM]

4 hours ago, Benjamin said:

I believe that’s Gina Storm-Jensen

 

it was indeed

[Nogoat]

A fabulous run topped off by a fabulous performance last night! Everyone played their parts to the full; the dancers, the orchestra and, as importantly, the audience. It all combined to create a magical, almost celebratory evening. 

For the second time in the six performances I attended, the circuit of the coach around the stage was accompanied by applause - stuttering as the coach started to move, but it soon caught and spread, fanned by Cinderella's furiously joyful hand-waving; as before with Osipova, the Fairy Godmother's magic may have instantly transformed the pumpkin and her clothes, but as she leaves for the ball she is still Cinders, and her transformational journey is just starting.

 

Prior to that all-to-brief lap of the stage (part of me wants to see at least another lap, but part of me thinks that would dilute its magical impact), much of Act 1 is about establishing the contrast between Cinderella and her step-sisters, with much of the heavy lifting done by the larger-than-life step-sisters, and with their emphasis more on acting than dancing. 
I was not keen on beer when I first tried it, but through perseverance I acquired a definite taste for it. It's been the same with Avis and Acri's step-sisters; if they are an acquired taste, then I've acquired it!

Perhaps their characterisations have changed over the run (Acri seems to be doing a lot more with his eyes, which is one of the reasons James Hay is so good in the role), or maybe my understanding/appreciation of them has changed. Either way, they provide some genuinely funny moments; the smearing of Acri's lipstick by Avis is straight from the old silent movie era; Acri's slip-and-roll entrance to the ball is physical comedy at its best; Avis' necklace spinning is ludicrous and unavoidably hilarious; I could go on...

 

I am also taking to Masciari's Jester, having thought it a bit too extreme the first time I saw it. I don't think he has necessarily toned it down, it's more that I've come to appreciate that the role is supposed to reflect a strange power, almost a 'Stranger in a Strange Land'.

Many of the nuances (characters, staging, costumes, tradition, etc) that allow me to make narrative sense of this ballet (and I *need* to make narrative sense of narrative ballets!) have been informed by this forum, and the fact the Cinderella thread is currently 39 pages long is testament to how much useful information, discussion and reflection is there.

For example, @Sim's interpretation of Osipova's reaction to finding the slipper after the ball was helpful last night - Osipova's hands shook as she put them behind her back, for a moment not daring to confirm or lose through touch what she could see with her eyes. So thank you for all the contributions!

 

The Royal Ballet is so adept at characterisations across the huge range of roles that appear on stage - no one present is just making up the numbers.

For example, I just love the way Lukas B continues to develop his Wellington; last night, following his hoist of Avis onto his shoulder, he took a tiny, wry, almost embarrassed bow/nod to the audience's wild applause at this feat - egged on by Avis - then promptly continued with his 'ricked back' impression.

In contrast to the aloof, heroic, self-aware and self-absorbed figure of Wellington is the more ridiculous caricature of Napoleon, and Joshua Junker is becoming very adept at depicting that opposing character. 

 

In fact, I think much of the power of Cinderella comes from these vivid contrasts; the bossy versus timid step-sisters; the vulgar, materialistic step-sisters versus the devoted goodness of Cinderella; Wellington and Napoleon; the Jester and the guests; the contrasts between the Fairy Seasons; the Fairy Godmother's two guises; the pumpkin and the coach; Cinders' and Cinderella's outfits; the drab interior of house versus the wonder of the palace and the magical land of the final scene.

So it is little wonder this vibrantly-realised ballet appeals to young and old; an old chap with a stick to the right of me chortled something about 'The Love for Three Oranges' when that piece started playing; a young girl behind me (on her first trip to the ROH - what an introduction!) kept up a running conversation with her mum as she immersed herself in the glorious action on stage. And I was surprised to find I didn't care about what otherwise would have been shushable distractions - we were there to enjoy the feast and, if anything, knowing how much fun others were having simply added a bit of seasoning.

 

And, talking of seasons, I thought Ashley Dean's Spring was superb - the timing and precision of her steps is what made it for me.
Other highlights included, naturally, Osipova's Act 2 entrance and solo. The way she conveys - with a glance of her eyes, a slight turn of her head, a flicker of a smile - her dawning realisation of where she is (and also 'who' she now is) as she progresses to the front of the stage almost makes me choke up recalling it (with the music that accompanies it, of course!). 
Her solo was her usual demonstration of control and power though, as before, it didn't quite elicit the incomparable roar that greeted her debut performance.

Reflecting on it, and having mentioned Ashley Dean's solo above, I'm wondering now if it's down to timing.

It was a while ago, of course, but I seem to recall in her debut Jonathan Lo keeping up with the accelerating pace of Ospiova's turns as the solo came to its climactic conclusion, whereas last night she seemed to have to slow down in the last few turns in order to finish with the music. In much the same way we can pick up on tiny lip-sync differences in, say, TV programmes, perhaps it's the tight coupling of the beat of the steps to the beat of the music that get recognised - consciously or subconsciously - and triggers those occasional, glorious uproars?

Reece Clarke also deserves a mention. If his landings were actually audible last night, it was more to do with the fact he was leaping higher than anything else - his ability is preternatural.

 

There were a few glitches along the way last night. I didn't notice it, but my partner thinks Osipova forgot to take off her ball earrings for the start of Act 3. A Fairy slipped (the first slip by anyone I've noticed in six performances) and Osipova came down off pointe and back during one of the balance transfers at the end of Act 3 (not the first time I've seen that happen in this run), but these don't really amount to much and, thinking of the power of 'contrasts' mentioned earlier, these small flaws might even help highlight the perfection of the rest of it!

 

And that last section of the last Act is perfection in all senses of the word; the dancing, tableaux and music make manifest a picture of perfection that brings joyful tears to the eyes. There are moments in ballet that are heaven on earth, and I think this is one of them.

 

Part of that feeling derives from the music, of course, and I thought Jonathan Lo brought the best out of what seemed like a very enthusiastic, demob-happy orchestra. They seemed to notch up the sound level by a couple of decibels, and there were sections where the music was piercingly, almost screechingly loud - but it seemed to match the slightly raucous mood of the evening perfectly.

 

There were the usual high jinks at the curtain calls, with Avis doing his best to distract Jonathan Lo when he was brought on stage; and, during the individual character calls, a rather prolonged appearance by Avis/Acri was interrupted by the Jester jumping out between them.

 

I will miss Cinderella, but if absence does truly make the heart grow fonder, then the next run will see it fit to burst!
 

[Dawnstar]

10 minutes ago, Nogoat said:

In contrast to the aloof, heroic, self-aware and self-absorbed figure of Wellington is the more ridiculous caricature of Napoleon, and Joshua Junker is becoming very adept at depicting that opposing character. 

 

Junker evidently isn't the dancer I thought was him, as I thought he was fairly tall but he evidently isn't if he's playing Napoleon. Has anyone got any curtain call photos of him?

[San Perregrino]

20 minutes ago, Nogoat said:

my partner thinks Osipova forgot to take off her ball earrings for the start of Act 3.

the earrings were indeed sparkling away last night in act 3 part one. Thankfully the step-sisters were so wasted and self-absorbed  on their return from the Ball they failed to notice.

 

i pondered whether other Cinderellas were also wearing them but had them concealed under the headscarf. 🤷🏻‍♂️

Edited May 4, 2023 by PeterS

[Rob S]

14 minutes ago, Dawnstar said:

 

Junker evidently isn't the dancer I thought was him, as I thought he was fairly tall but he evidently isn't if he's playing Napoleon. Has anyone got any curtain call photos of him?

 

 

Napoleon doesn't appear in the curtain calls, unfortunately.

[Rob S]

Which step sister jokes do you think have stood the test of time and which need to be left out of the next run?

 

For the chop......virtually every 'standing on the other's foot' moment.

 

 

 

 

[Ondine]

I'm always fascinated by Osipova's shoes. Those curtain call photos reveal just how much she mangles and restitches them, also that her tights are footless and are laddered! 

 

Shiny ribbon I thought had departed with Fonteyn.

 

 

 

 

[Mummykool]

13 minutes ago, Rob S said:

 

 

Napoleon doesn't appear in the curtain calls, unfortunately.

It's a shame neither character gets to take a bow at the end. I thought it was lovely that Gary Avis made sure Lukas Braendsrod got a well-deserved round of applause after hoisting Gary onto his shoulder. How he kept a straight face through the antics of both sisters last night was beyond me. 

[Rina]

I was lucky enough to see three casts plus the cinema relay and am grateful to the RB for reviving this life-enhancing work. I would just add a few thoughts about the production.

The music is richly textured, and the choreography brims with exquisite detail, so there was a good case I would have thought for the design (or re-design) to let these elements shine without imposing itself on them. As others have said, "Less is more" is a good motto here, as is "Too many cooks". However, the RB went in the opposite direction, stating that it was to be a production suitable for modern audiences, or something like that. What did they mean? And what effect did such "modernising" have on the ballet?

The use of projections onto the auditorium suggests a nod towards immersive theatre which is so popular now. I went to the glorious productions of Punchdrunk - Faust and the Masque of the Red Death - ten years ago many times and became hooked. However, at the beginning of Cinderella, it is the music which is the immersive element with its opening octave leap and melancholy tune which returns at important moments when Cinderella is alone. The accompanying light show (which my neighbour thought was flash from mobile phone cameras) set itself up in competition with the music to the latter's detriment. This kept on happening. In the Seasons interlude, the projections onto the spandrels of the set spread out slowly while the dancer was preparing and distracted my attention away from her. It required some effort to look away from them. After a while it became clear that they were to do with the designers' "concept" for the ballet.

"Beware designers bearing concepts". There is nothing wrong with having a background idea such as the natural world as inspiration but here I felt that the theme ran away with itself such that the designers ended up serving their concept rather than the music and the dancing. Ashton is sometimes accused of being "fussy", especially by American critics, but with this production Ashton's contribution is clear and precise; it is the design which is fussy - e.g. maximalist colouring in the costumes, mash up of styles, etc. The excess made it a little difficult to pick out Spring and Autumn in particular from the context. This diffusion of the dancer into the background led to a loss of the ballet's focus.

The idea of nature breaking into the loveless world of Cinderella was not particularly coherent. Was it showing a myth of rebirth? Similarly did the projection of the signs of the zodiac mean that "It's all in the stars" or that the love story was a cosmic event. They could have added a reference to the alchemical marriage of the soul and spirit. But surely all this is far too heavy for the ballet: it ought not to be forced to bear so many layers of meaning.

The set for Act 2 was undeniably impressive but it was way too solid. It is fine for the designer to be inspired by Waddesdon if the outcome is a poetic evocation of a ballroom or the prince's house. I feel that the imagination responds more to suggestion or incompleteness than the rather literal-minded approach taken here.

I agree with a comment early on in this thread that the production betrays a certain lack of confidence in Ashton's work, in particular in the ability of his choreography to speak for itself. It also demonstrated the new dominance of the lighting designer which has emerged since his death. Light effects have a tendency to be heartless, not a word we associate with Ashton. Technology, conceptualism, more and more ("stunts" I hear Sir Fred say in my mind) don't fit here. Paring down, essences, the light touch, - those would be my suggestions for the next RB proudction of Cinderella. The magic would then be less a case of external application and more a case of experiencing the soul in the steps more deeply.