Royal Ballet Casting for Autumn 2023-24

[RHowarth]

54 minutes ago, Dawnstar said:

 

Thanks. I've not had any emails from the ROH (as usual), I've just seen the codes posted on here. I still wonder why the offers are only for the first 3 performances though. It's not as if the other 4 performances look to be selling significantly better.

Offers for first three performances in the hope that it will encourage word of mouth to fill the latter ones.

[Guest oncnp]

I wonder if the ROH is going to put discounts out for the swathes of unsold DonQ tickets?

[emmarose]

17 hours ago, PeterS said:

Whilst I agree on one hand that today’s principals have too few performances, on the other I wonder if, like in the tennis world for example, better nutrition and sports/dance fitness and rehabilitation from injury is creating a bottleneck at the the higher echélons of the company.

In the past might some of the current ‘senior’ principals have retired by now making way for those coming up behind them. Are we in danger of having a ‘lost generation’ of principals who never get the promotion they might have once received. Much as there is a generation of tennis players who have been deprived of winning a grand slam because medical science has prolonged the playing careers of Roger, Rafa, Andy and Novak. Perhaps a mandatory retirement age needs to be introduced like with the Paris Opera Ballet? It might also trim the wages bill? 

 

I agree with the why but I disagree completely with the mandatory retirement age, if it's to be followed Marianela Nunez would be forced into retirement and scenes like last Saturday would be denied of to her and the audiences who have been provided so much joy from her artistry. 

[emmarose]

23 hours ago, capybara said:

 

Really upset for Akane. She is a lovely Kitri and would have been a great 'match up' for Luca.

I do hope that she recovers soon.

 

I'm just so upset for Akane, such a beautiful dancer who keeps being held back by injury. I hope she recovers quickly. 

[Dawnstar]

51 minutes ago, RHowarth said:

Offers for first three performances in the hope that it will encourage word of mouth to fill the latter ones.

 

Will word of mouth spread that quickly though? The entire run is just under 2 weeks. I suppose it might work for Londoners who are able to go to the theatre at the last minute at any time but for anyone outside London it's not a lot of notice. I don't know about other people but if I read good comments about something that hasn't previously been on my radar then I might look to see if I can fit it into my theatergoing schedule in a few weeks' time. If I look up something & find it's only on for about another 10 days then that probably won't be enough notice. Also thinking about it the first performance is the first evening of half term & most of the rest of the run is during half term so many people will be away or busy elsewhere. It's probably not the sort of double bill to appeal to many people looking for something to take their children to either.

Edited October 7, 2023 by Dawnstar
Added last 2 sentences.

[Emeralds]

57 minutes ago, Balletfanp said:

I’m feeling rather sorry for Meaghan. From her Instagram it plainly means a lot to her to be given this chance, and it’s rather sad that people are returning their tickets. Perfectly understandable, if you have paid to see a dancer you like, and she is now being replaced by someone you aren’t keen on - but still a shame for her.

 

Whilst she isn’t in my ‘must see’ list of dancers, one way or another I have seen a lot of her in various roles over the years, and I have to say she is one of very few dancers I don’t think I’ve ever seen put a foot wrong technically over the years in some tricky roles (and I can’t say as much for quite a few Principals!). You know that you are going to see, at the very least, a solid performance from her, and I’ve been impressed by her in some roles (she was a very moving Justine in Frankenstein, for instance, and a sweet and exuberant Vera in Month). I’m almost wishing I had bought a ticket for that Don Q cast now because I don’t think I’d be returning it - I’d be curious to see what she makes of it, and I think she’ll be a good match for Luca. Sadly, I have to save my money now for performances later in the season as a trip up from Plymouth each time isn’t cheap!

I hope someone is returning the seats I want for Meaghan’s debut show! 😊 I’ve had lots of great performances from her too- no flubs, no stumbles, she’s always prepared very diligently, full of exquisite detail in her characterisation, and when she’s substituted for someone else (eg as Clara) we always had a top notch performance- no weakness or wobbles on the excuse that it was a last minute call up. I agree with you re: the tricky roles.  

[Sim]

23 minutes ago, Emeralds said:

I hope someone is returning the seats I want for Meaghan’s debut show! 😊 I’ve had lots of great performances from her too- no flubs, no stumbles, she’s always prepared very diligently, full of exquisite detail in her characterisation, and when she’s substituted for someone else (eg as Clara) we always had a top notch performance- no weakness or wobbles on the excuse that it was a last minute call up. I agree with you re: the tricky roles.  

I have seen a few flubs, stumbles and falls. But that doesn’t bother me; it’s whether someone moves me to tears, or laughter, or anything emotional, that matters most to me. Some dancers will do that to me, others won’t.  But those who won’t, will for others. It’s in the eyes and heart of the beholder. 

[OnePigeon]

I doubt it’s anything personal to Meaghen:  I suspect lots of people booked especially to see Akane or have noted that she’s not a principal and have decided to see another dancer they like/ have heard of/ is a principal.  It must be dispiriting though.  I would be tempted to do the same if I’d booked to see my favourite cast but the principal was injured with enough notice for me to get good seats to see another performer I really wanted to see.

 

I haven’t received any offer emails, but I don’t think an offer would tempt me to see the Cellist double bill, especially during half term - I might be tempted to see another cast of Don Q though if the discount was good enough.  It is totally crazy that they don’t consider school holidays with their programming - the correct production marketed correctly and maybe with an extra matinee could surely be capitalised on.  Why stop the family friendly Don Q over the holidays and show The Cellist, only to resume Don Q when the kids go back?  It’s crazy.  It’s almost like they don’t want to sell as many tickets as they can.

[Guest oncnp]

8 minutes ago, OnePigeon said:

I haven’t received any offer emails, but I don’t think an offer would tempt me to see the Cellist double bill, especially during half term - I might be tempted to see another cast of Don Q though if the discount was good enough.  It is totally crazy that they don’t consider school holidays with their programming - the correct production marketed correctly and maybe with an extra matinee could surely be capitalised on.  Why stop the family friendly Don Q over the holidays and show The Cellist, only to resume Don Q when the kids go back?  It’s crazy.  It’s almost like they don’t want to sell as many tickets as they can.

 

Agreed. DonQ would seem to be the perfect "starter" ballet to bring those new customers the ROH is always on about. Advertise and discount the living daylights out of it to make it low risk. It might be a good investment. 

Edited October 7, 2023 by oncnp

[Beryl H]

The casting for The Cellist is missing at the moment, I've only booked to see the second cast and if it has changed I might not go at all.

[LinMM]

Hinkis has never been a “go to” dancer for me but did love her in Like Chocolate ….and I really like her as Vera in Month… as well. 
Im sure she’d make a great Swanhilda or Lise in Fille. 
Although I can understand disappointment at not seeing Takada I think she might surprise in Don Q as it is a role I think she might suit but I just prefer not to see her in big purely classical Pieces…..she may be better as Kitri than as Queen of the Dryads for example …..though of course Kitri is a big role!! 
I hope it’s a success for her anyway. 
 

 

For the first time ever I got an ROH offer today!! But then saw was for only three days all days I can’t do! So can take that up. I got the Dupres code too. I can only see this if I go on Oct 25th and was thinking of trying for a standing nearer the time….unless ROH extend the offer of course!! 
 

[Linnzi5]

2 hours ago, emmarose said:

 

I'm just so upset for Akane, such a beautiful dancer who keeps being held back by injury. I hope she recovers quickly. 

I feel the same way. I hope she recovers quickly.

[capybara]

7 hours ago, MAX said:

I think Isabelle Gasparini and M.G Hinkis are good and efficient first soloists but don't have the qualities we can expect from a principal dancer at The Royal Ballet.

Goodness - that’s harsh MAX.

Given the wide and wondrous range of qualities evident across the RB’s Principals (and indeed the variability of opinion about them), it would be interesting to know what you expect of a Principal.

[Linnzi5]

1 hour ago, OnePigeon said:

I doubt it’s anything personal to Meaghen:  I suspect lots of people booked especially to see Akane or have noted that she’s not a principal and have decided to see another dancer they like/ have heard of/ is a principal.  It must be dispiriting though.  I would be tempted to do the same if I’d booked to see my favourite cast but the principal was injured with enough notice for me to get good seats to see another performer I really wanted to see.

 

I haven’t received any offer emails, but I don’t think an offer would tempt me to see the Cellist double bill, especially during half term - I might be tempted to see another cast of Don Q though if the discount was good enough.  It is totally crazy that they don’t consider school holidays with their programming - the correct production marketed correctly and maybe with an extra matinee could surely be capitalised on.  Why stop the family friendly Don Q over the holidays and show The Cellist, only to resume Don Q when the kids go back?  It’s crazy.  It’s almost like they don’t want to sell as many tickets as they can.

I would, and have been, slightly disappointed if a favourite principal I had booked to see wasn’t performing. This has happened to me and I didn’t swap performances and I enjoyed the performance I saw because the dancer substituted was another excellent principal who I liked, so that was fine. However, if a dancer was substituted and I wasn’t a fan, I would change. 
 

I don’t love all dancers equally - I look for certain characteristics and I have to feel moved - to feel a connection, emotions etc. if I know a dancer will not have that connection for me I will not book or will change my booking. I don’t have limitless funds so do want to ensure my money is well spent. Last minute substitutions are unavoidable and I’m fine with that, of course. Whether a dancer is ‘your cup of tea’ is subjective and I think that is understandable.

[emmarose]

21 minutes ago, Linnzi5 said:

I feel the same way. I hope she recovers quickly.

 

She's just such a beautiful dancer to watch, so ethereal at times, I hate to think of her injured and she seems to get so unlucky with injuries. 

[emmarose]

24 minutes ago, LinMM said:

Hinkis has never been a “go to” dancer for me but did love her in Like Chocolate ….and I really like her as Vera in Month… as well. 
Im sure she’d make a great Swanhilda or Lise in Fille. 
Although I can understand disappointment at not seeing Takada I think she might surprise in Don Q as it is a role I think she might suit but I just prefer not to see her in big purely classical Pieces…..she may be better as Kitri than as Queen of the Dryads for example …..though of course Kitri is a big role!! 
I hope it’s a success for her anyway. 
 

 

For the first time ever I got an ROH offer today!! But then saw was for only three days all days I can’t do! So can take that up. I got the Dupres code too. I can only see this if I go on Oct 25th and was thinking of trying for a standing nearer the time….unless ROH extend the offer of course!! 
 

 

I had a look in my inbox and I've been sent a 25% discount for Anemoi and The Cellest.

[Richard LH]

4 hours ago, oncnp said:

Having re-read the e-mails all the way to the bottom this time both offers are only for the first 3 nights

For me at least, there are currently no individual seats  showing  as available to choose from the seat plan  for the first 3 nights...the only option is to let ROH choose for you. Not a very customer friendly way to sell more seats! (Out of interest only as I don't plan to see this double bill anyway)

[Guest oncnp]

4 minutes ago, Richard LH said:

For me at least, there are currently no individual seats  showing  as available to choose from the seat plan  for the first 3 nights...the only option is to let ROH choose for you. Not a very customer friendly way to sell more seats! (Out of interest only as I don't plan to see this double bill anyway)

 

Whereas currently showing me scads of unsold seats on the seat map, and the discounted price.

 

The ROH web site..like a box of chocolates. You never know what you're going to get 

Edited October 7, 2023 by oncnp

[emmarose]

16 minutes ago, capybara said:

Goodness - that’s harsh MAX.

Given the wide and wondrous range of qualities evident across the RB’s Principals (and indeed the variability of opinion about them), it would be interesting to know what you expect of a Principal.

 

Well, is it though?

Every dancer reaches a level or limit, and I am a fan of Gasparini, but I'd say first soloist of the Royal is probably about the right level for both dancers and there's no shame or insult in that.

 

Maybe they would be a principal in another company, but there's a stable full of principals at the RB. I think Valentino said something along those lines in that documentary. 

[Geoff]

5 hours ago, Emeralds said:

They need some better algorithms or strategies, whichever way they’re doing it. I don’t know why they don’t just send it to everyone who has booked a ticket for the season. A sale is a sale- who cares if it’s someone who doesn’t usually go? (There’s evidently a reason why they chose not to book again!) The best kind of sale is the customer who pays, full stop.

I agree. However since the reign of the former ROH Marketing Queen, whose name must not be mentioned on this forum, we now know that not all sales are equal. The most desired sale is a sale to someone who has never been to the ROH before. Those of us who go a lot are the least desired sales. This was confirmed by the then ROH Chairman.

 

One might hope that Covid would provide the ROH with an excuse to dump the Maoist demands of the Arts Council (with the paymasters full approval of course) but, oh dear, what if ROH bosses still think like this? 
 

Edited October 7, 2023 by Geoff

[Emeralds]

2 hours ago, Sim said:

I have seen a few flubs, stumbles and falls. But that doesn’t bother me; it’s whether someone moves me to tears, or laughter, or anything emotional, that matters most to me. Some dancers will do that to me, others won’t.  But those who won’t, will for others. It’s in the eyes and heart of the beholder. 

I agree- so much is in the heart of the beholder, as you've beautifully put it, Sim. There are principals that other fans rate highly who simply don't move me at all. (Or they do but not in the lead role.) On the plus side, the good thing  about different  artists being appreciated by different groups of people is that everyone will be  able to get tickets for who they enjoy watching! Maybe not always at the ideal prices for everyone, but at least there are  enough tickets to go around! 

[Sim]

Just now, emmarose said:

 

Well, is it though?

Every dancer reaches a level or limit, and I am a fan of Gasparini, but I'd say first soloist of the Royal is probably about the right level for both dancers and there's no shame or insult in that.

 

Maybe they would be a principal in another company, but there's a stable full of principals at the RB. I think Valentino said something along those lines in that documentary. 

Well yes.  There are too many principals to give each of them enough to do throughout a season, which why those who are asked guest as much as possible.  They need to keep their stagecraft going.  Yes, they can keep their bodies going with class, gym, Pilates, etc., but nothing can replace performing.  Nothing is the same as doing a three-act ballet.  It is a very difficult line for KoH to draw:  there are some people he would have lost if he hadn't made them principals, and then when things are too top-heavy the lack of performance time becomes an issue.  Quite a serious one, IMHO.  So it's hard to know what the solution is.  Principals now can go on until they are mid-to-late 40s...look at Morera, Benjamin, etc.  So do you do a POB and chuck them out when they are still at full flow (as Emmarose said, look what we would have missed; I am thinking also of Morera's superlative performances in her early 40s) to make room at the top, or do you keep some good people down because you keep people on for years and so there is no room at the top?  I don't know the answer; it's a hard one.

[capybara]

Am I dreaming? A moment ago, I saw two posts relating the Isabella’s rank. But maybe, off the back of Don Q, I’ve become delusional!

She was promoted to First Soloist last summer but, in the online list of dancers at that ‘level’, she is listed after those whose family names begin with H.

[Emeralds]

Of course, one doesn't  have to be a principal to dance Kitri or indeed Basilio. Carlos Acosta picked Fumi Kaneko to dance Kitri shortly after she joined the company and  was at the time still a First  Artist who hadn't danced any featured roles yet. And look at her now!

[Sim]

7 minutes ago, capybara said:

Am I dreaming? A moment ago, I saw two posts relating the Isabella’s rank. But maybe, off the back of Don Q, I’ve become delusional!

She was promoted to First Soloist last summer but, in the online list of dancers at that ‘level’, she is listed after those whose family names begin with H.

No, you aren't dreaming.  I stated that IG was a Soloist as I had forgotten that she had been promoted at the end of the season.  It was in reply to Emmarose (who got the correct rank) so I have removed both of them as I was wrong and didn't want to do Isabella down.  

 

The webmeisters in their wisdom seem to think that 'Grace' is Meaghan's surname because they have put Gasparini in the middle of Hay and Hinkis, when of course she should be before Hamilton.  Very strange!

[emmarose]

8 minutes ago, Emeralds said:

Of course, one doesn't  have to be a principal to dance Kitri or indeed Basilio. Carlos Acosta picked Fumi Kaneko to dance Kitri shortly after she joined the company and  was at the time still a First  Artist who hadn't danced any featured roles yet. And look at her now!

 

This must be something he loves to do, he also picked Marianela as his own Kitri to replace his injured partner when she was only a FS. 

[Emeralds]

8 minutes ago, emmarose said:

 

This must be something he loves to do, he also picked Marianela as his own Kitri to replace his injured partner when she was only a FS. 

He's great at spotting potential! Oh yes, and of course he cast Akane Takada in 2013 as Kitri while she was still a soloist- her Basilio was McRae, who was due to  have 2 partners for that run. (I did check  the  dates to be sure the promotion  timings were correct!) Akane had danced quite a few solo and leading roles by then though. 

Edited October 7, 2023 by Emeralds

[capybara]

10 minutes ago, Sim said:

Well yes.  There are too many principals to give each of them enough to do throughout a season, which why those who are asked guest as much as possible.  They need to keep their stagecraft going.  Yes, they can keep their bodies going with class, gym, Pilates, etc., but nothing can replace performing.  Nothing is the same as doing a three-act ballet.  It is a very difficult line for KoH to draw:  there are some people he would have lost if he hadn't made them principals, and then when things are too top-heavy the lack of performance time becomes an issue.  Quite a serious one, IMHO.  So it's hard to know what the solution is.  Principals now can go on until they are mid-to-late 40s...look at Morera, Benjamin, etc.  So do you do a POB and chuck them out when they are still at full flow (as Emmarose said, look what we would have missed; I am thinking also of Morera's superlative performances in her early 40s) to make room at the top, or do you keep some good people down because you keep people on for years and so there is no room at the top?  I don't know the answer; it's a hard one.

Unfortunately, KOH lost Beatriz Stix-Brunell.

My impression of past eras is that Principals were cast more according to type and each had at least three shows in any one production. Now, although some are having to wait (eg for Manon in both 2019 and 2024), most appear to be given the opportunity to dance pretty much everything if they so wish. Sometimes this comes off in spades; sometimes not.

Maybe a bit of specialisation wouldn’t come amiss, although that wouldn’t really ‘solve’ the problem.

 

(Amazingly, it’s nearly ten years since Fumi sustained her first serious knee injury while dancing Kitri. I can’t wait to see her reprise the role this season.)

[Emeralds]

30 minutes ago, Sim said:

Well yes.  There are too many principals to give each of them enough to do throughout a season, which why those who are asked guest as much as possible.  They need to keep their stagecraft going.  Yes, they can keep their bodies going with class, gym, Pilates, etc., but nothing can replace performing.  Nothing is the same as doing a three-act ballet.  It is a very difficult line for KoH to draw:  there are some people he would have lost if he hadn't made them principals, and then when things are too top-heavy the lack of performance time becomes an issue.  Quite a serious one, IMHO.  So it's hard to know what the solution is.  Principals now can go on until they are mid-to-late 40s...look at Morera, Benjamin, etc.  So do you do a POB and chuck them out when they are still at full flow (as Emmarose said, look what we would have missed; I am thinking also of Morera's superlative performances in her early 40s) to make room at the top, or do you keep some good people down because you keep people on for years and so there is no room at the top?  I don't know the answer; it's a hard one.

My solution is to have more performances of Don Quixote- split up into two times in the season like Swan Lake was previously, make the prices more reasonable (no experimenting!) and fewer Dantes & Anemoi/Cellists since there are only 2 casts of both programmes (tickets for those aren't exactly flying out the window). Everyone still gets their turn. 

 

The other solution some companies who share space with opera have done is.....a second stage (eg Paris Opera, Royal Danish Ballet, Mariinsky etc). A bit too expensive  to build one now thought! Of course, in the old days RB  used to tour the UK and they got more  chances at lead roles that way. Margot Fonteyn described dancing in Cambridge, Beryl Grey said she danced in Croydon, another ballerina (I forgot who) mentioned touring  to Manchester. Ah, fun times. 

Edited October 7, 2023 by Emeralds

[FionaM]

3 hours ago, capybara said:

Am I dreaming? A moment ago, I saw two posts relating the Isabella’s rank. But maybe, off the back of Don Q, I’ve become delusional!

She was promoted to First Soloist last summer but, in the online list of dancers at that ‘level’, she is listed after those whose family names begin with H.

someone at ROH doesn’t know their alphabet 🙄

[alison]

13 hours ago, FionaM said:

I’m trying to take advantage of the 25% offer and discover each of 20,21,23 October is showing zero availability except boxes.   Must be a computer error.

 

Finding the same - on Firefox - so unless others have literally gobbled up every seat ...  Also noticed in the small print: "offer is only available on top five price bands", so although I've received both offers they're of no use to me

[FionaM]

9 hours ago, alison said:

 

Finding the same - on Firefox - so unless others have literally gobbled up every seat ...  Also noticed in the small print: "offer is only available on top five price bands", so although I've received both offers they're of no use to me

I wonder how long this glitch has been going on … it’ll explain the poor sales!!!

 

The box office could see the availability but not online bookers.  This in itself doesn’t make sense.  Nor does Mr BBB  being able to see and not you or me.   Unless it’s a restriction on the view by level of friend (I know I’m lowest level though that doesn’t match my price point!) 

[Mary]

it works if I sign in as a Friend, doesn't show any availability if I just go in without signing in.

 

That doesn't make much sense as it is stopping non Friends from booking at all!