Mary

But wasn't it luxurious Fonty having it all to yourself?

I agree about the Lilac Fairy solo and wonder when and why this solo became such a problem- well, it is evidently really fiendishly hard. But it seems to be almost un-performable.

Whereas, as you say, the other fairy solos have improved a lot.

The princes are wonderfully human and real I do agree-all so different.

I rather like the garland dance- it is a low light in between a succession of highlights- maybe no bad thing? (I noticed there was applause at an odd point during it- someone on this thread has pointed this out but, I am sorry I can't recall who it was. Possibly the audience high up could see a pattern we couldn't see?)

The overall constantly changing patterns as dancers enter, gather,  shift into tableaux- as well as dance- and leave is one of the marvels of SB and I noticed it  a lot more this time.

Edited to say,  thanks a lot Lenore for that very interesting round-up . Hirano is one of those rather under- rated ?-well, not much feted- dancers whose elegant line and beautiful classical dancing  I started to notice and really rate very highly indeed a few years ago, so look out for him again!

Onegin yes- lots of young casts spring to mind.

Agree so much about Osipova/McRae in Rubies- the most sensational performance: they really drew sparks from one another and I would love to see them paired again.

Yes, we have Strapless back even though noone thought it was any good ( did they?)

Please, please, no Frankenstein eating up time and money and wasting talent.

I'd like to see more triple bills ( which have cheaper seats too :-) ) and which give more opportunities for the many talented new stars to shine, featuring  some revivals of old, less often seen- or never seen-  Ashton classics , sandwiching new pieces, perhaps newly commissioned from some different choreographers.

Les Patineurs worked brilliantly as a Xmas show- with something else wintery that could work well- what? I enjoyed Pigeons but we've only just had it.

A new MacGregor, building on what he did in 'Tuesday' of Woolf Works would be welcome too- not a lightshow piece.

Oh no he looked lovely!

I went to an encore of the live screening this afternoon- it was wonderful to be in a large cinema with just a small group of quiet people and just revel in a fabulous performance from the whole cast. Having read through this thread I was able to look out for all sorts of details  - so thank you everyone- that is what makes ballet forum so great.

Just a few of those details: Anna Rose  O'Sullivan's terrific stage presence

The way the whole cast acted in role all the time in the background

Carabosse mocking the fairies so brilliantly

The wonderful costume of the Quenn and Elixabeth McGorian's so graceful and regal presence

The way Claire Calvert radiated the Lilac fairy's goodness from her lovely face

Alexander Campbell- such a fine dancer you could relax and know the fleet footwork would be there, and just enjoy the little characterful touches he put in- the way he carried his head- (and the rather fascinating combination of sequins, Liz taylor eye make-up and a hairy chest...)

Vadim's lean lithe elegant jumps and soulful gaze

and of course- Nunez's scintillating, joyous, amazingly skilful performance, with those perfect balances- especially the last one- and her dazzling smiles for her princes/her own prince; and their joy in the curtain calls.

It wasn't 100% perfect- I wonder if we ever will see a really ideal Lilac fairy solo. Maybe that's one for Polunin :-)

I have sadly not been able to see as many live shows as I had hoped, am intrigued by the different views of Osipova, wish so much I could have been there- and would be interested to hear more from those who did like her interpretation and why- (rather than spats and slaps!)

...or taking 153 photos of themselves every 6 paces on expensive phones....

There is a sub group in the roh audience, consisting of 'tourists with phones' who do seem to be there mainly to take photos of themselves in the theatre, rather than really wanting to see the perfomances. They are not ' ballet tourists' who do really pay attention of course to the ballet.  It would be cheaper and more convenient for the TWPs  and nicer for us all if they just booked one of the excellent theatre tours, as they would have more light and better condiitons for the taking of an album of photos....  :-)

That is sadly true. It is about economics. I am sure we all wish they still  had a touring 'wing' and could regularly appear all round the country but in these days that is probably not going to happen.

Personally I was delighted to see the Hull date- as I have family near there who can't travel and rarely can get to any ballet.

Thanks Kevin. Maybe if it is a big succcess ways and means can be found for more such events.

Thanks Caypara, another date for the diary, if I can master the Coliseum booking website

I was just going to ask on another thread what is Putrov doing these days, and I see this is an Ivan Putrov production, so that's  one answer.

It might have been helpful if the presenters of the live screening could have talked about this interlude and the importance of listening carefully to the music. An opportunity missed there.

I have no idea what RB Principals earn, or whether he was under paid or not- just pointing out that he says he felt he was;  most young people in the South East can't afford to buy a flat; but, if you sense you have the opportunity to make a lot of money, especially if you are from a relatively badly off background, you might want to do so.  Fair enough.

I wouldn't criticise Polunin at all  for wanting to make hay while the sun shines- it's his talent, his life and his choice.

But I would criticise the stance of the great artistic rebel who was being oppressed, especially when it involves so much criticism of the RB and its many  creative and talented professionals, and the rest of the ballet world, because it doesn't quite ring true, and we really don't know the full facts. Judith Mackrell, taking the film as absolute truth rather than one partial take on someone's life story, is now demanding in The Guardian that companies must think about what they can do better etc- as if they never consider the welfare of their dancers. Are not most of the young people at the RB school and company far from home, under pressure etc-? How many of them run away and turn to drugs?

i think the RB are doing a pretty good job of looking after them actually. 

Polunin has claimed the RB wouldn't let him work elsewhere but this is odd as we know many RB dancers do make ads, appear in magazines etc, as well as  dance with other companies, routinely, -no doubt to top up the coffers. But to really make money you need to have completely free rein, full-time PR, marketing, non-stop stories in the press, a film, and so on.

Big shame about Kavanagh and McGibbon.

Absolutely. Polunin has said in several interviews that he felt he was underpaid at RB, -unable to afford a flat in London ( we can all sympathise there)-and that as ' the best dancer in the world' ( no false modesty-fair enough)  he wanted fame, he wanted to explore ' commercials and modelling'- as well as film acting.

That is entirely his right to do so- dancers are not well paid for all the work and pain they put in.  Good for him. But that is not the same as stating some high artistic vocation.

As for audiences- we have discussed all this before.

In the amphi I see a lot of younger people, and don't agree it is entirely old and middle class- not where I sit.

But if  over 40s like ballet, - why should that be seen as a problem? We live in such a youth-orientated culture, that nothing is seen as worthwhile unless it appeals to young people. That is rather absurd because we all get older.  I think it is marvellous that so many old people, many of whom have trouble getting up and down the amphi steps, DO struggle with the London streets  and transport and go to ROH: 3 cheers for them I say.

As Janet says, the grey pound is important. We are an ageing population, and if theatres rely only on the young they will not survive.

I have always maintained people  do change  tastes through their life and grow into classical music and ballet.

It takes people a while to shake off all the silly conditioning about 'elitism' that the media and sadly the education system bombard us all with. 

I have taken many people to their first ballet at ROH, and about half of them have got completely hooked-  the only thing that ever baffled one of them was a McGregor.

I can believe that. I go to the ballet a lot with a German friend.  Even after many years in this country his face is often a mask of frozen disbelief at some of the behaviour in the auditorium ( and on the streets).

It makes me feel very embarrassed.

I stopped going to SW because they allow people to more or less treat the theatre as their own living room. When I complained about disruption once I was offered a voucher, but it was just being offered more of the same so didn't really meet my concern! I just want them to stop letting people in after the performance has started ( unless there is a real break/pause), and ideally stop letting them take food and drink in but I guess there is no hope of that now..

If ROH start letting people in during performances..oh no ....I can't even think about it..

I should just have to get a huge TV and stay at home!

Perhaps it IS worth complaining frequently, so they know that the ROH audience doesn't like it.

I think it's very difficult for a dancer to be a freelance. Nureyev always wanted to be part of a company did he not- albeit on his own terms! and  also moving around and guesting as well, but he knew the value of roots, and of working with other people.

Thinking it over, it seems to me  dancers don't do their best when they are going it alone. It  must be such a struggle  seeking out opportunities, choreography, partners. All the things a company does for you, you have to do yourself. Even the most mature, experienced dancers get this wrong at times ( thinking of all those shows, 'So-and-so with friends'...often v mediocre).

I am not convinced Polunin has been in anything REALLY good since he left RB, except his work with other companies.

I don't agree with his oft stated points that dancers know best all the time, don't need anyone else, and should be in charge of running companies without any administration getting ' in the way'.  Theatres don't run themselves. These days times are very hard.

RB have had enough bad publicity in all this- a lot of it rather undeserved. Who can blame them for not wanting any more.

...and yes they have the wonderful Muntagirov and a lot of other talented people who actually want to dance.

I just feel it's a terrible, terrible shame, and surely many of us would be overjoyed if he did settle into a company, dance all the great roles and become the really  great dancer he is cut out to be.

But, it's up to him isn't it.

well I would have thought either an announcement, a shorter pause, complete darkness, or-drastic measures-- hating to pander to it but it might work- actually put someone on stage walking around to signal to the audience that this isn't an interval- it hardly matters what they do! but that would stop the noise.

Quite so, Saodan.

I wonder what the RB dancers think!

I know what you mean BMC. I found  myself getting very impatient with a lot of the publicity around the film, and the same old points about a rebel etc ( 'the James Dean of ballet'- please!!!!) Some get less attention but, does everyone want that sort of attention? Is it not part of the problem?  Someone who is labelled by the media in this way will be forever encouraged to play up to the image etc, and so it goes on.

It is not a question of whether we OUGHT to applaud such talent-  how can we help it?- when it has misbehaved; more that, without team work, discIpline, dedication, practice, the scope for real achievement may reduces very fast and we will have a lot less to appplaud at all...

Well WGF on the evidence of tonight's screening I don't think you will be disappointed! Nunez was radiant, precise and brilliant, Muntagirov absolutely on FIRE and they looked wonderful together: all in all it was a very fine night indeed and hard to fault.  I am going back for more and booking for the encore myself!

Thanks Bluebird for the cast sheet, I didn't check changes beforehand so it was good practice seeing how many dancers I really recognised...

Lovely to see Avis as a prince. It must be so reassuring having his hand to hold in the rose adage! he was acting all the way through, as usual, with such conviction.

A complete joy from start to finish.

Yeeeeees,  well if you're not careful and start being Mr Gradgrind: the whole of classical mythology, Homer, and then all the painting inspired by it- and the music- and  opera, the Bible, Shakespeare, all fairy tales,- and of course all the mythologies of the world- Norse, Indian, African, Maori,- you name it- all the great religious books, - all 'nonsense' isn't it.

Whereas, The News is sense.

?

2 amphi seats just returned , courtesy of Doris, to Box Office for tonight's perf....Hope they put them up in a short while!

Terrifying day and after struggling to the station, had to struggle back home as there are no trains at all...so that's the end of my trip to SB tonight- 2 tickets at Box Office now.

I felt very negatively about Alice, but it didn't seem like  a ballet at all to me so maybe it doesn't count.....I remember feeling that strange sense of disconnection when everyone else is having fun and you just don't understand what they are doing...or why...

I just crept away and waited for it all to be over.

I'm not so concerned by not being able to relate the ballet to,the narrative as it now seems obvious that it isn't a narrative work!!

 

It seems to me that McGregor has taken the ballet out of the intellectual sphere and found some strong emotional/ feeling level of connection with the works which he has tried to encompass/ express in the ballet.

 

Of course this can lead to a myriad of interpretations but the main thing is I think.....did people enjoy it? Do they want to see it again? Did they go home satisfied? Was it money well spent?

I personally can certainly answer yes to those questions but I can see if people who love and are well read in Virginia Woolf's books they might have been expecting something else.....or just wanted the ballet to be more of a narrative link.

 

I wish I had read just one of her books to understand this more.

What I wanted to know and I don't think has been revealed is why McGregor chose those particular three books ....perhaps they are just his favourite ones? Or he thought these three had the essence of her? Did he say this anywhere?

I don't think MacGregor was trying to give some kind of literal equivalent of Woolf's novels- in a way, what would be the point? - and anyway dance cannot 'represent' literature in that way satisfactorily-though a lot of choreographers do try to do that.But iIf it's going to be any GOOD as dance, it has to  do its own thing. He has tried to show something of the essence- good word-of what Woolf is about. I think he has succeeded.

The 3 novels do show 3 different sides of Woolf- the intense emotion, the fantasy and playfuness, and the intellectual, very pure abstraction, playing with ways of  representing time.

I do agree that MacGregor seems to have ignited a fire I had not previously seen in his work. His emotions have come into play and produced something much deeper.

It seems to me that in Tuesday he partly moved into a kind of homage to an artist he greatly admires,-I do so agree with bridiem about the reverences in 'Tuesday'-this seemed to me a kind of dance 'equivalent' of Woolf's suicide note, of the theme of death and saying goodbye in The Waves, and also a salute to a great writer.