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Sim

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  1. Just reviving this thread as phase 2 of DQ has started. Did anyone see the Ball/Cuthbertson cast on Friday night? I just saw on Claire Calvert’s Instagram that she and Reece Clarke have an “unexpected “ performance of Mercedes and Espada tonight. Can’t wait!
  2. “Let me just stick in the name of the only Russian ballet dancer I have vaguely heard of. Hopefully no-one will notice. Saves me the trouble of checking that it’s right.”
  3. Thanks BP. We are working on something and as soon as it's all finalised I will let you know.
  4. I remember the days when figure skating was actually on the BBC, not consigned elsewhere. The good old days of Grandstand and World of Sport when they showed things that people might have been interested in. I never know when the skating championships are on anymore, and when I do find out, the only way I can watch is on YouTube. So now I can check the ubiquitous red button and see what happens! Thanks Alison.
  5. You make a good point here, Glissade, so we have just changed the wording of the AUP to reflect your suggestion above. Thank you.
  6. Hi Ulla, and welcome to the forum. Are you selling these, or giving them away? I made a similar offer on here a couple of years ago (I was offering on behalf of a friend) saying that whoever could collect them could have them, but there was no uptake. Maybe you will have more luck than I did!
  7. I am from New York. The NY audiences are very vocal indeed. My English mother used to go nuts when we went to see the rare visits of the Bolshoi to NY and each time someone jumped the audience would go berserk! I couldn't believe how restrained the Brits were when I moved here. In my early days there were a few times I stood up then had to sit right back down because I was the only one doing so!! I think if a performance is mediocre they might still stand up, but not if it's bad. The audiences know how much work goes into putting on a production, so they are honouring the effort as well as the result in many cases. It's just an add-on to applause I guess. Also, perhaps a national characteristic.....traditionally, Americans are very effusive, Brits very reserved, but no less appreciative.
  8. I find that Americans give standing ovations as frequently as British audiences give them rarely. I have been going to the ROH for 40 years and I can count on fewer fingers than are on one hand the amount of time I have seen a proper standing ovation there, no matter how amazing the performance was. This always baffles me, but as has been said, it is a cultural thing and just different ways of showing appreciation.
  9. That's all true, but this kind of thing happens quite often when it comes to dance, and surely picture editors/researchers are being paid to do a certain job. Of course we all make mistakes, and many of us work in busy, pressurised environments, but a friend of mine who is a picture editor for a large newspaper says that if she isn't sure about something, she always checks with the author or publisher before inserting anything because she doesn't want to get it wrong, nor does she want to disrespect the subject of the article by making it seem as if she couldn't be bothered. She also doesn't want to make her newspaper look foolish. All I am asking is that if you don't know anything about the subject of the article, just spend a few minutes double-checking. It's not hard in this day of the internet. Also, I do pay subs to three newspapers so I can read them online, The Times being one of them. So I am not expecting something for nothing.
  10. I will think about it, although the reason I called it this is because it is a thread to let off steam about those who disrespect dancers.
  11. I have seen a couple of short clips of the curtain calls and they were indeed enthusiastic. How I wish it had been filmed! The people in SF had a real treat being able to see for themselves the epitome of what English classical ballet can be and, in this case, is. Yasmine is a rare talent, and also a wonderful ambassador for the company. Huge congratulations to her!
  12. I am opening a thread on this subject so that we can let off steam. I have complained many times about shoddy and careless errors in the papers, especially regarding photos. There’s another howler in the Sunday Times today, in the Matthew Ball interview. I mean, surely even the most ballet-ignorant photo editor can see that that is nowhere near a swaggering toreador? Shame on them. Another example of “let’s just chuck in any photo of ballet and no-one will notice.” Ggggrrrr.
  13. Linda, this was announced a couple of months ago. See the thread below:
  14. I echo Alison's post, Olivia. Thanks for posting up your memories of our wonderful guy. xx Thanks to all of you who posted above. Your words are very comforting.
  15. It is with profound sadness and a heavy heart that I announce the passing of Kevin Richmond, after a brave and typically good-humoured battle with cancer. For those of us lucky enough to have seen him dance with London Festival Ballet/English National Ballet (of which he was a member for 20 years), he will be remembered in particular as a truly wonderful dance actor, who created many roles of varying types. His most famous was probably as one of the jailers in Christopher Bruce's Swansong, which also starred Matz Skoog and Koen Onzia. This formed a close bond, and it delighted Kevin that Matz and Koen visited him together in Basel last year. They had a marvellous time. I will say here that for the past 23 years, Kevin has been a close friend of mine. I missed him when he moved to Switzerland 14 years ago, but it was something he needed to do. He became an inspirational teacher and repetiteur, and was invited to ballet companies and schools around Europe to share his expertise and, no doubt, his wit and wisdom. He really enjoyed it, and always had funny stories to tell whenever he came to stay with us in London. He also had stories to tell about working with Nureyev, and travelling around the south of England with him in the car, expleting all over the place when they got lost on the way to a party. There were so many stories. Kevin , from humble beginnings, started out as a teenage actor in Nottingham, acting in films and theatre. For one role, he had to learn some dancing so was sent to a local ballet school. Everyone immediately realised he had a natural talent for ballet, and this set him on his future path. Kevin combined acting and dancing to wonderful effect; I have never seen a better Dr Coppelius, and I doubt I ever will. He made me laugh and he made me cry, and that is exactly as it should be. In his later years with the company he became their outstanding character dancer, and I will always remember his Friar Laurence to Tamara Rojo's Juliet, when she was just starting to make her name at ENB. He proudly displayed a framed photo on his wall of the two of them in these roles, which she had signed saying 'thank you for everything Kevin, with lots of love Tamara.' He was a very touching Scrooge in Christopher Hampson's production of A Christmas Carol at the Festival Hall, and a hilarious Grandpa in Hampson's Nutcracker for ENB. Hampson created both roles on Kevin. It is thanks to Kevin that I am here, on this forum. One evening, in 2003, over a glass (ok, several glasses) of wine I was (as is my wont) ranting off to him about a dreadful thing I had seen at The Place. He was in stitches, and asked if I had ever heard of ballet.co.uk. I said no, and he insisted I check it out and start posting my thoughts up there. I did check it out, but was too shy and embarrassed to post anything for a few months. He kept nagging me about it, always asking if I had posted anything yet. With each negative reply, he said 'just DO it. Don't worry what other people think. I know from performing, some people will like it, some won't. So what? Just get your thoughts out there.' So eventually I did....and 16 years later, here I am. I have interviewed many great dancers (it was he who suggested I interview David Wall, and introduced me to him at the stage door one evening where they were both hanging out together having a fag), reviewed many performances and got on the Olivier Awards Dance Panel three times, all thanks to his inspiration. I will of course remember him as a wonderful artist and a great teacher (he even allowed me into his beginner's ballet class at the London Studio Centre, but as I always yelled at him after class, his idea of beginner and mine were totally different!), but most of all I will remember him as a fun, funny, compassionate human being who always had time for a friend. I will remember the endless laughing, the free-flowing red wine, the backstage tours, the dinner parties, the talking late into the night when he stayed with us, and all the other good times. I will remember how wonderful he was to my daughter when she was a little girl and little budding ballerina; he would coach her, he would give her some professional lifts just to show her what it was like, he would come to her little dance shows. She loved him as much as he loved her. Latterly, he was so proud of her blog and of the young woman she has become, and loved talking to her about the ballet performances she had seen. A few years ago he had a brain haemorrhage and was lucky to survive it. After months of rehabilitation and hard work, he was back. It was therefore doubly cruel when he received his cancer diagnosis. Why, after all that, was he now being struck down by this, way too soon? I ask myself this often, and in anger, but there is no answer. My answer from the heart is to remember him as the great artist he was, and for all the pleasure he gave so many people, both strangers and friends. But most of all I will remember him as someone who lit up my life, and I will be forever grateful that we crossed paths and and then stayed on the same one. There are some people that you are always glad came into your life, and Kevin was one of them. The last time I saw him was last month, when I flew over to Basel to spend the day with him in the hospice. I went with another close friend of his. His dad and brother were there, Matz was there, some other friends were there. We ate, we drank, we walked, we talked, we ate some more, we laughed. We hugged, long and hard, because we both knew it would be the last one. RIP dear friend, go in peace, and thanks always for being a part of me, and for allowing me to be a part of you. Kevin Richmond 21/2/58 - 13/03/19
  16. I agree. Their very hard-working performers are subjected to criticism and analysis every time they walk out onto that stage. What makes the management think they are exempt from this? If you run a public entity, be it in the arts or anywhere else, you are accountable to those who attend what you have to offer. They do pay for their tickets after all; don't they deserve a voice anymore? And if they do get heard, do they get listened to?
  17. Agree. Maybe the marketing people should re-think their plans to push us out; our bucks do make a bit of a bang, and when many of us desist from attending (like Lindsay and many others, I am skipping Frankenstein altogether this time because I don't think any amount of changes would entice me to sit through it again) the financial implications can be felt. It may only be a few hundred pounds, but when the House is half empty, those pounds make a difference.
  18. Not at all ageist! It’s simply a fact of life: there’s always someone older than you, and someone younger than you. Yes there are old people on this forum, and if you young ones are learning from them and appreciate the knowledge, that’s a wonderful thing!
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