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Lynette H

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  1. I don't think that's the case. It looks like the Arts Council prefer to invest in younger choreographers "Mr. Alston said that he had “absolutely chosen” to step down as the artistic director of The Place, but that closing the company has been a more complicated decision. He said his troupe has received most of its funding through an Arts Council England grant given to The Place, which last year applied to be a National Portfolio organization — a company or institution that is regularly funded over a four-year period. “That essentially requires you to reinvent yourself, and The Place decided to focus on younger artists and tour them,” he said. That meant his company would no longer be in residence at The Place and would lose most of its funding." https://www.nytimes.com/2018/10/08/arts/dance/richard-alston-dance.html
  2. There is finally a reply on the ROH news page to some of the comments raised on the "new" ROH. It confirms "We'll still be sharing information and updates via our News section, but the bulk of our content offer will move to our hugely popular social media channels including Facebook, Instagram and YouTube. We're also shifting our focus towards more filmed behind the scenes content, which I'm sure will be of interest, so will be ramping up the amount of Facebook Live films and rehearsal clips, as well as artist features. In doing this, we'll be able to reach millions more each week with the magic of opera and ballet."
  3. This is part of the new exhibition there, Ribera - Art of Violence. Performances are on Sundays - see details here https://www.dulwichpicturegallery.org.uk/whats-on/exhibitions/2018/september/animalis-sunday-dance-performances-choreographed-by-dane-hurst/?utm_source=wordfly&utm_medium=email&utm_campaign=Octoberenews-Friends&utm_content=version_A&sourceNumber=208
  4. So if there is currently no booking office what happens when people turn up to queue for returns ?
  5. Annoying that the RBS / Two Pigeons performances are not included in the package booking offer.
  6. Lynette H

    Rambert Performance Database

    Thank you (and all the other volunteers) very much for all your efforts.
  7. Rambert has put online a searchable performance database of everything they have done. It goes right back to the very early years - there is a helpful timeline, and the first entry is for Ashton's A Tragedy of Fashion in 1926. It includes details of dancers, choreographers, venues, music and so on. It looks very comprehensive and seems easy to search. You could spend quite a lot of time in here, recalling some of your favourites.... http://www.rambert.org.uk/performance-database/
  8. Oxford University Press has this information on its web site about a forthcoming biography of Petipa by Dr. Nadine Meisner. Note that the estimated publication date is in 2019. https://global.oup.com/academic/product/marius-petipa-9780190659295?cc=gb&lang=en&# The overview describes this as "First biography in English of the creative genius behind Swan Lake, The Sleeping Beauty, and The Nutcracker. Richly illustrated with archival photographs. Uses never before seen original material from Petipa's 63 years in Russia." There is a chapter listing and a few other further details.
  9. They have a very busy concentrated schedule in the autumn - from Sept 18 to Oct 14th I think I counted 26 different ballets in eight different programmes. That's fairly intense. The RB's performances are spread over a much longer period, and don't involve so many different works. https://www.nycballet.com/Season-Tickets/18-19-Season-Page/Fall-2018.aspx
  10. Lynette H

    Lindsay Kemp RIP

    He was a unique figure. I tried to search for details of a piece of his that I recall Rambert doing called (I think) The Parade's Gone By. What I did find (which I hadn't explored before) is a mass of detail and filmed interviews from the Rambert archive, available online. Here's Kemp, filmed in 2016 recalling works made for Rambert. http://www.rambert.org.uk/explore/rambert-voices/cruel-garden-bruce-kemp-1977/
  11. Oct 15 is students-only in the amphi. Maybe look at another part of the house ?
  12. I recall this fondly from 1995, I think. BRB at the ROH. Joseph Cipolla was the Miller.
  13. I see from the plan that there are 5 spaces for wheelchairs - is that more or less than there were previously ? They are all a side-on view rather than a clear view of the stage.
  14. For those wondering why some RB principals do not appear to be cast so much as you might anticipate in the autumn season, it's worth considering that the RB will be represented in a multi company programme in the USA this October. Dates are 31 Oct to Nov 4th. Details here https://www.nycitycenter.org/pdps/2018-2019/Balanchine/ The RB present Tarentella and Tschaikovsky Pas de Deux. No casting details that I have found so far.
  15. It’s been far too hot to sleep. I tried creating a complete Royal Ballet season as an alternative to counting sheep. It follows the standard pattern prevailing over the last few years of approximately seven full lengths and six mixed bills. Includes both revivals and new work. it came out like this (not in chronological order). Full lengths Cinderella (Ashton) Giselle (Peter Wright’s version) Manon (MacMillan) Ondine (Ashton) Woolf Works (McGregor) Winter’s Tale (Wheeldon) Nutcracker (inevitable I suppose but a Christmas without it would be fine by me) Mixed bills Les Biches (Nijinska) / Checkmate (de Valois) / A new work from Cathy Marston Apollo (Balanchine) / Les Noces (Nikjinska) / Firebird DGV (Wheeldon) / Prodigal Son (Balanchine) / Requiem (MacMillan) Chroma (McGregor) (Or a new piece from him) / New work from Liam Scarlett / Flight Pattern (Pite) Scenes de Ballet (Ashton) / various Ashton divertissements including Thais pdd, Tweedledum and Tweedledee, A walk to the Paradise Garden, Dance of the Blessed Sprits/ A month in the country (Ashton) Tombeaux (Bintley) / Invitus Invitam (Brandstrup) After the Rain pdd (Wheeldon) or a new short piece from him / Lilac Garden (Tudor) I would like Kristen MCNally to create an alternative Christmas piece for the Linbury possibly based around the dysfunctional home life of Mrs and Mrs Claus.
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