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Autumn Season

Deloitte Ignite 2014
Free opening festival curated by The Royal Ballet and Minna Moore Ede.

Throughout September

 

BalletBoyz theTALENT (Linbury Studio Theatre)

Former Royal Ballet dancers Michael Nunn and William Trevitt and their award-winning troupe come to the Linbury Studio Theatre for the first time, with an all-new programme.

16 | 17 | 18 | 19 | 20 | 23 | 24 | 25 | 26 | 27 September at 7.45pm

 

Manon
By Kenneth MacMillan
Music: Jules Massenet, orchestrated by Martin Yates

Kenneth MacMillan’s acclaimed tragic ballet is a modern masterpiece.

26 September at 7.30pm; 27 September at 12.30pm; 30 September at 1pm
1 | 7 | 8 | 9 | 10 | 13 | 15 | 16† | 25 | 29 October at 7.30pm; 4 October at 2pm and 7pm; 5 October at 12 noon; 11 October at 12.30pm
1 November at 7pm

† Live cinema relay

 

Scènes de ballet / Five Brahms Waltzes in the Manner of Isadora Duncan / Symphonic Variations / A Month in the Country
By Frederick Ashton
Music: Igor Stravinsky / Johannes Brahms / Cèsar Franck / Fryderyk Chopin

The Royal Ballet celebrates its Founder Choreographer, Frederick Ashton, with a mixed programme of some of his finest works.

18 October at 7pm; 22 | 28 October at 7.30pm
4 | 5 | 11 | 12 November at 7.30pm

 

Ceremony of Innocence / The Age of Anxiety / Aeternum
By Kim Brandstrup / NEW Liam Scarlett / Christopher Wheeldon
Music: Benjamin Britten / Leonard Bernstein / Benjamin Britten

A Scarlett world premiere and two recent works by Brandstrup and Wheeldon: contemporary ballet at its finest.

7 | 13 | 14 | 17 November at 7.30pm; 8 November at 2pm and 7pm

 

Cassandra NEW (Linbury Studio Theatre)
By Ludovic Ondiviela
Music: Ana Silvera

Choreographer Ludovic Ondiviela and singer songwriter Ana Silvera present a poignant exploration of what it is to be described as mad.

30 | 31 October at 7.45pm
1 November at 2pm

 

Mapping / Document / Christopher Bruce (Linbury Studio Theatre)
By Darshan Singh Bhuller / Ivgi & Greben / NEW Christopher Bruce
Phoenix Dance Theatre

Phoenix Dance Theatre presents a mixed programme including a Christopher Bruce premiere and works by Darshan Singh Bhuller and the choreographic duo Ivgi & Grebem.

25 | 26 | 27 | 28 | 29 November at 7.45pm

 

Don Quixote
By Carlos Acosta after Marius Petipa
Music: Ludwig Minkus, arranged and orchestrated by Martin Yates

Carlos Acosta’s exuberant production of this classic tale of friendship, love and loyalty is bursting with joie de vivre.

25 | 27 | 28 November at 7.30pm
12 | 15 December at 7.30pm; 20 December at 1.30pm and 7pm; 29 December at 7pm; 30 December at 12.30pm
3 January at 1.30pm and 7pm; 5 | 7 | 8 | 14 | 19 | 21 | 22 January at 7.30pm

 

Alice’s Adventures in Wonderland
By Christopher Wheeldon
Music: Joby Talbot, orchestrated by Christopher Austin and Joby Talbot

Follow Alice down the rabbit hole in Christopher Wheeldon’s thrillingly entertaining ballet.

6 December at 1.30pm and 7pm; 10 | 16† December at 7.30pm; 19 December at 2pm and 7.30pm; 22 December at 12.30pm; 23 December at 1.30pm and 7pm; 24 December at 12 noon; 27 December at 1.30pm and 7pm; 31 December at 12 noon and 5pm
10 January at 7pm; 12 | 15 | 16 January at 7.30pm

Welcome Performance for Families on 10 January at 1.30pm

† Live cinema relay

 

The Mad Hatter’s T Party NEW (Linbury Studio Theatre)
ZooNation

ZooNation burst onto the stage with their family Christmas show, a wonderfully wacky take on the madcap characters of Lewis Carroll’s Alice’s Adventures in Wonderland.

Previews: 6 December at 12.30pm and 5pm; 8 December at 7pm

9 | 10 | 11 | 12 | 15 | 16 | 17 | 18 | 19 December at 7pm; 13 | 20 | 22 | 23 | 27 December at 12.30pm and 5pm; 24 | 31 December at 12.30pm; 28 December at 2pm; 29 | 30 December at 5pm
2 | 3 January at 12.30pm and 5pm

 

Winter Season

Onegin
By John Cranko
Music: Kurt-Heinz Stolze after Pyotr Il’yich Tchaikovsky

John Cranko’s adaptation of Pushkin’s verse-novel, set to music by Tchaikovsky, trembles with emotional charge.

24 January at 2pm and 7pm; 27 | 28 | 30 January at 7.30pm; 31 January at 12.30pm
2 | 4 February at 7.30pm; 7 February at 12.30pm; 11 February at 2.30pm and 7.30pm; 16 | 18 February at 7.30pm; 27 February at 2.30pm and 7.30pm

 

Swan Lake
By Marius Petipa and Lev Ivanov, additional choreography by Frederick Ashton and David Bintley
Music: Pyotr Il’yich Tchaikovsky

Anthony Dowell’s production of the greatest romantic ballet draws upon the opulence of 1890s Russia.

10 | 13 February at 7.30pm; 14 February at 7pm; 19 February at 2pm and 7.30pm; 21 February at 1.30pm and 7pm
13 | 16 | 17† | 18 | 19 | 25 | 26 March at 7.30pm; 14 March at 12.30pm; 21 March at 1.30pm and 7pm
2 | 7 | 9 April at 7.30pm

† Live cinema relay

 

London International Mime Festival (Linbury Studio Theatre)

The acclaimed annual festival returns to the Linbury Studio Theatre.

TBC January

 

Murmur / Inked  (Linbury Studio Theatre)
By Aakash Odedra

Aakash Odedra dances an exhilarating mixed programme, created in collaboration with choreographers Lewis Major and Damien Jalet.

23 | 24 January at 7.45pm

 

Draft Works (Linbury Studio Theatre)
By The Royal Ballet

Dancers from within the ranks of The Royal Ballet create and perform experimental new works.

24 | 26 February at 7.45pm

 

Ballet Black (Linbury Studio Theatre)

The award-winning company presents a dynamic mixed programme from leading choreographers.

10 | 11 | 12 | 13 | 14 February at 7.45pm

 

Spring Season

The Bayadère Project (Linbury Studio Theatre)
By Shobana Jeyasingh
Music: Gabriel Prokofiev

In a new Royal Opera House commission Shobana Jeyasingh reimagines Marius Petipa’s India-set classical ballet.

25 | 26 | 27 | 28 March at 7.45pm

 

The Four Temperaments / Hofesh Shechter / Song of the Earth
By George Balanchine / NEW Hofesh Shechter / Kenneth MacMillan
Music: Paul Hindemith / TBC / Gustav Mahler

Masterpieces by Balanchine and MacMillan frame a world premiere from Hofesh Shechter in The Royal Ballet’s thrilling mixed programme.

27 | 30 March at 7.30pm
8 | 10 | 14 April at 7.30pm

 

La Fille mal gardèe
By Frederick Ashton
Music: Ferdinand Hérold, arranged and orchestrated by John Lanchbery

Frederick Ashton’s joyful ballet contains some of his most brilliant choreography.

16 | 21 | 22 | 23 | 24 | 28 | 29 April at 7.30pm; 26 April at 3pm
2 May at 2pm and 7pm; 5† May at 7.30pm

† Live cinema relay

 

Summer Season

Woolf Works NEW
By Wayne McGregor
Music: Max Richter

Royal Ballet Resident Choreographer Wayne McGregor presents his first full-length ballet for the Company.

11 | 13 | 14 | 15 | 20 | 21 | 26 May at 7.30pm; 23 May at 12 noon

 

Afternoon of a Faun / In the Night / Song of the Earth
By Jerome Robbins / Kenneth MacMillan
Music: Claude Debussy / Fryderyk Chopin / Gustav Mahler

The Royal Ballet’s mixed programme brings together two of Jerome Robbins’s masterpieces with MacMillan’s powerful depiction of love and loss.

29 May at 7.30pm; 30 May at 12.30pm
1 | 4 June at 7.30pm

Welcome Performance for Families on 29 May at 1.30pm

 

The Architect / mixed programme (Linbury Studio Theatre)
By Kenneth MacMillan / NEW TBC
Northern Ballet

One of the UK’s leading touring companies visits the Linbury Studio Theatre with a mixed programme.

The Elves and the Shoemaker
By Daniel de Andrade

Northern Ballet presents new children’s ballet from its award-winning series Short Ballets for Small People.

TBC May

 

Springboard (Linbury Studio Theatre)

Rambert School of Ballet and Contemporary Dance; Verve; Ballet Central; Dutch National Ballet

1 | 2 | 3 | 5 | 6 June at 7.45pm

 

The Royal Ballet School Summer Performances

12 July at 12 noon (main stage) | TBC July (Linbury Studio Theatre)

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So ...... "Woolf Works," Wayne McGregor' first full-length work for the RB.  I don't doubt that it will be welcomed by many but, for me, that programming decision is what Sir Humphrey might have described as 'brave.'  I rather think that Mr McGregor said all that he had to say in "Chroma," with its successors adding little of value, and I'm highly dubious about the strength of his choreography carrying a full-length work.  The likelihood, I'd say, is that it will be expensively framed and lit, and discoursed upon at length in a fairly impenetrable Programme Note.  I see too that it will be for 'the Company' - and if that be true, that will be a first, given his propensity for working with a limited group of dancers.  But, and admitting it's a cheap shot, perhaps there will be understudies and, possibly, a second cast?

 

Nonetheless, it will be liked by those who like that sort of thing.

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So ...... "Woolf Works," Wayne McGregor' first full-length work for the RB.  I don't doubt that it will be welcomed by many but, for me, that programming decision is what Sir Humphrey might have described as 'brave.'  I rather think that Mr McGregor said all that he had to say in "Chroma," with its successors adding little of value, and I'm highly dubious about the strength of his choreography carrying a full-length work.  The likelihood, I'd say, is that it will be expensively framed and lit, and discoursed upon at length in a fairly impenetrable Programme Note.  I see too that it will be for 'the Company' - and if that be true, that will be a first, given his propensity for working with a limited group of dancers.  But, and admitting it's a cheap shot, perhaps there will be understudies and, possibly, a second cast?

 

Nonetheless, it will be liked by those who like that sort of thing.

i agree a brave move but lets hope he has a 2nd cast for this after last time!!!!

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....and let's hope this time around a second McGregor cast will be rehearsed AND shown and please make him use "the Company" and not only his usual limited group of dancers! (for me that's one of the reasons I am bored watching his new works)

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Wonderful to see Ferri returning for the new McG. Also wonderful to see the collaboration between Whelan and Watson, two extraordinary artists. Would love to see a Osipova/Muntagirov Month or a Hayward/Hay Fille or a Hayward/Muntagirov Faun. Sure there will be many delights in store. Only a shame that Ashton triple not being relayed in cinemas. That audience needs developing too methinks. Still it may be more a matter of rights than anything else.

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Wonderful to see Ferri returning for the new McG. Also wonderful to see the collaboration between Whelan and Watson, two extraordinary artists. Would love to see a Osipova/Muntagirov Month or a Hayward/Hay Fille or a Hayward/Muntagirov Faun. Sure there will be many delights in store. Only a shame that Ashton triple not being relayed in cinemas. That audience needs developing too methinks. Still it may be more a matter of rights than anything else.

There are a few others who'd make wonderful debuts in Month in the Country and Faun  :)

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So, after all the speculation, we have a very enticing season (and a lot of expenditure!!!!)ahead of us.

 

But this appears to be the first year for ages that they haven't issued the casting for Booking Period 1 alongside the news of the new season. Unfortunately, since booking doesn't start until June, we may have to wait a while to learn that.

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I'm extremely excited about Onegin. I notice that the first day, 24th January, has two performances scheduled, a matinee and the evening. Is this usual? And is it fair to assume that the stellar cast (Osipova, she says longingly) would take the evening performance? I'm trying to see whether prices have increased, but haven't found anything yet.

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....and let's hope this time around a second McGregor cast will be rehearsed AND shown and please make him use "the Company" and not only his usual limited group of dancers! (for me that's one of the reasons I am bored watching his new works)

 

He pretty much used half the company (or more)  in 'Carbon Life' (which I thought was terrific). Some parts of Raven Girl were really cool and held the narrative well I thought (though there was an awful lot of impenetrable gloom too!) - so i'm optimistic it will be great if combining the best elements of those, and pieces like Infra.

 

As for the limited group of dancers - most choreographers are guiilty of this 'favouritism' (for want of a better word). I doubt they'd want to work with those that they don't get on with (personally or choreographically) but would return to dancers that 'get' their language. And as far as I can remember, Mr McGregor has cast quite a wide range of dancers, as well as a few that are near constants (those that really seem at home with what he wants)

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I'm extremely excited about Onegin. I notice that the first day, 24th January, has two performances scheduled, a matinee and the evening. Is this usual? And is it fair to assume that the stellar cast (Osipova, she says longingly) would take the evening performance? I'm trying to see whether prices have increased, but haven't found anything yet.

 

It's not unusual.  In those cases, the critics normally attend the evening performance.

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I think it is indeed a 'brave' decision for McGregor to do another full length work but I am pleased that ROH are willing to take the risk as I thought Raven Girl showed genuine promise. I'm really excited that Woolf is to be tackled, I love the film (and book)  The Hours which Mrs Dalloway is based on so both nervous and excited by what might be done with it. Max Richter seems an excellent choice as part of this collaboration and I hope McGregor and he can match, or even beat the pull of the heart and mind that Infra had. I know lots of people think it will just be 'more of the same contortions' from McGregor and to be honest I did not like his last piece (pseudo Cunningham-seemed very dated) but I think, at his best he can pull extraordinary performances out of some of the dancers. I just hope in Woolf Works the emotional capacity of dance is as tested as the dancers anatomical limits.

 

On the downside I have to say that I am gutted that neither Les Noces nor Les Biches have been given much needed outings. The latter in particular I fear is in danger of being lost to The Royal Ballet as so few of the current generation have danced it. And on a related note it does sadden me that ROH once again seems a 99.1% female choreographer free zone. Shobana Jeyasingh seems to be the only woman choreographer listed and that is in the Linbury. Perhaps Kate Prince might choreograph for ZooNation too but ROH's lack of female choreographers, both support and development of is not excusable in 2014.

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So glad to hear that Dave, thanks.  :) Especially as in my previous post I deleted my lament about McNally not being given the same platform as others. For example Ondiviela, -whose piece I do really want to see, but the cynic in me help feeling that he has been allowed to leapfrog- McNally by having an evening of his work, even though she is the more experienced choreographer. Wish they could have maybe give McNally a longer/bigger platform rather than what I expect will be a fleeting piece in a short  festival which sometimes does not get the same exposure as events in Linbury and mainhouse. Then again, hopefully I will be proved entirely wrong and the whole festival might be dominated by fresh female choreographic talent.

 

I suppose we should be grateful for small crumbs-but why can't we have a slice of female choreographic cake ever?  ;)

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Kate....and others:  do keep an eye out for the young and immensely talented Charlotte Edmonds, who graduated from White Lodge last year and is now studying at Rambert.  She won the Senior Choreographic prize twice at White Lodge, as well as the junior prize.  Her works have been shown in the Linbury during the school shows, and she has just done a wonderful piece for Yorke Dance Project which will be touring later in the year.  Much interest has been shown in her at high levels, so I am anticipating that she will be one of the future young talents shining a light on female choreographers!

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So glad to hear that Dave, thanks.  :) Especially as in my previous post I deleted my lament about McNally not being given the same platform as others. For example Ondiviela, -whose piece I do really want to see, but the cynic in me help feeling that he has been allowed to leapfrog- McNally by having an evening of his work, even though she is the more experienced choreographer. Wish they could have maybe give McNally a longer/bigger platform rather than what I expect will be a fleeting piece in a short  festival which sometimes does not get the same exposure as events in Linbury and mainhouse. Then again, hopefully I will be proved entirely wrong and the whole festival might be dominated by fresh female choreographic talent.

 

I suppose we should be grateful for small crumbs-but why can't we have a slice of female choreographic cake ever?  ;)

 

Perhaps she will get more opportunities when she stops dancing. Kristen may have more time then too, to develop her fabulous ideas. If i had the power, I'd commission her tomorrow, I can't deny.

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I attended the presentation of next season’s opera and ballet programmes but have little to add to what’s already been said here and appears in the press release.


 


Not mentioned in the press release is a new Royal Ballet Artist Development Programme, somewhat akin to the Jette Parker Young Artists in the opera field. It will be a year’s attachment for graduates (number not specified), open to all. No detail was given.


 


Wayne McGregor’s Woolf Works is based on the writer’s life and her novels: Orlando, The Waves and Mrs Dalloway were mentioned. He seems keen on the idea of non-linear narrative, so don’t expect a conventional story piece. He mentioned that he is working with a dramaturge for the first time and was excited by the idea of bringing Alexandra Ferri back to the Opera House after some 10 years.

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Yay for Manon, Don Q and Onegin.

No matinee of Month in the Country :-(

Yet again we have those terrible matinee start times - we have far too many 12noon 12.30 starts how are people not in London supposed to get there in comfortable time, dear me that 's just awful timing.  So bad.

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There's a YouTube preview of the season. Looks good, but I'm surprised they're bringing Swan Lake and Month in the Country back so soon after the last performances. Then again, any time the Royal does Ashton is a matter for celebration.

 

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Sim:  As delighted as I am to hear about young Miss Edmonds, I simply reflect upon Cathy Marston, a choreo prizewinner in the Upper School, later Artist in Residence for ROH2 with glowing reviews for much of what she did there .... and not a footstep on the main stage for the RB.  But one day, something must give for these young women.

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Sim:  As delighted as I am to hear about young Miss Edmonds, I simply reflect upon Cathy Marston, a choreo prizewinner in the Upper School, later Artist in Residence for ROH2 with glowing reviews for much of what she did there .... and not a footstep on the main stage for the RB.  But one day, something must give for these young women.

I completely agree about Cathy, Ian.  I really like her work and would love to see her create a piece for the main stage.

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There's a YouTube preview of the season. Looks good, but I'm surprised they're bringing Swan Lake and Month in the Country back so soon after the last performances. Then again, any time the Royal does Ashton is a matter for celebration.

 

 

 

Wasn't Month in the Country three years ago already? And they do Swan Lake every other year anyway.

 

The programme looks amazing, and I'm sure I'll end up seeing most of it. But I can't help be a little disappointed that, even though I've only been attending Royal Ballet performances for only a few years, there are only four of the short ballets I haven't seen previously (not including the premieres). Surely they have more than that in their repertoire.

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A little ironic that the great feminist writer Woolf's work is described in the press release as "seminal".

I think 'The Hours' is based on 'Mrs Dalloway' not the other way round Kate but I am sure that is what you meant. I agree with you so much about the lack of female choreographers-I wrote to the RB about it 2 years ago and they said it wasn't an issue for them- it is for many of us though and it should be a priority just as they make special efforts to involve boys in dance, quite rightly.

 

I am not sure what Mc Gregor will make of Woolf, -but it should be interesting!

 

A wonderful season and nice to see so much joy on the forum.

I was just re reading Julie Kavanagh's great biography of Ashton and thinking how much I'd love to see Symphonic Variations again and up it comes-hurray.  Kavanagh writes extremely well about it  in chapter 11-good background.

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