Scheherezade

I have nothing against new works if they are good. It is, I think, a given that they will be well performed and have no doubt that the dancers enjoy doing something different but how many of the RB’s new works can be said to be enjoyable (I use this word in its wider sense; it is not intended to be restricted to lightweight works) and how many will stand the test of time? It seems to me that the focus on quality is becoming lost in an unseemly scramble to attract the young, or what it is thought will appeal to the young, and certainly the young that I know are more discerning in what appeals to them and will not tick the “more, please” box purely on the basis that a work has a contemporary flavour. The entire, somewhat frenzied rush to engage the young has somewhat alarming parallels with the hugely unsuccessful “yoof” drive adopted by the BBC in both its TV and radio output and, I would suggest, more than a whiff of the emperor’s new clothes. New works can be both exhilarating and enjoyable and here I would contrast the recent contemporary output of ENB (uplifting, varied and exciting whether the underlying mood is dynamic, comic or melancholic) with that of the RB, which has the tendency to make me, along with people that I know of all ages, feel increasingly suicidal. And, for the record (and I know that this is personal), I do not enjoy a spoken narrative in ballet. The movement and the music should convey the message without the irritating intrusion of someone’s voice. I have enjoyed many contemporary works performed by Rambert, Ballet Black, the Richard Alston and Alvin Ailey Companies to name but a few but what each of them brings to the party, whether the works are serious or lighthearted, is a sense of unforced spontaneity, of truly felt emotion, of shared enjoyment with the audience. And the use of music and costumes that illuminate the works and linger in the mind. By way of contrast, and mirroring that now notorious Kasper Holten observation that if the audience didn’t enjoy the regietheater style increasingly being adopted in the recent opera productions they would need re-educating, there is something of the hectoring “teacher knows best; this is good for you even if you don’t know it” tone, designed to alienate rather than engage the audience, in many of the RB’s new works. The costumes are unpleasant, unflattering or both, the music is as unmemorable as most of the works themselves and the talents of such exceptional dancers are completely wasted in an uninspiring depression-fest of self-indulgent and instantly forgettable output that is too try-hard by far and suffers massively as a result. So by all means celebrate the new - at its best it can be extraordinary- but not at any cost.

Let's hope that's right. Dreadful for the dancers and terribly disappointing for the rest of us if there are no farewell performances for them to say goodbye and for us to show our appreciation.

Goodness, I think I presumed that David Donnelly was already a first soloist - or a soloist at any rate. It was quite a surprise to find that he is only a first artist.

Hello Sophie_B. Or, to paraphrase the late, lamented David Frost, "hello, good morning and welcome". And I do so agree with your reaction to Laid in Earth. Like you, I generally can't stand any writhing around on the floor, which usually comes across to me as contrived, unnecessary and more than a little awkward, but here, somehow, it seemed perfectly natural and completely appropriate. My daughter, who suffers from vertigo, did find that the projections in Echoes had the effect of making her feel a bit sick but for all of that she still loved it.

Virtual ballet is something of a no go area for me, Capybara. There are, of course, pieces I have watched during the last 12 months and some I have even enjoyed, but never with the same type or degree of enjoyment as a live performance and seldom with that thrill of anticipation that comes as the curtain goes up or the sheer exhilaration when the anticipation is fully realised.

I was there last night with No 2 daughter and we both, along with the rest of the socially-distanced but highly appreciative audience, absolutely loved ENB's Reunion! The order was, I think, slightly different from the opening night. It was a wise move as Yuri Possokhov's Senseless Kindness, quietly polished but a little meh, was shunted to mid-programme between Sidi Larki Cherkaoui's moving Laid in Earth and the mesmeric artistry of Russell Maliphant's Echoes, all of which were book-ended by sheer joy, starting with the quirky, slightly anarchic high of Stina Quagebeur's Take Five Blues to the final, barnstorming Jolly Folly of Arielle Smith, a piece of feelgood magic that effortlessly brought the house down. What is it about ENB's new works that makes them so enjoyable? Clever commissioning by the highly astute Ms Rojo, whose artistic judgement can rarely be faulted. Recognition of the effect of the right music, costume and lighting in enhancing movement and choreography and creating a mood. And an acknowledgement that humour has a very real place in the artistic landscape. Sorry, zxDaveM, that the Purcell/electronica mix in Laid in Earth wasn't your sort of music. I really enjoyed it, but then baroque and electronic music do sit very happily together for me. I also, sadly, found the Possokhov - which, admittedly, had moments of true beauty - was the one piece that overstayed its welcome. So, welcome back ENB. I can't wait for Solstice in the summer and the the much-delayed Creature (possibly more postponed than the latest James Bond) in September.

So very sorry to her this sad news and what a terrible shock for her loved ones and friends. With deepest condolences on their loss and may Katherine rest in peace.

Another desperately sad death and the loss of an original talent that never failed to light up the stage and screen. I had no idea that Helen McCrory was ill but can well understand her wish not to broadcast the news. May she rest in peace and may her undoubted strength help her husband and young family through the difficult time ahead.

How desperately sad for Liam's family. Such a tragic loss of a young life and undoubted talent. With deepest condolences to his family and to all who mourn him. May he rest in peace.

That's very diplomatically put, Capybara.

So very sorry to hear that, Stevie. My very best wishes for a full and quick recovery for your 91 year old friend.

It was, Janite, wasn’t it. A fascinating perspective upon those long ago times.

And for anyone who is interested, you can catch Saturday's Music Matters on Radio 3 which, towards the end, included a fascinating account by Allegra Kent of dancing Agon in Russia with Arthur Mitchell during the Cuban Missile crisis.

Yes, and I think that Hayward and Bracewell make one of those wonderful onstage partnerships that should be nurtured whenever possible.

As every good northerner would!

Eh oop lads, what’s tha thinking knocking’t values of working class heroes like Jake Berry and posting fancy southern jargon about “perpetuat(ing) tropes” - whatever that means - when them of us from’t north already knows as how proper culture goes all’t way from black pudding to brass bands and as tha can see there’s no room for any ballet nonsense in that.

And, BridieM, what a gorgeous review from what seems to have been a place with a very restricted view. So glad you were able to see some of the dancing and hoping the parts you missed will be streamed.

One night only, perhaps. But as Frankie Valli famously sang back in the day: “Oh what a night!” One to treasure for so many reasons: that stroke of luck in choosing to book for the first and, sadly, only night in this run; the sense of privilege in just being there on this remarkable night in such uncertain times; and then, most of all, for the beauty, poignancy, joyousness and, in turn, sassiness that touched the performances of every one of those remarkable dancers who graced the stage with their extraordinary talent. it seems churlish and, indeed, scarcely possible to single anyone out but, like Dave, the heart-stopping moments for me came from the joy of rediscovering the Hayward/Bracewell partnership (they really do bring out the very best in each other and Hayward still has that rare gift of making something so familiar feel as though it is being seen for the very first time); the luxuriant and nuanced Manon of Laura Morera, perfectly matched by Bonelli’s handsome, ardent Des Grieux (and, by the way, Moera was, of course, a stand out in a perfectly cast Elite Syncopations for which Hamilton and Kay otherwise stole the show); and the subtlety and delicacy that coloured both of Takada’s flawless contributions. As partnerships go, Ball and Magri are also developing into something really special and what a confident and engaging performance from Magri, not to mention the relish with which she threw out those joyful, pitch-perfect fouettes. And then there was Marianella and Vadim ... Impossible to say anything that hasn’t been said before so I won’t even try. Apart from asking, as an aside, is there anyone apart from Vadim who not only delivers a seemingly perfect performance every time he is onstage but somehow, extraordinarily, manages to top that throwaway perfection the very next time? So an evening to savour. One that could have been touched with sadness but was somehow shot through with joy in the moment and hope for the future. it was life-affirming, life-enhancing. I shall not enjoy the long wait until the next live performance but last night has made it easier to bear. With profound thanks to KO’H, the orchestra, conductor, soloists and every one of those wonderful dancers for sharing their precious and unique gifts with us once more and roll on the next time! Royal Ballet we miss you!

They certainly are. I always ask my six year old grandson and now the three year old is getting in on the act.

For me, Diamonds is the sort of role that sits perfectly with Sarah Lamb's onstage persona and technical precision. More of the same, please, from her. Probably the most joyful and utterly life-affirming performance of Fille that I have ever seen! What a fantastic reaction from the audience in the house and how thrilling (and so well-deserved) must that have been for O'Sullivan and Sambe. Just lovely! Like many others, I, too, have never before seen MacMillan's Carousel and very much hope to see more of it soon. I just adored the glorious and very special rapport between Magri and Ball, with Magri cementing that "can't take your eyes off her" appeal that she brings to everything that she does and Ball, yet again, showcasing his singular interpretative skills and proving what a wonderful partner he is across the board. The less said about Anita Rani's outfit the better, apart from observing that it was the type of dress and boots combination that should never be seen on anyone over the age of six. I have already made my views upon her presenting skills known but it does occur to me to wonder whether she might have been aiming for the same age criteria in her presenting style too. Deborah Bull would, indeed, have been a good compere although, to be honest, any one of the interviewees would have brought that much-needed combination of interest, know-how, enthusiasm and well-informed inquiry into the mix and every one of them would have made a far better presenter than the one foisted upon us.

Yes, yes and yes again! After an unthinkable, unwanted seven month drought, a veritable feast. More indeed, and soon, please! We miss you, RB!

You can always nip out each time Anita Rani steps up to read what it says on one of her endless supply of crib sheets. The performances, however, were uniformly terrific. Just wish I could have been part of that wonderfully enthusiastic audience. Please, please, please open up again soon!

And then some!

I hated the production, Alison, although that is pretty much par for the course with most of the recent ROH productions these days.

I totally agree MJW. It was informative, sympathetic and drew in the viewer from start to finish. And, of course, the musical extracts were just sublime.