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bridiem

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  1. I'd love to be in the corps for Swan Lake, Giselle, etc. Being one of a group striving to achieve something so beautiful. I'd be happy for others to take the principal roles!
  2. I've received a reply from the ROH re 16 Feb 12 noon: 'At the moment the pairing is Hayward/Bracewell. This of course is always subject to change.' Which I think is a way of saying 'the casting list is wrong'...
  3. Just to say that this casting list shows Hayward/Campbell as the cast for Two Pigeons at 12 noon on 16 Feb, whereas the website shows Hayward/Bracewell (which I think is likely to be correct). (I got all excited about seeing H/C together! but then realised it was probably a mistake.) I have emailed the ROH to ask about this.
  4. Perhaps it just means furious in the sense of frenetic? But I do sigh a bit when I see that Ignite will be 'creating a symbolic narrative unique to each audience member'. What the dickens (to coin a phrase) does that mean?! The choreographer knows nothing of the personal narrative - symbolic or otherwise - of any of the audience members; or how they might react to the piece. The most that can be hoped for is that each member of the audience will find something in the work to which they can respond. I think a little humility is called for in the description and promotion of works, especially new works.
  5. Pierrot Lunaire. And I LOVE it! But I can't remember if the RB have done it - I wouldn't think it was right for their rep; but then I think that about quite a number of RB works, including many mentioned above, so who knows... I also loved Dances of Albion and would like to see it again.
  6. As is Alexander Campbell, IMHO. I will look forward to seeing Kevin Jackson - even if it's largely only a PDD, Nutcracker does allow you a good view of someone's overall technique and stage personality.
  7. Their 'seasons' are a bit odd anyway. e.g. Nutcracker starts in December, so in what way is that an 'autumn' production??
  8. If matinées are no longer cheaper, presumably they will no longer be used deliberately for casting less experienced dancers/débuts in roles. (I know they are not always used as such, but still sometimes. If the prices are the same there would clearly be no justification for doing that.)
  9. If he was appointed, I'd be afraid that BRB would gradually morph into BNA (if you see what I mean).
  10. True. But I would hope that KOH et al would care even more than we do, and would also want to see specific casts. Even given FLOSS's very interesting comments above, I find the unwillingness to allow partnerships (except, for some reason, Nunez and Muntagirov - which I don't actually think is a natural partnership although they are both brilliant) to develop a little strange, and sad.
  11. The 3 performances with the RB School are listed separately. And you can see the casting by clicking on the 'more info' button.
  12. Just think of the ending - the mind boggles!
  13. Thanks very much for posting this, RIchard LH. It reminded me of why I used to find the pas de trois breathtakingly exciting - clearly it was partly to do with the speed, building up to such a thrilling climax, and the lightness of the dancing. I do prefer that to the slower pace at which it's now taken, no matter how well it's danced. The male dancer is Michael Coleman but the names of the women haven't yet come back to me. I think it's the late 1970s but no doubt someone else will be able to confirm.
  14. bridiem

    Body and Mind Care for Dancers

    I imagine that it's been the gradual advance and interaction of all the things you mention. And they are all in themselves good; but they sometimes have an unintended aesthetic consequence.
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