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About Bruce

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  1. Yes. Nobody plans to make the odd mistake, but the odd mistake does happen. Writers do try, but pressures elsewhere in the newsroom can clearly introduce other issues as well. If a mistake happens the people to contact are the publishers. Its nothing to do with disrespecting anybody - it's a mistake in a busy world. For most this is all freely read on the net and great that reviews, features and pictures are out there for people to enjoy and bicker with. But don't expect perfection from a hard-pressed industry that people don't want to openly pay for and was never perfect in the first place. We need to be realistic and, actually, thankful.
  2. Different strokes for different folks. I could readily discern all the people you mention above but that didn't mask my frustration at not always understanding the antics on stage of and with other characters. I obviously lack the necessary imagination!
  3. Ian, thanks for the link to my interview with Cathy Marston. I can't recall a choreographer ever talking so much about the way they plan a narrative ballet and found it fascinating - which is why I quote it in such detail. Also good to talk to Cathy about how she and Uzma Hameed looked to bring Victoria to life. But, even armed with my interview, I'd say that I still got lost at times during Saturday's premiere - and that's not a great place to be. It's been fascinating seeing all the reviews - 2 at 4 stars, 2 at 3 stars + Louise Levene in the Spectator who do not star rate but, based on the words, I suspect would sit at 3 stars. Other major reviews will emerge in 2 weeks when the show gets to London. I think a few of us have alluded to the difficulty at times in understanding what is happening on stage. Levene perhaps makes the point best with: "The boldly episodic narrative outline runs to two rather confusing A4 pages — I defy anyone to convey ‘Albert dreams of a new Europe unified through his growing family’ without surtitles." I'm not sure if Northern Ballet has publicly released the synopsis from the programme, but if you plan to see Victoria, I'd suggest/urge/order you read the synopsis beforehand! Despite the problems, Victoria is a good ballet, with some particularly fine dancing. Just rather a shame that the same ingredients (Marston and NB) made such a gobsmackingly great ballet in Jane Eyre. You cant' win them all, but even so, I rather hoped for more clarity in Victoria I have to say.
  4. Foteini Christofilopoulou was at a short Royal Ballet photocall featuring Marianela Nuñez & Vadim Muntagirov in Don Quixote... Marianela Nuñez and Vadim Muntagirov in Don Quixote © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr Marianela Nuñez in Don Quixote © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr See more... Foteini Christofilopoulou: Marianela Nuñez & Vadim Muntagirov in Don Quixote Courtesy of DanceTabs / Flickr
  5. It's such a shame that she didn't mention this in the £5 programme. But that's not unique, many choreographers struggle to give the audience constructive notes about their work. Many just confuse things I find.
  6. Join the club! I really was depressed as I trudged out. BUT I do support doing new things in new ways and am keen to see the company be more than 'Ye Olde British Ballet' and to keep recycling what were past glories. They need the blockbusters, to celebrate some past delights, to do new things by 3 in house resident choreographers and to break-out to other choreographers - Pite was the obvious example of this working, but they need more outside eyes working with the company. My 2p anyway. I think this bill depressed largely because the music was such hard going and the choreographic responses went with the flow. Mixed bills are no bad thing!
  7. Good job Bluebird. For reference we were in BB 1 and 4 - BB1 is pretty hopeless and I don't think should be sold really. BB4 I would not buy again and the person next to us in BB5 was unimpressed...
  8. Debra Craine in the Times on the @TheRoyalBallet #ROHnewworknewmusic bill - 2*s "The musical resources are fantastic, but the evening is short on creditable choreography." https://www.thetimes.co.uk/article/review-new-work-new-music-at-the-linbury-royal-opera-house-wc2-x5038c8n3 As Ian says the daily links will have more views, but I think Craine nails the stars right at 2 rather than 3 stars. Been a long time since I came out of one of RB's nights of new choreography in the Linbury/Clore feeling quite so depressed.
  9. Just tweeted this: .@markymonahan on @TheRoyalBallet #ROHnewworknewmusic bill in Linbury covers a rather astringent night well. I'd have liked a more balanced bill but dancers looked fine. When I could see them that is - some seats have very poor views, not good at all https://www.telegraph.co.uk/dance/what-to-see/new-work-new-music-review-royal-ballet-linbury-theatre-fabulous/ It's a hard and samey night I felt - but then I didn't get to see the whole stage picture. But I'd have hoped for more. The bigger thing, for me, is just how poor the view is from some seats in the new Linbury. The old Linbury might not have been super comfortable, but generally, wherever you were you could see the stage. Having spend £50M+ (on the complete open up scheme, not just Linbury) it seems poor they made the overall seating position worse.
  10. I now have details of the funeral for John Ross and plan to go... It will take place at Ealing Abbey, Charlbury Grove, Ealing W5 2DY, on Tuesday 12th February 2019 at 2:00pm. Family flowers only please. For further details please contact nicky@ross.uk.com or W Sherry and Sons (Funeral Directors) Tel: 020 8994 5474.
  11. 19 mins past 9 and at last its starting to react. 1268 in queue!
  12. I've tweeted ROH and included a link to this thread. If you are on Twitter you might want to RT or make the point as well.
  13. The site is on it's knees. Not possible to achieve anything
  14. With great sorrow, I have to pass on the news that John Ross died unexpectedly on Monday night. John took photographs for Balletco, I think starting in 1999 and running through to 2011. He also put up pictures on this forum. In his time he took thousands of images for Balletco, and they will return at some point but under are three that I always remember - I'm doing a page on DanceTabs with many more pictures by him. John, who was a life-long professional photographer with premises on Tottenham Court Road when I first met him, had two of his own sites: http://www.johnrossballetgallery.co.uk http://www.johnrossmotorracingarchive.co.uk Besides taking photographs, John was always a keen supporter of the Ballet Christmas parties we used to hold and usually supplied large prints of his pictures as raffle prizes. He truly lived life to the full and was as busy as ever when I spoke to him in December. All who knew him will miss him, and our thoughts and sympathy go out to his wife Nicky and the family. Laura Morera and Johan Kobborg in The Lesson. © John Ross/ROH. David Drew (RIP) in Giselle. © John Ross/ROH. Leanne Benjamin in The Firebird. © John Ross/ROH.
  15. Foteini Christofilopoulou was at the photocall for Asphodel Meadows and The Two Pigeons... Marianela Nuñez and Ryoichi Hirano in Asphodel Meadows © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr Lauren Cuthbertson and Vadim Muntagirov in The Two Pigeons © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr See more... Foteini Christofilopoulou: Royal Ballet in Asphodel Meadows and The Two Pigeons Courtesy of DanceTabs / Flickr
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