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  1. Just to point out that the email from the ROH does say 'please' and 'ask' etc rather than actually saying that bigger bags will not be permitted, which presumably it could have said if that was the case. So perhaps they're just trying to minimise the number of people who come with bigger bags, rather than actually banning them?
  2. I agree about the music for Strapless, annamk, and it really seemed to have no connection at all with the action that was going on on stage. Big emphatic sounds right from the start - no light and shade as the 'story' develops - no change in tone when a couple is making love - dramatic flourishes where nothing much is happening on stage - etc. Really odd. Made me wonder if Wheeldon had in fact been hampered by the music and might have produced something better with a more sympathetic score. I felt sorry for the dancers trying to respond to such a situation and still present believable characters.
  3. I will kick this off, though in many ways I'd rather not. I enjoyed Vertiginous Thrill - I'd forgotten most of it except the tutu shapes, and it was fun and well danced - lots of turning and jumping. Tarantella: Hayward and Sambe brought the house down. Absolutely brilliant - superb technically, and so full of effortless charm. Strapless looked stylish, but was as problematic as last time round. But it was Symphonic Dances that really depressed me. As a tribute to the wonderful Yanowsky, it could have been thrilling. She was beautiful - how could she not be. But the work itself was, in my view, dire. (And also in black and red, like Strapless! Does no-one think of these things?). Lots of swirling and strutting and running, incredibly old fashioned, tawdry designs. Gosh. I could have wept. But the dancers did their best - James Hay and Reece Clarke stood out particularly. And there were from time to time a few moments of interest, even of beauty. But they were drowned in the awfulness of the rest. I must acknowledge that it got an excellent reception. Maybe it's just me.
  4. Not sure about Thiago Soares! But I wouldn't be surprised. I did actually enjoy 'The 3 Dancers' to start with - but then it just went on and on and on... And yes, I thought the richness of Bruce's vocabulary was very striking compared to the other two works.
  5. Thanks for the great photos, zxDaveM and johnross. I saw this bill last night and found Ghost Dances SO powerful and beautiful. I didn't remember it very well and the extremely low lighting in the 'ghost' sections wasn't helpful (the masks and markings were barely visible); but nevertheless it really packed a punch. Some quite balletic moves, evocative music and excellent dancing, and above all a real theatrical impulse. Christopher Bruce really knew what he was doing! I did wonder if the political aspect would now be evident to anyone who hadn't read the programme or known the context in which the work was created; but if not, I think it still works as a very moving reflection on life, death and shared humanity. I was also thrilled to see Christopher Bruce in the foyer afterwards! (And also Monica Mason - the dance contingent out in force!). I'm afraid I didn't like the other two works, but the dancing was high quality throughout. I do always wonder though why contemporary dancers almost never allow any expression to appear on their faces. I know you don't want grimacing or falsity; but really, they often look as if they're just putting out the rubbish. Their bodies are so expressive but their faces blank. Which is such a shame, because some of them did smile where relevant in Ghost Dances, and at the curtain calls, and it was a revelation.
  6. That's very interesting, ninamargaret. I was actually wondering on the way home last night if Watson was really always more of a contemporary dancer, because his movement is rarely pure classical (and less so as time has gone on, I think). But I concluded that if he had taken that route, he wouldn't have danced Mayerling... So I'm very glad he didn't make that choice.
  7. That is true Geoff - it does seem to be the case that people simply react differently to different people. We're all different after all, and the way we react must be made up of endless complicated elements. And sometimes we ourselves change, and begin to appreciate performers who have previously left us cold (and perhaps vice versa). I suppose we should always aim to be open to new appreciations and feelings, and to acknowledge quality even if it doesn't personally move us or appeal to us. But there will always be differences. Which is all fine and good!
  8. Me too! Such a brilliant evening. All the dancers completely inhabit their roles; Watson and Osipova reach new heights and depths. They move beyond performance - that indefinable moment when what is being created is suddenly no longer theatre but a different form of reality. When that happens, time stops.
  9. The advantage being that I have now read and enjoyed a thread I would otherwise have missed!
  10. Have just watched this and would echo all the comments above. Brilliant dancers and such kind, expert, tactful and enlightening coaches. And a very helpful talk on Ashton by Stephanie Jordan - just the right length to inform without turning it into a full-scale lecture. Really, the depth of knowledge and skill on display was breathtaking. I was especially delighted to see and hear from Lesley Collier, who is still so beautiful and expressive. And to see Alexander Campbell prove that his talents really know no limits!
  11. That's very true, LinMM. I remember myself at that sort of age and cringe. (But then I still make myself cringe now. ) The difference was that the Internet didn't exist then, for which in some ways I am very grateful.
  12. And would she really be getting these freebie tickets to review performances (and a job as a so-called 'senior researcher' when she's clearly quite a recent graduate) if she hadn't deigned to go to university where she did? Clearly, privilege is acceptable when it applies to oneself.
  13. I had no idea patrons' booking was already open, bangorballetboy - my booking date as an ordinary Friend isn't for ages yet (28 June). No, of course patrons couldn't book blind of casting. And I'm very impressed that there are/have been quite a few people who know casting but don't divulge it! But I still don't really understand why the casting shouldn't go on the website for all to see even they/we can't book yet.