Jamesrhblack

The key word is "nonetheless." Macaulay writes that Watson's appearance creates a theatrical impression but "nonetheless" is deterred by his technical weaknesses. He also writes in the same article that "For many British observers, Mr Watson is as special an artist as Ms Whelan (inference, to USA observers), so he makes it very clear that his is a personal observation and not necessarily a universally agreed one. You can't get more critically fair than that, surely.

But the point is that he doesn't dislike his skin and hair colour: he writes that they help him make an impression on stage and that he thinks he's "lovely when not dancing." He also points out that he has been extremely positive about other dancers who share Edward Watson's colouring such as Moira Shearer and David Wall, In terms of technique, Edward Watson is evidently a highly accomplished dance actor and his performance, in particular, in Mayerling is surely outstanding. I didn't see his Albrecht and don't know if his non appearance in much of the remaining classical repertoire has been personal choice or an acknowledgement that his particular talents do not align with those roles. When he was appointed principal, there was some discussion on the old forum as to his suitability for promotion but judicious choices of repertoire and evident hard work seem to have silenced much of that. My understanding is that Macaulay is much more of an Ashton than a MacMillan man and it may well be that Edward Watson's highly idiosyncratic dance style is a long way removed from what Macaulay regards as his classical ideal.

Well, the reference to his hair and colouring in the NYT article cites that it helps him to make an impression on stage so I'm not sure that is "negative." I agree that Macaulay isn't complimentary about his dancing but a critic is entitled to his opinion, as is a member of the public (of course) and he gives his reasons for that, whether or not one agrees with him.

Macaulay"s issue is not with the colour of Edward Watson"s hair or colouring. He is not impressed with his dance style, and, as a professional critic, explains why. People may not agree with him, but it's a personal opinion for which he gives reasons. This "anti a Ginger" misinterpretation seems almost wilful.

Monica Mason did dance a couple of performances as Aurora in the 1974/1975 season....

Marquez and Campbell were an absolute delight last time. They dance really well together: she is a fantastic Lise and he's a natural Colas. Also, it'll probably be the last chance to see them dance together. Mind you, everyone has been eulogistic about Morera with Muntagirov too...

I invariably find Macaulay's writing on dance beautifully expressed and evocative. Re-reading the quote above, the comment on Edward Watson's appearance could even be interpreted as complimentary. He's evidently not impressed with his stage presence or technique. Of course, Edward Watson is now much loved and is, in the right role, an extraordinary dance actor, but I'm old enough to remember very heated exchanges on the old forum as to his suitability, or lack of it, for promotion to principal when that occurred back in 2005.

For what is Yanowsky scheduled next season? She's not cast as the Tsarina in Anastasia which I would have expected, isn't in Fille or Nutcracker and isn't in the McGegor....

Delighted that Morera will get her chance to revisit Giselle after the disappointment of her injury this season.

I w Here's if it was there to facilitate some technical changes needed for the following scene....

Rasputin?

Yanowsky not cast as the Tsarina....

Hayward / Campbell, now there's a match made in heaven and Ms Marquez gets Mr Campbell for her farewell too :-)

I know, it's appalling....

According to The Arts Desk, Nunez and Muntagirov refused to dance the ballet...

I'd agree, Campbell was fantastic, but he always is ....

Would absolutely second Morera for Vetsera after tonight. She was absolutely wonderful, as was the entire cast.

Don't forget Jennifer France for Breakthrough in Opera: vey proud to be her manager

Still digesting the first night, I thought the music and design outstanding. Act One, with lots of narrative, seemed overlong and bitty, but Act Two really go into its stride: Scarlett can really use movement to convey emotion. Act Three was absolutely stunning.

I found Anastasia fascinating evening in the theatre when I saw the new production of this in ?1996 and the ?2004 revival, not only for the riveting third act but for, in particular, the dream like evocation of the Romanov world in Act One (the Revolutionaries' entrance at the end of Act Two didn't seem to work though). I don't think that the proof that Anna Anderson wasn't Anastasia discredits the ballet. It's not a history ballet in the sense of a true narrative, and its themes of identity, memory and wish fulfilment have a resonance beyond the literally historic. I didn't see Seymour but remember Leanne Benjamin, Mara Galeazzi and, in particular, Sarah Wildor as being a bewildering fascination of child early on and tragic woman clutching at anything to give her a sense of who she might be. It will be interesting to see who is cast this time: Lauren Cuthbertson, Laura Morera and Natalia Osipova might seem obvious but I wouldn't be surprised if something unexpected is thrown into the mix. I'm pleased to see it coming back. The designs are wonderful, the scenario intriguing, there's some beautiful choreography and the scores are wonderful - of course, the Tchaikovsky is beautiful but Martinu is one if my favourite composers and the hair raising sororities of the Sixth Symphony are perfectly attuned to the situation.

One of my young artists is singing in this too. It's great to have an event bringing together speech, dance and song (especially as Shakespeare incorporated all three arts into his plays)

"How dancers perceive their performance and how the audience sees it can be two totally different perspectives. In my experience too, dancers are always seeking perfection in their performances but, in their own opinion, they never achieve it." ​I remember from my own professional days (I sang rather than danced) that such a response is sometimes a knee-jerk to counter balance any embarrassment at praise - not all artists are very good at taking compliments. A colleague did once rebuke me for making such a response though saying that it wasn't necessarily courteous to the audience member who had liked what they had heard (or seen) and that a simple "thank you" could be more appropriate.

Again, words of insight from FLOSS. I believe that Kevin O'Hare went public with his thing that the company had too many principals and the fact that five ballerinas have departed since Summer 2013 and not been replaced other than by guest engagements gives credence to that. I'm fairly confident Takada will be promoted and would be very pleased if Campbell were too, although I can see that that might be contentious and that he is very useful where he is. Re the "sick note," to which FLOSS refers, wasn't McRae due to partner Takada at her original Sleeping Beauty debut, the one that was cancelled owing to injury - he danced with Lamb in the end as I recall. If a Character Principal is to be appointed, I could also see a case for Gartside. If that happened, would it take him out if things such as Leontes and Rudolf? I remember Rosato dancing Larisch as a Character Principal, and marvellous she was too (although I loved her work so much I probably overlooked some weaknesses). I'd also agree that whilst Naghdi, Stix-Brunell, Ball and Clarke deserve their chances (Katsura caught my eye in the Viscera broadcast) moving higher in opportunity as well as ranking, it is important that dancers such as Harrod and Maguire are not overlooked. They may not be principal material to my eyes but they real qualities that deserve more recognition. The company certainly seems in transition and O'Hare seems very sure in his wish to develop from within, a legacy perhaps from his time at BRB (although I'm much less aware than somebody like Janet of the internal developing there). It's potentially very exciting and with major additions to the repertoire such as The Winter's Tale and Woolf Works (is it for sure that Galeazzi will dance this next season? If so, what wonderful news) and, hopefully, Frankenstein, as well as some very interesting new well apart from the big three, I am optimistic that Classicsl ballet will not sink into the rut of an entreating museum art but retain its ability to move and enhance as well as entertain us, the repertoire a judicious mix of old and new (and, inevitably, some failures along the way).

Well, for Titania don't they have Lamb, Morera and Osipova, and I'd have thought Hayward a shoe in for that....

Well, a dramatic reduction in her number of scheduled performances, the bringing in of an external Guest to take over what had been performances with her regular dance partner whilst this reduction in performances continued, and a confirmation that she was leaving the company only days before what was her final official performance seems "shabby" to me....