OnePigeon Posted January 7 Share Posted January 7 I was a little underwhelmed at the Nutcracker I attended - not that it was bad, it just wasn’t one of those electrifying or magical performances that really sweep you away - and several audience members in front of us stood up, meaning in the end we also had to stand as we couldn’t see. I do wish this trend would stop as it cheapens those special performances that really do warrant a spontaneous standing ovation. I think at this point in time, they don’t really mean anything. I too am in the slightly younger age bracket and can think of nothing worse than enduring MaddAdam. As others have said, I feel like I’m living in a dystopian nightmare as it is, the last thing I desire is to fork out a load of money I don’t really have to sit and be further depressed. Give me distraction, joy, beauty, hope - not a gang rape and ugly body contortions (probably). 14 Link to comment Share on other sites More sharing options...
capybara Posted January 7 Share Posted January 7 Just to be clear - I was not referring to individual performers or Friday’s standing ovation but to the overall audience enthusiasm for classical ballet which was evident to see from my vantage point in the Stalls Circle. But, whilst we’re on the subject of cheering and standing ovations, I often get the impression where new McG works are concerned that ‘rent a whoop’ has been recruited, at least for opening nights. Yes - I do occasionally stand myself but never on autopilot! Lastly, all companies need their crowd pullers. What concerns me is that out of the couple of younger ballerinas who (to me) are especially wonderful and obvious successors to Marianela/Natalia in this ‘star’ regard, only one seems to be favoured by McG while the other is not on stage enough (in my view). 9 Link to comment Share on other sites More sharing options...
Dawnstar Posted January 7 Share Posted January 7 1 hour ago, Emeralds said: On a slightly alarming note, I thought the sales (or lack thereof) for Untitled 2023/Corybantic Games/Anastasia Act 3 were bad enough (apart from Laura Morera's farewell show) but this production could plumb new depths. I hope they have very very generous sponsorship- they'll need it. I hope they don't whack the prices up even further for next season's classics to pay for the new McGregor. I want to be able to afford to see the former & I have absolutely no desire to see the latter. I have yet to see anything by McGregor that I haven't disliked (yes, I did try Woolf Works, as that's supposed to be the one piece McGregor-dislikers like, but I disliked that too) & I can't bear dystopian fiction so I do not have to see this new one to know I won't like it. 9 Link to comment Share on other sites More sharing options...
San Perregrino Posted January 7 Share Posted January 7 And the overall enthusiasm for modern pieces extends beyond their opening nights, not just for McGregor but also for example . Such enthusiasm as is shown by the audience for classical is equally evident amongst the demographic that modern appeals to. Any opening night audience be it classical or modern is likely to be partisan and invitees chosen carefully. This is commonplace and doesn’t equate to ‘match fixing’. Link to comment Share on other sites More sharing options...
MAB Posted January 7 Share Posted January 7 24 minutes ago, OnePigeon said: As others have said, I feel like I’m living in a dystopian nightmare as it is, the last thing I desire is to fork out a load of money I don’t really have to sit and be further depressed. Give me distraction, joy, beauty, hope We do live in uncertain times, and there is a lot to be said for distraction right now. During Covid my mind went back to a decades old ballet by Flemming Flindt called The Triumph of Death that accurately predicted a pandemic. At that time it was a clever innovative theme but right now when the dystopian future may well become a reality that genre is ill timed. I must confess to being an outlier here when it comes to Mcgregor as I am something of a fan, though not all his work fills me with delight. Please assure me we won't be enduring another Pite work next season, I might just walk out on the RB for good if we do. How about asking Arthur Pita, a man who really knows how to put a smile on someone's face, to create something cheerful? Please. 4 Link to comment Share on other sites More sharing options...
Henry Posted January 7 Share Posted January 7 (edited) 1 hour ago, Fonty said: I hate to say this, @PeterS but standing ovations are ten a penny these days. It seems that every production I go to now, be it drama, musical, or dance, gets one at the end., no matter how unremarkable. I sometimes wonder if there are people in the audience paid to rise to their feet and cheer loundly, forcing others to stand so that they can see who is taking their curtain call. Standing ovations for McGregor productions? My observations are that the auditorium is full of people brought in by an ROH price reduction/ ticket give-away. Their notion of how to behave in the theatre has been learnt from watching "Britain's got Talent" & "Strictly Come Dancing" where hysteria is demanded by the production team. Edited January 7 by Henry 5 Link to comment Share on other sites More sharing options...
Henry Posted January 7 Share Posted January 7 ...along with disco lighting, glitter & smoke effects 🙂 Link to comment Share on other sites More sharing options...
bridiem Posted January 7 Share Posted January 7 Maybe Fille will indeed be on, just after this?! Would be like going from Inferno to Paradiso... 10 Link to comment Share on other sites More sharing options...
Fonty Posted January 7 Share Posted January 7 1 hour ago, Dawnstar said: I hope they don't whack the prices up even further for next season's classics to pay for the new McGregor. I want to be able to afford to see the former & I have absolutely no desire to see the latter. I have yet to see anything by McGregor that I haven't disliked (yes, I did try Woolf Works, as that's supposed to be the one piece McGregor-dislikers like, but I disliked that too) & I can't bear dystopian fiction so I do not have to see this new one to know I won't like it. I am glad someone else feel the same way as me, I sometimes wonder if there is something wrong with me for not liking him. I went to Woolf Works and heard so many people saying they were really blown away by it. To be fair I can't say I actively disliked it, but having seen it once I feel no desire to rush back. I haven't seen the Dante Project, but I have seen the pictures of some of the truly horrible costumes, and that was enough to put me off. 5 Link to comment Share on other sites More sharing options...
LinMM Posted January 7 Share Posted January 7 (edited) Toronto Star: Maddaddam is just the bold imaginative assertion of classical Ballets potential evolution that is most likely to woo new audiences and ensure the Artform’s survival Toronto Star: Full of gobsmackingly inventive choreography with large casts of dancers creating an almost kaleidoscopic whirl of movement. Toronto Star: An impressionistic emotionally charged theatrical response to the books’ overarching themes. These are some quotes which kind of got the message across to me that this Piece will be nothing that new from McGregor. The top quote is somewhat worrying in its assertion and the last one could indicate that you put Atwood and McGregor together at your folly!!! Having said all this I’m not against McGregor have said many times on the Forum that he seems a really nice choreographer to work with and I’m sure it will turn out to be a significant THEATRICAL experience though the costumes are not up to much but am just disappointed that it’s another three Acter and on this theme of post apocalyptic survival in what will be a highly depressing Autumn anyway. No doubt I will go at least once but had hoped for something more uplifting. Perhaps Max Richters music will get me through it though some of that is getting a little repetitive now! I think I must need a large G and T or something so will refrain from further comment on the MADD ballet. Edited January 7 by LinMM 1 Link to comment Share on other sites More sharing options...
OnePigeon Posted January 7 Share Posted January 7 I’ve only ever tried to watch his works via the streaming service and haven’t managed to get through a single one without giving up. God knows I’ve tried to get it, but it’s very much not my cup of tea and on that basis will not be spending my hard earned cash to take a chance on a live performance. 3 Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 7 Share Posted January 7 6 minutes ago, LinMM said: Toronto Star: Maddaddam is just the bold imaginative assertion of classical Ballets potential evolution that is most likely to woo new audiences and ensure the Artform’s survival Link to the Toronto Star review. 2 3 Link to comment Share on other sites More sharing options...
LinMM Posted January 7 Share Posted January 7 Thanks Jan for the link to the whole article well worth a read if you want to get some idea of the ballet coming soon to a theatre near you. Link to comment Share on other sites More sharing options...
art_enthusiast Posted January 7 Share Posted January 7 3 hours ago, Emeralds said: I'm usually quite positive about new choreography but I'm afraid this reminds me of The Judas Tree (which I didn't return for after the first viewing in its premiere run and a viewing of the TV broadcast), just much longer. I haven't actually seen The Judas Tree, but what I've heard about it has put me off from trying to catch it on ROH Stream. I think when a piece descends into mostly gratuitous sexual violence, it does start to lose its meaning. I think in smaller doses, when it's actually part of the plot/character illustration/not overly graphic - like the Stephanie and Rudolf PDD in Mayerling, for instance - it makes sense. But if it's just unnecessarily focused on being as shocking as possible, it becomes very difficult to watch. I haven't really read any of Atwood's works fully, but I am familiar with the Handmaid's Tale, in particular the response to the show. I believe quite a lot of its audience started to fall away as the show went on, because it became too unnecessarily violent and graphic for them. It becomes exhausting and repetitive after too much exposure. 1 Link to comment Share on other sites More sharing options...
Candleque Posted January 7 Share Posted January 7 6 hours ago, Blossom said: I am feeling a bit of a final straw moment and have emailed KOH this morning to ask about investment in new classical narrative and heritage works. Bravo to this. An action I will emulate. Like many people at the top, I suspect Mr. O'Hare is somewhat insulated from grassroots criticism. His staff is more likely to show him those press clippings from Toronto imo, than a report quoting the frustrated balletomanes here. 6 Link to comment Share on other sites More sharing options...
zxDaveM Posted January 7 Share Posted January 7 11 minutes ago, art_enthusiast said: I haven't really read any of Atwood's works fully, but I am familiar with the Handmaid's Tale, in particular the response to the show. I believe quite a lot of its audience started to fall away as the show went on, because it became too unnecessarily violent and graphic for them. It becomes exhausting and repetitive after too much exposure. Once The Handmaids Tale left the original book, the TV series flagged a bit for sure. As so often happens (see Game of Thrones). I do like Margaret Atwood's books (the ones I've read) - and Maddaddam currently in my 'to read' pile... 2 Link to comment Share on other sites More sharing options...
Fonty Posted January 7 Share Posted January 7 Read the article, and saw the alleged budget, to which the RB is contributing half. I wouldn't know whether 2 million dollars (just over £1 million) is a lot or not for a new production, knowing nothing at all about the various costs. 1 Link to comment Share on other sites More sharing options...
Sim Posted January 7 Share Posted January 7 I watched one episode of Handmaid's Tale and didn't like it. Since everyone else did, I thought there must be something wrong with me so I tried to read the first book. First of all it bored me, then it started 'grossing me out', so I never did finish it. There are so many books to read that if I am not hooked in by page 50 at the latest, I give up!! So I don't really think I want to see a McGregor three act interpretation of Maddaddam, so I will save my money to be spent on seeing Fille multiple times (she says hopefully and with everything crossed)... 7 Link to comment Share on other sites More sharing options...
Emeralds Posted January 7 Share Posted January 7 (edited) 3 hours ago, MAB said: How about asking Arthur Pita, a man who really knows how to put a smile on someone's face, to create something cheerful? Please. Sorry MAB, I know Pita made the acclaimed Metamorphosis for Edward Watson, Laura Day and other talented dancers in the Linbury, and while that wasn't exactly cheery like Fille or Concerto and was a bit of Marmite piece (ie does one enjoy works with black slimy stuff on the stage), I could feel empathy for Watson's unlucky and vulnerable character Gregor. Unfortunately the work that Pita created for RB on the main stage was The Wind, which was another "Yikes, I'm not coming back for this again" piece, which was such a downer after Twyla Tharp's beautifully classical and uplifting The Illustrated Farewell for Sarah Lamb, Steven McRae and colleagues, in the same bill. Hey RB, why not invite Twyla Tharp back to choreograph new work? She has created gorgeous pieces for RB and the dancers are thrilled and inspired when working with her. Or why not revive The Illustrated Farewell along with a rarely seen Ashton piece and give Benjamin Ella a commission and Valentino Zucchetti another one. I'm a McGregor fan (please bring back Yugen, RB) but even I am dreading MaddAddam and will probably not book it unless casting and feedback convince me otherwise. Would be more predisposed to book if it was in summer rather than autumn. Edited January 7 by Emeralds 3 Link to comment Share on other sites More sharing options...
Emeralds Posted January 7 Share Posted January 7 1 hour ago, Fonty said: Read the article, and saw the alleged budget, to which the RB is contributing half. I wouldn't know whether 2 million dollars (just over £1 million) is a lot or not for a new production, knowing nothing at all about the various costs. It depends on whether that amount includes salary and marketing costs that would have been paid out even if the staff were working on old productions like Sleeping Beauty or Romeo and Juliet, or whether that's just for production costs: costumes, sets, props, projections, music score, author royalties, etc. If it's just production costs, that's very expensive. Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 7 Share Posted January 7 12 minutes ago, Emeralds said: Sorry MAB, I know Pita made the acclaimed Metamorphosis for Ed Watson, Arthur Pita has quite a wide range. The first time I saw one of his works it was under his own name at the Lowry and was called Camp. To this day it is one of the funniest things I have seen. I've also loved his 2 works for Ballet Black - the gorgeous Crystaux and the absolutely hilarious Dream within A Midsummer Night's Dream. 6 Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 7 Share Posted January 7 3 minutes ago, Emeralds said: It depends on whether that amount includes salary and marketing costs that would have been paid out even if the staff were working on old productions like Sleeping Beauty or Romeo and Juliet, or whether that's just for production costs: costumes, sets, props, projections, music score, author royalties, etc. If it's just production costs, that's very expensive. If it is just for production costs, for a large scale production these days I wouldn't think it is that expensive when you think of what is involved. I heard years ago that a mid-sized production for a smaller company cost £250,000... Link to comment Share on other sites More sharing options...
Emeralds Posted January 7 Share Posted January 7 (edited) 10 minutes ago, Jan McNulty said: Arthur Pita has quite a wide range. The first time I saw one of his works it was under his own name at the Lowry and was called Camp. To this day it is one of the funniest things I have seen. I've also loved his 2 works for Ballet Black - the gorgeous Crystaux and the absolutely hilarious Dream within A Midsummer Night's Dream. Re: risking a (hypoethetical) second commission for Pita on the main stage for RB Very true, Jan- he seems to create fun and/or enjoyable pieces for other companies/ensembles or other stages, but not for the RB main stage.... Edited January 7 by Emeralds Edited to show we're discussing 2 different ongoing topics Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 7 Share Posted January 7 Just now, Emeralds said: Very true, Jan- he seems to create fun and/or enjoyable pieces for other companies/ensembles or other stages, but not for the RB main stage.... But who knows what he may be capable of if given the opportunity... 2 Link to comment Share on other sites More sharing options...
Emeralds Posted January 7 Share Posted January 7 (edited) 5 minutes ago, Jan McNulty said: If it is just for production costs, for a large scale production these days I wouldn't think it is that expensive when you think of what is involved. I heard years ago that a mid-sized production for a smaller company cost £250,000... Re: MaddAddam, I guess the question is whether one ought to have a large scale production at a time like this when there are other pressures and musicians and dancers endured pay cuts. Of course, if the money was already paid out in 2019 when the project was announced and will be non-refundable anyway, then the production costs are not an issue. However, unsold seats in a 2,200-seater auditorium would be...... Edited January 7 by Emeralds Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 7 Share Posted January 7 1 minute ago, Emeralds said: I guess the question is whether one ought to have a large scale production at a time like this when there are other pressures and musicians and dancers endured pay cuts. Of course, if the money was already paid out in 2019 when the project was announced and will be non-refundable anyway, then the production costs are not an issue. However, unsold seats in a 2,200-seater auditorium would be...... I'm by no means an apologist for the Royal Ballet but given the size of the stage it would look awfully empty if there were no large scale works... Link to comment Share on other sites More sharing options...
Geoff Posted January 7 Share Posted January 7 1 hour ago, Candleque said: Bravo to this. An action I will emulate. Like many people at the top, I suspect Mr. O'Hare is somewhat insulated from grassroots criticism. His staff is more likely to show him those press clippings from Toronto imo, than a report quoting the frustrated balletomanes here. Thank you Blossom, thank you Candleque. I would urge as many as possible to write in, but remember not just to write to KevinOH but copy his bosses (Alex B and the board), who may be of the view that KOH is an impresario of genius and that all is well. Middle-aged arts administrators have a depressing habit of assuming their tired enthusiasm for last century’s avant garde is still exciting. There is so much astonishing creativity in the world today (I recommend Instagram Reels as sources of inspiration to aspiring choreographers) that it is miserable we have to be fed so much McGregor at Covent Garden. 7 Link to comment Share on other sites More sharing options...
Emeralds Posted January 7 Share Posted January 7 (edited) 7 minutes ago, Jan McNulty said: I'm by no means an apologist for the Royal Ballet but given the size of the stage it would look awfully empty if there were no large scale works... There's Sylvia and Prince of the Pagodas. 😀 Productions in the classical idiom (with cheery endings) all ready bar a few repairs here and there. And no expensive author royalties.... (the music scores are also now exempt from copyright fees I think, given the timing of the -esteemed- composers' passing). Edited January 7 by Emeralds 2 Link to comment Share on other sites More sharing options...
OnePigeon Posted January 7 Share Posted January 7 8 minutes ago, Emeralds said: There's Sylvia and Prince of the Pagodas. 😀 Productions in the classical idiom (with cheery endings) all ready bar a few repairs here and there. And no expensive author royalties.... (the music scores are also now exempt from copyright fees I think, given the timing of the -esteemed- composers' passing). Not to mention a RB premiere of Ronald Hynd’s Merry Widow, which several of us have already cast.... 3 Link to comment Share on other sites More sharing options...
Emeralds Posted January 7 Share Posted January 7 4 minutes ago, OnePigeon said: Not to mention a RB premiere of Ronald Hynd’s Merry Widow, which several of us have already cast.... Yeah! Now if RB hires costumes and sets from NBofC or Teatro Colon like they do for Onegin, it could be cheaper. Or they could make their own if that saves on carbon footprint- I'd happily contribute to a Merry Widow fund! (Ironic but worth it!) 2 Link to comment Share on other sites More sharing options...
LinMM Posted January 7 Share Posted January 7 I’m with you Sim on the Handmaids Tale! There was a very good programme on the radio about Margaret Atwood a couple or so years ago now so I thought right I must read something and went for The Handmaidens Tale but I got about half way through and never finished it! I think I dropped her for a Kate Atkinson!! I’ve not seen the Tv programme (we don’t have Netflicks or any paid for Tv subscriptions) or film and not that attracted to seeing it really. I think I’m more of an Anne Tyler sort of reader myself. 1 Link to comment Share on other sites More sharing options...
Peanut68 Posted January 7 Share Posted January 7 9 hours ago, Anna C said: We said she shouldn’t have to go halfway round the world to see Ashton! Nuts that regular supporters of The Royal Ballet it seems do have to go halfway round world to see what should be their ‘birthright’ to see RB founder choreographer on home stage ROH…hmmmm 10 Link to comment Share on other sites More sharing options...
Scheherezade Posted January 8 Share Posted January 8 16 hours ago, Sim said: I thought macadamia nuts.... I think I might enjoy them rather more than MaddAddam. 9 Link to comment Share on other sites More sharing options...
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