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Scheherezade

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  1. Scheherezade
    I loved the greasy spoon! Those endless hours queueing in Floral Street for morning-of-the-performance tickets and the joy of popping in for a cup of tea and a chat with the lorry drivers or whoever else happened to be there, then reluctantly swapping with whoever had held your place in the queue. My daughter is very envious. She thinks that these days everything seems anodyne and colourless by comparison.
  2. Scheherezade
    I am more than a little relieved at the positive reviews for the 2nd cast. My first viewing will be Thursday 9th (1st cast) then Wednesday 15th (2nd cast) and I was distinctly worried by the lukewarm impressions on opening night. Whilst, obviously, I can’t yet comment on any of the performances, how good it is to read of Cesar Corrales’ triumph in both casts. Following on from his revelatory Siegfried, and an equally impressive showing in the Ashton triple bill, this certainly seems to be his season. And he and Naghdi seem to be developing a wonderful on-stage chemistry. Long may it continue.
  3. Scheherezade
    Sorry art_enthusiast but I totally agree with bangorballetboy on this. The sets conformed to a cross between drab, unimaginative greige and the increasingly overused school assembly hall. The movements of the soldiers-come-mercenaries were telegraphed to such an extent that I had to bite back my laughter, an exercise that became markedly more difficult when the idol, for some reason channeling Bozo the Clown meets 50s children’s favourite, the Laughing Policeman, was wheeled out during what purported to be the bacchanale. Against all of this, the singers and orchestra were wonderful, with a stellar Dalila from Elina Garanca, making it even more of a shame that anyone unfamiliar with the story wouldn’t have had a clue what was going on.
  4. Scheherezade
    I totally agree, JNC. Creativity cannot flourish in a vacuum. At some level, there has to be an element of appropriation, be it cultural or otherwise. This is, by its very nature, a two way process and provided, as you say, that the influences are referenced respectfully, must surely lead to wider understanding and tolerance.
  5. Scheherezade
    Which is a shame as he’s always immensely watchable.
  6. Scheherezade
    I totally agree (that Bridiem has highlighted the difference here). I don’t, by the way, think that there are many judgemental posters on this forum.
  7. Scheherezade
    Derivative, repetitive, bland … Bland, repetitive … Ditch that halo, Rob!
  8. Scheherezade
    Not forgetting her Cats encounter with Francesca Hayward.
  9. Scheherezade
    True, but much of this discussion has pitted the effect of criticising dancers who have failed to meet the gold standard for fouettés against the rights of the audience to expect flawless execution. Posts have singularly avoided the circumstances you describe where a dancer has messed up through no fault of their own, evaluating, instead, the effect of criticism upon the sensibilities of a dancer who has disappointed or failed to inspire a member of the audience as opposed to that audience member’s right to deliver that criticism. Sorry Rob S but I really can’t see how this is any different from posters on the forum criticising a choreographer’s work, which is accepted without a murmur, or the equal potential for damage to the sensibilities of a choreographer with the proverbial egg shell skull, however much time that choreographer has been given to perfect his or her piece of work. Mmm, this refers to my post: Why is it considered acceptable to say that you do not enjoy a particular choreographer’s style or output or that you find certain choreographic works derivative, repetitive or just plain bland? Are choreographers deemed to be less sensitive to criticism than dancers? Just asking by way of Rob S: I'm using the words of the person I'm quoting to which, Rob, I can do no better than paraphrase the immortal words of the late, great Eric Morecombe: You may have used the right words but not necessarily in the right order (or, perhaps a tad wickedly, designated the right meaning).
  10. Scheherezade
    Titter ye not, Rob S, it is entirely possible for important possessions to disappear into a wide expanse of water, as I can personally testify, having managed to drop my passport into the murky depths of the Grand Canal.
  11. Scheherezade
    We have discussed at length, and quite rightly to my mind - this is, after all, a forum or, to put it another way, a medium for the exchange of ideas and views on a particular topic - the merits and demerits of being able to criticise a particular performance. What I find interesting is the fact that nobody seems to balk at similar criticism of a choreographer’s work. What is the difference? Why is it considered acceptable to say that you do not enjoy a particular choreographer’s style or output or that you find certain choreographic works derivative, repetitive or just plain bland? Are choreographers deemed to be less sensitive to criticism than dancers? Just asking …
  12. Scheherezade
    Thank you to Pas de Quatre and FionaE for your explanations and to Finnbarr for the news about Bracewell and Clarke. Is it too soon for congratulations? As to a ‘dislike’ option, my view is that this would inevitably imply a criticism of the poster. By its very nature it would carry the suggestion of some level of impropriety in the way in which the post was expressed. Unlike the current system, where diversity of opinion, politely expressed on a reasoned basis, is encouraged, the subliminal suggestion behind a dislike option would surely deter all but the thickest skinned from posting anything other than a glowing and wholly uncritical review.
  13. Scheherezade
    Well, if we consider that Muntagirov and Corrales joined from ENB and Bracewell from BRB, that might provide something of an answer. There are definitely more opportunities for dancers to broaden their range and develop their stagecraft in a slightly smaller company, but too small and the chance to move to the top company may be lost.
  14. Scheherezade
    It seems that way to me.
  15. Scheherezade
    I so agree with you Linnzi5. Bracewell is one of those rare dancers that makes it real. It’s another layer, an added connection with the audience and it isn’t something that can easily be acquired. I’m keeping my fingers firmly crossed for a much deserved promotion. I know that the moderators will add their voices but welcome to the forum. And I’d love to hear your views on the vexing question of the fouettés.
  16. Scheherezade
    And, for anyone who enjoyed their co-production of Bajazet in the Linbury, Irish National Opera: https://www.irishnationalopera.ie/whats-on/current-upcoming-productions
  17. Scheherezade
    I am perplexed by the approach taken by theatres and wonder what instructions are given to their bar staff. On one occasion (I can’t recall whether it was Sadler’s Wells or the Coliseum), on asking whether I could leave an unfinished drink for the interval and having been told that I could take it in, I was met with a look of “are you totally mad?” incredulity when I replied that I would rather not take food or drink into the auditorium.
  18. Scheherezade
    True. as soon as you become aware of a potential cough, the urge to cough more increases exponentially. As regards the over-sensitised larynx, my Brompton consultant informed me that this is a particular problem with middle aged women. It tends to develop following a severe chest infection, is frequently misdiagnosed in the early stages when it could be corrected and by the time that the diagnosis is made, it is usually too late to reverse the damage, with the problem exacerbated by the fact that the drugs companies refuse to refund research since any advances in treatment would adversely impact upon their revenue.
  19. Scheherezade
    I did witness the ushers asking a couple who had opened up two plastic food containers and were sharing what looked to be a full meal during one of the performances of the recent Ashton triple bill to stop eating in the auditorium. They were mid way through their feast by the time of the interval, looked very surprised when asked to stop and disappeared for the rest of the evening. And frequently not even then (drink slurping). I have asthma and an over-sensitised larynx, both of which go into defensive cough mode in response to the ROH air conditioning. I can generally pre-empt matters with a supply of airway-opening pastilles and on those occasions when I am caught unawares, I usually manage to hold my cough back during the quieter moments, however uncomfortable that might be. I have to say that I have always found the ushers particularly helpful on these occasions. Both my daughter and I have spoken to them on behalf of others who had politely asked serial leaners to sit back, only to be ignored - in some cases with the offenders deliberately leaning and stretching even more. The ushers have always had a word, and the behaviour of the offenders has invariably improved.
  20. Scheherezade
    I think you've spoken for all of us who weren't able to be there yesterday evening, LianneEva. And a lovely YouTube extract, too.
  21. Scheherezade
    Just one word for this extraordinary performance and every single performer: superlative!
  22. Scheherezade
    There really isn't a lot that can be added to what has already been said about this wonderful triple bill, but since there hasn't been much, if any, feedback regarding Monday evening's Month in the Country, I thought it worth mentioning that I really enjoyed the Osipova/Bracewell partnership, which I felt had really flowered since its more tentative debut at the general rehearsal. Bracewell, as expected, gave us a far more understated Beliaev than that of Matthew Ball. His was a Beliaev blown by the winds of fate, less self aware and less conscious of his effect on the women in the household. If Ball was the cause, Bracewell was the effect. As always, his interpretation felt utterly natural. His mild irritation at Vera's attentions was as believable as his feelings for Natalia Petrovna, and his response to Katya was equally credible given his growing frustration at the position in which he found himself: nothing forced or contrived, nothing remotely overblown, just the natural, wholehearted reaction of an ordinary boy caught up in something completely beyond the realms of his experience. And despite, if not because of, the absence of any obvious lady-killer attributes, it was so easy to accept the response of all three women to this inadvertent Adonis who found himself in their midst. As to the rest of the cast, and the casts for both Scenes de Ballet and Rhapsody, I can only repeat what has already been posted. Just wonderful. Everyone was at the top of their game. And it was so good to see Steven McRae back on stage after such a long absence.
  23. Scheherezade
    Mmm, and the best way to satisfy those objects, I would suggest, must surely be by performance of Ashton's own, superlative body of work.
  24. Scheherezade
    Worrying on many levels, Alison.
  25. Scheherezade
    I do agree with you about Leticia Dias, Richard LH - beautiful dancing and real (subtle, not overblown) dramatic clout. Luca Acri also had a busy evening and drew an enormous cheer from my part of the house at the back of the amphi. He is also developing a noticeable and growing charisma on stage.
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