Jam Dancer

On 11/10/2018 at 18:00, ninamargaret said:

Seems that ballet may be a bit late in catching up! The RSC put on the Henry VI plays around 2002 and, shock and horror, cast a black actor as Henry. There was much consternation at the time. Since then it has become so normal to have 'black' actors playing 'white' parts that very few people would even comment on it. The big stumbling block is of course Othello,where generations of white actor can. no longer play the role.

Really?😳

On 11/10/2018 at 02:03, Lindsay said:

(although I do wish they would stop casting dark skinned dancers disproportionately frequently as the caterpillar in Alice....)

Interesting that you say that  -  the role was created on Eric Underwood so I guess that’s why?   The male lead in Agon which was created on Arthur Mitchell has often been cast that way every time I’ve seen it..

On 10/10/2018 at 22:34, penelopesimpson said:

Why on earth should it matter what colour the dancers are?

Who said that it should matter ?  That was not the point of my post.

But actually in one sense  it does matter .. representation matters. You might feel differently because it’s not the vantage point from which you see things but if there are others fully willing, able, and talented enough  who want to dance and are not getting the opportunity, it matters.   Also in another sense, if it didn’t matter the experience of many wouldn’t have been what it has been and still continues to be. 

If you mean that it doesn’t matter to you what colour the dancers then fine but there are other people for whom it matters in very different ways...

4 hours ago, Richard LH said:

Unless there is some evidence of racism  I don't think we should try to imagine it might be there, simply based on some notion of what others might be assuming. I see that as being perfectly fair and rational, and not complacent.

As to the second, the concept of exclusivity under discussion has been in connection with selection on ethnicity. Does a broad swathe of the public actually believe the RB selects on this basis? Surely not, but anyone who might think so just needs to be referred to relevant background details of the company's dancers.

To debate the dubious  idea that "ballet is elitist" because of the other sort of factors you mention, would be to change the subject under discussion here.

I don’t think that a broad swathe of the public believes that the RB selects on that basis but I do think that a broad swathe believe that ballet selects on that basis and if so, why not the RB? It happens in other fields and other institutions so why not ballet or the RB? This has been the experience of many in ballet so how can anyone be so sure the RB is immune? I am not claiming that it is but I certainly don’t agree that it is so readily apparent that it isn’t if one would only look at the background of the dancers.

3 hours ago, Richard LH said:

But as Alison points out, this is not correct, and unfortunately reflects a very dated perception.

The RB dancers have very diverse origins... see http://www.roh.org.uk/about/the-royal-ballet/dancers. I can't detect any selection criterion  based on where a dancer comes from or their skin colour.

I am not sure that was a point that was made. No one said that there was any such criterion.  Perhaps you and I can't detect any such criterion but that doesn't mean that other people don't think that it exists and  exclude themselves.  Also let's be real, it there were such a criterion, do you think it would be obvious to us all?   What I got from what was attempted was nothing more than "we're here and you too can be here - if you have the talent, the possibility exists".   That's a powerful motivator for man people

I don't think that the ROH is elitist and I don't think ballet is either but I DO see how they can very much be perceived to be that way. I am not sure what  is the best way of addressing the issue but this was a stab at it.   There are issues that many people have experienced and written about (credibly) and that still do exist and that should be discussed. 

I just wonder though... if we saw a  company wit the majority of dancers with  origins from Rwanda and Ghana, Martinique and St Lucia,  Uganda and Kenya, Zambia and Sudan, etc, would the diversity of origins be obvious to us all and would we be rushing to point this out ?

On 03/10/2018 at 01:07, Naomi M said:

 

I was also watching from Japan, and during the stream of Australian Ballet, in our own National Ballet of Japan section, the streaming was frozen for quite a while and when it was back the section was finished. (well the Australian Ballet part full video is already on YouTube) It seems it was not only me but the majority who were watching. Also sometimes the quality of the streaming was not good during the Unknown Soldier segment.    

I watched the Australian Ballet section in the morning and had no issues at all  - in the evening, the only problems I encountered were with the BRB section and with a bit of the Mayerling review.  Many issues with streaming are not necessarily the source...people are predisposed to thinking this for example when they are watching on a device that is connected using wifi not realising that this affects how you receive what you see

I am watching from Tokyo, Japan  and apart from the issues around the BRB segment and at the start of the Mayerling  rehearsal, I have had no issues.  I am sure  many people have issues but on the other hand,  some of those issues will de due to the infrastructure that they are using to watch the broadcast. 

28 minutes ago, Marg S said:

No you are not the only one. And the buffering is only adding to my frustration after the silent BRB section

Sorry but buffering occurs because of the receiving infrastructure not because of the source.... If you have slow broadband or a slow device you will have buffering... It is not because of FB or the ROH.

I work with one of the biggest live events in the world and I am not making an excuse for anyone but this is a huge undertaking.  With live broadcast and live streaming things can go wrong  and obviously something did. I think the use of Facebook might have something to do with taking advantage of the infrastructure that Facebook already has in place. It is already used for live sport events and the like.   It's a pity that there were some glitches and it's obviously frustrating but I just adore the promotional effort that I won't complain....

I was saddened to read this mess this morning. I admired Arthur Mitchell and all he accomplished. I will never forget being a super with DTH for a performance of Firebird during their tour of Atlanta in the early ‘90s. Thank you sir for creating a company that introduced me to the likes of Judy Tyrus, Tai Jimenez, Endalyn Shellman-Taylor, Stephanie Dabney, Donald Williams, Charmaine Hunter and others. I also recall seeing the original DTH in a performance of the majestic Dougla (not a classical ballet piece) that I think is imprinted on my being somehow.

Rest in peace

Well I finally got to see the new Swan Lake production even if it was in the cinema.  I saw it last week at Toho Cinemas (Nihonbashi) here is Tokyo on an extra large screen and I was blown away.  I've not been able to see the Royal Ballet over the last year in the same way I'd been able to over the previous ten years and perhaps that makes a difference. There have been lots of discussion about all the details so I won't go there again.  

I was hugely impressed with the production and the quality of the dancing. During the credits, I noticed that Laura Morera was involved in coaching the principals and I thought that was divine justice.  

I agree with those who mentioned that perhaps tutu's weren't as effective for the Princesses from the different countries.  I am not sure about the ending but I'd already ready several pages of forum discussion on that so I knew what to expect.

I hope the next outing of the ballet improves on what was done this season. 

Hello there!

I am based in Tokyo these days and I went to Friday night's performance. It was just wonderful!  I should say that I've been missing the Royal Ballet since leaving London last September.

I am not one for detailed in-depth reviews so I'll just say that I very much agree with Naomi's  review.   Warning: This is more likely to be a wandering ramble of comments that anything else.

What a stable full of talent the RB has these days. I was so impressed by Calvin Richardson and Jospeh Sissens ... so versatile and both working on choreography.  The Mowgli tap dance number that  Joseph performed as the show's closer with all the nods to the African dance influencing popular dance was a highlight for me. I loved Calvin's version of the Dying Swan as we'll ...very interesting and a piece that I think would be draw to draw the uninitiated into a bit of classical ballet.

Laura Morera his back and fit as a fiddle and  her and Ricardo in the Cathy Marston piece was a treat I think they performed just for me! I've so missed seeing the two together.

And Yasmine....Oh my goodness Yasmine Naghdi.  I was there when she made her debut in Romeo and Juliet with Matthew Ball but that Yasmine is no longer. She is even more radiant more confident, lovely, lovelier, loveliest  and a delight to watch.  So enjoyed the pas de deux with her and Matthew and the  With Alexander Campbell in the Two Pigeons pdd.

Lauren and Vadim in the Sylvia pdd and then Lauren and Vadim in the Diamonds pdd....Eat your heart out those of you who will be regular attendees at ROH when the new season starts - this treat was just for us here in Tokyo.   Considering I won't see the company until December and I'll only be able to see The Nutcracker and the Les Patineurs mixed bill, I lapped up everything on offer on Friday evening. Beautiful, beautiful...Vadim brought the house done in Sylvia

Akane Takada who has always been lovely was so delicate and ethereal in La Sylphide.  How do they get the height on those jumps from what seems to be a standing position? Her and Joseph Sissens were just bounding off the floor from what looked like simple knee bends to me ( I wear spectacles). When I was "dancing" I needed to attain the take off speed of a 747 to  to get my jumps that high.

Then Akane and Ryoichi Hirano made me like something about Raven Girl...I would've thought that was nigh on impossible but the pdd was engaging and it was lovely to see them both imbue some warmth and character into something that I remember as a bit cold and mechanical  both times I saw the ballet.

Matthew Ball and Laura Morera in the Dangerous Liaisons  pdd...another treat. The intensity of the piece and the partnering skills that involved... I think Matthew is working on his partnering skills because I 'm sure most of you know that when Laura gets into the zone in a dramatic piece, she just goes for it. Matthew acquitted himself quite well. I'never seen this piece before.

I won't go on anymore...All the dancers were  on great form.  The setting was intimate but I wished the hall were full but nevertheless it was a good turnout.  Perhaps as Naomi M mentions, the promoters didn't get the word out because I am sure many more Japanese dance fans would've enjoyed this.

On 18/07/2018 at 07:04, Livia said:

 

Janet, my dear, I have no desire to teach you, I would never presume. We are both femmes d'un certaine âge. We are equals my dear, I no pedagogue, you no pupil. I'm merely starting conversations and opening up debate. I've shifted the focus from hagiography to exchange. Might I suggest, if you do wish to expand your knowledge you research some adult learning courses? There are many marvellous ones out there and full resumés of course tutors are provided before payment taken. 

Ok - if you are going to put on airs, don’t make fautes de debutants. Age is masculine in French - “femmes d’un certain âge”. Perhaps some of the time spent watching the Bolshoi could have been better spent reviewing your French grammaire. I could recommend some books which may help you to clean up your fautes d’orthographe. Or perhaps you should stick to a language in which you don’t make very silly errors whilst trying to sound grand? 

On 18/07/2018 at 04:56, Livia said:

 

I believe you've answered your own question there, my dear Janet. You have the passionate, loving all-forgiving eye of the ardent supporter which is a wondrous thing.

 

Sadly my criteria are more from the jaded perspective of the professional eye, a curse, I know, but must one really all sing from the same hymn sheet?

 

 

 

Obviously a professional eye that’s not much in demand

lately and with not very much to do...So only professional dancers are able to comment  « correctly » on ballet performances ? The rest of us should just sit down and listen to you ? And here I was thinking that with all my lessons and amateur exploits many moons ago I could really decide for myself what I think is good or not.🤔

On 18/07/2018 at 04:18, Livia said:

My wish list? To see the corps just once, properly rehearsed, on top of their legs, not looking strained, scared, all in unison and back in mastery of classical technique. 

Is there a priest in the house? Me thinks we need an exorcism ...😳

On 05/07/2018 at 23:57, Naomi M said:

 

We do have the ROH cinema relay here in Japan, and it usually runs for a week! Although it arrives late (Swan Lake will be in cinemas from August 24th) better than nothing.

http://tohotowa.co.jp/roh/　（in Japanese)

 

And we also have some broadcasts of ballet such as Woolf Works, Akram Khan's Giselle occasionally.  

Thank you Naomi! I hadn’t even thought of that. I will definitely be booking for that. I can read enough Japanese to figure out the important bits and then there is always Google Chrome when I really don’t feel like challenging myself at all.😊

30 minutes ago, alison said:

 

All those chances to see Ricardo Cervera perform again  

Ooh goodie for me!

Since I relocated to Tokyo earlier this year (for work) I’ve missed out on everything. I did see BRB’s Sleeeping Beauty with Alina Cojocaru and that made me miss everything more. My only hopes are of catching the RB soonish is to orchestrate a trip home for the Symphony in C mixed bill next year .

On 19/06/2018 at 19:11, Xandra Newman said:

Alison, it's not a battle at all but a simple observation, an observation which is talked about amongst balletgoers. They are both wonderful artists, amongst a few others.

 

Based on what facts? How do we know that the RB Press is driving what you say they’re driving?

1 hour ago, Jamesrhblack said:

Thanks Sim, I was really discouraged post Giselle with one or two very sharp retorts so I’ll consider my thoughts and determine whether or not I’ll post them.

Actually when I get those it makes me more determined to put my thoughts on here. Your opinion is as valid as anyone else’s. Don’t be put off.

I miss not being able to contribute to the discussion but I am  enjoying the reports and opinions on the performances.

I must admit that I might be the only person who gets bored with the fouettés. The cult like reverence accorded to this part of the performance (by some) has always put me off. Although I realise (and appreciate) the skill required to do 32 of these thingies,   I am yawning by the 10th and wishing the dancer would mix it up a bit.

Happy to hear Osipova mixed it up a bit - I would’ve enjoyed that! Girl after my own heart ....😍

On 12/04/2018 at 19:31, Xandra Newman said:

She's a dancer I like a lot too but wasn't she only just promoted to soloist last season? I think it would be a tat too fast for her (knowing there is also Magri and Heap and last but not least the beautiful Fumi Kaneko who's been a soloist for several years now).

Fumi has also been injured for two long spells if I am not mistaken so this is perhaps why she's been at soloist level for so long... she is a beautiful dancer and I doubt that she is being overlooked.

On 12/04/2018 at 19:18, Xandra Newman said:

Correct, she danced one performance as Aurora and it is only normal to have at least danced one full length classical tutu role when one has become a principal don't you think?

She dance done performance as Aurora very well even though she was ill and had to miss her second scheduled performance due to illness.  I have been around ballet long enough to know what some people mean about one dancer being very classical but I find that often the term is misused and overused and gets my back up and  I shall stop here and not go on with the rest of what I think....

8 hours ago, alison said:

Quote

Whether its Borg / McEnroe, Callas / Tebaldi, or indeed Hayward / Naghdi, people will seek to set one over the other, and yet was it not Martina Navratilova who said that if Chris Evert hadn’t been around at the same time, each might have won more titles but been a less good player.

 

Very true.  (And carrying on the tennis analogy, Nadal and Federer have said the same).

True ! Their prerogative I guess but I won’t ever cease to find it tiresome and boring... 

3 hours ago, JohnS said:

Many thanks again to bangorballetboy for curtain call photos and Bloomsberry Flowers.  A very busy weekend for them and how richly Francesca deserved all her bouquets.

Curtain call photos !?😳 Any chance of seeing those? The interest of being at work at the Winter Olympic Games is not making up for missing two huge debuts this weekend...please keep the reviews coming (sigh)

On 04/02/2018 at 19:58, MAB said:

 

 

What specifically don't you like about the Coliseum?  I far prefer it to ROH one of the reasons being the friendliness of the staff., I have a friend working there and I will pass on your feedback if you care to enlarge.. 

Whilst I feel the Coliseum is better on leg space than ROH ( I’m considered tall), I don’t like the sight lines from the upper circle (or is it Balcony ?) where I usually sit.

If I am not sitting in the front rows of the section,  with my tall body and long next I get a large bit of the front portion of the ceiling hanging done in my line of sight which really bothers me.

In addition, I haven’t been as fortunate with the staff there as you have been. At ROH, I go often  multiple attendances per production (well I used to before I moved) and find that the staff are generally friendly and courteous. I find the staff at the coliseum impersonal,  cold and abrupt in manner. Perhaps it’s me that bring out the worse in them? I went to a performance of the most recent run of ENB’s  Nutcracker and at the main entrance, I got a frown and then a hand thrust in front of me and “tickets” with a rise in tone at the end. There was no please at end of word.  Most of staff there sort of remind me of baggage screeners at airports - they are employed by some other agency and just happen to work at that particular location - there is no sense of belonging or sense of pride they get out of the work.  At least that’s how I read it from my experiences there.