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  1. I agree with this for the play itself, but the emotional effect of the ballet does seem to depend enormously on the nuances of individual interpretation. Also Wheeldon's decision to show a double 'statue' in the final scene diminishes some dramatic impact, for me.
  2. An interesting interview with Alondra de la Parra: https://www.gramophone.co.uk/feature/alondra-de-la-parra-why-i-love-working-in-ballet?utm_content=buffer09cb6&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
  3. Ryoichi Hirano also danced Leontes during the Royal Ballet's 2017 tour to Queensland. Both he and Matthew Ball receive much appreciation in the reviews I've seen so far for this week's opening performance. I agree on The Winter's Tale being a favourite Shakespeare play, and still regret some elements in Wheeldon's vision of the work, although I appreciate the skill of this adaptation.
  4. I wondered if the statue of Mamillius in Act III had been redesigned in an attempt to make it seem more life-like?? I'd be glad of any other views on this. My memory may be playing tricks!
  5. Even if the intention is humorous or ironic, use of the word 'plebs' will always imply some level of value judgement in my view. A word best avoided! Aside from this, please would it be possible for a moderator to move into a separate thread all the discussions about presenters of cinema screenings, so that this thread remains focused on casting discussions? Thank you if so.
  6. I still find it immensely sad that Bennet Gartside was not cast as Leontes in this run. I think he gave the role exceptional gravitas and insight, transforming this work into one of the most moving ballet performances I can remember at the ROH.
  7. Ballet on BBC Radio 3

    She did, but I believe the daily instalments were longer then (30 minutes compared to approximately 10 minutes now I think).
  8. Ballet on BBC Radio 3

    Steven McRae will be the daily guest on Essential Classics from Mon 5th - Fri 9th February. http://www.bbc.co.uk/programmes/b09qc9vm
  9. An external review is the route taken by Royal New Zealand Ballet according to the press feature linked below. I appreciate that there are differences in scenario and cultural context between the apparent situations at ENB and RNZB. However if the respective press coverage by The Times and Stuff NZ is accurate then both situations appear to involve employees' concerns about ineffective internal reporting procedures. https://i.stuff.co.nz/entertainment/stage-and-theatre/100630053/jacinda-ardern-holds-crisis-meeting-with-royal-new-zealand-ballet?utm_content=buffer6e225&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
  10. Dance on terrestrial TV

    Apologies if this feature has been posted elsewhere. It is a week old but I have only just seen it. http://www.thewonderfulworldofdance.com/bbc-outlines-new-arts-culture-programming-2018
  11. I agree re: Sweet Violets, in its original version. Scarlett's revision (which attempted to depict Annie's admittance to the asylum) undermined some of the impressionistic elements which had made the work succeed for me. I accept that this is a minority view, but do feel that its critical reception was greatly prejudiced by dance reviewers refusing to accept a non-linear narrative.
  12. I think back projections have been used very effectively in works by Kim Brandstrup. Those used in Invitus Invitam and Ceremony of Innocence succeeded for me in both complementing the choreography and enhancing the mood and atmosphere created in each work. Apologies for not remembering the designer's name (or names if more than one).
  13. I love the sense of fragility which Sarah Lamb gives to Giselle, and I thought she and Ryoichi Hirano made the close of Act II exceptionally moving on Saturday.
  14. This review by Simon Parris includes several curtain call images of Akane Takada and Benjamin Ella: https://simonparrismaninchair.com/2018/01/21/the-royal-ballet-giselle-review-2018-benjamin-ella/amp/