Ann Williams

RuthE, I'm both pleased and disappointed!   Pleased that I can't get rained on now, but disappointed that the possibility of seeing birds swooping over  the stage or landing on it  is a thing of the past  (hopefully the summer flora scents can still find their way into the al fresco 'auditoirum').  What I'm sure I'll never be  disappointed in is the sight of experrly-trained  young dancers showing what they can do, particularly with familiar pieces. 

And BBB, thanks for the info that Bennet Gartside had been Laura's partner   I really do wish  that I'd kept the programme for that performance; it would be fascinating to see if any of the other students had become 'names'.

'...Very fond memories of RBS performances here, very atmospheric....'

Yes indeed, so have I.  Performances always seemed to be on  warm evenings with the scents of  early-flowering shrubs still lingering and  birds swooping across across the stage - occasionally a pigeon would actually  land on it  for a leisurely crumb-hunt, riveting  the audience's collective gaze..On those magical evenings the students' dancing always seemed wonderful to us; imperfections, if any, were either not noticed or simply  ignored.

It was on one of those  HP evenings that I saw Laura Morera give what I think must have been her first public performance; she danced a pas-de-deux from -- appropriately  - 'Two Pigeons' (maddeningly, I can't remember with whom, nor can I find the programme).  It was perfectly evident then that Laura was  going to be an RB  star, and I've followed her career warm iinterest ever since. 

'...I like Ore! He is cool, .....And I think it's perfectly fine to have a ballet novice presenting as you get the feeling he is learning along with the rest of the audience  .. more experienced ballet fans may not find his interviews very enlightening but I presume the program is aimed at a broader audience....'

Absolutely agree with you, Sunrise!

About that unfortunate costume malfunction, I'd been wondering about the possibility of disguising it for the purpose of any proposed commercial DVD release. Does anyone know if the  hiked skirt could be 'airbrushed' out?  I was one of the (apparent) few who actually enjoyed Itziar's Myrtha; despite 'wobbles' etc,  I loved her ever-present fierce, angry expression so that you could never forget what she was there for - she just made an unforgettable impression, on me anyway, and I hope she won't be put off my some of the comments here - I'm sure they weren't meant to.

 

"One of the few people who has been there throughout my now long RB-going career."

 

My exact experience too, Alison.  I actually have her on video as the leading 'haughty lady' in Bintley's charming “Still Life at the 'Penguin Café” .. She was memorable in that, but those with longer RB memories willl surely remember her for many other roles, and none of us can forget her striking good looks.  May her retirement be long, happy and satisfying.

'...>Mitzi’s dance with the Hungarian Officers – something to make you want to clap your hands, not just watch and wait for the next thing.<...'

Yes indeed - that dance in particular (to the 'Mephisto Waltz' music) is a work of real genius - I could watch it over and over again.  I do hope though that if Wheeldon happens to read this thread,  he will remember that he can produce works of genius himself and - with luck - has plenty of time to do so.

Thank you, Geoff.

Does anyone know when the dress rehearsal is (if it hasn't already been)?

'Serenade' in particular seems to have come straight from Balanchine's heart (choreographed as it was in 1928 (?) when he was still in his twenties,  I used to think that the difference between Balanchine and Ashton   - who were and still are my two great ballet passions - was that the former's genius glittered and the latter's genius glowed, meaning that A's work was imbued with warmth whereas B's work dazzled by its technical brilliance, but now I see that each choreographer's work has sufficient  warmth and brilliance to satisfy all:  True, B. never produced any comedy to match A's 'Fille', and true A. never produced anything to match the groundbreaking invention of of B's 'Apollo', but - between them - they gave us everything. 

like most posters here, I too had no idea that he was  ill so the news  of his death was all the more shocking.  I spent most of yesterday glued to the TV, in tears watching all the extraordinary tributes to the man.. It is these more than anything else that reveal the true breadth of Bowie's genius; something about him brought out words that were dignified, intelligent, affectionate and unmistakeably heart-felt,  no matter what the age or education of the speaker. They were unforgettable, and deserve a a documentary of their own.

A unique, never-to-be=forgotten artist; we were priviledged to have him..

Does anyone have even a hint yet as to whether it's  going to be Bonelli or Golding for tomorrow's streaming?  (I'm praying for Bonelli myself...).

Wow! I stand corrected.  And actually, I think I remember Mukhamedov doing it - at least, I remember worrying  that he'd never be abler to shift his bulk ove that little gate...

'... The gay sub-text is quite clear as is the similarity to the ballet of the Prodigal Son by Balanchine. Ashton used the scenario he did for convenience and  because it wouldn't cause any ructions with the Board …’

(The above quote is taken from Douglas Allens' posting of 26 Nov.). 

Douglas, what are you talking about?  Most of us dewy-eyed innocents here just go to ballet performances to see the dancing, not to discover any 'sub-texts' (gay or whatever).   We can hardly avoid knowing that Ashton was gay because we're reminded so frequently in everything written about him, but perhaps you knew him personally and he actually told you about these sub-texts himself?

Also, about the Balanchine's 'Prodigal' 'sub-text' - that's really stretching it, isn't it, since it’s such a familiar scenario?  We can see that the young man's chastened return to his innocent sweetheart can  be likened to the Prodigal's similar return to his loving father and we can see that his meetings with some rough types are similar  (though not quite as naughty, of course) as the Prodigal's in the underworld, but again, perhaps Sir Fred confided in you, Douglas?    (BTW, I love ‘Prodigal’, as strange as it is; it’s full of the most dazzlingly inventive choreography –has there ever been  such a realistic yet dancerly fight scene  as that between the two ‘Grotesques’?.  Not sure if the Royal have ever done ‘Prodigal’ , but if so, this could surely be one for revival.

Yes, Irmgard, I think I must be thinking 0f Maria Bjornson - how silly of me.  Did you also privately email me with this clarification?  I received an emai confirming this information late last night with a name I didn't recognise - if that was from you, thank you doubly!

I'd  like to add that Yolanda Sonnabend's death deprives us of an extraordinarily gifted designer - my favourite design in all theatre - drama, opera, musicals and ballet - is Sonnabend's designs for 'Bayadere'.  Once the curtain goes up on her imaginary old India, I'm lost in a  dreamworld of  exotica and almost resent waking up in the here and now.  Perhaps that's  what great design is all about.

I'm confused - I thought Yolande Sonnabend had died some years ago,  Certainly a very highly-regarded female theatre designer had died, and I think she too had designed some of MacMillan's ballets.  The only thing I can remember from the various obituaries at the time was that she had apparently died 'at a time of great personal happiness in her life', which struck me as very sad.  Can anyone remember who this other designer was, or am  simply going a bit ga-ga ('twouldn't surprise me,,,).?

I'm delighted to know that the Ferri-Eagling version of MacMiillan's R & J  is now available as a DVD - I've got it as a VT recording, but no longer have a TV which can play VTs.   I judge all Juliets I've ever seen against Ferri's performance on that treasured tape, and none even approaches the rawness, vulerability and passion she gives her Juliet..

Does anyone know if the DVD is on sale at the ROH shop?

'...I wonder why they have given Macrae so many peformances of R&J..'

Above all, why did they give him this all-important streamed broadcast?  Were they were presented with the date and were unable to change the announced cast?  As unquestionably brilliant a dancer Steven is (arguably the best principal male in the current company), and as heartfelt an actor he also  is,  his slight stature and pale colouring inevitably make him an unconvincing Romeo.

Apart from this, I was slightly disappointed with the streaming overall and regretted that this was probably the first viewing of MacMillan's R & J for many viewers worldwide.  One high point for me has always been the mandolin dancers' number, and it seemed a little scrappy this time (despite some good names on the cast sheet); likewise Lady Capulet's violently grief-stricken reaction to Tybalt's death seemed rather truncated - no time for her to stretch out her arms in desperate supplication, for instance  This I think was probably  due to the tempo of  Koen Kessels conducting.

I don't want to complain too much; despite my comments I wouldn't have missed this streaming even had I known the above shortcomings in advance!

'..>AIP will be featured on The Late Show, details in Playbill.<..'

I got guite excited about this until I realised that The Late Show is acrtually a US TV programme, so presumably can onlly be seen in the US. However, AIP is such a success story for our own Wheeldon and  Cope, that -  hopefully - either the BBC or ITV will feature it somewhere in their schedules soon.  

Did anyone hear Guillem being interviewed about her forthcoming retirement on R4's 'Front Row' last night?  It was - IMO - one of her most interesting interviews, relaxed, humourous and informatve,  She said she wouldn't be giving up dancing altogether but would seek suitable (read 'doable') contemporary work - mentioning Maliphant, saying that for instance she would like to try dancing with a  woman, something she had never done in her carer to date.  And - speaking of her career as a young dancer -  she revealed that after every performance of her signature role in Forsyth's 'In The Middle' she would be almost literally unable to walk on the following day, so it wasn't that easy for her!

For anyone interested, the programme should still be available to hear on BBC radio's repeat system.
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What a  thoughtful and useful posting, Alison -  you've probably covered exactly what  a ballet newbie needs.

When you get further into ballet, Erewhon, it will be rewarding to read books written by dancers, choreographers, dance historians, critics and the likes.  I particularly love Tamara Karsavina's 'Theatre Street' and Richard Buckle's 'In the Wake of Diaghilev', but these are probably better left until you're more familiar with ballet in general..

Meanwhie, its fascinating for us 'old hands' to read the reactions of newcomers like yourself, so please do keep on posting!

Presumably there's an upper limit on  how much can be spent on these contactless credit cards? (It's only £20 on the contactless debit cards, at least on  mine anyway.).

Depends what you mean by 'perfect', Alison.  My first thought was Ashton's 'Monotones', and then I thought of Balanchine's 'Apollo', and then I thought that these two sublime works are perfect only in certain respects and those 'respects' happen to be perfect for me.  There are others I could undoubtedly list, so I may may a repeat appearance on this thread.

What lovely, heart-felt words, Dance*is*Life.  Miss Kraft must have been truly special, both as a person and as a teacher, to have inspired them.  You have marked her life in the best possible way with this warm tribute. 

More conservative than  even the New York ballet audiences, Aileen?   They still haven't quite forgiven Peter Martins for not being George Balanchine and they seem to hate Kenneth MacMillan's work, presumably because quite a lot of it deals with sex, violence and other human realities. (To be fair, it's getting better as a new young ballet audience emerges).

But 'Rite' has been used to death - choreographically speaking - for modern or 'contemporary' pieces, presumably because it's really rather obviously rhythmic (suits a lot of stamping etc.).  Possibly that's why Shechter didn't choose it.

Aileen, as an admirer  of what I'd previously seen of Schechter's work, I have to say I was disappointed with this piece,  It never seemed to me to know where it was going and as a result never actually got anywhere; just seemed like  bunch of people grouped closely together doing slightfly differnt kinds of group movement.  I'd like to see more of his work, though.