Jan McNulty

BRB did perform a production by SPW as you say way back. I don't know if this will be the same one though.

As reported in Links too:

Hello @Dance-mum and welcome to the Forum!

PRESS RELEASE - THE STATE BALLET OF GEORGIA'S PRODUCTION OF SWAN LAKE EXTENDED AT LONDON COLISEUM UNTIL 8 SEPTEMBER PRESS RELEASE 8 April 2024 WORLD RENOWNED STATE BALLET OF GEORGIA ANNOUNCES EXTENSION FOR SWAN LAKE AT THE LONDON COLISEUM IN SUMMER 2024 ● THE STATE BALLET OF GEORGIA’S SWAN LAKE EXTENDS HISTORIC RUN AT THE LONDON COLISEUM UNTIL 8 SEPTEMBER ● FOR THE FIRST TIME IN ITS 175 YEARS OF EXISTENCE, THE COMPANY ADDS LONDON AND DUBLIN TO THE LIST OF WORLD CAPITALS IT HAS BROUGHT JOY. SUPERSTAR NINA ANANIASHVILI, FORMER PRIMA BALLERINA OF THE BOLSHOI, EX PRINCIPAL DANCER OF AMERICAN BALLET THEATRE, AND FORMER GUEST STAR OF THE ROYAL BALLET RETURNS TO LONDON NOW AS DIRECTOR OF THE STATE BALLET OF GEORGIA ● THE STATE BALLET OF GEORGIA LATER TRAVELS TO DUBLIN’S BORD GÁIS ENERGY THEATRE TO PERFORM SWAN LAKE FROM 20-24 NOVEMBER ● COLISEUM PRIORITY TICKETS FOR THE EXTENDED DATES ON SALE TODAY, WITH SEE PRIORITY BOOKING ON TUESDAY 9 AND WEDNESDAY 10 APRIL, AND GENERAL ON-SALE ON THURSDAY 11 APRIL AT 10AM YOUTUBE VIDEO HERE SOCIAL MEDIA www.facebook.com/swanlakeinlondon www.instagram.com/swanlakeinlondon The State Ballet of Georgia has extended its first visit to London, with performances of Swan Lake at the London Coliseum now running until from 28 August to 8 September. Based at the stunning Opera and Ballet State Theatre in the Georgian capital of Tbilisi, this company of “versatile and accomplished” dancers (The New York Times) has soared under the bold artistic direction of world-renowned, Georgian-born Nina Ananiashvili, former prima ballerina with Bolshoi Ballet and American Ballet Theatre. Ananiashvili, considered one of the all-time greats, returned home to her native country in 2004 to lead the company. The State Ballet of Georgia’s last visit to the UK was in 2008 when they performed at the Edinburgh International Festival. Having performed on the London Coliseum stage in 1999 (as Kitri in Don Quixote with the Bolshoi), Ananiashvili now brings her company to London for the first time. Considered among the world’s 10 best classical companies, with a tradition of 175 years, experience the sleek grace and physicality of classical ballet at its best with The State Ballet of Georgia. Swan Lake’s enthralling story, timeless score, and unforgettable choreography have made it the most in-demand ballet in the world. This breathtakingly beautiful production with gorgeous white tutus and sumptuous lakeside and ballroom settings will undoubtedly draw audiences into the fantasy of the world’s most loved ballet. This version of Swan Lake, staged for the Company by Nina Ananiashvili’s long-term dancing partner, the renowned Alexei Fadeechev, features hand-painted cloths made in the Georgian Opera House’s own workshops. They were designed by theatrical legend Vyacheslav Okunev. He also created the nearly 100 costumes for the production, all coming from Tbilisi to London. Director of The State Ballet of Georgia, Nina Ananiashvili said of the production: ‘Swan Lake is one of our best repertoires. It combines elaborate costumes, stunning choreography, exquisite ornaments and the young generation of dancers with Georgian characteristics. Swan Lake has always had an important place in my career. It was the first ballet that I performed in the Bolshoi Theatre and was my first and final significant performance at American Ballet Theater. I can’t wait to share it with audiences in London for the first time.’ With a company of 65, and accompanied by the award-winning English National Opera Orchestra, this lavish production opens on 28 August. The company will then travel to Dublin’s Bord Gáis Energy Theatre for performances of Swan Lake from 20-24 November. Listings Information The State Ballet of Georgia Swan Lake London Coliseum, St Martin’s Lane, London WC2N 4ES Performances from 28 August 2024 Evening Performances Wednesday - Saturday 7.30pm Matinees Thursday Saturday and Sunday 2.30pm Tickets https://londoncoliseum.org/ The State Ballet of Georgia Swan Lake Bord Gáis Energy Theatre, Grand Canal Square, Docklands, Dublin, Ireland Performances from 20 November 2024 Evening Performances Wednesday - Saturday 7:30pm Matinees Saturday 2:30pm and Sunday 1pm Tickets https://www.bordgaisenergytheatre.ie/show/swan-lake-state-ballet-of-georgia/ Choreography: Marius Petipa & Lev Ivanov, staged by Alexei Fadeyechev & Nina Ananiashvili. Music: Pyotr Ilych Tchaikovsky ENO Orchestra Detailed casting to be announced. Running time: 2 hours 15 minutes incl interval Producers: Simon Bryce and Andrew Guild General Management : Giles Rowland, Mark Goucher Ltd Marketing: Guy Chapman, Make a Noise Ltd Notes to Editors About Nina Ananiashvili, Director of State Ballet of Georgia Nina Ananiashvili took first steps towards the art of ballet at the age of 10. She studied at the Tbilisi Choreographic School, in Tamara Vikhodtseva’s class. In 1977, she pursued her education at the Moscow Choreographic School (often referred to as the Bolshoi Ballet School) under the tutorship of the prominent pedagogue Natalia Zolotova. In 1981-2004, she was prima ballerina at Moscow’s Bolshoi Theatre and, under the guidance of the outstanding ballerina Raisa Struchkova, Her first season with the Bolshoi Theatre was triumphant. She performed Odette-Odile (Swan Lake) in Hamburg, Germany, during the Bolshoi Theatre’s tour and received a 30-minute non-stop ovation from the audience after the performance. Nina Ananiashvili is the only ballerina honoured with the four most prestigious international ballet awards: Varna (Bulgaria) X International Competition Gold Medal (1980), Moscow IV International Competition Grand Prix (1981), Moscow V International Competition Gold Medal (1985) and Jackson (US) III International Competition Grand Prix (1986). Ananiashvili’s performances with Andris Liepa with Balanchine’s New York City Ballet in 1988 are regarded as a milestone in her career. She was the first dancer from the former Soviet Union to be invited to the theatre and was given leading parts in Balanchine’s ballets Symphony in C, Raymonda Variations and Apollo. She also performed with the Royal Ballet in England (Covent Garden), the Royal Danish Theatre, St. Petersburg's Mariinsky Theatre. In 1993-2009, Nina Ananiashvili was guest Principal Dancer at the American Ballet Theatre (ABT). In addition, she danced in Sweden, Norway, Portugal, Finland, Germany, Monte Carlo, Birmingham, Boston, Tokyo and other ballet theatres. She appeared as guest étoile with Rome Opera Ballet, La Scala Ballet and in Genoa’s Teatro Carlo Felice. From September 2004, Nina Ananiashvili has been Ballet Artistic Director of the Zakaria Paliashvili Tbilisi Opera and Ballet Theatre, as well as Artistic Director of the Vakhtang Chabukiani State Choreographic School. Under her direction, more than sixty new performances and ballet miniatures have been staged at the Tbilisi Opera and Ballet Theatre. The theatre’s repertoire includes new choreographic editions of classical ballets, as well as productions by George Balanchine, August Bournonville, Mikhail Fokin, Sir Frederick Ashton, and Jiří Kylián. Choreographers Alexei Ratmansky, Alexei Fadeyechev, Yuri Possokhov, Trey McIntyre, Stanton Welch, Jorma Elo, Medhi Walerski, Pär Isberg, Teet Kask and others collaborate with the ballet company. The touring performances of the State Ballet of Georgia have gained great success in the United States, Japan, Israel, Egypt, Italy , Spain, Estonia, Taiwan, Ecuador, Azerbaijan, Armenia, Ukraine, Finland, Lebanon, Ecuador, Portugal, Russia, Israel, China, Dubai, Oman and Belarus. In 2008, the Tbilisi Opera and Ballet Theatre’s ballet company was awarded with the prestigious Herald Angels award at the Edinburgh International Festival. In 2022 under the directorship of Nina Ananiashvili, a scenic cantata and one-act ballet Carmina Burana by Carl Orff (Ilya Jivoy choreography) was staged. In the performance participated Tbilisi Opera and Ballet Theatre opera soloists, choir, orchestra and the State Ballet of Georgia ballet company. The project was then presented at the Teatro Regio Torino (Turin, Italy).The Orchestra and Choir of Teatro Regio Torino, soloists of the Odessa National Academic Opera and Ballet Theatre and the State Ballet of Georgia participated in this international co-production. Nina Ananiashvili is honoured with the title of People's Artist of Georgia (1989), laureate of Rustaveli State Prize (1993), Zurab Anjaparidze (2002) and Veriko Anjaparidze Award (2018) and The Presidential Order of Excellence (2010). The American Biographical Institute granted her the title of Woman of the Year (1997). She was awarded with the International Prize Golden Goddess (1999) established by a successor of the royal family of France, Princess Marie de Bourbon. In 2000, she was granted the Laurence Olivier Award for Outstanding Achievement in Dance for her performance in Don Quixote during the Bolshoi Ballet's tour at the London Coliseum. She was named as Dance Magazine Award winner in 2002. Nina was elected as United Nations Goodwill Ambassador in Georgia (2007) for achieving the Millennium Development Goals. The President of Italy awarded her with the Italian Solidarity Medal of Honour (2011). In 2017, Nina Ananiashvili received the prestigious award Order of the Rising Sun, Gold Rays with Neck Ribbon, established in 1875 by Emperor Meiji of Japan. On 19 April 2019, Nina Ananiashvili was named as the Honorary President of Europa Nostra Georgia, a Pan-European network for protecting cultural and national heritage. About The State Ballet of Georgia In September 2004, at the personal invitation of Mikheil Saakashvili the then President of Georgia, Nina Ananiashvili was appointed Artistic Director of The State Ballet of Georgia Theatre. Under Ananiashvili’s leadership, more than 60 ballets and miniatures have been staged at the Georgian Opera and Ballet Theatre in Tbilisi. The theatre’s repertory includes both new choreographic versions of classical ballets, as well as works by George Balanchine, Sir Frederick Ashton, August Bournonville, and Jiří Kylián. Alexei Ratmansky, Alexey Fadeechev, Yuri Possokhov, Trey McIntyre, Stanton Welch, Jorma Elo, and other choreographers collaborate with the theatre. Under Ananiashvili’s leadership, the company has toured substantially internationally including to the United States Japan, Israel, Egypt, Italy, Spain, Estonia, Taiwan, Ecuador, Scotland, Azerbaijan, Armenia, Ukraine, Spain and Italy. In 2008, the ballet company of the Georgian Opera and Ballet Theatre was awarded the prestigious Herald Angels award at the Edinburgh International Festival. In 2012, Ananiashvili’s 30-year career was celebrated at an event that included international ballet celebrities. Under the direction of Nina Ananiashvili, State Ballet of Georgia has been in demand for international touring and has performed in Japan, China, Taiwan, Israel, Egypt, Estonia, Ukraine, Azerbaijan, Armenia, Ecuador, Oman, Dubai, Portugal, Scotland, among others. About Tbilisi Z. Paliashvili Opera and Ballet State Theatre Ballet Company The theatre opened on Apr 12, 1851, and for the second season in 1852 the St. Petersburg Ballet Company (featuring F. Manokhin, E. Panov) arrived in Tbilisi. They presented the second act of F. Taglioni’s ballet La Sylphide and Polka-Vengerka. This was the first ballet performance in Tbilisi. One year later Manokhin staged the second act of Giselle, and the first full ballet performance took place in 1854 when Manokhin again mounted Taglioni’s three-act ballet Gitana the Spanish Gypsy. Unfortunately, due to lack of finances, he returned to the Bolshoi Theatre in the Summer of 1854. In the 80s and 90s of the XIX century, Tbilisi saw performances by St. Petersburg Emperor Ballet Theatre. The stage of Tbilisi Opera Theatre was the venue for the foreign debut of Maria Perini, pupil of Italian dancer Enrico Cecchetti. She was the dancer who demonstrated the 32 fouette to the Georgian audience for the first time. During 1897-1907 she performed at the Tbilisi Opera Theatre. The creation of the Georgian ballet school is associated with her name; she founded the first choreographic studio for classical dances. Perini lived in Georgia for 48 years. Before returning to Italy in 1936, she attended the first Georgian ballet, staged by her pupil Vakhtang Chabukiani and it became clear to her that her work had not gone in vain. Mzechabuki (Heart of the Mountains in the following stagings) by Andria Balanchivadze is the first Georgian ballet and was staged by Vakhtang Chabukiani at the Tbilisi Opera and Ballet Theatre. From 1929-1941, he worked at the Kirov Opera And Ballet (Mariinsky) Theatre, performing all leading roles from the classical repertoire. Chabukiani returned to Tbilisi in 1941 and managed the Opera and Ballet State Theatre Ballet Company until 1973. His partners at various times were Galina Ulanova, Maia Plisetskaya, Raisa Struchkova, Marina Semyonova, Alla Shelest, and Natalia Dudinskaya. On the Tbilisi stage he was continuously partnered by the legendary Vera Tsignadze. In the beginning of the 1970s, the ballet company had a new artistic director–George Aleksidze, Fyodor Lopukhov’s pupil. Aleksidze brought new aesthetics to the theatre, as neoclassical ballets became the part of repertory alongside classical works. The company’s next artistic director through 1982-1985 was Mikhail Lavrovsky, the internationally known Bolshoi Theatre dancer and choreographer. Under his short directorship several interesting ballets were staged – his own version of Prokofiev’s Romeo and Juliet and Gershwin’s Porgy and Bess. About the ENO Orchestra The award-winning ENO Orchestra is renowned for the versatility of its repertoire spanning four centuries, providing the musical landscape and emotion for all ENO productions. As equally at home in the fun and sparkle of Gilbert and Sullivan as it is in Wagner’s epic scores, it also brings to life the complexities and colours of contemporary operas including those by Birtwistle, John Adams, Tansy Davies, as well as musical theatre productions like Sweeney Todd, Sunset Boulevard and My Fair Lady. With an established reputation for its Handel work, from pioneering performances with Charles Mackerras in the 1980s to new work with specialists like Laurence Cummings for the BBC Two broadcast of Messiah (Easter 2021), in recent years the Orchestra has also received praise for the stamina and commitment it brings to the operas of Philip Glass, including the award-winning productions of Satyagraha and Akhnaten. Benefiting from the experience and passion of its players, the ENO Orchestra attracts some of the country’s brightest talent. It actively seeks to train the next generation of players through the ENO Evolve scheme with the Royal College of Music; Orchestral Fellowships for ethnically diverse string players to increase representation to better reflect our society; and to support a new generation of conductors through the ENO Mackerras Fellowship. It also seeks to inspire young people in its work with the ENO Engage department, welcoming schools to its dress rehearsals, playing and recording for educational projects and participating in workshops. About the London Coliseum The London Coliseum is the largest theatre in London with 2,359 seats. Built in 1904 by legendary theatre architect Frank Matcham, the glorious Edwardian architecture and interiors were magnificently restored in 2004. The theatre has been home to the English National Opera since 1968, and hosts some of the best entertainment the capital has to offer. Twitter: @LondonColiseum Facebook: @londoncoliseum

Have you checked the school’s website for the requirements? It is now too late to apply for entry in 2024 but the page shows you when applications open for 2025. https://www.hamburgballett.de/en/ballettschule/aufnahmepruefung.php

Lovely words Colman.

Hello @CindyN, I've merged your post with your earlier thread in the Doing Dance forum where all things training in dance are discussed.

I only know about the ballet world as a watcher so I'm not speaking from personal experience but ... If you take the UK as an example you have 5 main companies and a number of smaller companies. The number of vacancies depends on the number of dancers leaving or if the company is increasing in size. In the current economic situation companies are unlikely to be increasing in size so you are dependent on how many dancers may be leaving. There may be say an average of 5 vacancies per bigger company so that is 25 vacancies. If you include in the smaller companies there may be another 10 vacancies. So that is 35 vacancies in the UK. How many graduates are there from the vocational schools? In the UK we have RBS, Elmhurst, CSB, NBS, RCS and more. If, for example, 10 dancers graduate from each of the schools I have mentioned then already there are more potential candidates than vacancies. There is always going to be a mismatch of the number of vacancies with the number of candidates world wide. In the current financial situation world wide I would imagine that the disparity of candidates vs vacancies will be greater than usual.

Done.

I've recently taken up Tai Chi after a gap of 30 years so am basically a complete beginner again. I agree with what you say Peanut that it is essential to take correction if not taking it means you get injured. Our Tai Chi teacher is very good at spotting if you are not aligned correctly for example.

Hello @Pier and welcome to the Forum!

Miki is absolutely sublime as Aurora and Max Maslen is every inch the Prince. It's a fabulous cast (as all the ones I have seen in this run have been). BRB's is my favourite production of a traditional Sleeping Beauty. It is not the same as the RB production. @annamk ' s report on page 2 of this thread is well worth a read.

Very sorry to hear this Fiz. Thinking of you. Jxx

So very sorry to hear this news Michelle. Sending hugs. Jxx

Hello @ZoeDando and welcome to the Forum!

The advice I was given re nose blowing in general (as well as in a theatre) is not to do it as it just makes your nose worse! I was told just to wipe my nostrils if they were streaming. This was many years ago by my doctor.

You've dug yourself into a bit of a hole here. "The elderly rich" vs "saving up for". How do you know whether or not the people sitting in the top price seats are rich or whether they have saved up all year. If I wanted to see the current production of Swan Lake sitting in a top price seat for an evening performance, excluding food, it would cost me up to £400 for the experience. If I want to have a good experience wherever I go whether I spend £10 or £170 on a ticket is immaterial - I still expect to enjoy myself (hopefully respectfully of other audience members). In fact, I recently went to see a play at the Shakespeare North Playhouse in Prescott. My ticket cost me about £22.50, I had a 30 minute drive each way and free parking. Is that a lesser experience than going to ROH?? If we are talking ballet - 3 performances of BRB's Sleeping Beauty in top price seats in Sunderland plus 2 nights in the nearby Premier Inn and parking cost me less than one evening trip to ROH. Does that make it a lesser experience because it was cheaper? Your comment about ROH legacy is interesting - there are other theatres in London and elsewhere in the country - that have far more "legacy". If you want to go about making ballet an elitist experience then you are doing a wonderful job with some of your comments.

Hello @Lucy M and welcome to the Forum!

I've already got my tickets for the first 3 performances of the mixed programme!

Wow Buddy, how lovely!

PRESS RELEASE Date: 03/04/24 Royal Academy of Dance launches new bursaries for aspiring dance teachers Image by Tim Cross. The RAD is thrilled to announce the launch of new bursaries following receipt of a significant charitable grant from the Headley Trust. This generous contribution will enable the RAD to further its mission of providing wider access and vital financial support to aspiring trainee dance teachers from a range of diverse backgrounds. The funds from the Headley Trust grant, which is for two years, will be used to offer part bursary support for up to five UK students on the Certificate in Dance Teaching (Ballet) and one full bursary and three half bursaries on the Professional Dancers Graduate Teaching Diploma. The Certificate in Dance Teaching (Ballet) programme is for students taking their first steps towards a career in ballet teaching, whilst the Professional Dancers Graduate Teaching Diploma is for professional dancers looking to transition from performing to a new career in teaching. Speaking of the grant announcement, Dr Michelle Groves, Director of Education of RAD said: “Supporting aspiring trainee dance teachers is such an important factor if we are to diversify the workforce and enrich the experiences of our dance students. I am delighted that the Headley Trust shares our vision through providing financial support to the next generation of inspirational dance teachers.” A career in dance is one for life, with many RAD students going on to run successful dance schools and businesses across the globe. The Creative Industries Federation reports that creative businesses represent over 5% of the UK economy and are responsible for more than 10%, or £27 billion, of the UK’s annual service exports. The Faculty of Education currently has around 1,000 students from across 54 countries studying its dance education and teacher training programmes. The faculty offers six programmes of study which include undergraduate and postgraduate degrees validated by the University of Bath, and Awards of the RAD. Our distance learning programmes can be studied from anywhere in the world and our students become part of a vibrant and international dance community. RAD graduates go on to work in in a variety of teaching settings such as private dance schools, vocational schools, primary and secondary schools, community settings and in Further or Higher Education. Applications for bursaries are now open and more information on how to apply can be found by visiting the website at: https://www.royalacademyofdance.org/teacher-training/fees-and-funding/financing-your-studies/ Notes to Editors About the Royal Academy of Dance Royal Academy of Dance (RAD) is one of the most influential dance education and training organisations in the world with a strong global membership in 85 countries. Established in 1920 to improve standards and re-invigorate dance training, the Academy helps and encourages its teachers to perfect their teaching skills and pass on this knowledge to their students. There are currently over 1,000 students in full-time or part-time teacher training programmes with the Academy and each year the examination syllabus is taught to thousands of young people worldwide, with around a quarter of a million pupils per year going on to take RAD exams.

PRESS RELEASE 3 April 2024 Twitter / Facebook / Instagram /Website BIRMINGHAM ROYAL BALLET ANNOUNCE CLAIRE DERSLEY AS HEAD OF ORCHESTRA OPERATIONS Birmingham Royal Ballet today announces the appointment of Claire Dersley as the Company’s new Head of Orchestra Operations working with the acclaimed Royal Ballet Sinfonia, beginning 1 July. Paul Murphy, the Company’s new Music Director and Principal Conductor (from 1 July) said: “I am absolutely delighted that Claire will be joining us as our new Head of Orchestra Operations. She brings a great deal of orchestral management experience and a genuine love of our Company to the role and I’m really looking forward to working with her”. Claire Dersley added: “I’m thrilled to accept the position of Head of Orchestra Operations with Birmingham Royal Ballet. I look forward to working closely with Paul Murphy to continue and expand upon the fantastic work that he and Koen Kessels have already been undertaking with the orchestra.” Claire has been Orchestra Manager at City of Birmingham Symphony Orchestra since 2009, and in that time has developed strong relationships and improved working practices with its musicians, alongside working closely with each of its Music Directors; Andris Nelsons, Mirga Gražinytė-Tyla and currently Chief Conductor Kazuki Yamada. She has toured extensively across Europe and internationally, as well as working on projects including the Commonwealth Games Opening Ceremony, multiple BBC Proms, a Chandos recording series with Ed Gardner and award-winning Deutsche Grammophon recordings with Mirga. Prior to CBSO Claire spent 3 years working at BBC Concert Orchestra, working on many TV and radio broadcasts, CD recordings and at various festivals including Cheltenham Music Festival and Henley Festival. A trained cellist, Claire studied music at Southampton University before embarking on her career into arts administration. The Royal Ballet Sinfonia is Birmingham Royal Ballet’s permanent orchestra, it is also Britain's busiest ballet orchestra. Alongside touring with Birmingham Royal Ballet The Royal Ballet Sinfonia plays frequently for The Royal Ballet and other leading ballet companies, including performances with Paris Opéra Ballet, New York City Ballet, Australian Ballet, Les Grands Ballets Canadiens, the Kirov, Norwegian Ballet, Atlanta Ballet, San Francisco Ballet and La Scala Ballet. Notes to Editors: Birmingham Royal Ballet Birmingham Royal Ballet is the United Kingdom’s leading touring ballet company performing a range of traditional, classical and heritage ballets as well as ground-breaking new works with the aim of encouraging choreographers of the future. The Company’s Director since January 2020 is the internationally renowned Carlos Acosta. Birmingham Royal Ballet standardly performs at Birmingham Hippodrome for approximately ten weeks of the year and the remainder of the year tours throughout the United Kingdom and overseas. On average, the Company performs 175 shows a year nationally and internationally. Music is at the heart of BRB’s activities and the company is committed to regularly commissioning new orchestral music for ballet. Through BRB’s Ballet Now programme which was launched in 2017 BRB has commissioned the largest number of new orchestral music for Ballet since Diaghilev. The Royal Ballet Sinfonia The Royal Ballet Sinfonia is Birmingham Royal Ballet’s permanent orchestra, it is also Britain's busiest ballet orchestra. Alongside touring with Birmingham Royal Ballet The Royal Ballet Sinfonia plays frequently for The Royal Ballet and other leading ballet companies, including performances with Paris Opéra Ballet, New York City Ballet, Australian Ballet, Les Grands Ballets Canadiens, the Kirov, Norwegian Ballet, Atlanta Ballet, San Francisco Ballet and La Scala Ballet.

But surely that applies to any theatre anywhere... Your statement makes the ROH seem even more snobbish than people may already think.

Do report back and let us know what you think. I hope it matches or even exceeds your expectations. I'd love to see what Shang and Lachlan make of the roles...

Exactly! Some people were booing Carabosse at the BRB curtain calls I saw recently. The dancers playing the role looked chuffed.