bangorballetboy

It was (and I still use that advice, or bookmarked pages, when working on the desktop).

On Tuesday evening I noticed there was a programme desk at the bottom of the "new" staircase (the one from the piazza foyer to the bottom of the escalators) and it did not appear to be impeding any people flow. Pleased to see this improvement.

Exactly. (I actually find the new website works quite well on a smart-phone.)

That is true, but it's still better for me if the payment is on my June card statement rather than my May one!

That's because it was only announced last week.

14 May is the date of the press release.

Casting for Medusa: First night cast – 8, 15, 16, 18(e) May Medusa: Natalia Osipova Athena: Olivia Cowley Perseus: Matthew Ball Poseidon: Ryoichi Hirano Second night cast – 9, 18(m), 21 May Medusa: Akane Takada Athena: Fumi Kaneko Perseus: Marcelino Sambé Poseidon: Ryoichi Hirano

In case anyone was worried, David Hallberg is in good health and has arrived in London to start rehearsals!

Lawnmower = coup de grâce

Just to confirm that Corrales was in the open class yesterday and appeared to be in fine fettle.

Just to clarify, what Dave says is no-fault divorce is the current position. The announcement last week was to introduce true no-fault divorce, i.e. both or either party to the marriage can initiate a divorce by notifying the court that the marriage has irretrievably broken down. The intention is to reduce conflict, allowing couples to focus on important issues like children, property and finances.

These tickets are all now spoken for.

but hopefully no actual decapitation...

I understand that (I'm not as stupid as I may sometimes appear). I was responding to the statement that I quoted: "The music won't stop, but it could get a fair bit quieter." That's not in the past tense, which is my point.

Except for the fact that organisations like the ROH have been taking these steps for a number of years now (like, to use the ROH as an example, the opening of spaces to let the sound dissipate, providing ear-plugs and sound barriers/baffles, etc.). The incident that is the subject of this court action was in 2012.

Last call on these tickets.

SKIing!

International ballet stars Sergei Polunin and Johan Kobborg will perform in a new mixed programme at the London Palladium from 28 May to 1 June 2019. The programme on 28, 29 and 30 May will feature three one-act ballets: Fraudulent Smile, Paradox and Sacré. The programme on 31 May and 1 June will feature the world premiere of Rasputin, with a final ballet to be announced at a later date. Fraudulent Smile is choreographed by Ross Freddie Ray to music by KROKE and will star Sergei Polunin and Johan Kobborg, with further casting to be announced. Paradox and Sacré have both been choreographed by Japanese dancer and choreographer Yuka Oishi. Paradox is performed to music by Stravinsky (Soldier’s Tale) and Chopin and will star Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre first soloist Alexey Lyubimov and Belgrade National Theatre first soloist Dejan Kolarov. Sacré is a piece of tanztheater set to Stravinsky’s iconic The Rite of Spring. It is a solo piece starring Sergei Polunin. Both Paradox and Sacré explore aspects of the life of famous dancer Vaslav Nijinsky in his 130th birthday year, with Sacré reinterpreting his infamous ballet Le Sacre du Printemps, originally created for Ballets Russes in 1913. The ballets are inspired by Nijinsky’s demand for a “feeling, not thinking Human”, by master pieces of the Art Brut – the movement of the outsider art, by the essence of rebellion. The world premiere of Rasputin is also choreographed by Yuka Oishi, with a new score by Russia’s most prominent representative of the neoclassical music scene, Kirill Richter, set design by Otto Bubenicek. The title role will be performed by Sergei Polunin, the rest of the cast will be announced at a later date. Rasputin explores the life of the Russian mystic and self-proclaimed holy man who befriended the family of Tsar Nicholas II.

It’s an ad for Kobborg’s Romeo & Juliet with Polunin & Cojocaru in Verona.

The Bintley and the Marriott are both classical. Pulse is more modern and Ek is somewhere in between. So that should hopefully be a nice, reasonably balanced mix.

Yes, that’s right. Years 8-11 are lower school and 1st to 3rd Year are upper school.

Flowers of the Forest is danced by the graduate class so I imagine it will be in the OHP "predominantly upper school" shows. Simple Symphony, Pulse and the Ek Swan Lake are also upper school pieces. Whatever the programme is, it will be a full programme, not just one short piece.

I don't know if this is already common knowledge but @MrsBBB has drawn this link to my attention, which sets out some details of the programmes. I've very pleased to see Flowers of the Forest, which is a piece I think works well for senior students (and which I thought might be coming up as we saw some RBS students rehearsing it in a recent insight evening). I also think Marriott's Simple Symphony is a great piece for the students.

Will be interesting to see what happens when (if...) Onegin returns, as Tatiana is usually up there as a coveted role.

Do you know how long her career is going to be? To me, you are suggesting that she's beyond dancing the role, which she most certainly is not.