Ann Williams

Wish I could agree with you, Dave. Last night's viewing simply confirmed for me that 'Pagodas' is a ballet that is never going to spark - let alone blaze - into lasting life, whoever dances it or however much combined creative effort goes into its design. I think the fault must lie with Britten's music; dazzling as it is, there's no discernable musical 'thread' to stitch either the choreography or the story together (I didn't like it at its first RB outing in the early 90s and now I understand why). It was no help that, as gorgeously fluid as Beatrix Stix Brunell's performance was, she and her partner Ryoichi Hirano seemed to me to have little or no chemistry last night (though it would be unfair to judge either dancer on this performance - it was a first for both). I found the restless fuss and bustle of the court scenes annoying, but I did love the solos for the four kings - Ricardo Cervera pulled out a surprisingly hulking bully-boy performance as the King of the South - who'd have thought it? I thought Itziar Mendizabal's malevolent Princess Epine was lip-smackingly promising (and not just for the bad girl roles either). James Hay as the fool richly deserved his curtain-call cheers – on stage almost continuously throughout the ballet, his energy and technique never once flagged. Yes, there were some compensations last night.

Have just listened to Kenneth MacMillan on 'Desert Island Disks' - what a find, John! I was surprised at KMc's ease and the straightforwardness of his account of his career, and - despite the plumminess of his accent - at Roy Plomlely's pleasantly laid-back interviewing style.. Loved KM's 'Madame' stories, and enjoyed his romantic 'Misty' story. I wish the BBC would let us hear re-runs of other dancers/choreographers on DID - I believe Madame herself was the subject of one programme and if Fonteyn and Ashton weren't also subjects they certainly ought to have been!

I have just rung the Gate in Notting Hill to book myself for the Monday (28th) showing, and they almost laughed. 'No need to book' they said - 'we've only sold ten tickets so far - there's another 170 seats left!'. I now feel it is my duty to go.

Many thanks for this info, Alison. I got quite excited about this until I read the full thread and then realised that it would be a recording of the live broadcast - I'll still be booking!

Saw the live cinema broadcast of ‘Fille’ last night at the nearest link to the ROH itself – the Odeon in Shaftesbury Avenue - accompanied by my friend Marie, who is visiting from Ireland. She was the important one, having booked to see Polunin as Colas and then been somewhat disappointed at his replacement earlier this month. . Happily she was enchanted as I was myself by the Marquez/McRae pairing last night. We were a bit dubious at first – the cockerel and hens opener looked odd, the background seeemed cramped-looking and dark but we guessed this was a transmission fault - there was absolutely nothing wrong with the dancing, which was performed as wittily as it usually is. Though the fault cleared, Marquez’s opening solo seemed to lack fluidity, but gosh - how she improved, how she sparked into brilliant life when her lively Colas appeared! Marquez and McRae were a dream team, seeming to draw out the best in each other in both their pas-de-deux and even in their solos. Marie was quite bowled over by Steven, but though I could see the control and easy brilliance of his dancing I couldn’t help feeling somewhat put off by his obvious ‘showing off’ He’ll get over it soon, I know, but meantime it’s distracting and he doesn’t need it – his dancing speaks for itself. This ‘showing off’ thing could of course be just my personal view – we had something of an argument about it over coffee after the performance, but neither of us convinced the other! I loved Ludo Ondiviela’s sweet – and rather pretty –Alain (has some new and good choreography been added for him?) Philip Mosley’s Widow Simone – entirely uncamp – strayed into bullying rather than bossing at times, but was never less than a loving mother to Lise . Seeing ‘Fille’ up close and personal in cinema conditions meant that it was possible to catch what often can’t be seen in the theatre - the wonderful small details, the touches, gestures, meaningful looks etc -.with which the dancers flesh out their performances. What a terrific thing these live ballet and opera transmissions are! Coming at a time when we really need something positive in our lives,-they’re opening up the arts to us all – or to most of us - no matter where we live. Long may they be with us!

Kiwimum - I loved that clip of Kobborg and Stiefel showing us what they can do - what brilliant dancers they are! And I loved the less-than- subtle commercial message too - boy can't do the spin, boy puts on shoes in question and - bingo, boy can do the spin!! I think I'll order a pair myself....

Of course I meant Yuhui, Alison - thank you for pointing this out, and apologies to Yuhui!

My friend from Ireland, who was so disappointed when Polunin's resignation meant that she wasn't going to see him in the 'Fille' she had booked for, saw Yohei and Maloney instead on Wednesday, and simply raved about Yohei (but was cooler about Maloney). We're going together next week to the Odeon in St. Martin's Lane to see the Marquez/McRea broadcast and I promised that I would print out any Balletco reviews or comments about the performance she saw, so please, those of you who saw Wednesday's performance, post something about it! Thank you in advance...

I used to solve cryptic crosswords rather easily (she said modestly) but age has dulled me, and I now struggle to get even half of the FT's weekend Polymath crossword, but how I love that struggle and the rare triumphs it brings! The paper is with me from weekend to weekend wherever I go, getting battered and scruffy enough to embarrass me when I take it out to do on trains and buses, but I shall carry on...

Reading, gardening, retail therapy - these are a few of my favourite things. When I've read all my favourite books, I just read 'em again (currently reading Austen's 'Emma' for what must be the fifth time, and still discovering new marvels). Shortage of funds permits only limited indulgence in the latter two passions.

It’s probably only a temporary ‘state of affairs’ Aileen – new members will join, some of whom will be suitable Don Q material, plus I’m told that there’s at least one budding Basil amongst the upcoming RB boys. BTW, I’ve certainly seen the RB perform Don Q. Around twenty years ago - in my own early ballet-going days – there was an RB production which I really enjoyed, as did most of the audience around me, to judge by the laughter. The critics, though HATED it, among them one Mr. Crisp. The girls’ tutus and headresses with tiny working windmills sewn into them, or the little market-place drunk staggering around clutching his bottle until someone snatched it away and replaced it with a plate of food failed to make them laugh -they just didn’t get the jokes. I can’t remember whose staging it was or who the full cast was, but I do rmember that Bruce Sansome played the splendid cape-whirling toreador and I’ve actually got a sneaky feeling it was Guillem dancing Kitri – can anyone else remember this production?

'I don't know Don Quixote (obviously I've heard of it).' Aileen, to judge by your postings, you seem quite a an authoratitive ballet fan, so how have you managed to avoid such a familiar old staple (some would say 'warhorse') as Don Q? It's a lightweight but thoroughly enjoyable fizz-bang work set in sunny Spain which requires two fairly fizz-bang technicians for the lead roles of Kitri and Basiio. I always look forward to seeing what companies will make of new productions.

Self and friend saw this terrific amateur production by the Putney Theatre Company last night at the Putney Arts Theatre, an old church beautifully converted into a theatre. Bill Boyd - a Balletco familiar - made a commanding and authoratitive Arthur Winslow,the boy's determinedly driven father, but the whole cast were outstanding and the production looked really polished and professional. So, - well done Bill and the entire cast!! (last performance tonight, BTW).

I still can't get on - the only thing I can get is that old 'we're updating' message. I'm getting a bit tearful now....

I can'r get in at all now, although I got in briefly a few hours ago. I did get a message saying that the website would be closed 'for a few hours' while updates were taking place, but this could have been an old message

I can't get into the ROH website at all this morning -- is it just me?

I've actually booked for self and friend at the Odeon in St. Martin's Lane, only about five minutes walk from the ROH, because my friend is staying in a hotel in nearby Bloomsbury Silly, I know, but I can't help wondering if the proximity means we'll get a better picture there.......

Thank you all for these responses - II can report back to my friend now. She'll probably be disappointed, but I can reassure her that she has no need to be!

Thank you very much, Margaret - at least I now know it's Choe as Lise. Can anyone confirm that it will in fact be Maloney dancing Colas? I need to know as my friend in Ireland (who had booked that performance specifically to see Polunin) would like to know who his replacement will be.

I'm unable to get through to CG to ask this question and can't get past 'waiting room' to find an online answer: Which cast is dancing 'Fille' on 9th May? I do remember that Brian Maloney was down for Colas, but can't now remember who was Lise!

I've booked for Friday 27th - wouldn't want to miss the chance of enjoying Bill's thespian talents!

A really solid and worthwhile interview, Bruce - I echo Lindsay's points. I too wish Tamara the best of luck with this new venture, but I'm as relieved as everyone else that she won't be depriving us completely of the pleasure of seeing her peerless dancing, so I will add another wish to my luck wish - that of the the gift of contriuing boundless energy!

Lindsay - please - I cetainly wasn't including you among the 'insistent' posters! Incidentally, I see another poster has now made an announcement and, although I'm very pleased, I'm holding back on my congratulatory message (yes, I'm delighted!) until I see something official-looking from the ENB board.

I'm not sure why some posters are so insistent that the ENB board should make an announcement about the new AD before, presumably, they are ready to do so. They may have very sound reasons for remaining silent - can this just not be accepted? I'm as intrigued as anyone else, but I can wait!

'...> Maybe he will even one day be the third part of the English triumvirate....it's always been Ashton, MacMillan and ??? I truly hope that Liam Scarlett will answer that question<...' Oh Sim, don't put too much on the poor lad's head! I always worry about young dancers and choreographers who get lavisly praised when they're scarcely out of the paddock. Yes, his work so far has been thrilling and yes, it is difficult not to get excited at what's in store, but personally I never allow myself more that a cool nod and a few carefully-chosen words of approval lest my publicly-expressed enthusiasm scuppers his chances. Superstition, I suppose, but I'm taking no chances! In my mind though, I am already rejoicing.....