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To make it clear I’m not trying to diminish how physically demanding dancing is, particularly the big solos and pas de deux. I also certainly think people should applaud during the performance as imagine this is very positive for the dancers and pushes them on, as well as creating a nice atmosphere for the audience. I certainly wouldn’t begrudge a bit of a pause in the wings while the applause continues. Bowing on stage during the plot doesn’t spoil the performance at all. It’s more in the slightly irritating preferences category. I appreciate others in the audience probably like showing their appreciation in this way directly right after a particular solo.

And it was Vadim, who was asked in the course of the interview whether the applause during the performance after the variations disturbs him, who answered that he welcomes every such interruption, because every second of applause means a moment to rest and catch his breath for the next dance. Few people can imagine the physical strain dancers are exposed to during a performance. For me personally, it certainly does not spoil the artistic experience.

@Sebastian thank you for mentioning the tempi. I completely forgot to and I was rather shocked at the time by the pace of the music. I hadn’t known it was intentional. It caused me some anxiety on behalf that the dancers. I did notice the conductor was paying close attention to all the soloists. Bravo to the dancers for dancing at this speed. 👏👏👏

I totally agree with you on all points. It totally irks me when dancers stop the action and step out of character to smile and take prolonged bows mid story. It’s another form of distraction. Coming from a theatrical background it makes me start wondering how invested a dancer actually is in becoming a character and living his/her truth if they can turn it on and off so easily. But, theatre and ballet are different art forms and perhaps I expect too much.

News that a gala in Belgrade Serbia will be livestreamed on YouTube SATURDAY 27.4.2024 19.00 Belgrade, Serbia UTC+2 18.00 BST / UK https://www.youtube.com/live/0YNhN5D48I4?si=_CLfghXgYikJNnX3 Impressive participants and programme: Fumi Kaneko & Vadim Muntagirov (Royal Ballet) BLACK SWAN COPPELIA Anna Tsygankova & Giorgi Potskhishvili (Dutch National Ballet) TANGO by Xin Peng Wang DON QUIXOTE Shiori Kase & Gabriele Frola (English National Ballet) CORSAIRE NO MAN’S LAND by Liam Scarlett Nao Harada & Guilio Diligente (Finnish National Ballet) TALISMAN AYE solo for male dancer by Emrecan Tanis https://www.instagram.com/p/C6ItXCtIxbi/?igsh=aHVtcjZ5ZHN4dGpk Arranged by Petar Dorcevski, former first soloist and assistant artistic director with Slovenia National Ballet in Ljubljana. Trained in Belgrade, Princess Grace in Monaco, and Vienna State Schools.

@San Perregrino I think any professional dancer knows the difference between a gala, where an excerpt is danced and yes you still convey emotion and character but it’s only a segment, so once you’ve performed of course you take your applause and bow straight after. This is different to a full story ballet being performed where dancers (in my opinion) should be in character when on stage until the very last curtain drop. I appreciate that dancers perhaps feel they are responding to the prolonged applause and “thanking” the audience for this, but I’d rather the conductor swiftly moved the music along and the dancers saved the bows for the curtain call (unless as already mentioned it could be part of the plot where they’re dancing to an audience in the ballet itself, in this case I think they’re still in character). It’s obviously not easy to keep dancing with maximum effort but they shouldn’t “need” to have an on stage bow for stamina reasons, other dancers can manage. The choreography/music is designed so after a big solo or pas de deux they have some rest time in the wings while the other dancers do their bit. This isn’t be being critical to Nunez/Muntagirov specifically, I don’t like it when any dancer does this type of thing. Galas and plotless ballets are different! Imagine if Hamlet broke character for a bow and some smiles to the audience after a big soliloquy? Ultimately anything that is definitely a break in character before the final curtain call I tend to find removes me from the plot slightly and therefore removes some of the “magic” of the story they’re trying to tell. It’s not going to stop me seeing performances by great dancers or writing into ROH to complain but it’s my preference.

Diamonds pdd with Jakob Feyferlik at Artwave gala in Taipei in May. https://www.instagram.com/reel/C58Yn3ICsL-/?igsh=M25nczMyNW9qb2xi

I so agree with that analysis of Yasmine’s Odette - she was deeply sad and knew she was doomed - and that underpinned it all. Likewise think Matthew was convincing, truthful and so direct in conveying his feelings to her and did in fact dance particularly beautifully after the ‘slip’ . And yes although I thoughJun’s jumps even more remarkable than I remember then, I didn’t feel his overall technique held up against the others and more importantly perhaps his characterisation wasn’t yet there - as you say he is very young and inexperienced and will get better and better.

Perhaps because they dance extracts at so many galas they are used to applause at the end of a sequence where in the context of the complete narrative it makes no sense at all? My observation is that Nunez and Muntagirov are the couple most likely to step out of character to take a prolonged bow mid-ballet be it Swan Lake or Don Quixote. However, these are complex technical and emotional sequences so on a practical level, for dancers of any age, let alone those more advanced in their careers, an opportunity to get one’s breath back is probably most welcome.

KVN Dance Company Coppelia **** Marylebone Theatre, London, 24 April 2024 Whilst many people were watching the Royal Ballet in Swan Lake last night, I headed down to the Marylebone Theatre, just a few doors away from the Sherlock Holmes Museum on Baker Street. The mystery here is how I had never heard of this lovely little venue, having worked nearby and lived quite nearby for years! Nor had I previously heard of the KVN Dance Company. Founded by Kevan Allen, their aim is to attract new audiences to dance by expanding its possibilities and making it fun and accessible. If their production of Coppelia is anything to go by, they are succeeding beautifully. The programme states on its cover “Coppelia, Classic Remixed: Classic Reborn”. I usually roll my eyes when I see the words ‘reimagined for contemporary audiences’ or suchlike; last night I entered the theatre with an open but slightly dubious mind, and left it having had a delightful and eye-opening two hours of theatre and dance. The reason this reimagining of Coppelia works so well is that the original score and ballet/story are all treated with respect. The music and choreography are deconstructed and rebuilt into a narrative that works. Delibes’ glorious music is used extensively, but is expanded and added to by Swedish musician Rickard Berg. Allen didn’t feel the need to revise the ending nor change the basic story, for which I am very grateful. The piece opens with the villagers galivanting in the square, and Dr Coppelius is introduced as the eccentric we know from the original. From there, the story moves on apace, and the combination of wit and pathos remains. The choreography is fun and clever, the costumes (by Wendy Olver) a delight, and the set (by Justin Williams) is light and buoyant in the outside scenes, dark and broody in Dr Coppelius’ lab. The other toys in the attic are gorgeously dressed and come to life with sparkle and zest. Praise also goes to Mike Robertson’s atmospheric lighting, especially in Coppelius’ workshop. I was even more impressed with the costumes and set when I read in the programme that the company is almost entirely sustainable, and everything is made from second-hand materials that have been acquired and donated. As for the cast, the company is made up of 12 dancers, all of whom were clearly having a ball onstage. Most of them are from theatre schools and thus were able to handle various styles of dance and make them all meld into one delightful work. Rosie Southall as Coppelia was a very convincing doll, transformed from her original raggedy state into a gorgeous girl with just a skirt and toreador ruffled blouse. She made it easy to believe that foolish Franz could be attracted to her and be duped into thinking she was real. Michael Downing as Coppelius and Zach Parkin as Franz both gave notable performances, striking just the right balance between comedy and drama. Ellie Ferguson as Swanhilda was innately balletic and gave us a feisty but ultimately kind, empathetic and forgiving young bride. She was happy and wanted Dr Coppelius to be, too. Her insistence that the villagers accept him into their society made for a joyous ending, celebrating both a wedding and life itself. This reimagining of a classic works on all fronts, and like Matthew Bourne’s Swan Lake I can imagine that this one has the potential to inspire many people, especially young ones, to want to see the original, classical version. I know that Bourne’s Lake was the route to a love of classical ballet for many people back in the 90s; maybe this will be the case for this generation via Coppelia, albeit on a smaller scale. Speaking of scale, this company is self-funded and deserves to continue and to be seen as widely as possible. They are at the Marylebone Theatre until April 27th and are touring around the country (details on their website) until the end of June. Catch them if you can. Last night they made my cold, grey day a whole lot brighter and warmer with this innovative, fun and bold production.

Wow this looks amazing! I wish I'd known about it when my daughter finished her five years at Central Associates back in 2022 as would definitely have applied. Missed an opportunity there!

With regards to Joonhyuk Jun and his joyful portrayal of Benno- you remarked that you felt this was where his interpretation fell down. I’m interested to know if you felt it was inappropriate to portray the friend this way? That perhaps he should have allowed himself to “support” rather than stand out? I’m genuinely interested in your opinion!

A thread about the ballet “Ballet Shoes” has sparked off an enthusiastic discussion of the book, then moved to the Pamela Brown novels about theatre and the Antonia Forest novels. I thought a children’s book thread might be fun. Books I devoured as a child - the Alison Uttley Sam Pig and Little Grey Rabbit books when I was very small, the Cynthia Harnett historical novels, Jane Lane historical novels, all Noel Streatfeild books, all the Pamela Brown novels, the Drina Dances and Wells series, Ruby Ferguson’s Jill pony books, the Chalet School, Mary K Harris books and a wonderful book called Sabina about an American orphan. I can’t find it anywhere. Little Women and the sequels plus others by Louisa May Alcott, the Susan Coolidge Katy and Clover novels, Rebecca of Sunnybrook Farm and the sickly sweet Pollyanna series plus the Anne of Green Gables series. Oof, I’m done unless someone else mentions other books I have forgotten.

Thank you!!

I haven’t seen Yasmine and Matthew’s earlier performances so can’t give comparisons here’s what I thought of last night (theatre not cinema). First off, to negate the negatives, I didn’t find Yasmine chilly and nor was I underwhelmed by Matthew. Having seen Sarah Lamb the other night - someone I used to find chilly but didn’t on Saturday - they were very different. Sarah’s was an Odette whose vulnerability carried a discernible hope that the enchantment could be broken; Yasmine’s was a heavy-hearted Odette who seemed to know her fate from the start. Yasmine was, of course, technically sublime and beyond that, I did feel that her dancing conveyed the overarching sadness of her Odette. Yes, Matthew’s passion gave her a temporary respite, a glimmer of hope broke through, but deep down she always knew that it couldn’t last. So on to Matthew, whose performance, for me, had all the dramatic heft that we have come to expect from him, and apart from the slight slip that has been mentioned in earlier posts I couldn’t find anything to criticise technically either. A heartbreaking, totally convincing Siegfried, who made total sense of all the inbuilt negatives in that particular role. Staying with technique, I agree that Joonhyuk Jun made a spectacular impression as Benno but would add a caveat since I do feel that at present he lacks the skill to add characterisation to his virtuosity. Someone commented above that he is very joyful and indeed he is but that joyousness is where, for me, his Benno falls down. He is still young and his portrayal will obviously develop over time but at present it is too one dimensional to convince, particularly when pitched against Matthew’s dramatic skills. And again, a big shout out for the wonderful corps. And for the four cygnets. I did not find them heavy in any sense last night.

They were, but Posy was not at all as I'd imagined her to be (petite, curly hair, mercurial) so I found it difficult to get past that.

I think some of the 1975 series is on YouTube. I watched some of it a few years ago and thought the child actors were pretty good

Yes absolutely right - if it fits the narrative then fine, but after what is a deeply private and intense moment in the story, like the act 2 pdd, it is so jarring and must undermine the dancer’s own engagement with their character. It doesn’t happen in theatre so I don’t think it should happen in ballet.

I can’t answer your question but I very much agree with this. On opening night there was almost a mini “curtain call” (no curtain) for Marianela and Vadim after the act 2 pas de deux. Deserved but it totally broke the spell of the plot for me and yes felt “untraditional” to ROH - in as I see this more from Russian companies but it didn’t really happen much at ROH previously? I suppose they are only responding to fans but I do wish they wouldn’t do it at certain points. It maybe doesn’t make sense but I have less of an issue with it in Act 3, as there it’s almost a performance within the plot for the court, so a little bow to the applause doesn’t detract from the plot here for me as it’s like they are showing off and bowing to the audience *in the plot* (I.e. courtiers watching them). Similarly I don’t mind the bows in the sleeping beauty pas de deux finale or even after Aurora’s act 1 solo as they both in plot audiences at those points. But I would be annoyed at Manon and Des Grieux taking a bow after their bedroom pas de deux!

This is a very good point. Why would Odette immediately be passionate and warm to this guy who has just come along, when the last guy who just came along turned her into a captive bird? I would also be very wary and take my time to loosen up and open my heart to him.

Wonderfully enthusiastic reviews on Amazon! https://www.amazon.co.uk/Swish-Curtain-Pamela-Brown/dp/0955242800#customerReviews "If you like vintage children’s books I thought this was a charming example, good-natured, amusing and a wonderful glimpse of life in the late 30s – although the attitudes towards class are quite striking at times. It also set off a curious craving for cocoa, chips in newspaper and ‘lashings’ of tea and cake. The book’s been in and out of print since the 40s and was recently re-published by Pushkin Press, it was the first in a series and Pushkin is slowly bringing out the rest endorsed by Eileen Atkins and Maggie Smith." "A wonderful story of growth, accepting and using your differences, as well as your strengths and to fight for what you want in life. Just DO NOT forget to have fun while doing it." I can actually still recall the moment I picked this book down from the school library shelves, and began reading. That was it, I was hooked! I read a great deal of it (as I spent so many lessons doing with other books) on my lap under the desk as I couldn't put it down.

Anyone else starting to lose hope? I haven’t heard of any movement on waiting lists at all 😞

Me too. I actually bought the reprint series a few years ago.

Links - Thursday 25 April, 2024 Interview - Cathy Marston, AD Zurich Ballet, ahead of the world premiere of Atonement: Emily May, Pointe Magazine Review - Polish National Ballet, Pinokio, Warsaw: Graham Watts, Bachtrack Preview - Northern Ballet, Romeo and Juliet, London: Stephi Wild, Broadway World Preview/Feature - Alonzo King LINES Ballet, Deep River, Santa Barbara: Callie Fausey, Santa Barbara Independent Preview/Feature - Royal Winnipeg Ballet, T’el, Winnipeg: Temur Durrani, Globe and Mail Preview - Let’s All Dance, Goldilocks The Ballet, London: Teresa Guerreiro, Culture Whisper News - American Ballet Theatre announces Spring Gala: Ballet Brilliance, New York: Chloe Rabinowitz, Broadway World News - The Australian Ballet on tour, Australia: Staff, Limelight News - Rome Opera Ballet to visit Paris, Dubai, Barcelona & Liège: Graham Spicer, Gramilano Feature - Evelyn Robinson, Charlotte Ballet, on learning Swan Lake for the first time: Virginia Brown, AOL via Charlotte Observer Feature - How breakdancing became the latest Olympic sport: Mikhail Batuev, The Conversation Feature - Vietnamese contemporary ballet celebrates Europe Day: Staff, Vietnamnet Season Announcement - A Twyla Tharp world premiere is part of Northrop's 2024-25 dance season, Minneapolis: Sheila Regan, Star Tribune Historic Essay from 2022 - The late Liam Scarlett’s Swan Lake and the Royal Ballet’s loss of direction: Alastair Macaulay, Blog

Friday ticket gone back to the box office