RB 2013 Promotion

[Ian Macmillan]

Aileen:  I take it that this is the interview mentioned:

 

http://www.timeout.com/newyork/dance/american-ballet-theatre-soloist-simone-messmer-talks-about-her-decision-to-leave 

 

I've pretty much given up on looking at the various Time Out editions for Links - some concentrate on What's On Diaries rather than editorial stuff, and there was one (Chicago?) that used to drive me nuts in trying to guess which were its new pieces ... and there's a limit to the time available!

[Jan McNulty]

Fascinating and somewhat sad (to me) article but I am not quite sure of the relevance to possible RB promotions.

[aileen]

Ian, yes, that's the one. Thanks for posting the link.

 

Janet, what I posted could of course appear in another thread but I thought that it was relevant to the discussion about promotions at the RB as well because part of the discussion centred around the idea that many dancers (including some at the RB eg Laura Morera) are pigeonholed early on in their careers and find it very difficult to persuade ADs to give them the opportunity to take on roles in which on the face of it they are being cast against type.

[Bruce Wall]

... many dancers (including some at the RB eg Laura Morera) are pigeonholed early on in their careers and find it very difficult to persuade ADs to give them the opportunity to take on roles in which on the face of it they are being cast against type.

 

Surely that is just like life.  This is, as far as I can tell, the way in practically EVERY profession nowadays (e.g., no more contracts for life ... apart from, say, University tenure ... and even that NOW is 'get-out-able' .... well, more than it used to be.)  

 

As in so many instances ... if you REALLY want to be seen in a different role ... IN ALMOST ANY CLIMB ... you NOW have to (be willing to)  leave to come back.   I think Ms. Messmer expresses this effectively for herself as much as for all of us.  Hers is, of course, a philosophy that stretches over so many different thresholds to now be almost expected to head any list marked 'universal' in terms of employment protocol.  Refreshingly she comes across as having her head screwed on tightly in an effectively positive position.  She does not seem to be functioning from a position of fear which is most edifying.  I was impressed, too, with the depiction of her frankness about her relationship / respect for Kevin McKenzie and the very practical realisation that he too needs to exercise/enforce whilst not being able to please all the people all the time.  From what one has read in interviews of a similar ilk this has not always been the case in similar relationships at the Royal Ballet during the period of McKenzie's tenure, now extending as it does beyond a quarter of a century.   Dancers similar to Ms. Mesmer at the Royal Ballet would have had to fight their fronts within the various trenches/varying administrations of four different RB AD's. For some that will have been a lot of digging I'm certain ... without ever having had to step outside the RB battlefront.  I'm confident that Ms. Messmer will benefit from her time with SFB, as will, I know, we all.  She goes to another company where the leadership at the top has now, as throughout that Company's history, held substantially firm and well profited from it.  I, for one, look forward to seeing her with SFB in Paris next year.  

 

Thanks so for posting this link, Ian.  It was most instructive. 

Edited June 26, 2013 by Meunier

[Ian Macmillan]

There must be many cases when dancers blossom on moving to different companies, where presumably different Directors see them differently.  By and large, is that not how the RB gained Zenaida Yanowsky, but later lost Natasha Oughtred, for example?  (And I know of a case way back in which it took Nureyev to see possibilities previously overlooked.) 

[Bruce Wall]

Jose Manuel Carreno is a case in point I think, Ian.  Whilst ENB and the RB seemingly did not know what to do with him, he became one of the finest male danseurs of his generation (and perhaps several others) at ABT being rightfully hailed on the world's major stages.  Was he a different root dancer at ENB / RB?  I suspect not.  The potential was always there ... It was simply that it was realised 'AT' ABT .... ironically in a company with a rep much akin to that of the RB.  I suspect this was a case of Time's agenda as much as anyone else's.  

Edited June 26, 2013 by Meunier

[aileen]

I'm afraid that that there are some dancers who, having got into a company, sit there and wait for roles and promotions to come to them rather than manage their careers more proactively. In particular, I don't have much patience with some of the RB dancers who are languishing in a particular rank but, despite their frustrations, refuse to move elsewhere, perhaps to what they regard as a lesser company. I don't believe that it's coincidence that many of the most successful dancers have moved company at least once. Not only does moving company, country or even continent indicate drive and possibly flexibility and a more open mind but it increases the likelihood of finding a company in which one is a good fit, which is so important. There are so many examples to choose from but, in addition to the ones who have already been mentioned, there is Maria Kochekova as well as Xander Parish who isn't yet a principal but is doing very well and certainly much better than he was doing at the RB. It's easy to criticise artistic directors but there is a great deal of subjective judgment involved in casting decisions and some dancers will be more appealing to the AD than others. There is favouritism but I really don't think that there's any malice invoved. It's probably largely unconscious. ADs come and go and a dancer can fall in or out of favour according to the tastes of the latest incumbent.

[LinMM]

I agree in part with above as you wold think if you were a dancer who believed in your own capabilities you would really want to have a go at some of the leading roles if you cold get a chance to even in a smaller company etc. Especially when getting into late twenties etc However perhaps some have tried and not managed to successfully make such a move. So I suppose it's better to "languish in the corps" than have no work at all but still probably frustrating if you feel you have the expertise to progress further.

[MAB]

There may be personal reasons involved in being reluctant to move away, having a spouse/partner whose work is firmly in UK for example.  I'm told that the eye watering costs of renting or buying a home in the London area makes people reluctant to move out as once gone it can be impossible to afford to move back:  think about it.

[Jan McNulty]

I agree with MAB.

 

Many years ago a friend and I had a long conversation with one of our favourite dancers.  He was very frank with us and something he said has always stuck in my mind.  This is that dancers know their own bodies and know their own capabilites.  They have to be realistic at some stage about how far they are going to go in their career and possibly may need to make hard decisions.  Sometimes those decisions may seem strange to audience members who have followed them but at the end of the day it is their choice and their reasons for making that choice are private to them.

 

I'm not saying that dancers should not move around to further their development and career but I also greatly admire dancers who have chosen to give their careers to their chosen company, which can help maintain company stability and style.  As a ballet-watcher of 20-odd years standing I have now been fortunate to see the full dancing careers of many dancers and I have been enriched by watching their careers whether they be principals or in the corps.

 

For me, two dancers who made amazing transitions are Simon Cooper from ENB to Rambert and who became totally unmissable, Alex Whitley from BRB also to Rambert and became totally wow.

[aileen]

MAB, other cities are also very expensive.

 

It's generally going to be easier to move around when you are young and have fewer ties. For that reason, a dancer should review his career regularly and, if he is dissatisfied with how it is progressing, think about moving fairly early on rather than waiting until he is in his thirties. I accept Janet's point about dancers knowing their own limitations, but those who feel that they are not getting the opportunities which they deserve should (IMO) be prepared to move rather than stay in the same company feeling increasingly resentful as others overtake them. Disgruntled co-workers can be very difficult to be around and often generate a negative atmosphere which is not conducive to a happy working environment in what is already quite a high stress place of work. I have, however, the greatest respect for dancers who can graciously accept their limitations and still commit totally to performances and perhaps contribute to the life of the company in other ways as well. Those dancers are most definitely an asset to a company.

[Jan McNulty]

MAB, other cities are also very expensive.

 

It's generally going to be easier to move around when you are young and have fewer ties. For that reason, a dancer should review his career regularly and, if he is dissatisfied with how it is progressing, think about moving fairly early on rather than waiting until he is in his thirties. I accept Janet's point about dancers knowing their own limitations, but those who feel that they are not getting the opportunities which they deserve should (IMO) be prepared to move rather than stay in the same company feeling increasingly resentful as others overtake them. Disgruntled co-workers can be very difficult to be around and often generate a negative atmosphere which is not conducive to a happy working environment in what is already quite a high stress place of work. I have, however, the greatest respect for dancers who can graciously accept their limitations and still commit totally to performances and perhaps contribute to the life of the company in other ways as well. Those dancers are most definitely an asset to a company.

 

 

I think this is a bit speculative and unfair.  Presumably the dancers who are so disgruntled do move on, assuming they are able to and if not, on the whole accept their circumstances with good grace and give 100% to their company.

 

In the current climate it may just not be that easy to move to another company.  We've seen the effects of the current economic climate not only in the arts in this country but around the world.

[MAB]

Just for the record, only Monaco is dearer then London if you are looking for a flat.

[Anna C]

This just in from the ROH's Twitter Feed: http://www.roh.org.uk/news/royal-ballet-promotions-and-joiners-for-201314-season

 

Many congratulations to all concerned. :-)

[Bluebird]

Thanks Spannerandpony.  I've copied and pasted the information from the ROH website:

 

 

"The Royal Ballet has announced details of promotions, joiners and leavers for the 2013/14 Season.

Belfast-born Melissa Hamilton has been promoted to First Soloist following a Season of strong performances, most recently in Raven Girl and Mayerling. Listen to an ROH Insights interview with Melissa.

Olivia Cowley, Elizabeth Harrod and Fumi Kaneko have been made Soloists, while Hayley Forskitt, Francesca Hayward and Tristan Dyer have been promoted to First Artists.

Natalia Osipova will join the Company as a Principal from the Mikhailovsky Ballet. Natalia made her Royal Ballet Debut in Swan Lake last Season, partnered by Carlos Acosta.

Annette Buvoli and David Donnelly will join as Artists from The Royal Ballet School, with Masaya Yamamoto joining the Company as a Prix de Lausanne dancer.  Anna Rose O’Sullivan, Luca Acri and Marcelino Sambé joined as Artists during the 2012/2013 Season."

 

Edited to add my congratulations to all those promoted and to those joining the company.

Edited July 3, 2013 by Bluebird

[aileen]

Well, Kevin O'Hare is sticking to his view that the RB has had too many principals in the past: six have gone in the last 18 months and one replacement is coming in. Yuhui must be very disappointed, particularly after all her hard work this season. I'm pleased for Melissa, Olivia and Francesca.

[Anna C]

I'm very disappointed about Yuhui. :-(

 

Delighted for Olivia, Melissa and Francesca. :-)

[blackdove]

Thrilled to bits for Melissa

[newballetfan]

Very pleased for all those who have been promoted but disappointed for Yuhui. I had wondered if Claudia Dean might also be promoted to first artist, any views on this? Perhaps a bit soon for her?

[aileen]

What has Claudia Dean danced other than corps roles?

 

I feel that Melissa's career has really benefitted from being cast in significant roles in new work. Choreographers must like working with her. She has demonstrated her ability in a dramatic role (in Mayerling) and if she can succeed in a classical role such as Swan Lake or Sleeping Beauty I think that she will make it to principal. Following the departure of so many principals there are many leading roles available for her to be cast in this season should Kevin O'Hare wish to do so. It is surely good news for Melissa that there are no new principal appointments apart from Natalia Osipova.

[zxDaveM]

What has Claudia Dean danced other than corps roles?

 

 

she's 'The Chosen One' next season.

 

Really happy Fumi Kaneko promoted :-)

[Sim]

Interesting that there's only one man promoted this year. Many congrats to Tristan and all the others who have moved up.

[Jamesrhblack]

Well, I was correct in that there would be no principal promotions, also re Melissa Hamilton, Olivia Cowley, Francesca Hayward and Tristan Dyer. Was over optimistic for Fumi Kaneko but she did go up one ladder. Managed to overlook Harrod and was wrong about Dean, Hinkis, Hay and David T and didn't see Forskitt coming. Claudia Dean made such an impact in Raymonda and is down for the Chosen One so thought it was a given. What has Forskitt done? I've managed to overlook her thus far ...

[Jan McNulty]

Here is the formal press release:

 

Promotions, joiners and leavers at The Royal Ballet

 

Kevin O’Hare, Director of The Royal Ballet, has made a number of promotions for the forthcoming 2013/14 season.

 

Melissa Hamilton has been promoted to First Soloist following a season of strong performances, most recently in The Raven Girl and Mayerling. Originally from Belfast, Melissa joined The Royal Ballet in 2007.

 

Congratulations also go to Olivia Cowley, Elizabeth Harrod and Fumi Kaneko who are promoted to Soloists, along with Hayley Forskitt, Francesca Hayward and Tristan Dyer who are promoted to First Artists.

 

Joining the Company at the start of the season will be Natalia Osipova who joins as Principal from the Mikhailovsky Ballet. Natalia made her Royal Ballet debut in Swan Lake last season, partnered by Carlos Acosta. Annette Buvoli and David Donnelly both join as Artists from The Royal Ballet School, with Masaya Yamamoto joining the Company as a Prix de Lausanne dancer.

 

Anna Rose O’Sullivan, Luca Acri and Marcelino Sambé joined as Artists during the 2012/2013 from The Royal Ballet School.

 

The Royal Ballet bids farewell to Principals Leanne Benjamin, Mara Galeazzi, Alina Cojocaru and Johan Kobborg and Soloist Brian Maloney. Grant Coyle, Principal Dance Notator and Répétiteur and Theresa Beattie, Interim Creative Producer, Royal Ballet Studio Programme also leave the Company.

 

Finally, a warm welcome goes to Emma Southworth who joins as Senior Producer, Royal Ballet Studio Programme

[Nina G.]

I was right about Melissa Hamilton, Olivia Cowley, Fumi Kaneko, Francesca Hayward and Tristan Dyer but wrong and disappointed about Dawid T. and Yasmine Naghdi not getting a promotion at the end of this Season.

I saw Naghdi dance several Soloist roles over the past Season (in Raymonda, Monotones I, a notable Onegin debut as Olga-partnered with Dawid T., in Wheeldon's work - when she danced with Leanne Benjamin (forgot name of the ballet , amongst several other roles) and in the Principal role (Infra/ Finale Pd2) and thought she would get Soloist too, and David T. whose performances I also enjoyed a lot throughout the Season. I enjoyed James Hay too but he just got a promotion to Soloist last year so a bit soon to be moved up again.

I didn't think Elizabeth Harrod and Hayley Forskitt would get a promotion nor Yuhui Choe (however much I love watching her!!) nor Caudia Dean (she didn't dance enough non-corps roles). 

[zxDaveM]

yes, I too was disappointed Ms Naghdi not promoted - I'm sure it will come sooner, rather than later though!

[Anna C]

Wasn't Yasmin only promoted a year ago though? Maybe they want to give her more experience before another promotion.

 

Meaghan Grace Hinkis also performed beautifully as Olga in Onegin and no promotion for her either in this round.

[Nina G.]

Wasn't Yasmin only promoted a year ago though? Maybe they want to give her more experience before another promotion.

 

Also Meaghan Grace Hinkis also performed beautifully as Olga in Onegin and no promotion for her either in this round.

Fumi Kaneko was only promoted a year ago as well (together with Yasmine and Meaghan).

Makes me wonder if budget constraints this year played a role in limited promotions. 

[Anna C]

Fumi Kaneko was only promoted a year ago as well (together with Yasmine and Meaghan).

Makes me wonder if budget constraints this year played a role in limited promotions.

 

Mmm, true. I'm sure budget has a great deal to do with it. :-(

[Bruce Wall]

Budget constraints (with promised cuts to come) will be on the cards through the 2017-18 season, should government forecasts be believed.  This may well play to O'Hare's hand as it will help focus on the work of the creatives as is his stated desire. Should he lose that vision, he will - in this game - have lost not only himself but his audience..  If he wants to try playing to the extremity within the environment of the cuts' regard he could (i) refrain against announcing casting until immediately before productions (as say with NYCB where it is basically two weeks in advance) thus ensuring the focus being - as much as possible - on the works themselves (and ensuring future forecasting disappointments - as well as having a greater potential to proactively pick up on current developments) and (ii) refraining from interviews/publicity being focused on dancers and seeing it placed on choreographers/composers or (in absence of the original creatives) those who are doing remounts be it of the dance or associated music itself (such as with the POB).  I am fairly confident that the 'Special Guest Artist' contract will disappear with Acosta when his end comes which surely must be sooner than not given the laws of balletic nature.  This will allow the O'Hare regime to concentrate dance funds on the development of the RB itself, e.g., on its creative focus and give him a source to bring in international guest artists where appropriate to specific repertory as role models only when the needs arise.  I doubt that items (i) and (ii) will happen - and I'm not advising such - but O'Hare has shown himself to be most brave in his vision and he might well feel that such risks would ultimately pay off in the longer term (given say the five years of cuts to come) in giving his much admired and rightful dedication to the creative focus for/of the RB.  His gamble, after all, already has a stated 10 year game plan.  Here's hoping that the RB flags in 2022 will be flying high.  Here's hoping a goodly number of us will still be around and healthy enough (given the current climates too) to enjoy its success!!! In ALL, one lives in hope.

Edited July 4, 2013 by Meunier