Mary

Thanks for the reminder- I have re watched it and was thrilled once again by Hamlet and Ophelia with  Bracewell and Hayward = pure magic, (and it is super to see Wayne Eagling again) and Ball's fisherman too. A great programme, I wish I had a dvd of it.

The excitement, beauty, emotional truth,  and drama of much of Ashton's choreography really does stand out and make me think yet again- why are we not seeing more of this.

It is terribly sad for the ROH and all concerned.

Lots of museums closing as well I see- London has been swept by a tsunami of covid.

What I don't understand is, if Acosta wanted to do that - fine, good for him. Why not start a new company? He has the clout.

But  this sounds a bit like what is known I believe as 'asset strippping'. It could be quite destructive of an important heritage in our cultural life.

Still- someone appointed him presumably knowing this would be his approach.

Why?

Rather wish I could prick my finger- and wake up on 23 April!

I am interested as well- would a summary be all right if the whole letter isn't?

Yes I guess even if they did announce it, it would be so subject to change- as we are seeing at other companies!- that it would end up being a lottery anyway.

RIP.

b. Stalingrad 1937- a tough start in life.

There are a few clips on youtube- Spring Waters is a delight, and the short snippet of the 1963 Paris Cinderella gives a fleeting sense of her obviously powerful stage presence (and many giggles at the rest of the production especially the chaps in reindeer outfits.)

What an interesting review Janet. I can imagine the narration could have been grating...how did they do it/who was speaking?

3 hours ago, Emeralds said:

The plot thickens: the Waltz of Flowers men (Rose Fairy escorts) are wearing  it on one leg too (all left leg). Reece wears his on the right. Wonder if right leg or left leg signifies anything? I prefer without too, for the same reason- cutting the line of the leg. 

hmm is this something to do with the Masons? 😄

Agreed- I have seen, or rather heard,  this happen many times! and a continuous whisper-with constantly bobbing head- can be more annoying than anything.

When I take a child to the theatre I give them an outline BEFORE it starts and say -' I will answer questions in the interval'.

These over eager commentators are missing the point..Let the magic do its work....because once it has it usually does stick for life.

They do it just 'ass' well in The Dream after all!

44 minutes ago, FionaE said:

I thought Artemy Belyakov was superb as Crassus .. those bend over backwards jumps were unreal.  And wonderful portrayal of the character.  He’s developed enormously as a dramatic artist.  

I thought exactly the same- and was surprised and delighted by the way he stole the show. Quite a thrilling performance, and I also agree Alison that the whole performance felt very powerfully emotional. The dancers all stressed in the interviews how they had to feel 'really into it' when performing this ballet and that certainly came across!

Just back from seeing Spartacus at my Picturehouse and it was great,  despite a technical break-down in act 3- which, thank goodness, sorted itself out eventually. It was delightful to be back in Moscow again and the interviews- with some old footage as well this time- were excellent.

Not my favourite ballet but, after such a long hiatus,  it somehow suited the mood for me:  a bit of over the top, full-on emotional overload.....

I know casting is an ever-present preoccupation of this forum, but  i was just musing on the fact that for me casting is more important for some ballets than for others- perhaps more important for Giselle than almost any other? so it is good to have this information even if it makes life even more complicated....

It sounds like ideal festive TV viewing!

A very reasonable question Dawnstar.

For me the age issue is never an issue ( they all look young to me😀) and it's all acting isn't it.

I saw Steven McRae's early Romeos and his interpretation has changed. This character begins as a great show-off ( something he's pretty good at)  but then changes into someone definitely more grown-up- and conveys a very intense and deep love, a quiet but intensely strong purpose after he meets Juliet, which was then very effectively contrasted by the most aggressive sword fight with Tybalt I've seen- ( perhaps some pent-up frustration getting unleashed there?). I remember Muntagirov's reluctant fighting  (an equally valid and effective approach) which others have commented on this time round- ; by contrast, this was really angry. The despair at the end felt very raw.

I really liked it and he has a great rapport with Lamb so the emotion was potent.

Although my favourite Romeo of recent times is possibly Matthew Ball- I have not seen any weak Romeos for  a long time. The role can work with  different approaches can't it.

A very emotional return to ROH and to R&J for me today- and it was all a bit overwhelming- I was not the only one weeping in my row and indeed on the train home.

For Steven McRae an amazing return to the stage, to a beautiful partnership wth beautiful Sarah Lamb-  and to the role - and for me a return to my old role as loo monitor in the Amphi Ladies ( 'come in- there are 3 free cubicles to the left and 2 to the right.....')

so like coming home really....

The performers..the orchestra ...all excellent and too much to take in- but must mention James Hay.

Other aspects less good - for another thread.

9 hours ago, maryrosesatonapin said:

Honest question: was Fumi Kaneka (in the cast I saw) being cast as Satan a joke?  I find it difficult to imagine a less evil dancer.  She is sweetness, light and goodness.  Was this the point?  What WAS the point?  Explanations gratefully received.

 

Ignorant of Essex. 

You made me chuckle! - but honestly, I think it is better not to see dancers (or any performer, or anyone) in only one light. To state that Fumi Kaneko 'is' this, that or the other is a simplification, and a reduction,  of a person and a performer. How can we know?

 I am sure this very fine dancer has many aspects to her work we have yet to see.

I have often heard it said of some of my favourite dancers that they could not be convincing in this or that role - which has sometimes turned out not to be true at all.

It would seem a strange policy, anyway, to take over a company, deliberately choose to put on a work you didn't think suitable for them, and then replace a lot of the dancers in order to do it.

But this is  a very talented company of dancers who have had  all too little chance to show us all what they can do in the last 2 years- so I do hope for the best for them.

Very cheering indeed and Steven McRae's sheer bravery is quite remarkable.

 It is also uplifting to reflect on the amazing treatment, care and support injured dancers get nowadays, for such long periods of time- and the whole team who helped Steven deserve a clap too.

Speaking of injury- wishing Mr McRae good luck tonight...

23 minutes ago, capybara said:

Such contrasting reactions from the Press and online critics. Interesting.

Very interesting, yes.  I note Gerald Dowler's point that the choreography does not follow the music - they were separate creative processes, apparently. Is that really so in this case?

I think it has always been my reservation about McGregor's work that his dance rarely seems to be made to the music- in contrast to the choreographers I most admire - it usually seems to use the music, or the sound, more as a backdrop.

It is a great shame. Perhaps not surprising that people are not booking, given nerves, and given an unknown piece- surely this is the time for the well-loved classics- and many people will want to see the company they know and were not able to see, after all, for so long. It doesn't sound that good for the BRB dancers either...

Good tip, thank you.

Shame the website does not seem to be working at all at the moment.....

52 minutes ago, Sim said:

I would love to see these two beautiful and pure classical dancers do one or all of the 'white' ballets together.  I think that would work a treat.

Yes indeed.........................

I am so much looking forward to some 'beautiful'.....'pure' and classical' ballets....which I would much prefer to see at the moment than any amount of powerful, passionate, heart-breaking, anguished, angst-ridden,emotional dramas....

Maybe I am alone in that but still.