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  2. I watched this program at my local cinema and totally agree with you about Flight Pattern. Dreadful, dreary, dark. What a waste of a classically trained corps! We saw one nice volley of jumps from Marcellino Sambe near the very end but, other than that, hardly any dancing. A bunch of synchronized slow undulations with some miming from a distraught mother. Yawn...It makes Jane Eyre seem like Sleeping Beauty. Osipova as Medusa? Ok, it’s not Kitri but it brings out her acting skills. At least I didn’t yawn, as I would a bit later with Flight Pattern. At least we got drama, costumes, sets. Wheeldon’s Golden Hour began the evening on a high. What brilliant ballet - true ballet movement! - to gorgeous music. Loved all of the soloists, particularly the ethereal Sarah Lamb, gorgeous in her golden dress, partnered by the strong Alexander Campbell in...uh...his golden diaper. Honestly, the original costumes for the San Francisco premiere of this ballet were so perfect - south-Asian tinged unitards in shades of blues, greens and tans - that I don’t understand the reason for the changes.
  3. Yesterday
  4. New gnashers and all ... (I wouldn't have mentioned them, but his speech sounds so much clearer - I'm assuming there might be a connection). And moving well, from what I saw. Oh, and it's now officially Sir Andrew
  5. I saw the Romeo and Juliet and while I think Naghdi is a lovely dancer she has a very queenly, regal persona that belies her youth. That works against her in Juliet. Margot Fonteyn could look queenly and regal but she also had those big eyes and smile that made her look youthful in Juliet. I thought Matthew Ball was good as Romeo, but he and Naghdi seemed very rehearsed in their balcony duet. Also this is a drawback of HD ... I could see the dirty soles of Naghdi's shoes all too clearly in HD. It's not really her fault but I'm surprised she didn't wear a brand new pair of shoes for the HD. I know many ballerinas say they pick a clean pair of shoes if they're going to be filmed.
  6. If I may go back to the discussion about Paris, surely his behaviour is, in the context of the period in which the story is set, pretty normal? The marriage would have been arranged, very likely with much payment, Capulet might have gone to great lengths to get a good deal and his annoyance at Juliet's behaviour is understandable under these circumstances. Similarly, Paris has been promised a good match, and expects a nice compliant wife. Juliet was considered as property and would be expected to do what she was told!
  7. Thank you, I am sure there will be more movement. I understand that the MA1 class is year7 and 8 girls, MA2 is year8 and 9. There are about 16 girls in each class. There should be places for year8 students too. If year7 girls were (theoretically ) half of MA1 group, it looks like year8 cohort might be the largest. I don’t know the exact split and don’t know for sure how progression between MA1 and MA2 works in reality. SWL is open until 1 October. It is worth to call RBS Associates office to check on the status. Good luck to your DDs! Waiting is very hard.
  8. I dare to say that based on the single digit acceptance rates from the pool of the most promising dancers in this dance mad country this is not pessimism, but realism. Yeah, it hurts. But hey, once I won £90 on the lottery so you never know.
  9. I agree completely with HappyTurk on Naghdi's Juliet. I don't seem to get Ball's Romeo, either. He dances a lot of Romeo's steps with such a princely manner that they have become quite out of context. I don't think MacMillan intended Romeo to be a typical princely character as Albrecht in Giselle. The close-ups in cinema broadcast also didn't do him favour, because clearly he didn't know what kind of expressions he should put on under certain circumstances such as Mercucio's death. His partnering was exceptionally good, though.
  10. Where did you read this please Bruce ? I’ve heard about him appearing in The Red Shoes and in SITR but not in Swan Lake which is still currently touring to Japan and the USA this autumn and winter . If it were to happen I can see him as The Private Secretary possibly?
  11. Beliaev arrives in check trousers and changes into striped ones. Dame Monica Mason was asked why at an Insight many years ago and her answer was something to do with travelling - but I couldn't work that one out!
  12. Yes. Lynn said that in the documentary Deborah Bull made about choreographers. Three years ago I knew nothing of this ballet when I first saw clips of the revival broadcast. I didn't like Lauren Cuthbertson in it -- She didn't seem to move her upper body enough as suggested by the music. She's a very good dancer actress, and I liked her in roles like Juliet, Marguerite, Manon and Mary Vetsera, but her dancing doesn't have that liveliness required by TP. Later I found a recording of dress rehearsal with Seymour and Gable in the NYPL Digital Collection (Gable is also marvelous in it) https://digitalcollections.nypl.org/items/3c8814e0-f87e-0130-4822-3c075448cc4b I believe the short clip on YT below is from this recording. It is available for access onsite at NYPL for Performing Arts at the Lincoln Center in New York if anyone's interested.
  13. Was it just my imagination or, as Beliaev, did Ball wear stripey trousers and Hallberg wear chequered trousers? I always remember the stripey version from previous casts.
  14. Thanks, @Geoff , for posting the link to the old recording of ‘Month’. And what a fascinating watch it was! It compares very favourably across the board with any of the three performances I saw in this current run; in fact, in some respects it seemed slightly better. About the only facet that I felt was below par compared to now was the role of Vera – it didn’t seem as sharply performed in places, for example where Vera charges around the stage ‘kicking out’ at Natalia. Perhaps the most impressive aspects is the sheer pace at which the action unfolds. I’m a bit of an inveterate clock-watcher, and I often make a mental note of lights down to curtain down. It’s been over a week now, but I’m pretty sure that Month came in at around 42 (the answer to a very famous question, which is why it stuck in my mind!). The old recording is under 40 mins. That’s roughly the difference between someone doing 30 instead of 32 fouettés which, I reckon, is definitely noticeable. To sustain that seemingly small increase over the whole performance is quite a feat of footwork and timing. And, yes, this ‘Italian’ version does look speeded up in places, so much so that I dug out on old, never watched, sub-VHS standard recording of the same performance (with English credits) for comparison – and they are the same. The comic aspects certainly benefit from the increased tempo, and are crisper in their execution as a result (and by necessity). There is a little bit of physical, silent-era movie comedy about it; and everything had more of an ‘everything happening in parallel’ feel to it than I remember from the recent run. Comedy is all about timing, and physical comedy adds speed and risk to that equation; it becomes more difficult to execute, but more rewarding when it works out - as it does here. Graham Fletcher’s Kolia was a complete bundle of youthful energy. His incredible technique in some of the spins and jumps made me think that some of his more ‘ragged’ moves were there to reflect the character he was playing rather than anything else. Others have drawn attention to Lynn Seymour’s upper body, but I was mesmerised by her feet. The way they fluttered and stuttered and flitted across the stage in those tiny, tiny steps spoke volumes of her inner feelings during those PDD with Beliaev. What a fabulous set of ballet dancing, acting and comic skills were on display in this compact, concentrated, filler-free, non-stop roller-coaster ride of a tragicomedy.
  15. I agree wholeheartedly. He made Paris into a real character and he partnered Sarah Lamb beautifully with support and accuracy.
  16. Ha ha. I’m not normally so pessimistic. Just trying not to get my hopes up 😁
  17. So far for year 7 Elmhurst have accepted 15 girls (They can take upto 18) and only 6 boys!!! So guessing they are mainly looking for year 7 boys!!!!
  18. I've also read Adam Cooper is to be in AMP's Swan Lake at SW when it is revived - yet again - the year after next. It didn't say exactly in which role he would be appearing.
  19. ... with Adam Cooper, no less: 24 July - 30 Aug 2020 We're thrilled to announce our summer show for 2020 will be the unmissable Singin' in the Rain. Journey back in time to the glamour of the roaring 20s, as dance legend Adam Cooper reprises the iconic role made famous by Gene Kelly in this critically acclaimed production. Priority booking is open to Sadler's Wells members from Monday 1 July.
  20. I don’t think it does. Either the festival or comp is operating under BOPA (Body of persons approval) or might even have an exemption granted by local council. In some case the local authority just won’t even know
  21. I'm wallowing in three recently issued and IMHO very fine disks: 1. Ibsen's Ghosts: The Norwegian National Ballet & The Norwegian National Ballet School - Creation and direction: Marit Moum Aune Choreography: Cina Espejord Issued by Bel Air Classiques 2. Ibsen's Hedda Gabler: The Norwegian National Ballet & The Norwegian National Ballet School Choreography: Marit Moum Aune Issued by Bel Air Classiques 3. La Fresque (The Painting on the Wall): Ballet Preljocaj. Choreography: Angelin Preljocaj. Issued by Naxos. Comes with an excellent bonus - an explanation by Angelin Prelocaj himself. All three are available on both DVD and Blu-Ray. I guess these works will be familiar to many on the forum but they have come as an eye-opener to me.
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