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  2. I'm not being funny but how does it benefit the dancers? If that is necessary for them but it causes issues for a lot of the audience who would like to watch the performance but who have difficulties with the early start time then perhaps they should not do those matinees?
  3. Anna C

    RIP Niki Lauda

    F1 legend Niki Lauda has died aged 70: https://www.itv.com/news/2019-05-21/f1-legend-niki-lauda-dies-aged-70-after-kidney-problems/ Another great loss to the sport.
  4. Is there room for another female principal? People already complain when the casting comes out that So-and-So has only been given one or two performances of such and such, while Somebody Else has been given 2 or 3.
  5. Such early starts are a pain even when you do live in or around London, as you can’t get much done in the morning, apart from getting yourself up to central London - weekend engineering works permitting of course!
  6. I don’t where you are coming from, going home to, but have you tried splitting the journey? For example, if you can say, get to Birmingham quite cheaply, you can get singles to/ from London for about £7-£8 outside rush hours. You wouldnt even have to change train, if the service went through your in between station
  7. Why on earth do they start matinees at noon? If it is supposed to help people in the provinces it most certainly doesn't!! A couple of years ago I booked for an early matinee ... there was a problem with the train and I STILL haven't seen After the Rain live!!! Since then, I have booked a hotel for the night before, which is an expense I can do without!! Such programming certainly doesn't cater for many people who live outside London.
  8. Today
  9. As has been mentioned above - it's much dearer to travel on a week day. For me (booking the minute the rail tickets go onsale) a weekday could be £80-£100 each way as opposed to £25 each way on a weekend. Huge difference.
  10. It definitely does seem as Motomum describes it. If I’m not mistaken, last year, 10 WL offers alone were given to JAs in the London centre. It does seem obvious that there is significantly higher percentage of JAs who gain entry into WL. If your DCs dream school is WL, then most will apply for JAs every year until they get in. As mentioned before they get prepared for WL auditions, RBS would have very detailed files on them, they get checked by physios - things other DCs wouldn’t really have access to in the “RBS-way”, or at all. I noticed for other schools it’s not as much of an issue but for WL it does help A LOT. And this is probably the reason why students who get into WL without being JAs are treasured almost, as they give hope to those who want to get into WL without being in the JA system. Also the reason this thread year after year is always the longest and most active around this time of year. I did notice, however, that quite a lot of JAs we know also attend other associate schemes. So I think in terms of WL entry,probably a significant percentage have supplemental training via other schemes or numerous private lessons and classes and intensives, physio sessions etc etc. I would be interested to hear stories of DCs who get into WL, doing just normal ballet classes, no privates, no JA, although this might be for another thread altogether...
  11. Oh yes I agree. Their pdd was definitely the highlight for me. They danced so beautifully together. I hope we get to see more of them together. And I've said it before - like many others - Campbell is obviously dancing really well and his technical ability is a given - why wasn't he cast as Romeo? All very puzzling 🙄
  12. Remember those old black & white musicals where the chorus line/understudy is unexpectantly thrown into the starring role? When I think of the artists, 1st artists, soloists - there are certain dancers who immediately spring to mind who I know without a shadow of doubt would be able to not only carry the show but undoubtedly shine in the unexpected opportunity. Romany Padjak is such a dancer. She is always beautiful and her opportunity is long overdue. Although I would be SO pleased if Padjak were promoted I think it will probably be Sambe, Kaneko or Stix-Brunell to principal or O'Sullivan & Clarke to 1st Soloist. I think that Joseph Sissens should definitely be promoted to Soloist - along with Gasparini and of course the lovely Romany Padjak.
  13. Yesterday
  14. For the new Y7 WL boys, of which the intake is eleven, 6 I know are JA's. The remaining 5 might also be made up of JA's as well, but I don't know them personally. All 4 original Y7 MA boys places were offered to existing JA's, but two took vocational training elsewhere. According to my child's JA teacher, WL does take a higher proportion of JA's to WL than children who are not JA's, this is also borne by this years numbers and the stats in RBS annual report. The Y6 JA training from September through to Preliminary and WLF auditions focuses exclusively on what to expect in the auditions right down to the improvisation piece that the children have to do. It doesn't make any sense at all that any ballet school wouldn't have a vested interest in the children they are currently training on their existing associate programs in relation to either vocational training or ongoing associate training
  15. The fence panels unfortunately made it a bit difficult to see the dancers' legs in some cases.
  16. Thanks for compiling this list Sophie. The Ballet Retreat does sound rather appealing. I'm always happy to hear of places outside London that cater to adult dancers. Ballet For You in at WAC Arts in London have a couple of intensives - http://www.balletforyou.co.uk/holidayintensives (I went 2016) WEEK 1: Monday 29th July - Friday 2nd August 2019WEEK 2: Monday 5th - 9th August 2019 Dar Danse (a little bit further away in Morocco) has a couple of ballet retreats later in the year - https://www.bubbleonthebeach.com/ballet-retreats (I went 2018) Beginners/Improvers: Sunday 22nd -Saturday 28th September Intermediate (3+ years of regular ballet classes): Sunday 6th - Saturday 12th October
  17. Some of the questions need a little effort, but let me try. Costumes are often coloured, but on this occasion, left to right and not top to bottom. Michaela is a character in Bizet's Carmen Opera, which varies from between 2.5 to 3 hours. She does not feature in the ballet suite however, because it is only circa 50 minutes, so some things have to go. Since her function is to deliver a letter, a kiss, a duet and an area (albeit a good one), her role was one of the things sacrificed. I avoid comment on hair, since I am a member of the hair loss brigade. See Etsy for polka dot shirt statements. Since the acid incident, there is a sensitivity at the Bolshoi about weapons and the staff refuse to stab with real knifes, they prefer to act the part. In truth, she looked like she had been stabbed because she was acting instead of being really stabbed. The initial curtain call appeared to be a very emotional affair, ( having just being stabbed), but by the last curtain call, I think the fifth, performers were very happy and laughing with plenty of bouquets handed over. Petrushka was indeed a new production as you rightly observe. You can. no doubt advise us of the exact duration so that we can be assured that we weren't short changed.
  18. Good advice. Practice doesn’t always make “perfect”, it makes “permanent” in terms of muscle memory - so as Pictures says, make sure you’re practicing correctly!
  19. I really enjoyed both ballets. In Carmen, I loved the treatment of Bizet's music and the striking set. The only thing I wasn't keen on was the background of broken fence panels- it kept distracting me by reminding me of my back garden! Really liked the high chairs with the onlookers-for me, this production was about constriction in a surveillance-based society in which no one was free, whether male or female. For me, and this is why I liked the pairing of ballets in the programme, Petrushka continued with this theme of lack of autonomy and being conscious of viewing and being viewed. I loved the use of the mannequin doll models. I didn't like the men in the bear coats either and wasn't sure what point was being made, but did love the Russian dolls and this whole idea of the piece being pared down. One I'd definitely like to see again. With the lack of the fairground crowd, however, I did miss a sense of a reaction to the puppets and that felt slightly disjointed with the magician and his creations being somehow seperate and apart from everything else going on.
  20. Just a thought for if your DS is successful - I’m sure when we were looking at the CAT scheme at The Place, they said that if the weeknight sessions were too tricky in terms of commuting, CAT students could count good quality local training as those sessions and just travel to London for Saturdays. As it turned out, dd stayed at Central for the full 5 years’ associates so it wasn’t an issue for us but it might be worth investigating.
  21. One thing for sure, no one can take away all his ups and downs from his dance journey, something he'll remember for the rest of his life. Good luck to you both, and feel sure he'll be a success with the experiences gained. PM'd you Harwell.
  22. The wonderful performance of Anna-Rose O’Sullivan is a great example of this.
  23. If you are in London the Chelsea Ballet one can be very useful if you have flexible working hours. This is because you just pay by the day for any classes you do.....you don't have to attend every class and there are several to choose from each day. I know for sure there will be a lovely contemporary class every day from 1-2pm if you can get an extended lunch hour break etc. And there will be a great Ballet and Rep class every day from 4-5.30pm if you can get off a bit early etc. You don't even have to do any class every day so it's pretty much what you do you pay for so good for people who can't get the whole week free or more than a couple of days etc. All the classes are in the big studio at the top in Pineapple.
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