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  1. Oh my. I've always wondered what Osipova and Muntagirov would be like together. Hope there is time for them to rehearse with Osipova being busy at the Coliseum.
  2. Hmm. The same writer described Muntagirov in Sylvia as dancing with 'laconic breeziness'. Not sure that I find her reviews very informative.
  3. They just released a few balcony front row tickets for the Sun matinee, they definitely weren't there when I checked last week. Couldn't resist and now get to see both programmes . I'm rather curious to see how Take me to Church looks on a large stage presumably without the rather nice video set (I'll be a little disappointed to watch a roof instead of Polunin). Does anyone have an educated guess on how long the Sun performance will be? 2 1/2 hours?
  4. I have SCS D44 & D45 for sale on Nov 17. They are etickets, so prefer to sell as a pair
  5. Plenty of Celine Gittens, be still my heart I was already really looking forward to the triple bills, after seeing the casting I can be best described as exceedingly excited.
  6. I really enjoyed this, and not just because it only had one intermission. Putting these 3 ballets together made me reflect abut the use of music and I thought it was fascinating to see 3 very different pieces set to the same music. The company looked great to me and I hope they bring more of their work to Sadlers Wells. On the day I probably preferred the more classic beauty of Lucinda Child choreography, and Keersmaeker''s piece which appeared both aloof and engaging to me and its modern interpretation of the music made me listen to it in quite a different way. But the thing that stayed with me afterwards is the raw emotion of Maguy Marin's piece.
  7. There are some tickets available over the Christmas period. Definitely worth it. Pulcinella, I didnt know who Josephine Barstow was before I saw Follies, but I'll certainly remember her beautiful solo/duet with younger self for a long time to come. It really grabbed my attention.
  8. Interesting. Has Chebykina danced many Nikiya's before? Personally I don't quite see that type of potential in Chebykina, who is not a recent graduate, and her characterisation didn't grab me emotionally . Her eyes are expressive, but they weren't enough to distract me from the at times too insecure delivery. Obviously mileage varies and we all have different favourites. All I all, I loved this run of Bayaderes and think I enjoy them for the pure spectacle that they are.
  9. Recommendation for 17 yo dance novice

    Fab advice, thank you, and it sounds like he'll have some choice. Nice to see that there are initiatives for latestartets and to get more boys dancing
  10. I think the conceptual meaning of infra becomes obvious once someone reads the programme notes or similar, but it''s not necessarily clear by itself. I asked a very analytical friend what he thought it meant after the show, and said it seemed to be something about random people.
  11. Recommendation for 17 yo dance novice

    Thank you all, that''s really helpful
  12. Recommendation for 17 yo dance novice

    Yes, it would be evenings or weekends, he is probably looking at one class per week.
  13. A friend's son is nearly 17 and just about to start his A-levels. His main passion is for musical theatre and he does a lot of amateur dramatics productions. He seems to have a natural ability in dance which he wants to pursue further (in the first instance to augment his musical theatre, but who knows what will develop). In talking with (stage) friends, the place to begin seems to be a beginners' class in classical ballet (as a solid foundation to all other forms of dance). He had recommendations for Pineapple Studios in central London and also looked at Trinity Laban in Greenwich which is easier to get to for him. Is Trinity Laban a good place for someone like him? Are there any other alternatives he should consider near Plumstead or Sidcup? And is an adult beginners' classical ballet class the right place to start, or should he look at some other type of classes? Thanks for any advice you knowledgable people can offer
  14. Just to chime in to agree with pretty much everything that has been said about the Saturday DonQs. Yevseyeva has the rare combination of exquisite comedic timing, awe inspiring dancing and real stage presence and charm. She didn't just quickly shake her tabourine in the one handed lifts, she did something different each time and managed to convey the equivalent of a cheeky wink at the audience. Her variation in the dryad scene was beautiful an ethereal, and her fouettés were to die for. Her arms went above her head for some, and she finished with having one arm on her hip, making it all look so easy whilst turning perfectly and finishing with a little flourish. Yermakov was a little underpowered which I didn't expect after his Rothbarting, but hopefully he'll get that ironed out. I thought Matvienk and Askerov were competent, but not desperately exciting in their Swan Lake, so it was lovely to see them come properly to live in their DonQ. Matvienko is probably never going to be what I would think of as a dance actress, so I was pretty chuffed with her Kitri - not exuberant, but light and charming, a little exasperated with her Basilio at times. They appeared like a charming couple of long standing and I thought their partnership worked really well. Gimadieva's Cupid was once again a real delight, and it was great to see a bit more of Shakirova in the act 3 variation - she's such a beautiful dancer and I hope to see her in a bunch of leading roles when the Mariinsky comes back for its next London season. The Saturday performances were a perfect antidote to the initial slow start of the DonQ, and I'm exceedingly glad that I didn't return one of my tickets.