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  1. Thanks Margaret. Could someone clarify please: are all Insights now filmed and/or streamed? Or is it only selected ones?
  2. Thank you so much Sim - this is brilliant!
  3. I'm in the middle of reading it at the moment. It's clearly based on her diaries over the years so is chronological and detailed and I'm really enjoying it. It is quite frustrating sometimes though because Dame Beryl does sometimes pass over something which must have been very interesting - e.g. a meeting to resolve a conflict - by just saying 'it went satisfactorily'. But she doesn't pretend it was all a bed of roses - far from it. There have been a few places where it could have been better edited. And it's clearly written from her point of view (obviously) so a little reading between the lines may be required. But I'm finding it very absorbing and interesting (I've got to about 1969 so far!).
  4. ROH Open Up changes

    You also can't buy ice-creams on both sides of the Amphi, so you have to follow the masses edging towards the bar when all you want is an ice-cream. (Not that I have one on every visit, of course...). I once asked an usher why ice-creams aren't sold at the other end too (knowing full well that it's because they want everyone to go in that direction and patronise the bar) and the answer was 'because they're only sold at this end'. Which rather flummoxed me.
  5. ROH Open Up changes

    I never use the bar or restaurant so in that sense this won't affect me; but clearly a lot of people do and I think this will cause a degree of chaos. Is it really necessary to create a new 'modern' bar and restaurant when the existing ones were shiny and new (and very expensive-looking) only at the re-opening of the new House at the turn of the century? It's not as if the current facilities are a hang-over from the 1950s or whenever.
  6. I loved The Illustrated 'Farewell'! Absolutely beautiful. So many dance styles in evidence: ballet, contemporary, bits of ballroom, bits of jazz, almost court dancing a few times; and some silence. it could have been a mess, but it was a delight. It made me think of Balanchine, in the sense that he is often said to make the music visible in dance; that's exactly what Tharp does here. The dancers were magnificent, especially Sarah Lamb (wonderful to see her back, and the other dancers all applauded her at the curtain calls, which was very touching), Steven McRae (leaping and bounding), Mayara Magri and Joseph Sissens (both so expressive). A work that will repay multiple viewings. The Wind: contrary to all my expectations I loved this too. Magnificent designs, strange and powerful story-telling, brilliant performances from Osipova, Watson, Soares et al. Way over the top, bonkers but brilliant, it will live long in the memory. Untouchable: I am a massive fan of Hofesh Shechter, but I found this, unbelievably, totally boring. Even more so than at its première when it at least had the virtue of novelty. Really, really disappointing. Nothing happens except a lot of shuffling around in muddy brown groupings to dull music (and not even loud!). I don't know what came over him when he created this because it displays nothing of his usual energy or imagination. The dancers do very well, but I don't think they suit his choreography (or vice versa) - they're too light and they carry their weight too high. I think this is a work that should now be put to bed, and sadly perhaps a collaboration that should not be tried again.
  7. I meant the ad for the screening at the New Wimbledon Studio. It doesn't say anywhere that it's a film! I know that we know that; but why should non-ballet goers?
  8. Nowhere does this ad say that it's a film/broadcast of a performance, rather than an actual performance! If you didn't know otherwise you would turn up expecting to see the Bolshoi performing live... (As with all the other Bolshoi broadcasts listed.) Just saying.
  9. Well yes, I can see that's the association; but I couldn't see any indication of his internal development that might have led to regret about what happened. Or indeed about why he acted as he did throughout the piece.
  10. Absolutely thrilling performance of Gloria by Northern Ballet this evening. I'd forgotten quite how beautiful this work is, and NB gave it full value. Antoinette Brooks-Daw constantly unfurled like a sad, reflective rose held firm by Javier Torres and Riku Ito as they blazed through the choreography. Such force, clarity, commitment from the whole company; and such profundity from MacMillan in this depiction not just of war but of the human condition. Fear, pain, loss, anger, anguish; and love, trust, grace, faith, beauty. Stunning. Stunning in a different sense was Judas Tree. I still have no understanding of what this work is supposed to be conveying. The characters' motivations and relationships are unclear from the start, so what happens has no power to move. Who is being betrayed, anyway? Is the woman just collateral damage in the relationship between two of the men? Why does the foreman hang himself? (The apparent Judas/Jesus/Mary parallels really don't work for me since they're very confused and distorted.) If you're going to depict such depravity, you need to show why you're doing so or it simply becomes a gratuitous exercise in violence and darkness. Melissa Hamilton and Bennet Gartside were excellent but I felt sorry for all the dancers. I enjoyed Elite Syncopations last week, but to move from Judas Tree to jolly Joplin in a space of minutes bordered on the bizarre. So for me this was a seriously unbalanced bill.
  11. Front Row

    Thanks all - sounds good! I tried to record it but for some reason it didn't work... So will watch it on iplayer.
  12. I agree with all the comments above, and I thought that it was a really excellent and satisfying triple bill. And I was delighted that Concerto was given in its original designs. I just wish it was programmed more often - it's SO beautiful and the music is thrilling. I really enjoyed Baiser, and I hadn't seen Elite for about 18 years having rather overdosed on it in my early years of ballet-going. Coming back to it afresh I loved it and found it really amusing and uplifting. All the dancers were terrific, especially Jenna Roberts, Tyrone Singleton, all 3 principals in Baiser, Precious Adams and Yasmine Naghdi. A great evening and yes, I do wish the companies could come together more often. I found it quite emotional. And the moment of the Baiser in Baiser was just tremendous!!
  13. I found FLOSS's polite reminder about these roles very helpful in fact , as I always find her posts.