English National Ballet: Romeo and Juliet, 2017

[cavycapers]

Well whatever is, or isn't going on behind the scenes at the ENB, it didn't show in tonight's performance, which was glorious.  What a fabulous place to watch a ballet, the Royal Festival Hall is, everyone can see, the sound is glorious, although the stage is small, but I soon forgot that, caught up in a production so full of gifts i didn't know where to look....

Edited August 1, 2017 by cavycapers
Spelling!

[Bruce Wall]

I'm not sure I agree about the venue - it's a concert hall after all.  That said I certainly do concur vis a vis the performance.  And how!  It was completely stellar throughout.  Hernandez outdid himself as Romeo - such a wonderful dancer; such a natural actor.  The detail of Bufala's life enriching zeal as Mercutio (a so much better role in the Nureyev than in the MacMillan - and the Russian does succeed in depicting the Bard's story more clearly) was thrilling to behold - and James Streeter was the fantastic artist as Tybalt we have long known him to be.  Have the sword fights ever been more dramatically dazzling?  Not in my memory certainly.  The dancing of the ensembles could put many other noted (and wealthier) companies to shame - and.the score playing by the rightfully burnished ENB Phil was blistering in its delight.  It was sad to have to say a mental 'thanks and farewell' to so many in the Company ... Still they were going out on an assured high ... and as I sat there I felt encouraged that there would be oh, so much more of a similar ilk to come.  Well, that at least was the indication and what a potent one it was.  Well done TR; Well done ALL.    

 

Edited August 2, 2017 by Bruce Wall

[cavycapers]

I have seen the ENB's production quite a few times, but i don't remember it ever being like this.  Ditto to all that Bruce said.  Even more amazing in that Bufala stepped in at the last moment for Cesar Corrales!

 

[Anna C]

I agree wholeheartedly about not knowing where to look, because the excellent acting and dancing by some of the company's Artists really caught my eye during the marketplace scenes.  The fight scenes were exceptionally good by all on stage, not just the sword-fighting men.  Amber Hunt, Jeanette Kakareka and Alison McWhinney really drew my eye in all their senes.

 

I thought Hernandez danced absolutely beautifully.  Sadly for me - and I know ballet is subjective - his acting didn't project as well as I expected, but the absolutely stellar performance of James Streeter as Tybalt made up for any slight disappointments.  He was extraordinary; incredible energy and athleticism and his acting was outstanding.    I thought Forbat and Bufala were both excellent too; I would dearly love to see Forbat's Romeo. 

 

Takahashi danced and acted beautifully and I couldn't take my eyes off her beautiful arms and hands.  Sadly I didn't feel much chemistry between her and Hernandez but again, that could well just be me. 

 

I was most interested to see the differences between this production and RB's MacMillan R&J; notably most of the searing grief at Tybalt's death coming from Juliet rather than Lady C, and the addition of the demise of the Friar delivering the note to Romeo.  Plus the switching of Juliet's Mandolin dance from banquet to wedding day, danced here by Juliet and Paris' friends. 

 

With the exception of a few pitchy moments for strings, the orchestra was on fine form and received very well deserved cheers.   I was surprisingly unmoved at the end which was a shame, but still enjoyed the evening and the long-awaited opportunity to see this production.    It will be Streeter's performance that shines most brightly in my memory.   Go and see his Tybalt if you get the chance.

[zxDaveM]

Foteini Christofilopoulou was at the rehearsal of Romeo and Juliet from English National Ballet, which opened at London's Royal Festival Hall this week.
Here are some sample photos...

Isaac Hernández, Erina Takahashi
© Foteini Christofilopoulou.
Courtesy of DanceTabs / Flickr

 

Emilio Pavan & artists of the company
© Foteini Christofilopoulou.
Courtesy of DanceTabs / Flickr

 

See more...
Set from DanceTabs: English National Ballet - Romeo & Juliet
Courtesy of DanceTabs / Flickr

 

[bridiem]

I hadn't seen this production for a long time and I'd forgotten most of it, so it was really like seeing it anew. I tried to forget that it was Nureyev's production, in order not to give it a 'halo effect' - I tried to see it as if it was by someone of whom I knew nothing. For quite a while I was a bit perplexed by it; I thought several times that it was really quite un-balletic, as if it was by someone who didn't have a strong background in classical ballet (yes, ridiculous, I know). I think that just indicates that it was actually a very fresh and imaginative approach. I also thought that at times it was a bit crude and unpoetic; but it was also consistently interesting and visually absorbing - almost cinematic - and when it did become poetic it was heartbreakingly so.

 

I think that it told the story more effectively than the MacMillan version with which I am so familiar. I loved the marriage scene - the movements between Romeo, Juliet and Friar Laurence were so touching (and it was a delight to see Michael Coleman again). I found the transfer of the grief about Tybalt to Juliet very effective, and Romeo's dream sequence after he has fled. The final reconciliation scene was very satisfying (even if it slightly reduced the drama of the ending).

 

The dancing was excellent all round, including James Streeter's brilliant Tybalt. Hernandez and Takahashi were technically superb but it was only towards the end of the ballet that I felt any chemistry between them and really cared about them (the finale reduced me to tears).

 

I was thoroughly indignant about the curtain calls - instead of the required catharsis and the appropriate gratitude (mutual between audience and performers), there were two group calls where the principals just stood forward, and that was it. That is NOT right!! (I know it's a long ballet, and I know it had overrun a bit; but I don't care. There should be proper/sufficient curtain calls after a performance, especially after a big dramatic three-acter.)

[capybara]

1 hour ago, bridiem said:

I was thoroughly indignant about the curtain calls - instead of the required catharsis and the appropriate gratitude (mutual between audience and performers), there were two group calls where the principals just stood forward, and that was it. That is NOT right!! (I know it's a long ballet, and I know it had overrun a bit; but I don't care. There should be proper/sufficient curtain calls after a performance, especially after a big dramatic three-acter.)

 

I so agree with you bridiem. 

[Anna C]

Absolutely. I was shocked when the lights came up - it was all so abrupt! 

[alison]

IIRC, the RFH setup doesn't lend itself to front-of-curtain curtain calls, does it?

[bridiem]

59 minutes ago, alison said:

IIRC, the RFH setup doesn't lend itself to front-of-curtain curtain calls, does it?

 

I can't see why not - it would just take someone holding back one of the curtains for the dancers to come through. Or there could be solo/double calls on the main stage if necessary. (It may have been policy anyway - the same thing happened after Akram Khan's Giselle. I feel a letter to TR coming on.)

Edited August 2, 2017 by bridiem

[Pas de Quatre]

If the performance had overrun there is a real risk that they might have to pay overtime if they didn't wrap things up promptly.  Not the dancers, the backstage workers. Presumably the orchestra had left as soon as the curtain calls began. Musicians' overtime can be very expensive too.

[Lizbie1]

28 minutes ago, Pas de Quatre said:

If the performance had overrun there is a real risk that they might have to pay overtime if they didn't wrap things up promptly.  Not the dancers, the backstage workers. Presumably the orchestra had left as soon as the curtain calls began. Musicians' overtime can be very expensive too.

 

Apologies for heading off topic, but this is one of the reasons I've never understood why so many houses seem to aim to finish as close to 10.30 as possible rather than, say, 10 or - God forbid! - 9.30. Do calculations about maximising bar and in-house restaurant revenue trump all? Do people prefer a later start? I know I don't, even on the few occasions I don't have a long trek home. I'd rather be in bed sooner!

 

Or are there other reasons? I'd love to know!

 

 

[ninamargaret]

2 hours ago, Lizbie1 said:

 

Apologies for heading off topic, but this is one of the reasons I've never understood why so many houses seem to aim to finish as close to 10.30 as possible rather than, say, 10 or - God forbid! - 9.30. Do calculations about maximising bar and in-house restaurant revenue trump all? Do people prefer a later start? I know I don't, even on the few occasions I don't have a long trek home. I'd rather be in bed sooner!

 

Or are there other reasons? I'd love to know!

 

 

I for one would love earlier starts, but then I have the luxury of being retired! For those who work,early starts are difficult, then there are late train problems. Obviously a range of starting times is good, but then you'd run into the difficulty of A isn't dancing at the early performance but B is and you're not keen on B! Think we've got problems enough trying to keep up with all the excellent casts we've got at the moment.

[alison]

I certainly didn't appreciate having to be on a train 2 later than normal last night after the Mariinsky overrun.  It was after 2 am when I got to bed ...

[Lizbie1]

27 minutes ago, ninamargaret said:

I for one would love earlier starts, but then I have the luxury of being retired! For those who work,early starts are difficult, then there are late train problems.

 

I work (more than!) full time and a two and a half hour journey away but can still make it to a 7pm start if I plan in a 4pm finish at work, which in my experience can be arranged in most office jobs.

 

I wonder if late finishes actually discourage workers from going to shows as we need to be up in the morning. I for one try to avoid "school nights" for that reason.

[cavycapers]

Laurretta Summerscales!  What can i say?  Glorious.  Emotion shone from every pore, she almost looked like a girl who is getting married in a few days :D.

I struggled to work out Josua Hofalt's Romeo though, he seemed to be somewhere else.  Fortunately Laurretta showed enough emotion for both of them.

 Laurent Liotardo brought much to Benvolio that i hadn't seen before.  James Streeter once again dominated the stage, as Lord Capulet this time, so commanding (and sexy!)  In fact the whole production has a lovely bawdiness and sexiness about it.

However, as others have mentioned before, it is a problem with Nureyev's version that the most affecting pas de deux, the one that moved me most both nights, was the pas de deux between Romeo and Benvolio when the latter comes to tell him of Juliet's death, rather than any between Romeo and Juliet.

I saw so much in tonight's performance that i hadn't caught last night, so rich is the action.

Unfortunately, the small stage won over the complicated action in the end, as one poor corps member tripped on Juliet's bed steps, and seemed to take a very nasty fall, before leaving the stage.  Best wishes to him for a fast recovery.

[cavycapers]

Sorry seem to have 'reported' this post by mistake!  Technology, eh!

[alison]

15 hours ago, Anna C said:

Takahashi danced and acted beautifully and I couldn't take my eyes off her beautiful arms and hands.  Sadly I didn't feel much chemistry between her and Hernandez but again, that could well just be me. 

 

Alternatively, it could well just be the production. I've frequently said that it feels as though there's a large hole right in the middle of it.

[penelopesimpson]

11 hours ago, alison said:

I certainly didn't appreciate having to be on a train 2 later than normal last night after the Mariinsky overrun.  It was after 2 am when I got to bed ...

I can top that, Janet.  02.30 this morning, all because of these wretched breaks for applause.  It was noticeable last night how many people got up to leave once it ended rather than waiting to applaud.  I think we felt applauded out!

[RuthE]

11 hours ago, Lizbie1 said:

I wonder if late finishes actually discourage workers from going to shows as we need to be up in the morning. I for one try to avoid "school nights" for that reason.

 

I have the luxury of living 45 minutes from the ROH by bus, and even I am put off by anything that finishes after 10:30pm on a weekday.  When I have to leave for work at 8am It makes such a difference to arrive home at about 11, be able to fit in a few basic chores at home, and still be in bed by midnight.

 

Looking forward to Anna Karenina's reported 9:30 finish time tonight! Even with the Mariinsky's usual lax approach to running times, I'm hoping that means I'll be out well before 10.

[aileen]

I saw last night's performance. Seeing this production for the first time is overwhelming as there's so much movement and so much going on plus there are several extra details that are unfamiliar if you have only seen the MacMillan version. Fortunately, I had attended the insight session at the Southbank Centre the day before and so I had more idea of what to expect. I just want to say that the session was very well thought out and, at £25 for four hours, very good value. It was hosted by Lyndsey Winship who kept things on track and asked some pertinent questions. Gavin Sutherland spoke about the score, and then Gerry Tiernan talked about the design, making and maintenance of the costumes (she had brought some of them with her) which provoked a lot of interest and questions. We then had the opportunity to watch company class. After that there was a Q&A session with James Streeter (a wonderful ambassador for the company), Jane Haworth and Laura Hussey. They talked a lot about the acting side of things and it was interesting to hear how they spoke the words in their heads to help with the pacing and rhythm of their interactions with the other characters. Finally, Jane Pritchard gave a very informative talk (with slides) about the history of R&J as a ballet and the creation of the Nureyev version. Someone commented above about some of the steps not being very balletic. Jane Pritchard said that by the time Nureyev made his version for LFB he had worked with some contemporary choreographers (Cunningham?) and this experience had led him to include some floor work in the choreography.

 

Returning to the performance,  I thought that Laurretta danced very well. It's rather touching to think that she's getting married (to last night's Mercutio) at the weekend. I quite liked Josua Hoffalt but felt that he was outshone by Laurretta. Nureyev's choreography for Romeo is over fussy with few moments of stillness and I suspect that only the fleetest of foot and most technically secure dancers can make it look really good. I assume that Nureyev was the master of the pirouette as there are about a million of them in the ballet. Acosta made a suitably cheeky Mercutio - it's a peach of a role. Reimar as Tybalt looked older than Lord Capulet (Streeter) which was a bit of a problem for me.

 

This version is boisterous and the action is almost non-stop. The dancing for the corps is lively and varied. Mercutio's death is particularly well handled. The extra scenes (Juliet imagining taking the poison, Friar John's murder on his way to bringing the note to Romeo and Romeo's grief at being told of Juliet's death by Benvolio) and some of the extra details (Romeo putting on the red jacket and Juliet later seeing his green one underneath, Juliet seeing the cross in the dagger leading her back to Friar Lawrence) are welcome additions IMO. However, as an audience member you are left feeling bombarded by steps. The effect is one of relentlessness and there is little space for the choreography to breathe. Nureyev had obviously not heard of the concept 'Less is More'.

 

[cavycapers]

How can two reviewers, both attending the same performance, come up with such disparate reviews!

Mark Monahan's⭐⭐⭐⭐⭐Telegraph Review:

"entertainment as vital, as alive and as stirring as can be".

http://www.telegraph.co.uk/dance/ballet/enb-make-nureyevs-drama-soar-romeo-juliet-festival-hall-review/

Then Neil Norman's mean little review for The Stage:

"drab and lifeless".

https://www.thestage.co.uk/reviews/2017/enbs-romeo-juliet-review-royal-festival-hall-drab-lifeless/

 

 

Edited August 3, 2017 by cavycapers

[Jan McNulty]

I agree that Neil Norman's reads a little meanly.  I haven't booked for this run as I am not overly keen on the production but when I first saw it one Saturday matinee at the Coliseum in the mid-1980s I was totally blown away by it (Koen Onzia and Lucia Truglia with Nureyev as Mercutio).  I think, over the years and with exposure to more productions my opinion of this particular one has changed a lot.

 

The first R&J I was was ENB (still LFB) performing Sir Frederick Ashton's production, my second was the RB performing MacMillan's (in Birmingham(!!!) - Stuart Cassidy and Dana Fouras).  Just a quick check in the memory banks and I realise I have seen at least 13 different R&J productions in the last 30-odd years.

 

For the record my favourite productions are Christopher Gable/Massimo Morricone for NB, Sir Frederick Ashton for LFB and Krzysztof Pastor for Scottish Ballet.  The ones I have least enjoyed are the Bolshoi, Dutch National Ballet, the Neumeier (I saw RDB performing it and would probably give it a second chance) and this one.

 

I suspect that, as this is such a long standing production most of the reviewers will already have an opinion of it and that could well have coloured their reviews, no matter how objective they try to be.  Clement Crisp's review most reflects my personal recollection and opinion of this production; I didn't recognise it from Mark Monahan's review!

[cavycapers]

True, the reviewers seem to have approached this with preconceptions.  Those that really enjoyed it seem to have thought, OK, this is a production with many faults, now let's just sit back and enjoy the sheer joie de vivre with which the ENB dance it, and those that didn't enjoy it seem not to have been able to have overcome their prejudices.

It does seem strange to me though, that one critic (Stage) should have thought "the ensembles are sloppy and conspicuously uncoordinated", whilst another (Telegraph) thought, "This was one of those rare evenings where there wasn’t a single weak link across the entire, impeccably rehearsed troupe". That was the point when I wondered if they were watching the same performance!

 

Edited August 3, 2017 by cavycapers

[Anna C]

Gosh. I only saw one dropped dagger, so the critic either has much sharper eyes than I, or he is making a mountain out of a molehill.  Nor did I see any sloppy ensemble work.  

 

I did agree with the comment about the tomb scene being more dimly lit than the Orchestra - that was distracting. 

 

Thank you aileen for the interesting info about the Contemporary nature of some of the steps - I noticed some "turned in" footwork sequences which stood out, but that explains where they came from.

[aileen]

It's obviously a bit of a marmite production. I noticed a lot of unfamiliar faces yesterday. Extra dancers from ENBS (and elsewhere?) are drafted into the corps and some of them were doing the rather tricky flag dance; there was a very young looking dancer who stood out (in a good way). It's surprising that a reviewer could describe the production as 'lifeless'. Whatever its faults it's pretty lively and there's always plenty going on. I agree that some of the lighting was rather dim though.

Edited August 3, 2017 by aileen

[bridiem]

Yes, the lighting was often far too low so that even with opera glasses it was really difficult to see what was happening at times. There's atmospheric and there's just plain DARK.

 

Several others have mentioned the pas de deux for Romeo and Benvolio when R learns of Juliet's 'death' - I thought that was absolutely thrilling. Those backward leaps, arching through the air not caring if he would be caught or not - SO beautiful and dramatic.

[capybara]

More tomorrow but, for now, I wanted to share the glad tidings that there were proper curtain calls tonight!

[Sim]

They must have read this forum!  ?

[capybara]

I have seen Nureyev’s R & J many times in many venues and with many different casts but something isn’t quite working for me at the RFH. I’m not as ‘engaged’ as I usually am. It isn’t the performance: the dancers are giving their all. It isn’t the orchestra: it is sounding really good. I think that it’s the venue.

 

From the outset, I had problems with the bright wood cladding for the front edge of the stage which reflected the light from the pit. This had the effect of making the action feel even darker than usual (although the crew who had worked on the temporary lighting rigs had done really well). Covering the wood with black cloth would rectify this problem.

This R & J feels more episodic than other versions and that was accentuated on the RFH stage by the clunky curtains. Some scenes felt as if they were left in the air. Certainly, the audiences don’t seem sure of when to clap – and the relative lack of response lends a strange atmosphere.

 

Then, and probably primarily, there is Nureyev’s ‘take’ on the story which, by emphasising the men, feels as if it gives short shrift to the relationship between Romeo and JULIET (the clue’s in the name, after all). And, when they are together, they are so engaged in frenetic pas de deux that there doesn’t seem to be time to show us their love. A critic has mentioned that Nureyev just filled in the characterisation for Romeo as he went along so there is not much given detail. I hadn’t noticed this so much in previous viewings but the only character who feels really fleshed out is Mercutio. Surely Nureyev wrote that part with himself in mind too?

 

I'm not in the Neil Norman camp (see above) but I have been struggling.

 

However, hats off to all ENB dancers for their energy, commitment and artistry, especially at the end of a very long season. I am so glad the the ‘curtain routine’ has been changed to allow for proper calls. The performers deserve that and, as bridiem has said, the audiences need it too.

 

Finally a fond farewell and a special 'thank you' to all the dancers who are leaving. The ENB stage will feel very 'empty' without you there next year.

 

[MAX]

Wonderful debuts from Jurgita Dronina and Aaron Robison this afternoon. Very nice nice show from the whole company ! ENB is lucky to have those two new dancers !

[aileen]

I saw tonight's performance and enjoyed it much more than Wednesday evening's. I thought that Hernandez was exceptional as Romeo. He managed to make the intricate choreography really sing. Takahashi was also brilliant. Like Hernandez, her lightness and fleet footwork are perfect for this production. I was really impressed with Bufala's buoyant yet refined dancing and strong characterisation. Streeter was, as expected, a powerful Tybalt and clearly relished the sword fighting. At the end there was a send off for Grant Rae who is retiring from dancing. I hope that the dancers all enjoy their very well deservd holiday after their *thirteen* month season.

[Bruce Wall]

Enjoyed yesterday's matinee - largely for the two exciting debuts but just as much for the 'conservatoire' nature of the outing; one where so many of the performing 'artists' - certainly in the male ranks - (and Nureyev's choreography is - as we know - in the most literal sense - 'manful') - were, I believe, students - or certainly VERY young dancers at the beginning of their careers.  

 

Well done, TR, for truly emphasizing ENB's key role as a training company.  I remember hearing the great Dame Beryl Grey saying THAT was the principle purpose of the Company.  Here Rojo makes that element real on a scale I, myself, don't think I've ever seen with LFB/ENB before (apart, of course, from the add-ons for the arena outings). For example, the vast majority of the flag dancers yesterday afternoon were students I think.  (In the past the unions would unquestionably have stepped in ... especially at this number.  They would argue that these students were taking truly meaningful opportunities from dancers of the 'artist' rank, i.e., the largest on ENB's books.  How wonderful then that the union too now has become SO supportive of this training element.  The world really has changed - and quite clearly TR is able to twist arms in a fashion not witnessed heretofore.  The British ballet world will be all the better for this in the long run.  Perhaps this is a clear forward action of 'Brexiteering' in the fullest sense.  I so look forward to spotting some of these faces in the Khan Giselle in September.  I, myself, didn't think such changes would happen SO quickly.  Leave it to the ever resourceful TR.  She amazes every time.)  

 

The fact that these ensembles really were in places ragged when compared with the opening performance I saw - (where the company looked like a team of world class professionals) - was made up for by the boisterously bounding energy/enthusiasm with which the willing students delivered their various charges.  The beaming grins said it all.  Also - and one cannot make too fine this point - there were key ENB stalwarts skewed about as defining role models in the throng.  SURELY there could not have been - or indeed BE - a better one than that exemplary Company member James Streeter.  As ever it's hard to pry your eyes off him, so glorious is his detail.   It will be a sad day indeed when this fine artist leaves the ENB fold.  Please may it not be for a long time to come.  His paternal care, dramatic acumen and rightful theatrical concern - while fulfilling his own responsibilities as the most vital of ALL Capulet townspeople - embossed upon my mind just how extraordinary a father he will now be to his own newborn child.  

 

The svelte and oh, so legato Mr. Robison made much of the choreography fashioned on a considerably smaller body sing with aplomb while the sterling Ms. Dronina yet again astonished, surprised and, indeed, captivated the audience by her ever spontaneous musicality and the banting raillery of her creative interplay.  That final scream will have pierced the soul of many men.  They looked so lovely together as well .... and having seen the glorious Ms. Dronina ensnare and charm Mr. Hernandez at DNB too ... I know we have oh, so much to look forward to.   Ms. Rojo can now safely hang up - or pass on - those pointe shoes - knowing they are in extraordinary hands.  THEY ARE!

 

One aside.  I'm sorry but yesterday I truly came to detest this venue as a place for ballet.  The house staff were bringing people to their seats right through and into the middle of the third scene.  I was truly shocked.  Still others were eating crisps and drinking wine from glasses.  (I thought the latter was actually against the law in such places for health and safety reasons.)  One young girl in front of me spent the entire second act playing with ever growing wads of chewing gum.  Eventually she was sticking fountains of the stuff on the chair in front and spewing strands from it.  Still, in a way I don't blame her.  The lighting was SO dim my eyes felt skeletal - well, certainly parched.  It was truly painful - in quite the wrong way - to watch by the end (and I KNEW what to expect).   The dancers looked squished on the stage ... and you couldn't really make out the personages on the side at all.  Moreover the placement of the rail bars and the varying scope of the rake upstairs - (ah, yes, that ever persistent problem of heads) - makes the RFH far from ideal to watch dance in.  Moreover, it's sterile.  Fine to sit back - close your eyes - and listen to a score .... but not I think to watch a balançoire to the same.  

 

I remember seeing my very first Swan Lake here.  I also remember my dear mother (a judge) saying on another occasion whilst watching a LFB perfromance that it 'should be sanctioned as a place for ballet'.  I was reminded yesterday of just what she meant ... AND THAT WAS OVER HALF A CENTURY AGO.  Surely the world would have moved on from this perspective you say.  Sadly no.  The situation in the interim - i.e., our desire for a meaningful location for the presentation of ballet on an international scale - has really not changed; remained unanswered.  We need someone like Rattle to say they won't take a posting unless there is an appropriate facility.  I suppose it is largely for this reason why London has become so much more a fulcrum for modern dance and why for decades that scope has been the lead for our London based ballet companies and why ballet audiences themselves (and presenters understandably) have remained so conservative.  It's hard to educate if you really don't have the wider school(s).  

 

Dear directors, if we can't have a dedicated ballet theatre of appropriate world scale (like the incredible house that Balanchine built in cash strapped 60's NYC - one that still shines as a beacon today) ... could companies please use a 'REAL' theatre as opposed to a concert platform?  Is that asking too much at the prices charged?  I know it's pointless in making such a statement without making a constructive suggestion ... so I won't.  If the Coliseum is the one real outlet of choice now in this regard ... what of another Matcham house:   What of the Lyric Hammersmith?  Surely a week or three or six or at least several could be booked into its season with justification ... there is at least historic prescedent with ballet on variety bills there and heaven knows there are facilities there both for the artists and audience present.  Without hesitation there is also a local urban audience to serve.  (Rant now over.  Have a joyous Sunday.)  

 

Edited August 6, 2017 by Bruce Wall