RB season 2014-2015

[LinMM]

Why are these Matinees SO early?

 

Is it because some of the dancers are required to dance in an evening programme as well.....thus giving more rest time?

[Bruce Wall]

Vis a vis my earlier comments re: the new season cinema broadcasts ... It is very interesting to reflect on some of our American friends who so look forward to those screenings:

 

It's the repetition that I find frustrating -- we saw Alice and Swan Lake this year.  If I was following the company closely, I'd be pleased to get another go at those works, but they're using this medium to reach out to a larger audience.  I think they should present a broader view of themselves.

 

Another quote in response ... 

 

Agreed. In addition, ..... the RB has a very rich rep--let's see it!

 

----------------

 

I, myself, can't but help feel that there may be RB supporters (I use the word in reference to 'interest') in Cardiff and/or Preston, say, --- or Penzance --- who might well feel the same way.  This is especially true as I believe all four items have been previously screened.  That same can't be said of the full Bolshoi seasons which often have more than one cinema release premiere.  

Edited March 31, 2014 by Meunier

[alison]

Why are these Matinees SO early?

 

Is it because some of the dancers are required to dance in an evening programme as well.....thus giving more rest time?

 

I think it's usually either because there's an opera on in the evening, thereby fouling up the schedule, or because someone's trying to squeeze a stage rehearsal in between the two performances.

[alison]

I, myself, can't but help feel that there may be RB supporters (I use the word in reference to 'interest') in Cardiff and/or Preston, say, --- or Penzance --- who might well feel the same way.  This is especially true as I believe all four items have been previously screened.  That same can't be said of the full Bolshoi seasons which often have more than one cinema release premiere.  

 

They've never done a live cinema broadcast of Manon before: the last time it was shown in cinemas was the Rojo/Acosta recording.  What's the fourth one: Fille?

 

The trouble is, the RB has just about exhausted its supply of full-length ballets already, which is why we're having second (and more) goes at them.  Perhaps they've taken a look at figures for the Bolshoi and decided that it's not worth the gamble on less-well-known works?

[Douglas Allen]

I'm not so naïve as to think that planning a season is easy - I realise that there are budget constraints, income forecasts, teaching and rehearsal time, the need to have a "balanced" rep and so on - even the co-ordination with the opera company all have to be taken into account. I would be interested if someone did an interview with Kevin O'Hare about the mechanics of developing a season's programme and who actually participates. It's not a job I would relish myself, though I quite fancy myself in a Diaghilev-type role!! Having said that, I think that what is planned for next season looks pretty good. I can even force myself to say that the McGregor full-length looks interesting - something I never thought I'd ever say in public. So praise to Kevin O'Hare and the others involved for an interesting well-thought out series of ballets. What concerns me is not what is in the plans, but what isn't. Only three new works all season with both women and some other choreographers not present. The other concern is the imbalance between full-length and short ballets. Seven full-length ballets with 109 performances and only 12 short ballets (in four, fixed, programmes) with only 23 performances. With this ridiculous bias towards full-length ballets (about 83% of all ballet performances are of full-lengths), the Royal Ballet can't possibly do justice to its major chorographers such as Ashton and Macmillan, whilst preserving its very-wide ranging rep of ballets from the Diaghilev era, as well as Balanchine, Robbins, the Nureyev productions, etc, etc. The opportunities to commission new ballets from a wider range of choreographers is bound to suffer. Is the budget forecast so dire that the anticipated fall in box-office receipts wouldn't allow some slight reduction in the number of performances of the full-lengths (20 for Swan Lake, 19 for Alice, 18 each for Manon and Don Q)  to allow for another two or three programmes of shorter ballets? Incidentally, I think a pick 'n mix approach to the mixed programmes would be helpful in stimulating box-office interest.

[aileen]

Does anyone know why Song of the Earth is appearing in two programmes? There's some enticing stuff coming up but, as usual, there's something in every mixed bill that I don't want to see and if it's the middle piece it could mean the best part of an hour and a half hanging around. Apart from seeing Natalia and Vadim (not necessarily together) in Don Q and Vadim in Swan Lake, I'm inclined to give both those ballets, and Alice, a miss. I'm a bit doubtful about the full length McGregor; the subject matter seems difficult and I wonder what he will do with it choreographically. I'm glad to see some new and recently neglected choreographers producing work for the RB. I'm intrigued to see what Schechter will do with the company. Getting ZooNation in is a fun touch.

[Melody]

Vis a vis my earlier comments re: the new season cinema broadcasts ... It is very interesting to reflect on some of our American friends who so look forward to those screenings:

 

sandik, on 31 Mar 2014 - 4:53 PM, said:

It's the repetition that I find frustrating -- we saw Alice and Swan Lake this year.  If I was following the company closely, I'd be pleased to get another go at those works, but they're using this medium to reach out to a larger audience.  I think they should present a broader view of themselves.

 

 

Another quote in response ... 

 

Agreed. In addition, ..... the RB has a very rich rep--let's see it!

 

----------------

 

I, myself, can't but help feel that there may be RB supporters (I use the word in reference to 'interest') in Cardiff and/or Preston, say, --- or Penzance --- who might well feel the same way.  This is especially true as I believe all four items have been previously screened.  That same can't be said of the full Bolshoi seasons which often have more than one cinema release premiere.  

 

Meunier, where are you getting these quotes from? As an RB follower who lives in the USA, I'd be interested in having a look at the site where you found them.

Edited April 1, 2014 by Melody

[Bruce Wall]

Meunier, where are you getting these quotes from? As an RB follower who lives in the USA, I'd be interested in having a look at the site where you found them.

 

http://balletalert.invisionzone.com/

[Melody]

Thanks!

[SMballet]

Wow what a fab looking season. Can't wait. Here goes all my savings....

[Jan McNulty]

They've never done a live cinema broadcast of Manon before: the last time it was shown in cinemas was the Rojo/Acosta recording.  What's the fourth one: Fille?

 

The trouble is, the RB has just about exhausted its supply of full-length ballets already, which is why we're having second (and more) goes at them.  Perhaps they've taken a look at figures for the Bolshoi and decided that it's not worth the gamble on less-well-known works?

 

 

http://balletalert.invisionzone.com/

 

 

I think you may find that if you read the site mentioned by Meunier the American readers there are not fond of either Macmillan or Ashton so may well not see such broadcasts as worthwhile.

 

I fully agree with Douglas Allen's post #38. 

[Bruce Wall]

I think you may find that if you read the site mentioned by Meunier the American readers there are not fond of either Macmillan or Ashton so may well not see such broadcasts as worthwhile.

 

 

 

I'm surprised at this, Janet.  Certainly the success of the Ashton Festival by Sarasota Ballet (and its related symposium) might argue against a lack of American interest in Ashton.  I lived for 17.5 years in the USA - during that period at the end of the so-called 'dance boom' - and Ashton and MacMillan were - as far as I could tell - both hugely admired - in New York City at least.  For a brief period during that time MacMillan actually reigned at ABT.  The Joffrey also - then - did more Ashton than the Royal Ballet.  I would hazard to guess there might be interest and I agree with the American poster who suggested that these audiences need to be built.  I think the Bolshoi is gaining in this regard - certainly if the attendance at my local cinema of Marco Spada - (without hesitation a rarity) - was anything to go by.  

Edited April 1, 2014 by Meunier

[Jan McNulty]

I did mean the readers on the site not the whole American public Meunier!  I have been very surprised by some of the generally dismissive posts I have noticed over the years.  Actually the readers on the site don't seem overly keen on most European choreographers!

[Beryl H]

There's an interesting article in The Times today about Woolf Works, sounds very complicated but exciting.

 

The season is a real mix of good and bad for me, Onegin, Manon, the Ashton triple bill, new Brandstrup/Scarlett triple and the McGregor are great but too many Swan Lakes, Alice's and Song of the Earth's, I detest this ballet and it's on 2 triple bills!

[Bruce Wall]

I did mean the readers on the site not the whole American public Meunier!  

 

Bless you for that response, Janet.  Much appreciated.  

[Jan McNulty]

Bless you for that response, Janet.  Much appreciated.  

 

And I am so jealous of the ballet watching audience in Sarasota!

[Sim]

I think Aileen asks a good question.....why is 'Song' on two different bills?  Surely there are enough MacMillan short ballets that they didn't have to repeat one?! 

 

Aside from this, I too think it's an excellent season's programming.  I don't think I can sit through a full-length McGregor ballet, especially as I really like Virginia Woolf's writing.  I will defer to those who like his work, or who are more adventurous (or rich!) than I am. 

 

As far as the large number of SL or Manon performances, it is the old 'bums on seats' argument.  However, having said which, I've noticed in the past couple of years that the House is pretty much sold out just as much for triples as for the biggies, so do they really need that many performances?  Or is it perhaps to be inclusive so that they also cater for those people who only go once or twice a year and want to see something that they know they will like?

[alison]

And I am so jealous of the ballet watching audience in Sarasota!

 

Not to mention the someone I know who's just been out there for a couple of months!

[A frog]

 

 

As far as the large number of SL or Manon performances, it is the old 'bums on seats' argument.  However, having said which, I've noticed in the past couple of years that the House is pretty much sold out just as much for triples as for the biggies, so do they really need that many performances?  Or is it perhaps to be inclusive so that they also cater for those people who only go once or twice a year and want to see something that they know they will like?

 

The last run of Manon was actually far from sold out, I remember buying decent enough amphi seats for the Cuthberson/Polunin debuts barely a few weeks before the performance, and there were still plenty of empty seats on the night. Although it was then barely six month after the previous run, and I don't remember how well that one sold.

[FLOSS]

The Company has to break even at the end of the year and the full lengths subsidize the mixed bills.The mixed bills may be full but It would be interesting to know how many of the audience for the mixed bills go to more than one performance of a particular programme . Mixed bills are not necessarily cheap to mount.I can recall hearing Monica Mason saying on a number of occasions that it was all very well writing to her to ask for revivals of Les Noces, Song of the Earth, Gloria and Requiem but they we some of the most expensive ballets to programme because of the singers

 

.Personally I am very happy that they are reviving Song of the Earth and nine performances in two separate bills months apart will at least enable those who wish to see MacMillan's masterpiece to do so. I suppose I should not complain about a season that includes revivals of Symphonic Variations and Scenes de Ballet but even with this and the revival of Fille I still feel that they do not perform enough Ashton .There should be at least one Ashton full length each year as well more than one Ashton mixed bill. I wonder when are they going to revive Daphnis and Chloe another expensive work because of the chorus.

 

As far as the new McGregor is concerned I shall go and see it but without great enthusiasm.I do hope that he has learnt from Raven Girl,which seemed to go on interminably, that saying that you are making a narrative work and doing so successfully are two very different things. In fact I am more than a little surprised that O'Hare is prepared to gamble on giving him the opportunity to make a full length work given the cost of such an enterprise in time and money. I found it interesting to hear this new work being announced on Radio 4 news last night. I do not recall either Ashton or MacMillan having that sort of publicity given to them. It is apparently going to challenge the accepted conventions of narrative ballet so if it is concept laden and short on interesting choreography especially for the corps that will be because it is a challenging work not because he can not make narrative works.

 

 

 

 

 

 

 

 

 

out his works as heritage works and call them twentieth century classics

[Sim]

It is apparently going to challenge the accepted conventions of narrative ballet so if it is concept laden and short on interesting choreography especially for the corps that will be because it is a challenging work not because he can not make narrative works.

 

 

 

 

 

 

 

 

 

 

 

[Ian Macmillan]

What, pray, are the "accepted conventions of narrative ballet"?  Whatever they may be, according to quotations from Mr McGregor in today's Times, I see that they are to be challenged by taking a "non-linear narrative look at a long form piece of dance" to "see how we can interrogate it in a different way" and "see what we can do in a 21st century opera house that we have not done before."  I fear that the Programme Note is already writing itself.

 

Insofar as I understand the drift here, it's presumably nugatory if I point out that Cathy Marston's Witch Hunt, brought to the Linbury from Bern last year, was already "mashing up, splicing and going back and forward through periods of time" and I'm pretty sure there will have been others before her.

[Jan McNulty]

Pretty sure you are right Ian - nothing new under the sun!

[billboyd]

'It's a great moment for Wayne to have the place to himself. You'll come in and have the full McGregor experience.' - Kevin O'Hare (Dancing Times)

[billboyd]

I fear poor Clement will not be able to cope!

[FLOSS]

Well I do not know what " the conventions of narrative ballet" are either but in the news McGregor's new work was described as challenging them. Does anyone else recall if the announcement of the Royal Ballet's programme for the following year has warranted mention on the six o'clock news in the in the past or coverage on the 7.15 arts programme ? It would be lovely to think that this is all part of the BBC taking the arts, particularly ballet, seriously but it feels like hype to me. 

[Douglas Allen]

Wendy Whelan (soon to be ex-NYCB) and Edward Watson are due to give a programme of new (presumably contemporary) works which are to be premiered at the Linbury in 2015 followed by performances at City Center in 2016. I can't find any mention of this programme in the announcement yesterday. Dies anyone know if any mention of this was made at the press conference?

[Bluebird]

Wendy Whelan (soon to be ex-NYCB) and Edward Watson are due to give a programme of new (presumably contemporary) works which are to be premiered at the Linbury in 2015 followed by performances at City Center in 2016. I can't find any mention of this programme in the announcement yesterday. Dies anyone know if any mention of this was made at the press conference?

 

It's mentioned on pages 7 and 9 of the press release:

 

http://static.roh.org.uk/for/pdfs/press-releases-13-14/Ballet-and-Dance-2014-15.pdf

 

Edited to add that, on page 15 of the press release, the date for the production is given as July 2015

Edited April 1, 2014 by Bluebird

[Douglas Allen]

Many thanks Bluebird.

[toursenlair]

I'm surprised at this, Janet.  Certainly the success of the Ashton Festival by Sarasota Ballet (and its related symposium) might argue against a lack of American interest in Ashton.  I lived for 17.5 years in the USA - during that period at the end of the so-called 'dance boom' - and Ashton and MacMillan were - as far as I could tell - both hugely admired - in New York City at least.  For a brief period during that time MacMillan actually reigned at ABT.  The Joffrey also - then - did more Ashton than the Royal Ballet.  I would hazard to guess there might be interest and I agree with the American poster who suggested that these audiences need to be built.  I think the Bolshoi is gaining in this regard - certainly if the attendance at my local cinema of Marco Spada - (without hesitation a rarity) - was anything to go by.  

 

Are we sure we can talk about the "success" of the Ashton festival yet? I just checked their website and they seem to have sold about 250 tickets for a performance chosen at random, and that almost certainly includes comps for the press contingent!

[Fonty]

What, pray, are the "accepted conventions of narrative ballet"?  Whatever they may be, according to quotations from Mr McGregor in today's Times, I see that they are to be challenged by taking a "non-linear narrative look at a long form piece of dance" to "see how we can interrogate it in a different way" and "see what we can do in a 21st century opera house that we have not done before."  I fear that the Programme Note is already writing itself.

 

 

 

 

Good grief, I feel a headache coming on just reading that!  What exactly is wrong with a narrative ballet that has a good story with an obvious beginning, middle and end, summed up clearly and concisely in two or three paragraphs in the programme?

 

One which allows the audience to appreciate the dancing and acting of the cast without having to dive into pages of incomprehensible twaddle explanation from the choreographer that leaves the reader even more perplexed than when they started? 

 

However, my fingers are firmly crossed that the last part regarding things being done that have never been done before in the 21st century, actually means that Mr McGregor will come up with a ballet that I will like and want to see more than once.  That really will be first.....

 

P.S  Glad to hear that I am not the only one who hates Song of the Earth. 

[Mary]

Indeed, perhaps someone should  tell McGregor that people have been 'challenging the conventions' ever since the conventions came into being ..it isn't a new idea is it,  in fact it makes me think 'fifth form expressive arts class on a wet Wednesday afternoon', ho hum.

 

 

 I am interested to hear why people don't like Song of the Earth......

[Bruce]

Wendy Whelan (soon to be ex-NYCB) and Edward Watson are due to give a programme of new (presumably contemporary) works which are to be premiered at the Linbury in 2015 followed by performances at City Center in 2016. I can't find any mention of this programme in the announcement yesterday. Dies anyone know if any mention of this was made at the press conference?

 

It was mentioned - but only in passing. There was no more information that I can recall. I tweeted about it before the press event so it was certainly in the paperwork I was given.

 

Just checked and it's a co-production with the Joyce, so I suspect it will play there rather than at City Center.

 

It's certainly an interesting idea for a night and look forward to seeing what emerges. Takling bets that something from Christopher Wheeldon will be included!

Edited April 1, 2014 by Bruce