Ann Williams

I wonder where in South-West London, though? I eventualy located two cinemas in Shepherd's Bush and one each in Richmond and Notting Hill. We eventually settled on Putney, as this was reasonably handy for everyone (self and 2 others).. I certainly don't want to complain about any aspect of this wonderful new initiative for us ballet-lovers, but I would urge the overall organisers of the streamings to ensure that all the venues were clearly published as soon as settled; its just no good announcing the date of the screenings months ahead of the event with no mention of the venues, and then leave everyone scrabbling around to find them as the great day approaches.

I stayed up to watch this streaming, doggedly determined to see it to the end, but didn’t quite make it that far as you'll see. The broadcast opened witb PNB's AD Peter Boal conducting a longish interview with a relaxed and chatty Forsythe, who revealed that he had started his dance training - at the advanced age of 17 – only because he wanted to dance in musicals. A teacher advised him to give it up as, in her opinion, he wasn't going to make it, but swiftly changed her mind when she saw a piece of choreography he had created for his fellow students. He never really looked back after that. It was evident from what he said that he regarded his time as AD of Paris Opera Ballet as the high spot of his career - the dancers he worked with then - Guillem, Hilaire , Guerin etc. - were extraordinarily and memorably gifted; and he felt blessed to be creating for them. Then he rehearsed part of a programme of his works titled 'The Vertiginous Thrill of Forsythe' which PNB is performing this week in Seattle (opening tonight) This was a section from his 'New Suite', a set of exquisitely shapely pas-de-deux (to Handel's Concerti Grossi ) performed simultaneously by three couples; it was quite beautiful, both fluid and at the same time almost mathematically formal i hope some day one of our UK companies will acquire it so that we’ll have a chance to see it here (either that or - better still - that PNB will favour us with a visit and we can see them do it). Forsythe's rehearsing style was relaxed but detailed; for example, taking time to instruct a male dancer on the precise way to move his head as part of an already intricate turning step. I longed to stay awake to see the whole of the streaming, but I think it was nearing 3 am when my head abruptly banged down on my desk as as sleep overtook without warning - Mother Nature's less than gentle way of telling me I needed to go to bed. I obeyed, but at least I drifted off gently to some very pleasant dreams.

Well done, BBB! Where did you find it on the ROH site? All I could find was the aforementioned red balloon-infested map. Of the list you provide, either of.the two Vues in Shepherd's Bush and the Odeons in both Richmond and Putney would be ideal for us. Alison, the Gate in Notting Hill would be handy too, but unfortunately it's got a bit decrepit and I never feel comfortable there (I've grown rather picky in my old age). Thank you, all.

Thanks Alison. But really, is it that difficult for the organisers to provide a list? It's not much more than a week now to the 17th and it's still not possible to decide on a cinema suitable for friends from different locations. And yes, there is a shortage of cinemas where I live - Chiswick in west London - ie, we don't have a cinema at all. I do know that the Curzon cinema in nearby Richmond is showing it, but they're fully booked already.

Does anyone know if there's a simple list of Greater London cinemas showing the streamed Swan Lake on 17th March? I can only locate a confusing map with red flag thingies on it. Grateful for any pointers.

I always thought that, to avoid any confusion with Swan Lake, a poster showing Koen Onzia's desperate face, his hands clutching the 'bars' of a chair, accompanied by somesuch wording as 'No swans, no songs...' would might get the 'not-Swan-Lake' message across fairly clearly.. Yes, I'd love to see this powerful work again. Just a thought - wouldn't Polunin be absolutely perfect for the prisoner role?

Aileen, I share you opinion about the lack of dramatic impact in Takada's dancing, but on the whole I find the exquisite lightness, delicacy and perfection of her dancing a very satisfying counterbalance. Hopefully, anyway, increased stage exposure in principal roles will bring the confidence to let her inner actress 'tiger' roar soon! (Is it rude to ask how old she is?).

Oh dear - so sorry to all you 'newbies'! It should have occurred to me to check to other forum headings, but I seldom stray far from the first three,plus the 'ticket exchange' forum and the 'not dance' one. I did try the 'doing dance' forum briefly, but found it too technical so stopped. Anyway, following thequays advice, I shall look in now (starting tomorrow) and will post whenever I can make a sensible-sounding comment, on the strict understanding that this will be a reciprocal arrangement and that you newbies will also look in on the forums I mention above and comment there from time to time. We have to spread ourselves more evenly over the forum headings - think of spreading marmalade on a piece of toast. One doesn't put it all in one corner, does one? Sorry - getting a bit silly now - time for bed....

Who are all these 'new' people posting here? I can only recognise LinMM's name and - of course - Aileen's. The newbies all sound very ballet 'in', so I wonder if they are dancers? Whatever, I do hope they will continue to post when the 2015 Prix de Lausanne becomes old news.

My one recollection of Polunin is etched forever in my memory - his entry as Solor in the RB's 'Bayadere' some years ago (at age 19 or thereabouts). From the moment he set foot on the stage, he simply owned it, surrounded though he was by older, more established dancers, he was unforgettable in his command, beauty and talent, as demonstrated so pointedly in toursenlair's clip. At the risk of overstating the case, I don't think we'll see his like again.

Agreed, No. 1 all the way, if only for 'Symp.in C' (can't recollect if I've even seen either 'Walpurgis Nacht'' or 'Sonatine, but even so...)

Sim, that's a simply wonderful review.- I didn't want it to finish! I hope Osipova looks in on these pages because, by the sound of it, she's the sort of artist who would really appreciate what you saw in her performance.

I'm getting through Anne Enright's "The Gathering"; it's a tough journey but its getting easier. Enright is a truly gifted writer - she skilfully and delicately blends intricate memories with l present day reality; her story of family life after the death of her beloved younger brother (memories) and her troubled marriage and relationships with her chidren (reality) make for a riveting read.

Well, I haven't booked at all (Onegin's not my favourite ballet) but judging by the comments on this thread, I now wish I booked for every single cast! And John, I'm one with you in advising Sim to see the Lamb/Hristov combination - Lamb may not be the RB's best actress, nor Hristov its male dancer with the strongest technique, but the former's beautiful dancing and latter's melting looks.......where's the 'phone - they may be doing another performance....

Yes, Ms Chapman will most definitely be missed, not only as a remarkable dancer but as a valued behind-the scenes organiser. I wish her the very best of luck with her future plans.

Re. too-early Christmas buying, I was ticked off yesterday for even discussing the possibility of buying a tree this early! Horses for courses, though....

'..>should be a wonderful, if very sad, night. Please support<...' No need to urge any of us here, SPED - none of us would dream of missing it's at all possible for us to go! In fact, it may be quite a battle for tickets..

Quite. I thought it was generally accepted here that Carlos - while still retaining considerable drawing power and audience loyalty - was nearing the end of his days as a Principal dancer. I'm puzzled as to why Aileen felt it necessary to ask about how he performed that first tricky male solo.

'..there is a danger that his understated, refined style of dancing and acting, which his admirers so appreciate, could be made to look bland.' But no-one who truly understands and loves ballet could ever be made to consider Muntagirov's dancing and acting 'bland' unless of course they were expecting 'Spartacus' style dancing and acting in an Ashton work!

I haven't seen any performances of the mixed bill so far and perhaps I shouldn't comment, but I have to say I found Aileen's critical post a very depressing read indeed - surely she must have found something pleasing in at least one of the ballets? Come on, Aileen (to be sung to the tune of 'Come on Eileen'). didn't you at least crack a smile at the flirtatious maid in Month leaping on knees of the young tutor and shoving cherries into his mouth? Or the fussy husband searching for his keys under the furniture? Ah well - takes all sorts....

Sorry, Terpsicore, but I do NOT regard the tweets as either 'gushing' or 'ill-informed'; I find them - as I'm sure others do - entertaining and often fun, and sometimes revealing in their geographical spread (Spain, Italy Ireland, Germany and more). They are also gratifying in the interest they show in British ballet, and additionally they must be very rewarding for later viewing by the dancers, musicians and technicians involved in the broadcast. These tweets are the reason I and many others remain seated during the intervals - we don't want to miss anything!.

Many thanks, Ambrosia - this is a really helpful list!

Does anyone know where I can find a list of London 'Encore' showings of the Manon streaming? I think the cinemas concerned are showing it either tomorrow (19th) or Monday 20th, but I can't find out where exactly and a friend desperately wants to see it now she seen all the comments. Any pointers gratefully received.

Saw Manon at the cinema tonight with Marinela and Federico and of course loved it. As one of the many ecstatic tweetings from all over Europe put it - can't remember his precise wording but this was the nub of it: -'unbelievable watching it in the cinema - the closeups mean that you get so much more of the meaning of the ballet...'. Exactly. Marinela in particular really lived and suffered Manon's story and gave it her all, as did Federico. A very nice tweet from Luke Jennings complimented both the production and Nunez & Bonelli's performances. Darcey Bussell's presentation was much more relaxed and confident than on her previous outings, and her interview with Deborah MacMillan was excellent (and very amusing).

I'm so jealous at having missed Francesca Hayward's 'Manon' that I'm about to say something negative : You have all, with your lavish over-the-top praise for her performance, put an enormous burden of responsibility on her young shoulders - where is she to go from here? For that matter, where do YOU all go from here - what's left for you to say about her future Juliets, her Giselles, and the like, eh? You've more or less said it all already! Bah, humbug! I'm still jealous...But I do agree that it would be wonderful to see her paired with Muntagirov (not say that Watson's Des Grieux isn't perfectly satisfyihg too).