simonbfisher

Watch out for rows C and/or CC (I think) in the Stalls - we got caught out once - this is where they insert an extra row which ruins the rake and the legroom. If you are heading for those rows it might be wise to check with the box-office, as I might have got it wrong by a letter or two!

We are having a bit of a disagreement at home after yesterday's rather wonderful Jewels : does the Balanchine Trust allow for variations of costumes, scenery etc? It seemed to one of us that the whole effect was less glittery than the Bolshoi's production and that it was somehow toned down .... I on the other hand have it in my mind that theses Balanchine dances have to be the same wherever the are danced. Can anyone elucidate? And yes, the Rubies were a bit rattly. Not enough to distract me though! Finally, where would we be without Trzensimiech? Great contributions in all three of the parts yesterday. What a trouper!

I still can't get my past events - and the upcoming stuff only swam into view once (though I have now lost it again) and when it did, it didn't seem to have the performance TIMES, which is exactly what I wanted to check! What is the best address at the ROH to use send off an email in a bilious green font about this?

Yes indeed I did - SORRY! I once taught someone called Francesca Harrison....

Well, of the MANY performances of the Nutcracker that we have seen this must have been the perkiest .... I agree that orchestra wasn't at its fabbest, , but the dancing was so enjoyable! Where would we be without Mr Avis - he really is a fantastic actor-dancer and he was, for me, quite the star of the show. That is not meant to downgrade the rest of the cast - Harrison and Campbell were sweet; Bonelli and Morera (despite a teeny slip) mesmerising; the variations were undertaken with gusto (and it was nice to see a brief reappearance by Hirano);, the children were convincing and accurate (especially the little monster of a brother); ... really I could go on spraying positive adjectives around for paragraphs on end, but I won't. I see the same cast is due to be in the cinema - can't wait!

Words (almost) fail me. Though I can hear my late mother saying "It's a smacked bottom for him!" http://i-d.vice.com/en_gb/read/interviews/593/sergei-polunin-the-bad-boy-of-ballet

Yes, best panto is about right! I had vivid memories of being "shaken AND stirred when I saw it in its second season in Stuttgart - but that was a l o n g time ago - whilst on Saturday it came over as a jolly romp with some (but not a great deal of) splendid dancing to some intriguingly pro to-Macmillanesque choreography. Liked Barankiewicz and Sue Jin Kang greatly, and was not disappointed by the pas de six. The two unsuccessful suitors, though, were soooo camp that they were not really involving. I think they could take lessons from a couple of recent Gamaches that we've seen at the RB .... And what about the servants in Act 2 - how very politically incorrect, and in fact quite cringeworthy, their transformation into people with various disabilities seemed. I'm afraid I had a complete good-humour failure at that point : surely we could have gone for sneezes and coughs, and maybe even some spots, rather than the contortions that we were shown?? Howvere, it was great to have seen the two programmes this week, and to be reminded of what a durable and inspiring company this is! (Full of Canadians, again, I note!)

I concur with the gist of Meunier's post (nr 8). I thought the Made in Germany evening was a splendid catch-up opportunity - obviously there are going to be pieces in such a numerous selection that one likes less than others, but as a shop-window of talents and (maybe) trends it was wonderful! I'm now greatly looking forward to Saturday - I too saw Shrew with Haydee and Cragun way back when...!

Hello all, Just in case anyone is affected and doesn't get an email, I have just received this. I don't know whether it is only Aylesbury,though. " Good Afternoon, Due to unforeseen circumstances with the distributor, the Bolshoi Ballet screening Le Corsaire is cancelled on Sunday (17th November). We are looking into dates for a possible reschedule of this screening but in the mean time our Box Office will in touch shortly to organise full refunds. If you would like to contact us first, please feel free to ring us on 01296 745100 and ask to speak to the Box Office with any questions. Please accept our apologies for any inconvenience caused. Kind Regards, Charlotte Mitchell Deputy Ticketing Manager and Venue Access Champion Aylesbury Waterside Theatre 01296 745121 (Direct Line) 01296 745100 (Stage Door) awtboxoffice@theambassadors.com www.atgtickets.com/aylesbury "

Aileen, regarding drinks in the Coliseum - some months ago I overheard some of the F o H staff lamenting the fact that Westminster Council had just granted permission for alcoholic drinks to be taken into the auditorium, and there was indeed a Planning Permission type advisory notice on display for a while. It was, though, a while back, and I must say I have not noticed anything different. Yet.

Alison, thank you for noticing the offer in Oxford - it meant I could justify another viewing - and got to see Daria's debut last night! She was splendid, if somehow very English (I KNOW she isn't) and somehow very gentle amongst the swarthy swashbucklers. And there certainly is a connection between her and Muntagirov. They were wonderful together, even more than apart! Two standouts for me were Crystal Costa, an odalisque last night but Gulnare in Southampton last week, and above all Junior Souza, effortlessly athletic with a great line and great stillness too. Oh, and another one - Michael Coleman shameless scene-stealing as the Pasha. It only seems like yesterday that he was my favourite Bluebird! And I know there's a thread for audience behaviour, but it was a pleasure to be in such a nice and keen crowd last night, as opposed to Southampton, where we had beer-drinking women behind us, sweet eaters over the way, and a pair of bare feet dangling over the back of the empty seat next to me. Not nice....

Yes, Cuthbertson and Bonelli did make a great couple - both of them really expressive. They brought me new insights even after about 50 R and Js! Fabulous. Fabulous, too, was Morera as chief Harlot. She really is so good, as she was in Don Q and earlier this year in Mayerling. For me a real star. And who better for Tybalt than Avis. Still the classiest actor/dancer going, in my book! Trzensimiech worried me, though. Just before he fell I thought he seemed as if he wasn't quite sure where he was; he recovered quickly but seemed to stay a fraction of a beat behind the others in the remaining pas de trois. Such a reliable and accomplished dancer - I wonder if he was not well tonight?

A really great performance that got clapped in Aylesbury. Lantratov seems to have been a late substitute - his dancing was superb, with icy arrogance, humiliation and revenge shown so clearly. Zakharova's speed and accuracy were stunning, Lobukhin (whom I had not seen before) was so strong and yes, capybara, that lift was astounding! Nikulina perhaps the weakest of the four (though that is hardly an insult, nor is it meant to be) Medvedev on great form as a shepherd, the male corps hitting the spot between militaristic and artistic (is there ANY other company that can muster such might?!), and the sets as usual completely non-distracting. Good use of the intervals, too (ROH take note) with Ms Novikova as enthusiastic as ever and hopefully not about to get her fingers rapped for explaining that this ballet is so popular because, she claimed, it is about personal freedom....

So far we have clocked up the General Rehearsal, the Gala opening, Campbell and Takada on 15th and the cinema tonight. Leaving aside the sheer terror of seeing poor Takada's two falls (I could have wept! - but as BillBoyd says: What a trouper!),I think the production is settling down nicely. Does that sound feeble and anodyne - hmm - yes . . . To justify though : - the corps are more settled in their roles, and it has been fun watching tiny but important developments of the characterisation on the outskirts of the stage. It is such a shame that we don't have a complete cast list - and inexcusable not to credit the urchins and the full complement of toreadors. What on earth is getting in the way of that happening? (Sorry - on the edge of a rant there). - the peripatetic houses turn out to be very effective, after my initial misgivings - they do give new perspectives and changes of background. And let's face it, they are fun! The windmill - well the first time it was actually quite scary in a fever-dream sort of way, but the fourth time I was anticipating it and that somewhat took the edge off the rest of what was going on. Interesting : should a special effect (and it IS special) be able to work the same magic each time? No, of course not, so what replaces the magic and keeps it special - the disintegrating temple in La B is always an edge of seat moment, ditto Alain's disappearance aloft. Why not the windmill, then? - the choreography : I'm not experienced enough to spot what is NEW-new and what is refurbished, but it seems that for Basilio especially there is enough flexibility to allow twinkle-toes Macrae, more serious Campbell AND the (seemingly) reckless Acosta to develop within the same(isn) steps into quite different characters. Is that a mark of really great, or at any rate of potentially long-lasting choreographing? - finally, it really is fun. I have been made to smile and to feel uplifted each time. It is a great ballet for newcomers, maybe? And even for children? Fun deserves to last as much as anything, and I'm sure this production will. Sorry, this really is finally - can anyone tell me why the Gypsy couple reappear for the Fandango??

Janet, I haven't yet thanked you for the tip about getting into the auditorium early . . .We were seated by 7.05 and had a glorious time watching the "class" before the ballet proper kicked in (as it were). Much better than dawdling over a pizza outside! THANKS! We enjoyed the production very much - sadly I cannot find the programme as I am writing this, so am wary of specifics about the dancers, but the sets were breathtaking - that TRAIN !! -, the characterisation spot-on, the whole approach made sense of an essentially *non*sensical narrative, and the dancing was splendid. The only negative, for me, was right at the end when Shakespeare's lovely verse was spoken (and I tend not to like speech in ballet anyway) by a reedy italian-accented voice that just didn't "do it" for me. I know that dancers are not selected for their powers of recitative, and rather than take risks it would maybe be better to have a Voice From On High. This would alter the concept, of course ....

And another agreement here - such a well-run forum. I can't think how it could be improved. Thank you!

Spot on! I agree with practically everything, Lindsay. This production should stand the test of time. Yes, there were wobbles and upsets last night - more than in the General Rehearsal on Saturday, I think - but it will bed in and the corps will develop as well. The outstands for me were the Acosta/Nunez chemistry, Hirano's controlled (except for the slip) exuberance, the beggar boys (sadly uncredited as far as I could see), the HORSE which is a brilliantly faded and morose creation, just like the Knight. McRae's twinkletoes on Saturday made Basilio a completely different character from the more streetwise Acosta version : that both were credible and engrossing says a lot for the production, I think. Looking forward to seeing Marquez and Campbell later on, and the filmed version as well.

Thank you, Janet and Alison.

Thank you very much for that, Janet. We're going to see MSND in Woking tomorrow, and I had geared myself up for a very concentrated prep - this link makes it much easier! Is there anyone / anything we should particularly look out for - apart from getting to our seats early, that is? I've not seen NB very often....

Am I the only one who is pleased about this? Apart from DVD/Youtube, I have only seen his Solor here earlier this year, and was quite impressed. I thought he was technically very good, and didn't notice any particular limitation of facial expression, but I guess that if he is on roll here he will be able to relax and emote a little more . . . And surely his experience with the wonderful Dutch National will be a useful ingredient in the new RB cake?

Fiz, I do hope you have found a good home for it. My only suggestion would be to ask whoever tunes it for you (or failing that, ring around local piano-tuners) in case they know of someone looking. I tried this route when my grandmother's lovely Edwardian upright had to go 10 years ago when I swapped over to an old square piano. It was a real wrench, as I had grown up with it, learned to play (a bit) on it and had told it all my worries and secrets for 50 years. A nice lady came, played it a bit, said she'd love to have it . . . As she got out her cheque book, there was a massive clap of thunder from a clear sky. My grandmother, dead for 30-odd years, evidently did NOT approve of what I was doing. All the best with the move.

Thank you so much, LinMM, for all those tips! I really do appreciate it. I have so far sent an email to the various Turkish ballet companies with a link to The Picture, and peered closely at the photos of Baris Erhan - and almost convinced myself that it is he! I'd like confirmation, though, so shall keep digging.

Good thought, but I've tried this through the Deviantart site, but no reply! We have been given some glorious photo-prints of this guy (bought through the site) - and I'd love to give him a name. I'm just hoping that someone on here will go "Oh yes, that's . . . " !

Can anyone help identify this dancer? My only lead is that I think he is Turkish. There are some great pictures of him (and others) on this site : http://bedias.deviantart.com/art/Ballet-154457976 (Dear Moderators - I hope it is ok to post this link - and is this the right place?) Thank you!

Blimey, this is a brilliant resource, Katherine! Many thanks for sharing!