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ENB Casting for Beyond Ballet Russes???


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Having looked at the casting again there are a few puzzling things. Ksenia is down to dance every single Firebird. It is a big role for her. She is a strong dancer with a lot of stage presence but she is still in the corps. I don't think that either of the two men in Faun are actually in ENB but Raphael C-M has danced it with ENB before. I've never heard of the other man. I do wonder how fixed this casting is.

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Ksenia is down to dance every single Firebird. It is a big role for her. She is a strong dancer with a lot of stage presence but she is still in the corps.

 

Well, we don't know how big a role it will be. It clearly sounds very different from the traditional version.

 

There effectively seem to be 2 casts of most things. I'm disappointed that Berlanga appears to be injured again: I'd been hoping to see him in Faun(e).

 

Just a reminder, casting is at http://www.ballet.org.uk/details.php?id=11, listed under the photos.

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I'm hoping there may be some ticket offers as there do seem rather a lot of unsold stalls seats - can anyone in London/area keep an eye out in the usual papers just in case please? I never seem to be able to take advantage of offers!

Edited by Don Q Fan
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I don't know if this is still valid - I put this offer from Travelzoo up on the Tickets page during the week

 

ENB Ballet Russe - London Coli

Programme One, on Sun 25 March 2:30pm and Tues 27 March 7:30pm

Programme Two, on 28, 29 and 30 March at 7:30pm

 

Enter code BALLET

 

Hope it works - Gail

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Having been lucky enough to see a full call of Programme One on Saturday, I can tell you that the new Firebird is definitely an ensemble piece and energetic throughout. Ksenia does have the lead role but she is a very strong dancer and will easily get through all the shows. Laurretta Summerscales also has a substantial role and there are great solos for several other dancers. Poor Esteban has broken a bone in his foot, hence the recasting of David Dawson's Faune. I think it was probably more time-efficient to rehearse a dancer where Raphael is (Holland?) and then come over for the performances than rehearse a new ENB dancer in Esteban's role. Actually, between Firebird and Rite, all the other men in the company are fully occupied! Rite is looking incredible with Erina Takahashi amazing as the Chosen One and Tamarin Stott making her debut in the role which will be sensational so any performance of this programme will be worth seeing. Vadim Muntagirov is not in Programme One but will be dancing in Apollo and Suite en Blanc - at present he doesn't know which performances he will be doing but hopefully that will be posted on the ENB website soon. Hope this information helps sell some more seats for the shows.

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I'm really looking forward to seeing Ksenia in The Firebird. Although Yonah Acosta was great in the Emerging Dancer Awards IMO Ksenia should have won.

 

Irmgard, who is doing Apollo apart from Vadim?

 

I've got tickets for the 22nd and the 30th and will probably book for a second Programme 2 cast once the casting is up.

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I'd like to see Konvalina as I've never seen him, and of course my favourite, Vadim, who I hope will be dancing with Daria. I was surprised and delighted to see D and V dance an excerpt from Apollo at the Tate last month.

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Vadim is dancing in every performance of Programme Two but the best bet is the Saturday matinee when he is dancing in Apollo and Suite en Blanc. Dress rehearsal of Programme One last night was sensational. Firebird is stunning and the new costumes for Rite of Spring finally let the dancers look like humans instead of creatures. If you want to see the company at the top of its game with fabulous music, this is a must-see.

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Irmgard, it's great to have someone close to ENB (and clearly a big fan!) on the site. I can't wait for tonight! I need to book for the matinee on the 31st. Come on everyone, let's all support ENB. Forget about Alice and book for some grown-up ballets!

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Afds, good.

 

Can I remind everyone what good value tickets at the Coliseum are: tickets in the balcony are £10 and £15. Front row balcony tickets cost £10 but you have to 'phone the Coli for these. There is less legroom and you need to peer under the safety rail but this is fine for smaller people and children. In Rows B and C the rail does restrict your view a little but this is no worse than the front of the balcony at the ROH where tickets are more than twice the price.

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I'd disagree: the box office have previously told me that the restrictions for rows B and C are only slight, but I've found them seriously disruptive, especially when you take the people in row A into account :). I sat there for ENB, I think, sometime last year and had to voluntarily move myself to the back of the balcony so I could see, and I'm only average height. Plus surely it's only a couple of seats in the ROH balcony which have any problem with a rail? Or did you mean the amphitheatre?

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Alison, at the ROH I sat in seat B33 in the balcony (restricted view seat) and it cost me £31. I don't know how many what I would call full-price tickets for seats with a restricted view there are in the ROH. There are many £10 seats in the balcony at the Coli, and they don't all have a restricted view.

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Irmgard, it's great to have someone close to ENB (and clearly a big fan!) on the site. I can't wait for tonight! I need to book for the matinee on the 31st. Come on everyone, let's all support ENB. Forget about Alice and book for some grown-up ballets!

 

You won't (unless lucky) get a ticket for Alice now anyway, as its sold out. But yes, go see the ENB Beyond Ballet Russes bills - they are terrific. I love 'Alice' too mind - all 3 dancers playing the lead are, in their own ways, utterly superb

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It's impossible to reconstruct "Jeux" as all that remains of Nijinsky 's version is a few photographs. Wayne has therefore used the very brief snatches choreographed by MacMillan for the 1979 film "Nijinsky - a true story" and enlarged upon these and enlarged the cast. He has also come up with a new scenario based on the choreographer and his muses. But never fear, the iconic moment with the tennis ball remains! I haven't had a preview but the dancers involved say it is beautiful and therefore will be a fitting swansong for Wayne's time with ENB.

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Well, not totally impossible :), since it has already been "reconstructed" once - albeit with a lot of questions as to how much could possibly be authentic - but thanks for the clarification, Irmgard. It sounds intriguing.

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This is slightly veering off the topic of ENB, but I don’t believe a work can be reconstructed unless a major part of the choreography has been preserved in written form (notation or detailed dance terminology), on film or by memory. If you are talking about Millicent Hodson, I had this discussion with her in 1981 when I was Librarian at the Benesh Institute and responsible for protecting choreographic copyright. She was working on her version of ‘Sacre’ and wanted to assign the copyright to Nijinsky. As not even Marie Rambert could remember one step of Nijinsky’s choreography, I told her this was not really appropriate and that what she had created was her interpretation of what it MIGHT have looked like. She capitulated on the copyright but still refers to her works as reconstructions. I was also privileged to be assistant to Mary Skeaping who created beautiful ballets in the baroque style for Ballet For All and the Royal Swedish Ballet. Since only a handful of variations from baroque ballets (as opposed to ballroom dances) are preserved in Feuillet’s notation, she had to create most of the choreography herself and never referred to these works as reconstructions. As she said “who am I to imagine I can read the mind of the original choreographer”! I understand Millicent had access to a music score of “Jeux” with annotations by Nijinsky, amongst others. If these annotations were anything like Mary’s in her music scores of the Tchaikovsky ballets, I know it would be impossible to reconstruct even a solo from them! I have been able to reconstruct a couple of solos from her very detailed descriptions written in dance terminology but even this requires a bit of guesswork.

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