Jan McNulty

Northern Ballet have made a brief announcement that the Company will be premiering a new ballet "The Great Gatsby" in Leeds on 2nd March 2013.

http://northernballet.com/index.php?q=news/12-03-19/northern-ballet/great-gatsby

Although not as close together, they were still incredibly bright in the clear sky last night. A stunning display of the heavens even in my light-polluted area.

I think Onegin is performed by all the "big" companies in Germany plus POB, RDB, Australian Ballet, National Ballet of Canada and SFB that I know of. Much though I adore Onegin I suspect that it could not be put on in this country by more than one company at a time. I have always been sorry that ENB let it go from their rep.

Aileen, you wrote as you saw and I don't think you were being hypercritical. I have come to realise that everyone sees things differently and it's very much personal preferance. I enjoyed Nao and Joe very much and I felt there was a connection between them but that is how I saw it, you just happened to see it differently and your point of view is just as valid. (I saw three performances in Birmingham and three at the Coli so six in all.)

Actually at the Coli, I was discussing differing views with some friends and we all agreed that we should celebrate our differences!

Edited to add a missing word

I enjoyed very much the three performances of Spring Passions that I saw at the Coli. Tuesday evening marked Robert Parker's fnal performance on a "main stage" as he danced Two Pigeons with Nao Sakuma. It was a very special and emotional performance. He danced with such youth and vigour that it is hard to realise that he is retiring.

For me, Wednesday evening's performance of Two Pigeons was the highlight with Ambra Vallo and Chi Cao performing the honours. They were totally subsumed into their roles and were so believable. The final reconciliation duet was incredibly moving. Carol-Anne Millar and Iain Mackay were spectacular as the Gypsy and her Lover. I thought the whole company were on sparkling form.

The Scotsman liked Northern Ballet's Beauty and the Beast: http://www.scotsman.com/lifestyle/performing-arts/dance-reviews-northern-ballet-beauty-and-the-beast-edinburgh-festival-theatre-1-2177167

I am disappointed that only two of the listed mixed programmes have matinees. I like the look of a lot of this season but I expect I will make it to few, if any, performances.

Re casting: I think it is probably harder for ENB and BRB to predict casting too far in advance because they tend to do blocks of performances and casting order can change frequently at short notice. BRB used to announce casting months early but it nearly always used to change by the time you got to the performance. I'm afraid the lack of casting tends to make me book more tickets! I book for when I know I can go and then book extras if there are other casts that I am desperate to see!

Re the Newsnight interview: I saw it with a friend who has no interest in ballet. The first thing she said on looking at his body language was that in her opinion he was "burnt out"

Northern Ballet's short run of David Nixon's elegiac Madame Butterfly in Leeds ended on Saturday evening. I was lucky enough to catch the final three performances.

Madame Butterfly was the first ballet that David Nixon mounted for NB when he had just taken over as Artistic Director. I loved it then and I love it now, time has in no way diminished its power to move and its beauty. The set is a simple Japanese style house at the back of the stage with various side and hanging sections depicting either blossom or Autumn leaves. It's very simplicity lends itself to the story. David Nixon also designed the beautiful costumes - adaptations of traditional kimonos for the Japanese ladies being particularly striking. I was able to see all three casts over the weekend.

On Friday evening we were able to enjoy Keiko Amemori gracing NB's stage again with Kenneth Tindall as her Pinkerton. They have often danced together and were very comfortable in the choreography meaning they were able to give their all to the characterisations. Kenny has got to be one of the best actors around on the dance stage today; you utterly believe in the character he is dancing. He seemed genuinely fond of Butterfly but was ultimately cowardly when faced with the reality of his situation. I'm surprised his wife Kate (gorgeously realised by Martha Leebolt) didn't run off with Sharpless (or maybe she did after our story was ended!).

Saturday afternoon was one of those magical afternoons when the air is sprinkled with star dust and we were treated to a breath-taking and extremely moving performance from Pippa Moore and Toby Batley. I was in floods of tears by the end and, yes, I was one of the people on my feet at the end acclaiming this wonderful performance. Georgina Roberts greatly enhanced the performance as a sympathetic and caring Kate, she was genuinely distressed by the torture that Butterfly was going through as she reached her decision to give up Trouble.

Michela Paolacci and John Hull took the honours on Saturday evening and gave a beautifully nuanced and moving performance.

I particularly enjoyed Sebastian Loe's performances as Goro - he had just the right amount of obsequious money-grubbing and danced the role beautifully. Martin Bell was similarly excellent in the role and, in another performance, as Sharpless. Darren Goldsmith also brought gravitas to the role of Sharpless.

Saturday evening saw Yi Song's final performance with Northern Ballet. He danced the triple role of Father/Bonze/Prince Yamadori with sharpness and an enormous stage presence. At the curtain calls, David Nixon gave a short speech thanking Yi for his contributions to the company, explaining that he will be undertaking a university course in Japan. All Yi's many fans will really miss him and I would like to send very best wishes to him for the future.

Madame Butterfly is being performed at some venues during the Autumn tour and I would highly recommend it.

What is it about the water in Hull........ Ashley Dixon of Northern Ballet and Hull talks to the local paper about his creation of the Beast in David Nixon's Beauty and the Beast: http://www.thisishullandeastriding.co.uk/Ashley-s-beast-artisic-performance/story-15496419-detail/story.html

I was in Sunderland for the first three performances of Coppelia. Sir Peter Wright's 1995 production is handsome and very traditional and still looks as fresh as a daisy.

Opening night honours went to Elisha Willis and Matthew Lawrence. Elisha is terrific as Swanilda - her outrage at Franz' flirting is a joy to behold and she is very deft of foot in Act 2. Matthew Lawrence "acts big" and Franz suits him. He's a terrific partner.

On Thursday evening we were treated to a delightful performance from Laetitia Lo Sardo and Joe Caley. Laetitia is sublime as Swanilda; she is totally subsumed into the role. I adore Joe as Franz - he really is a cheeky chappy with just the right amount of frivolous flirting and enormous energy in his perfomance.

The highlight for me was the schools' matinee on Thursday afternoon. The children present were, without exception, wonderfully behaved and created a very enthusiastic and enjoyable atmosphere in the audience. They were treated to a dazzling virtuoso performance from Nao Sakuma and Chi Cao. The roles fitted them like gloves and they brought just the right amount of humour, flirting and pathos to their sparkling, fizzing performance. Bravi to them!

The whole company were on joyous form. I particularly enjoyed Callie Roberts as Dawn at one performance and we had three terrific "Call to Arms" leaders in Tyrone Singleton, Matthias Dingman and Tzu-Chao Chou. Jonathan Payn, Rory Mackay and Valentin Olovyannikov are all notable and enjoyable as Doctor Coppelius.

Coppelia is at the Coliseum at the end of the week - I do hope you can all get along to see a performance and record your thoughts here!

The Yorkshire Evening Post's view of Northern Ballet's Madame Butterfly: http://www.yorkshireeveningpost.co.uk/lifestyle/arts-entertainment/theatre-reviews/theatre-review-madame-butterfly-leeds-grand-theatre-1-4322830

I think it is safer to assume that the running time is nearer 3 hours.

Am in Sunderland for a couple of Coppelias - it's looking very good - more later!

Birmingham Royal Ballet completed a week of performances of the Spring Passions programme in Birmingham at the weekend. I was lucky enough to catch the three weekend performances.

The score for Daphnis and Chloe is absolutely glorious and I thought the orchestra sounded terrific. I really liked the set and the 1950s style costumes. The story is pretty silly but we saw some lovely performances. I was particularly taken with Saturday evening's cast of Jenna Roberts and Jamie Bond who were absolutely sublime together.

I adore Two Pigeons. It may be silly and sentimental but Ashton has created characters that you really care about. Saturday evening saw Nao Sakuma and Robert Parker giving a beautifully nuanced, expressive performance that was all the more moving because it was Robert's final performance at the Birmingham Hippodrome. They were both totally subsumed in their roles and carried me away on waves of emotion. I had to try very hard not to sob out loud by the end.

In other casts I very much enjoyed Angela Paul as the Gypsy and both Tom Rogers and Tyrone Singleton as the Gypsy Lover. We had three terrific Gypsy boys in James Barton, Matthias Dingman and Tzu-chao Chou (whose dancing is so fast and precise).

We are so lucky to see these Ashton gems in the BRB rep. Long may they continue!

Don't forget that this super programme is at the Coli next week (13th and 14th March).

Choreartium ...................... I loved that when BRB used to do it! Mmmmmmmmmmmmm - thinking hat on!

The Stage likes Northern Ballet's Madame Butterfly: http://www.thestage.co.uk/reviews/review.php/35451/madam-butterfly

A self-confessed ballet-virgin blogs about her Madame Butterfly experience: http://peeblesworld.wordpress.com/tag/northern-ballet/

BRB have published a super trailer for this summer's performances including short video extracts from the 1996 premiere season and current rehearsal footage with Elisha Willis and Iain Mackay:

http://www.brb.org.uk/maddingcrowd.html

Roll on June!

Cynicism or realism? A fine line but, in my mind, there is a subtle difference.

 

Let's look at a hypothetical scenario:

 

Child A applies to audition for a school but is told that there are no places for her year but than she can still audition if she likes. She decides to audition anyway, gets to the final and is offered a wait list place.

 

Child B applies to the school, is told that there are no places available and decides not to audition because there seems no point and it is an expensive exercise. She ultimately hears about child A and feels that the situation was not well handled and wonders what may have been. She knows of other instances where protocols are somewhat hazy. She is, in fact a little cynical as, although she could have chosen to audition, she feels that not everyone interpreted the letter in the same way or was given the same opportunity.

 

Child C applies to the school, is told that there are no places available and decides to audition anyway. She is not offered finals, although she feels as though she should have been given a chance.

 

The difference as I see it is that child B does not get finals because she was slightly misled and child C does not get finals because the artistic staff did not find her suitable at that time.

 

Now, of course, we all need to be realistic and maybe child B would ultimately have had the same result as child C but didn't get a chance to find out.

I don't have a D or an S but I have found this thread very interesting. If child B was told that they could audition but there were no spaces, as child A was told then child B had the same chance as child A but chose not to take it. I was previously a civil servant. Until fairly recently, in my department, people could sit and pass promotion boards without there being a specific job. It could well be that if the audition had been undertaken then child B could have been put on a waiting list for the eventuality of a place arising. This scenario has been covered by others in the thread.

Angela - thanks for keeping us up to date. I would love to go to Zurich, specifically to see Lightfoot/Leon's Sleight of Hand which is one of the most visually stunning works I have seen in recent years (NDT2 @ The Lowry a couple of years ago). Please keep this thread up!

According to friends, it should be around 2 hrs 45 mins but we suspect it may overrun that by a few minutes.

I didn't so much catch the bouquet as it caught me!

I can't see if this has been posted already but here is a nice article about another all-male dance troupe: http://au.news.yahoo.com/thewest/entertainment/a/-/arts/13050749/tutus-and-testosterone/

BTW, Maggie's wedding bouquet is thrown into the audience at the wedding party. On Saturday evening, it was caught by the conductor who threw it onward straight into my face! After the shock(!), I was thrilled to bits. It is now gracing our porch.

Michael O'Hare created the role of Will Mossop with Karen Donovan as Maggie. Prosser was created by Stephen Wicks and Beenstock by Joseph Cipolla. The sisters - I always get them mixed up - were Sandra Madgwick and Chenca Williams. Kevin danced Beenstock in the early days (he was my first Beenstock in fact) and Prosser in later seasons. Desmond Kelly created Hobson. David Morse, who was dancing last week, danced during the first season in 1989 too.

Isabel McMeekan danced Maggie with Robert Parker as Mossop and she was, indeed, wonderful. After she joined the RB, she came back to guest in the role in a similar way to us just seeing Alex Campbell back as Mossop.

BRB have posted a video of Robert Parker and Jenna Roberts at the dress rehearsal for the Evening of Music and Dance performing the reconciliation duet from Two Pigeons:

The Autumn Celebration is a mix of pieces that will have already been seen in Birmingham earlier in the year.