The Royal Ballet's Don Quixote, 2013

[JennyTaylor]

Went to the performance this evening and was blown away. Steven McRae and Iana Solenka absolutely amazing. The energy was electric and the dancing even better. I think new heights were achieved this evening, and Steven has tweeted to say it was a career highlight for him.

 

I have no heritage of DonQ apart from old films, and this is the first time I have ever seen it live.  I loved it from start to finish. Joyous, fun and a complete tonic in this sometimes dismal world. The RB were at their best, all feeding off each other to provide a performance of great energy, happiness and joy. It must be great fun to do, but also really hard work!

 

Where to start:  Steven and Iana were fantastic, and applause broke out on several occasions during the wedding dance sequence. Iana's balances were amazing, not the mention everything else.  Steven was everything we know he can do, and then better. It's a part made for him.  Thank goodness I have another ticket for Tuesday when they dance again   For me, Elizabeth Harrod stood out amongst the ballerinas.

 

I've read some of the reviews and am non plussed by their criticism of the set. I liked the colours and the design. In fact, as you have probably realised by now. I liked everything and especially lf course, Gary Avis as DonQ, sublime as ever in the main character part. 

[hfbrew]

Thanks for putting it into words Jenny!

It was rather good wasnt it? Even from way above in cheap seats everyone was projecting, Gary Avis in particular for me!

McRae was wonderful as always and I was charmed by Solenka the moment she came on stage.Those balances were quite something werent they but musical too.

Also thought Anna Rose O Sullivan was fabulous but then Ive thought that since she was 11!

Edited October 5, 2013 by hfbrew

[Bruce Wall]

Had my first peek at this, the Royal's third strike at DQ last night.  Liked on the whole the costumes ... as ever with the RB team stunningly constructed - although why the happy couple had to return in the last act in costumes fit for a fairy kingdom I really did not understand.  Still perhaps an overall Barbie doll/old school Disney pattern is what was aimed for here pushing it ever more away from the novel's very real detail.  Of the scenery I felt MUCH more uncertain.  Not sure I see the point of the moving houses ....(certainly it robs Gamache of the overall definition of his entrance - although Whitebread took a fragrant plunge to the role as a whole). Most certainly I felt the progressively encroaching windmills took a definite toll and not just on the Don.  Although I can see the point ... such as must have been raised at an early design meeting the day after a night before say ... I felt in practice they simply did not work.  Nor does the return of Dulcinea outside of the prologue.  Almost certainly this must be to the total confusion of anyone who has not actually read the original book itself.  Gone are the days of Ashton's clear and poetic story telling capacities it seems.  But back to those windmills:  In my reading they do naught but rob both the wit and pathos of the Don's decline, e.g., the over-riding conceit.  Indeed I understand in the matinee yesterday the third windmill misbehaved to such an extent it actually forced the curtain to be brought down.  Not worth it.  Surely.  Liked Solenka very much.  She was a steady pool of mature response in the RB's now oft wavy... and alarmingly oft disturbingly muddy ... waters.  All too often the house style here was softly undulating where a sharp attack was clearly mandated in this Russian interpretation in dance of a Spanish story.  Would love to see Solenka in something else .... and adored the flaming camouflage in barnet of the central couple as provided (one assumes) by nature.  Liked Avis as the Don as well plus the charm of O'Sullivan in a role much suited to the current RB jolly-hockey-sticks soubrette house style.  Was put off by the shouting however .... (these not being actors with clear indigenous motivation, but rather dancing extras dutifully marking their cue) .... but refreshingly not so much by the clapping.  What REALLY did the whole thing in for me, however, was Tait's orchestration.  ('Wasn't he that man who thinned out the music to 'Manon'?', you rightfully whisper.  YES!!)  Here the whole was robbed of oh, so much of it's joy.  Even the clear colours of the music inducted - to an uncertain end methought -  from Bayadere were left more on the gypsy camp's  background palette rather than in the pit.  (Can this BE the same orchestra who have been playing SO vividly in Elekra of late?  I understand it is.)  Their DQ needs to lift not churn.  To my ear they sounded as if waterlogged.  So much was awash in an inappropriate romantic uncertainty.  Certainly it was squeezed in its passion of any explosion. It remained weedy; certainly unwell.  The slowing down of the first act divertisement (to allow Dulcinea to again waft through) was destructive in the extreme.  I actually felt sorry for the hard working McRae in having to grind his gears so artificially in what surely must have been an exhausting attempt to turn - let alone gallop - once again.  By this point in the proceedings (as we know from such fine Russian outings we have been privileged to see) things should virtually spin on their own.  Even Vasiliev would have struggled here one felt.  Here the music should have partnered McRae so he could fly ... not continually return to a run-way in preparation for his take off.  Poor lad.  I felt he didn't have the support he really needed nor ultimately deserved ... but then that was sadly true for the majority in the music's regard; the audience perhaps more than anyone else ... and they, after all, had PAID for the privilege!

Edited October 6, 2013 by Meunier

[zxDaveM]

Really enjoyed the 'double header' yesterday. As others have said - Steven McRae blew the bl**dy doors off in the evening, and Iana Salenko was a grand foil for him - her balances exquisite (though her biggest fan standing just along from me, insisted on trying to spoil it by applauding her every step). Meaghan Grace Hinkis gave a delightful performance as 'Amour' (Cupid) in the afternoon, dancing with wit and oodles of charm (almost bravura cheek at times). Must have been a little off-putting having to start again after a scenery/set malfunction halted proceedings for 5mins, so double hats off to her. Also in the afternoon, Will Tuckett was a superb Don, giving an understated, almost perplexed interpretation that was absolutely spot on for me. Tom Whitehead appeared to be having a ball as Gamache in both shows - I like the way the character seems to be better treated in this production, where he seems a figure of affection for the townspeople, rather than an adversarial one that appears in other versions I've seen. As one of Kitri's friends, Yasmine Nagdhi again shone (but then, she always does!). Both Laura Morera and Itziar Mendizabal made the most of the role of Mercedes, though that role does seem a little underdeveloped to my eyes. Sorta expect the character to do more on her entrance, than just step aside for the toreadors.

[Beryl H]

Too much to take in at once but one thing's for sure, Iana Salenko and Steven McRae were breathtaking, really well matched as both have bravura technique but artistry and musicality too, her balances, whether high above Steven's head or alone, were so poised!

 

I like the production mostly, the moving scenery and windmills, the psychedelic vision scene, none of this bothered me, wasn't so keen on the gypsy scene round the camp fire.  The music in general sounded odd, not sure about this aspect, some parts sounded better (the gypsy dances really sounded like GYPSY music) others sounded worse, will need to get used to it.

 

The acting roles were marvellous in the evening, Gary Avis and Jonathan Howells as Don Q and Sanco Panza, and Christopher Saunders and Thomas Whitehead as Lorenzo and Gamache, all give the roles more interest than usual, and the hilarious sword fight between Don Q and Gamache is back(remember that from Nureyev's Australian version). I liked Nathalie Harrison as Dulcinea (rather Giselle like) makes more sense of the story, Don Q doesn't just seem an old nutter. I would like to see act 1 speeded up a bit, thought some of the tempi a bit slow (perhaps dancers getting into roles).

 

Lots more to look forward to, so glad I booked to see Steven McRae and Iana Sakenko twice!

[Nina G.]

I went to the Matinee (Roberta Marquez and Alexander Campbell) and what a buzz there was in the audience, they loved it! I spoke to several first timers and they all said they'll be back to watch more ballet after seeing Don Q.

 

Critics' reviews are often in such contrast to the audiences 'perception and feelings: most critics analyse a ballet based on their extensive knowledge (Mr.Crisp for example) but the audience does not care a hoot (I am sure many of them don't even read the reviews), they are there to enjoy themselves, and so they did. It is such an uplifting, fun ballet and it suits the RB very well. I am always puzzled why critics go to the Opening Night only and review that performance. I was at the General and Matinee and the dancing had vastly improved, the dancers had settled in and danced beautifully. Only Mr Jennings (as far as I am aware) will see several casts before he writes a well-informed and balanced review. Why judge a ballet after Opening Night, when first night nerves (especially for a new ballet) are normal?

 

Besides Campbell and Marquez, the stand-out dancers for me were Ryoichi Hirano (he was simply amazing as "Espada"!!) and Laura Morera ("Mercedes"). Of the younger dancers it was Yasmine Naghdi ("Kitri's two Friends") who impressed the most: she conveyed her character so well through convincing acting whilst being simultaneously flirty and encouraging her friend Kitri "to go for it". She has great stage presence too. Bennet Gartside ("Lorenzo") is an all-time favourite of mine too

 

I'll happily see it again when it comes back in a few years time.

[Mummykool]

I'm with Meunier on many counts. The orchestration was terrible and the moving scenery an unnecessary distraction. I didn't like the first act costumes much either; the colours matched the dancing...far too muted and soft. Can't comment on anything further than act one as we decided we'd seen enough and started our three hour journey home.

We saw Baryshnikov's Don Q at ABT many times in the 1980's and have subsequently seen versions by the Bolshoi, Kirov and Mikhailovsky and I suppose we were hoping for a marriage of the best bits of all of them. Unfortunately this fell far short on so many levels. After seeing Osipova's Kitri in March, Salenko was a huge disappointment for me. Her characterisation seemed to be sadly lacking and poor Steven McRae seemed to be working very hard at bringing everybody else on stage (including his partner) to life. The people sat behind us had never heard of Osipova  let alone seen her dance but were equally underwhelmed.

Will be sending back our October 16th tickets on Monday so if anyone wants returns, look out for them at the box office on Tuesday. I love Marianela, but I don't think even she can rescue this one. The RB just don't have the pizazz for it.

[sonik1965]

well now that i have got up from getting home @3.30am what can i say but amazing think the moving houses was a little ott & 5min wait while thay fixed the scenery/set malfunction during the matinee did put a small

little mark on the show.

 

but on the other hand the evening show went like a dream Iana Salenko and Steven McRae was just made for each over, her balances where near on perfect steven,s one handed life seem to last for hours

 

Mummykool:  "Will be sending back our October 16th tickets on Monday so if anyone wants returns, look out for them at the box office on Tuesday. I love Marianela, but I don't think even she can rescue this one. The RB just don't have the pizazz for it."

 

as much as it may have some short comings after seeing 2 shows i would def go see it again

[Nina G.]

I'm with Meunier on many counts. The orchestration was terrible and the moving scenery an unnecessary distraction. I didn't like the first act costumes much either; the colours matched the dancing...far too muted and soft. Can't comment on anything further than act one as we decided we'd seen enough and started our three hour journey home.

We saw Baryshnikov's Don Q at ABT many times in the 1980's and have subsequently seen versions by the Bolshoi, Kirov and Mikhailovsky and I suppose we were hoping for a marriage of the best bits of all of them. Unfortunately this fell far short on so many levels. After seeing Osipova's Kitri in March, Salenko was a huge disappointment for me. Her characterisation seemed to be sadly lacking and poor Steven McRae seemed to be working very hard at bringing everybody else on stage (including his partner) to life. The people sat behind us had never heard of Osipova  let alone seen her dance but were equally underwhelmed.

Will be sending back our October 16th tickets on Monday so if anyone wants returns, look out for them at the box office on Tuesday. I love Marianela, but I don't think even she can rescue this one. The RB just don't have the pizazz for it.

Sorry Mummykool, but you are judging....after having seen only Act1?  The best came in Act 2 and 3! 

[Mummykool]

No Nina,  I am just expressing how I felt about last night. We have enjoyed many, many performances of a wide variety of ballets but I 'm afraid this version just didn't do it for us. Usually we would stay on, but Covent Garden is an expensive six hour plus round trip and I'm sorry to say it disappointed on too many levels for us to give it a go. You can't win them all.

[LinMM]

I can't imagine walking out on a new ballet production only a third of the way through!! Especially if it had been so expensive!!

 

I would have thought grit your teeth and hope for the best for the rest of it.....at least you would have got a bit more return for your money!!

Sometimes you can have a surfeit of a particular ballet.

I saw the Osipova/Vasiliev Don Q and yes there are some performances you think...well wont see that bettered for a while....but in UK Don Q has been rarely performed really so I think giving this a chance is good. I haven't a ticket for this production but hope to get one for last night if poss. And I'll stay for the three acts if it kills me!!!

[LinMM]

I suppose there could be worst fates than dying at the ballet.

[capybara]

I'm an inveterate Don Q fan - Bolshoi, Mariinsky, Mikhailovsky and Baryshnikov's version for ABT (bring them on !) - and approached the new RB staging with keen anticipation. I wasn't mad on the 1993 attempt (design rather than dance issues) or the 2001 production after Nureyev, but this RB show was meant to be different. Carlos had, if I recall correctly, spoken of tightening the scenario, ironing out some of the mime and, above all, ensuring that the RB dancers "danced like they've never danced before".

 

I didn't not enjoy last night's performance (McCrae/Salenko) but, Steven's stunning performance apart, felt that the production and it execution lacked the necessary vital spark - indeed, the curiously muted re-orchestration, the pastel palette used for so many of the 'village' costumes, the lighting (which in a very un-Spanish fashion left faces and buildings partially in shadow), the over-long prologue, and Kitri's tame side-front entrance seemed to have a life-draining effect on the proceedings. The story-line did have greater clarity in places but why, then, have those eye-catching urchins breaking into and through the narrative at key moments and why have two Dons on stage for the dream sequence when one would have sufficed? The moving or over-dominant scenery was an unwelcome distraction as well - giving the Act 1 stage a very cluttered feel and drawing attention away from the action in Act 2. I also found the new choreography for the corps somewhat repetitive with a lot of dancing round in circles. And, in my view, the shouting does not compensate for a lack of vibrancy or variety in the steps.

 

Unlike some others here, I'm not sure that the usually fine Gary Avis and Tom Whitehead quite have the measure of their characters as yet. Yuhui Choe as the Queen of the Dryads, most unexpectedly, failed to shine through the technical demands of her variation. Valeri Hristov, Itziar Mendizabel, Kristen McNally and Bennet Gartside did not come across sufficiently strongly to me, partly because the choreography for them at times seemed to lack gusto. In contrast Anna Rose O'Sullivan made the most of Amour in what was surely her debut in a named role. Indeed she, Luca and Kenta as urchins (unfortunately not credited on the cast sheet), Dawid and Valentino in supporting roles, and Yasmine, Olivia, Beatriz, Romany and Mayara among others in the crowd noticeably displayed the kind of energy Carlos said he was seeking - and I craved for more of.

 

There's no denying that Iana Salenko was well-matched with Steven and danced beautifully. But on this, her first outing as an RB guest, she lacked the essential warmth and joie de vivre of Kitri. Maybe she will feel more relaxed and 'in the role' on Tuesday.

 

To end on a high note. A huge bravo and thank you to Steven whose excellent characterisation and superlative dancing as Basilio were a joy to behold. He not only sent me home smiling but, despite my reservations, left me looking forward to future performances with other casts.

 

 

[chrischris]

I went to the Lamb/ Bonelli performance today and while they were both great, the ballet itself didn't do anything for me. I didn't find it particularly funny, but it is too over the top to be moving, so I just felt a bit underwhelmed the whole way through. I understand some of the reviewers who have said that this style doesn't suit the RB. Lamb is perhaps too naturally cool for this role, but her final PDD with Bonelli was stunning.

[aileen]

Apparently, Melissa Hamilton also made heavy weather of the Queen of the Dryads variation.

[jmhopton]

I went to the Saturday night performance of Steven and Salenko. I thought Steven was superb but Salenko, while techically excellent, didn't do much for me in the role. I missed Osipova's attack and the way she dominates the stage by her amazing entrance and fiery technique. Like others (including Mr Crisp) I disliked the musical arrangements; finding it far too muted and not giving the dancers (and audience) the sense of excitement the ballet needs. I thought the costumes too, though quite pretty, were too muted in colour. (Everytime I saw Kitri's friends I was reminded of the review -surely it mut be Mr Crisp- who described the colour of their dresses as 'windowlene'!) The moving houses also seemed unnecessary as the town square - once the houses were to one side- was effective without needing constant movement which was just distracting; and possibly potentially dangerous. The house Gamanche was stepping off started moving when his foot was hardly on the floor. I didn't really like the gypsy scene. I thought it was too prolonged and rather dull and the shouting was an irritating distraction. I've no real objection to Carlos using the pas de deux music from Bayadere as Nureyev did but I thought that pas de deux in particular was a bit flat and needed better choreography. A major disappointment of the last act was the leap Kitri gives into Basil's arms. Osipova and Vasiliev made it a gasp out loud moment with their daring variations on this tricky and potentially dangerous movement. In this performance the whole leap is so mixed up with the performers getting on and off tables they have scarcely time to prepare and execute it at all. They may as well not have bothered. The whole movement needs a complete re-think.

This sounds as if I had a very negative attittude to the production which isn't really the case. the problem is that most British ballet goers - like me -  have only seen foreign (mainly Russian) productions of the ballet and need time to adjust to a more 'English' version. Also the abiding memory for most ballet goers is the Vasipova phenomenon whose style of dancing is very different. They have been so dominent since their debute together in 2007 that it may take a few performances for people like me who have seen all their Don Qs to fully appreciate different interpretations of the roles and the ballet. Steven was superb in the role; flirty and cheeky and brilliant technique. I liked the opening solo Carlos gave him (Like Nureyev did) and there was at least one other solo as well so Carlos has served the male dancers well. I thought the role of Mercedes could have been more developed. I'm sure she has more to do in the Bolshoi version and Mendizabal was brilliant. Loved Gary Avis as the Don and thought the prologue was better than usual; thought the idea of using the bedpost as a lance brilliant. Was slightly disappointed not to leave the theatre with the usual feeling of excitement after seeing Don Q but I do think it is a creditable production; far superior to the previous two and, unlike them, should stand the test if time with the Royal ballet - especially if the music can be made to sound exciting like it should be for Don Q.    Joan

[capybara]

Apparently, Melissa Hamilton also made heavy weather of the Queen of the Dryads variation.

 

I think that the amazing technique of the numerous Russian ballerinas we have seen as the Queen of the Dryads has caused us to underestimate the many challenges this variation presents.

[Don Q Fan]

Well after seeing all 3 performances this past weekend I am smiling from ear to ear.  I loved it from start to finish and I think it is my favourite AFTER the Bolshoi which is the definitive version IMHO.  I loved the choreography the sets, costumes and music.  I thought that the "wheelie horse" was fab - rather War Horse like but he seemed a very endearing creature well suited to the Don!

If I had to nit pick it would be that the Queens of the Dryads (Forskitt and Choe) need to practice their Italian Fouettes neither managed to do a "clean" set.  The Mariinsky do 16 this was barely 10.  Also I am not sure the Gamache character was quite right for me, I think the Bolshoi have him better.  I think that the costume swamped him a little as well but overall he was OK.

 

Of the 3 performances the stand out one for me (and JMcN will kill me for saying this) was McRae/Salenko.  They really pulled the stops out in the final act and Steve threw in some tricks in his jumps unlike the other Basilios.  Iana Salenko performed the most amazingly long balances en pointe so long that she drew huge applause.  I loved that!  I think the gypsy scene is one of my favourites especially when the guitars came on that was so atmospheric it was great and I really thought Carlos' idea to bring Dulcinea into the courtly dance was a stoke of genius as it reminds us of why the Don is dancing with Kitri.  The moving houses conjured up the feeling of movement down a street which I thought was very clever.  The dream scene was beautiful and the huge flowers make it seem that the ballerinas are tiny fairies.  Anna Rose O'Sullivan was a super Cupid/Amour! 

 

A few people were wondering about Sarah Lamb - well I found her to be a creditable Kitri - her dancing was great and she produced a very clean set of 32 fouettes.  She also brought a few humourous touches that I did not notice with Roberta Marquez or Iana Salenko and she made a bit more of the death scene.  Poor Sarah had even coloured her hair dark brown - and it was removing this "gunk"as one of the other dancers put it, that meant a huge delay in her getting to stage door - I had to leave due to a timed train to catch so missed seeing her.  I am not sure why the poor woman had to colour her hair I have seen several blonde Kitris before (Somova and Borchenko)- seems a little OTT to me.  Sarah was partnered by Federico Bonelli who told me it was his first time dancing Basilio in his career.  He made a nice job of the role.

 

I should mention Roberta and Alexander - they danced beautifully together - I am really glad Alexander got the opportunity to dance Basilio as it seems a role to which he is well suited.  I think given his head he too would throw in some specials when jumping like McRae maybe at this stage he is minding his p's and q's?!  It's only a matter of time me thinks.

 

I have to say this is one of the happiest ballets I have seen in ages and it was a real tonic for the soul.  It may sound corny but if I am feeling a bit down I often stick my Don Q CD in the player and that wonderful Minkus music immediately lifts my spirit.  All I can say now is roll on 16th for the cinema screening so I can see the costumes in detail and then the 26th to see Marianela and Carlos in real life! 

 

I know there have been a few critics of this production and having seen 3 performances now, I reckon if you do not want to see ballet with a hint of panto then don't go it's probably not for you.  I felt that this could be a good Christmas ballet too, definitely one for all the family, though I am not sure ROH would be so bold as to put this on instead of a Nutcracker. 

Edited October 7, 2013 by Don Q Fan

[LinMM]

Thanks for that.....I have the same feeling about Fille .....bound to cheer you up whenever you see it and sometimes I go just because I love the ballet and don't care too much who's dancing!!

 

If the Royal have produced another such happy ballet with a few over the top bits then great!!

 

I'm now going to try pot luck on the 26th too and just hope I get a return on the day...stalls circle standing would be great!!!!!!

[aileen]

It's nice of Alexander Campbell to thank (via Twitter) his BRB fans for their continuing support (and for coming to see him). It's a shame that I'm not able to see him.

[Jan McNulty]

That's the measure of the man!  I'm so glad I went.  Most unusually for us, we went to the stage door after the performance and he seemed really touched that a number of us had gone for his debut in role.  Thoughts later!

[Don Q Fan]

Thanks for that.....I have the same feeling about Fille .....bound to cheer you up whenever you see it and sometimes I go just because I love the ballet and don't care too much who's dancing!!

 

If the Royal have produced another such happy ballet with a few over the top bits then great!!

 

I'm now going to try pot luck on the 26th too and just hope I get a return on the day...stalls circle standing would be great!!!!!!

I totally agree - fingers x'd you get your ticket!!!

[Coated]

I liked it as a bit of fluffy fun. Unlike a lot of people, I quite liked the moving houses. Probably not the right thing to watch if you expect high art (whatever the precise definition of that might be) or deep emotional involvement.

 

Wasn't blown away by Sarah Lamb, but still enjoyed her performance. DonQ Fan mentioned the hair colouring she wore for the performance, and whatever they used didn't really work for the overall look - either that, or the make-up department decided to make her appear strangely washed out.

 

She was quite funny in the death scene, and I think that since my only other DonQ comparisions are the Bolshoi and the recent Vasipova I probably have quite outrageously high expectations when it comes to Kitri.

 

The thing I loooooved were the big purple flowers for the Dryads, and the slightly asymmetrical choreography for the corps, coming together for more classical symmetrical lines eventually. If that wasn't purposefully planned, then they should include it from now on.

 

Got a couple more performance to see, and after reading all the McRae/Salenko comments I'm really looking forward to Tuesday night.

 

It would have been nice if they had stayed away from the pastel costumes for some of the outfits, and it might be worth considering a Kitri costume that can be worn by dancers who don't have the complexion to carry of red and black.

 

On a slightly different topic, I sat very close to a couple of boys who watched the entire ballet with a minimum amount of fidgeting and zero noise. Very impressive for the younger than 8 crowd, and they only seemed to get really bored during the camp fire scenes - which I noticed since it had the same effect on me.

Edited October 7, 2013 by Coated

[chrischris]

 

On a slightly different topic, I sat very close to a couple of boys who watched the entire ballet with a minimum amount of fidgeting and zero noise. Very impressive for the younger than 8 crowd, and they only seemed to get really bored during the camp fire scenes - which I noticed since it had the same effect on me.

 

There were lots of incredibly well behaved children at the matinee on Sunday.

[JennyTaylor]

It seems like the moral of the story is ..........if it makes you happy, then go and see it multiple times.  If it doesn't, then leave it for those who do enjoy.  Highly interesting thread with such diverse and extreme views. 

 

Personally, I'm off to see Steven McRae and Iana Salenko tomorrow........and I can't wait. I'm also taking 2 friends, who I know will be completely wowed. It's a happy ballet - be happy.

[Dancefan]

Hmmm. Think I'm going to return my McRae ticket and just see Acosta / nunez. Unless anyone thinks that's a real miss? Is the McRae version better?

[hfbrew]

I wouldn't have missed McRae and Solenka for the world!

[John Mallinson]

Hmmm. Think I'm going to return my McRae ticket and just see Acosta / nunez. Unless anyone thinks that's a real miss? Is the McRae version better?

 

"Better" is very subjective. So far I've seen three casts: Salenko/Mcrae, Nuñez/Acosta, Lamb/Bonelli. The interesting thing is how very different they are, not how much better one pairing is than another. (Salenko is a great balancer, Acosta has great presence, Lamb is the funniest etc.)

[zxDaveM]

 

"Better" is very subjective. So far I've seen three casts: Salenko/Mcrae, Nuñez/Acosta, Lamb/Bonelli. The interesting thing is how very different they are, not how much better one pairing is than another. (Salenko is a great balancer, Acosta has great presence, Lamb is the funniest etc.)

 

 

vive la difference! :-)

[aileen]

I notice that tickets at various prices have become available for tonight's performance and Friday night.

[MAB]

I notice that tickets at various prices have become available for tonight's performance and Friday night.

What do you deduce from that?  That word is getting round that the production is a flop?

[Jan McNulty]

I wouldn't deduce that; I might think that someone is ill or unable to attend or perhaps read some critics and decided not to go.

 

I personally really enjoyed the performance on Saturday afternoon and would happily see it again (and give any of the casts a go)

 

I hope I'm not putting words in Aileen's keyboard but one or two people have expressed a late interest in going and she is highlighting late availabliity..

[Bluebird]

What do you deduce from that?  That word is getting round that the production is a flop?

I think that is a strange assumption. I was looking for a cheap ticket for a friend and I also saw Friday's  tickets suddenly become available.  Even the very expensive ones were very quickly snapped up. I've just checked tonight and there are a few left but, apart from some very expensive Grand Tier tickets,  they are mostly the very restricted view balcony standing day places.

Edited October 8, 2013 by Bluebird