Scheherezade

I wouldn't want him to focus less on his dancing just yet, either!

Yes, of course we must embrace the new, and this will necessarily include works that expand and challenge our perception of the art form, but we should embrace these works because they are good, not merely because they are new. A large number of the new works commissioned by the redoubtable Ms Rojo fit this brief. They engage the imagination, they push the boundaries, they may or may not sit within the classical idiom as we know it but what they do bring to the table is an enjoyment factor. They are works that stimulate and entertain, and when they seek to inform, they do so without preaching and, for the most part, without the need for a lengthy and ponderous explanation as to what the work might be about. These works may bring about the fortuitous marriage of completely different dance forms, in the manner of the ENB/Akram Khan Giselle, they may reimagine or bring a new slant to established works, as would seem to be the case with the newly-minted Raymonda, they can be exhilarating and amusing (Jolly Folly)or explode with the atmospheric and colourful music, sets and costumes of Broken Wings. It is new work of this type that will enable the dance form to live, breathe and grow, but not by way of a wholesale rejection of the diverse and extraordinary works of the recent and not so recent past. The two can, and must, live side by side and, really, what other performing art form seeks so comprehensively to ditch its heritage? Can you imagine classical music cancelling the works of Purcell, Monteverdi, Mozart, Beethoven, Verdi, Wagner, Stravinsky? Or Shakespeare, Marlowe, Webster, Becket, Chekov, Ibsen, Moliere disappearing from the stage? And commissions should not be awarded merely because they spring from the mind of an internationally acclaimed choreographer but because that choreographer can work with, innovate and build upon the skillset that defines the company to create something remarkable and extraordinary rather than ugly, flat and mundane.

Who are you thinking of, LinMM. Am I being dense in needing to ask?

Yes, he has. New works that entertain and give a nod to nostalgia for the past with a modern twist.

She will be sorely missed. A wonderful role model and a life force within British ballet both on and off the stage.

That made me laugh, Henry.

Crush that pedant! But feel free, of course, to set the record straight as to Dubreuil's history as Benvolio on the basis of accuracy.

Pretty much what I felt, Sim, although, to be honest, there are many roles where, over the years, and having originally felt that Marianela's interpretative skills did not match her undoubted technical ability, I revised my opinion quite drastically as time went on, so no reason why her Juliet shouldn't be the same. And, yes, the right partner makes an incalculable difference, too.

It's always horrible - and still, even in these times of trolling etc, somewhat shocking - to read of this type of behaviour. Personal attacks leave you feeling unsettled at best, all the way up to distressed or worse.

So glad to hear this, Maryrosesatonapin, both for you - and this so often happens, doesn't it, when your expectations are not too high - and for the company. And lovely that your ballet 'virgins' seem well on the way to conversion.

I feel that the take up would have been far higher had the seats been more realistically priced. I endorse what Fonty said, as I would not - indeed could not - pay the prices currently sought for most of the amphi seats but would almost certainly have purchased more seats had there been a greater choice of cheaper seats. Is the thinking along the lines of sell as many of the more expensive seats as possible then offer any seats that remain unsold to students etc at vastly reduced rates. If so, discrimination, surely, against those audience members who do not fit the young, student profile and find themselves priced out of attending what they would love to see.

The general rehearsal went ahead with a good turn out and enthusiastic response. And I'm assuming this afternoon's performance is running right now, although I don't know what the take up was like.

And "up to" means "including".

Amphi prices at a quick glance: £91 first few rows; £76 up to row L; £63 to row P; £43 to row S; And you have to pay £27 for row V, next to the back row. Hardly surprising that the only amphi seats that have sold well are the "relatively" cheap restricted view side seats, the slips, the back row of the amphi and the rear amphi standing. Absolutely astounding, and particularly for subsidised theatre. You wouldn't pay those prices for seats in the Gods in the commercial West End. To be honest, most of the ROH amphi seats match the most expensive seats in the West End commercial theatre.

I think Revelations is absolutely life enhancing.

It was. One of the very few. And, of course, I watched it. And, as always with Alvin Ailey, the enjoyment factor was at the top of the scale.

That makes four of us.

I had no idea what a slab of beer was until I looked it up just now.

Thanks for this, Alison. Wouldn't it be nice if, however, Sky Arts showed something new.

Enjoyment is key. It has to be better to have seen something third rate and enjoyed it than not to have seen any ballet at all, and who's to say that those who initially enjoy a third rate performance won't then progress to watch and enjoy the very best. The difficulty, of course, is that a discerning first time attendee might be put off for life if the quality of what they see is poor.

Definitely reprogramming works lost to Covid cancellation, Tombeaux being one such at RB. I would love to have a full programme of Ashton's more intimate works on the Linbury stage and with all the positive reactions to Hamlet and Ophelia in the Ashton Rediscovered evening, is there a glimmer of a chance that we could see Hayward and Bracewell in a full performance of this reconstructed work? Talking of Bracewell, and moving on to Macmillan, can we please have Bracewell's Crown Prince Rudolf? And more of Macmillan's earlier works a, including a re-run of Las Hermanas.

Oh dear, Fonty, what a depressing scenario and how sad that it’s difficult to envisage anything more hopeful.

I totally agree, Janet, and would love to see a number of these brought to London.

Yes, very clever, Dawnstar. I've been faced with that problem in the past but thought that the spare ticket would have to have been booked to free up the remaining two. One to remember!

That should, of course, have read Rose, not arise. Darned autocorrect!