Jam Dancer

I heartily agree Fonty. I do think every art form needs to have at least one seriously silly romp that can be a bit of fun...I'll take Le Corsaire any day over the latest trend of current events and I am pleased that I have one set of tickets for Sunday's matinee performance AND I'm on my way to secure another ticket (hopefully) as I could with do with staying in a suspended state of amusement at the moment.

I was at the performance last evening and enjoyed it immensely. I won't nitpick because the quality was very high. There were 3 noticeable blips but given the backstory, some of this is understandable and props and costumes have unavoidable issues sometimes. The smack that Kish gave Lauren when they were going through some fast turns in opposite directions during the last part or the final pas de deux was unfortunate as she was almost knocked off balance but recovered quite nicely. The first part of their pas de deux was exquisite though ... Really well danced and presented (I'm not a perfectionist so picking holes in any performance to the nth degree doesn't float me boat). Yasmine was absolutely delicious as the Rose Fairy and Francesca had enough wide-eyed wonder and innocence for me (when I looked through Opera glasses and from my balcony perch) and any more would have been a bit much for me...she always dances on air... Alexander Cambell didn't look tired at all to me and I really enjoyed his performance... Gary Avis ... What do I need to say... Impeccable - loved him last night. Don't agree with comments from other forum threads that quality isn't there at RB. It most definitely is and there were oodles of it on display last evening... Might comment on those in the appropriate place later Tis the season to be merry and the RB got me off to a good start last night.

Nor I! I live in London but southeast London can hardly be considered elite!

As fast as McGregor is concerned, I think Chroma is the best thing I've seen from him and I think that could well stand the test of time. It has already been added to repertory of a couple of North American companies ... there might be more as well.

- I am usually not one to complain about cast changes but after giving the RB's Nutcracker a miss for some time (just needed a Nutcracker break), I am going tomorrow evening because it's my 50th birthday and I'd hope to see the cast first announced... In any event, I will be going and I will enjoy it I'm sure. It's pity about the injuries and I hope they aren't serious....

Whilst I am one who likes to make my mind up about what I see, I do read the critics (OK not Ismene Brown) ... I find Mr Crisp sometimes unnecessarily acerbic and I don't understand the wholesale dismissal of modern dance...I don't like all of it but his reaction often strikes me a bit as throwing the baby out with the bath water. I prefer reading Alistair Macaulay who unfortunately does not often review the RB or other British companies as I find that even when I disagree with him, I often still take something away from the article. I am giving Kevin O'Hare the benefit of the doubt and hopefully things will get better. I think there will still be many critics whatever he does. For me part of the issue is ballet and how the art form is still perceived and how it manages to evolve/change whilst staying true to what it is. We (on this forum) all know what we want to see and what we think the identity of the company should be etc...none of us know if our ideas would translate to the company being successful or even being seen as successful... It's helpful to have the debate and I think we should voice our concerns and preferences but I can't help but feel that this is the easy part...

life-style choice? that all chose dance as a profession in some way?

I didn't see her (Francesca's) debut but I did see last Thursday's performance and I agree with you. We were sat in the first row of the Balcony and I did spend lots of time peering through the binoculars because I wanted to be sure that I could see some of the facial expressions clearly... I don't agree that it was all pretty dancing on Thursday, which by the way is very difficult to do even if the role of Juliet is less technically demanding than Manon and others. Less technically demanding doesn't mean a walk in the park.... I also saw Yasmine and Matthew's (Ball) performance which I loved and whilst I prefer their coupling to Golding and Hayward, Francesca reading of Juliet was different to Yasmine's but no less impressive on Thursday. As FLOSS mentioned, I don't think that there was the 'letting go' in the balcony PDD but I think that's also might be understandable. I wasn't really bothered by the height difference but there is a bit of lack of chemistry between the two (perhaps because Matthew always has the same expression (it seems to me) and I did wonder if by chance if Francesca was too light for Golding as there were a couple of instances where it seemed as if he was being very careful - art least that's the way it looked to me. That there is room for improvement in Hayward's portrayal is good news - she hasn't peaked too early and there is a lot to look forward to...

I attended Monday's night performance of the quadruple bill and was seated in the Amph upper slips (right) after I got my dates wrong and had to return the original ticket and quickly grab another. This didn't make for the best viewing experience - will try not to do that again. I do like Viscera and after seeing Morera rehearse the female lead bit on World Ballet day I was looking forward to seeing that part of the piece. Apart from not being able to see all of the stage and looking around heads and clasped hands, it felt a bit flat for me with Hinkis. All the precision and the definition of the movements that I saw Morera rehearse and refine on the broadcast didn't really makes it way up to me... perhaps it was just my position. The portions of the pas de deux section that I could see were better. Lauren and Eric were very enjoyable to watch in Faun and the audience seemed to really love that performance. I think Some of the ladies were cheering at the sight of Eric's bare torso but I could be mistaken because of my less than ideal vantage point.. I always enjoy seeing the Tchaikovsky pas de deux and it was good to see the RB do it again. Lovely well judged performance by Marianela Nunez and Vadim! How does he manage to land his jumps so softly? I do remember seeing Marianela and Carlos ( if memory serves me right) do this some years ago and Marianela put on the afterburners and then had a bit of a wobble and made a funny face then smiled and managed to get through it. I think I was pretty much anaesthetised to Carmen having read all the details here on the forum before seeing it. I really didn't expect much at all. It wasn't as awful as I'd feared and I was actually impressed with the dancers giving it their best. Morera did a great job and it was quite a physical performance for her... I did giggle in bits (horned man) and I agree with the suggestions of pruning. Am I the only one who noticed the twerking moves in one bit? It was during the section that has a sort of cabaret-cum-musical feel to it. I was also intrigued with the rather tatty looking wig they gave Carmen... Whose idea was it that Carmen should have mousy-brown coloured hair with a bird nest effect ? Usually I tend not to notice hair but that was quite a bad wig... Second viewing (first cast) is on Friday and not in the upper slips this time

Roslyn Sulcas of the New York Times agrees with you. The review was not glowing to put it nicely. She said that Carlos is simply "not a choreographer" and there is no nice way to put it. She also said that the work suffers from "multiple personality disorders" as it isn't clear if the work is a "contemporary ballet pared down to its essence" or is it supposed to be an opera-ballet amalgam a la 'Orpheus and Eurydice' with singers onstage, moving amidst dancers. There are more zingers in the review as you'd expect... but I won't go on. The dancers come out OK - Carlos gets mauled. I was a bit wary of this but kept thinking positive thoughts and booked tickets for two different casts...oh well (sigh). I like the other 3 ballets and it'll be interesting to see what he RB does with them this time around. Initially I was happy that Morera got a crack at the role - now I think it might have been best if she could've saved her legs for something else...

I don't think it says anything at all and I am not sure I agree that it's obvious that all ballet companies are keen to demonstrate they have black dancers. I think companies are keen to demonstrate they have talented dancers (who happen to be black) as that is what keeps audiences attending and helps to build a good reputation amongst other things. I think to attempt to suggest that Francesca's recent attention has anything to do with more than her talent is to do a disservice to all the hardwork she puts in and the great performances she has managed to put together recently. Francesca can't control what the press mentions and obviously some part of our society is still concerned with this type of information ( her mother is African and she was born in Nairobi) so this gets mentioned. Or can it be as simple as the articles use a lot of 'stock text' from the previous articles and are a bit repetitive (my thoughts whenI read them). Why does the fact that this is mention seem to bother you? I skim the articles looking for new information and I don't even notice that stuff anymore. I found the mention that she is estranged from her mother more interesting... There are many cases (in fact most) where there are talented dancers of the same race and one gets more press than the other. Why is a case not made then? Do we need to make a case for every instance like this occurs especially since the particular incident in the case you cite has occurred once. Why isn't it simply that since the article on Francesca being "the next great British dancer" which appeared late last year and well received debut performances in Rhapsody and Manon, Francesca has a bit more name recognition (at this time)? There was also the emerging talent award at the National Dance Awards which Francesca 'won'. I think the first thing that is mentioned about Francesca is the quality of her dancing and her performances. Yasmine had a wonderful debut (I attended) and I'm not sure why there weren't as many articles as you feel there should have been. The press writing about a particular dancer can't help to make the dancer talented if she or he isn't or help the audiences to enjoy the dancer's performances. Also not sure why you note Yasmine was born in London and not Nairobi... Aren't both dancers British or is there some implication that one is more British than the other because of her birthplace? Is Judi Dench more British than Helen Mirren ?

I am not sure why this is but I think MAB made a valid point about the lack of enthusiasm for ballet by the general public. Ballet is still seen as elitist (unfortunately) and that keeps all types of people away. Some of the black people I know are interested in ballet but they ( like many of my other friends) don't feel they know enough about it and somehow feel it's something for which you need to get all dressed up. This kind of reasoning makes for occasional attendance on special outings and doesn't lead to regular attendance at performances I'm afraid.

Fonty, My remark about people saying they don't see race was general and not aimed at you at all. It's just that the statement is often trotted out when discussions like this happen and I don't think there is anything wrong with seeing race. I've spent many years in America but I am English and I live in the UK now and whilst I generally hold a more positive view on people in the UK being more open minded, I've overheard a few sniffy comments at ROH. I hope you're right that it would be a non-issue and that we would all just look at what new things the person would bring to the role. I do agree with you that it would be sad for audience members only to attend ballet performances based on the ethnicity / race of the performer(s). I find that odd. They would be missing plenty... Let's hope that people get hooked on the art form itself regardless of from where the inspiration, encouragement and enlightenment might come.

I am not sure that's how it works... I think people can be inspired by success of someone from their own racial background because more than anything it gives them confidence that they too can achieve something similar ... I think the thought perhaps does not occur to most people because most of the people who are successful look just like they do - it isn't something that most people in the UK face on a daily basis.... I don't think anyone goes into any profession solely because of anything related to race ... but people do take notice if they don't see anyone who looks like they do and wonder if they would be accepted or even if they really do have the talent to pursue something... Sometimes the inspiration comes from someone with a similar backstory but it doesn't have to be and often times it doesn't but what skin colour does provide for most is validation that that they too can dream the dream whatever it may be. There are always some exceptional people who are pioneers/trailblazers and go for it no matter what but I think in certain professions it helps most people to have that encouragement. Again this isn't something that most people ever have to think about because they have lots of examples....

Thank you both! I did read the post immediately after and noticed a few things - housings should be postings, Celeste should be Celine, etc but we're travelling at the moment and I was being rushed out to go to dinner and thought I'd fix it later... Apologies... I would normally make sure I tidy up such a lengthy comment...

And if I could just fix the typos and autocorrection errors.....:>

I am sorry but I disagree wholeheartedly with this... Whilst I don't think Precious Adams needs anyone sympathies, I understand the intention of the original post. It might not be to your liking to but it is a sentiment that many people express. What your post and many other posts like yours do ( and then deny that it was the intent) is to say that there is no such thing as racism and discrimination in ballet. What you domes to negate the experiences of so many dancers of colour who have experienced his first hand and you effectively say that I don't see your race and you shouldn't either. That is hurtful and you can't understand it perhaps because you've never talked to a dancer or anyone who has experienced it firsthand? Yes there are not as many blacks taking ballet as there are other races but that should not mean that there can't be exceptional dancers in the few that do! The same can be said about Tennis and Formula 1 but there are blacks at the top there. There aren't oodles there but there are some. The same hasn't been true for ballet.... Can you name the top black ballet dancers (female) across the world in the last 30 years? Did you have to resort to Google? All of this cannot be down to the scarcity of blacks taking ballet - yes it's a difficult profession and many who aspire never achieve - the same with top ranked tennis players, golfe s. Formula 1 drivers, Olympic gymnasts, medal winning figure skaters and even CEOs. It's not a valid excuse and the people who say whip out this argument at will have really looked at the history of blacks in ballet nor read the housings of first hand experiences that are out there.., I can tell you what I've seen and heard firsthand.... Why do you think Arthur Mitchell, he who had work created for him by Balanchine no less, felt the need to create Dance Theatre of Harlem? When that company of dancers was distanced due to the company folding, not one of the female dancers found work in a major American dance company at any level. Is that because these dancers were dancing on a lower level than the 'mainstream' companies ? Anyone who says this probably has never seen Tai Jimenez dance... She later found work with the Boston Ballet as a principal and that was because of the Director!!!! Her level of dancing didn't improve suddenly and as a result she was hired... The Diector said he took a chance with her as he wanted the younger dancers to see and learn from someone with a great work ethic. A lot of it is down to the directors - yes there might not be a lot of dancers of colour but there are very talented black dancers who don't reach the top echelon of dance for a myriad of reasons and one of this reasons is racism and historical prejudice. The reasons from the shape of the bodies, to the shape of the feet and yes darkness of the skin have been used. I might not agree with the way Misty Copeland chose to be nagged a publicist but I our never be so presumptuous as to question her judgement in talking about her race and the struggles she encountered. She lived those experiences and they are not just figments of her imagination or of her being super sensitive. Others have mad the same comments - are we supposed to believe that these people colluded in recounting their stories or are blacks just prone to complaining if not promoted? There have been less talented dancers than Misty promoted so that's why she felt she needed to say something. You might not like it but racism exists in all walks of life and it exists in ballet - very much so. Someone needs to talk about somewhere so why not I ballet. I see people's race when I see ballet dancers but it doesn't bother me... To say you don't see race is disingenuous.... Precious Adams is dark compared to the likes of Celetste and Francesca..., you can't not notice and there's nothing wrong with noticing ... What is wrong is thinking that she could never b Odette/Odile or Juliet based solely on her race.... There will be lots of people who would find this strange.,. I am not one for concentrating on race but I am not one for denying people 's experiences as I've heard them firsthand and I've seen it.

I interpreted the previous poster's comment to mean rank rather than age... Naghdi and Ball are Soloist and First Artist (if memory serves me right) whereas Francesca is First soloist and will be dancing with a Principal as her Romeo.

Just a quick note to say that I really enjoyed today's performance with Yasmine, Matthew and the relatively young cast (in terms of number of performances). It was emotional and they gave it a good go and I think that's all anyone can ask. It doesn't matter if it was as good as X, Y and Z who danced it whenever. I didn't have the fortune of seeing those people so I'll support those that are here now with the hopes that with support they will be half as good as X, Y and Z.

Gutted!...I'm away for the Sadler's Wells dates and it doesn't look like I can squeeze in a trip up to Birmingham before leaving

Everyone has a right to their own opinion of course....but sometimes the real world and what really happens is very different from what we imagine. I don't agree that we should all be colourblind as colour does exist. We should all do what is fair and treat everyone equally regardless of race and it is well known and well documented that this has not happened in the ballet world. You have only to do a bit of searching on the Internet or speak to a number of people about their experiences. Why has there never been a black female principal in ABT? I don't believe that it is simply because there has never been a black female talented or skilful enough until Misty came along? Surely there are a myriad of reasons but to overlook prejudice and discrimination as an important factor would be an error. How many of the Dance Theatre of Harlem dancers (principals) found work anywhere after the company disbanded ?Even Tai Jimenez who eventually ended up at Boston Ballet (as a principal) couldn't find work. I think it's easy to dig a bit deeper and perhaps understand why Misty Copeland's situation made such news. There would probably be no need for such a story if ballet in America and elsewhere was as 'colourblind' as most of us would like to think it is. Having studied,lived and worked in America (and had some dance training), I'm glad it got some press... to me it's almost on the same level (sic) with them having a black president - it's not something I thought I would see in my lifetime. Moreover Misty's reach beyond the ballet world will inspire a whole new generation of ballet dancers (across race lines) . I'm not sure about the bit of having a publicist and all that but I suspect that is to do with maximise earnings outside of ballet too. And frankly, it would've been very difficult for Misty to have mounted the campaign after she didn't get the promotion... Carlos's race wasn't a problem because it's always easier for men...there are more black men in ballet. Arthur Mitchell who was a principal in NYCB and for whom Balanchine created many roles was the individual who founded DTH in 1968. He saw a need for it then and given what has happened in America, I find it hard to believe that the dance world would move faster than American society and there would be a 'colourblind' environment at ABT or at NYCB for that matter. I am afraid that RuthE's story of the conversation where another member of the audience said '...how such-and-such a black dancer "stuck out like a sore thumb" is very much the black experience in ballet. Most female dancers would never get that comment...not about their complexion. We all know it takes a thick skin to be a dancer (as we've heard it from lots of dancers) but trying to equate comments about someone's feet, height, turn-out technical skill or lack thereof is not the same as hearing comments about your complexion which is intrinsically linked to your race. How many black female dancers stories have you listened to that you breezily dismiss what lots of people in the ballet world admit is an issue? You might not like it but I think it takes an extra covering of skin for black female dancers... I certainly don't agree that dancers look identical and their costumes and bodies help this happen. Precious Adams will not look identical to the other girls in Swan Lake or in La Bayadere. This is just a fact. Do you really think, for example, that Precious Adams dancing the lead in Swan Lake wouldn't cause some consternation? And that in what is known to be a very conservative art form that there wouldn't be some resistance to her presence? Stating the things we want to believe (or that we and our small circle of friends might believe) doesn't invalidate the concerns or experiences that many people have had and continue to have. Yes, being a ballet dancer is very difficult and only few people make it. It has always been this way for a long time. The truth is also that black dancers (especially females) regularly encounter discrimination and prejudice and this makes it more difficult for them... I would like this not to be the case but it's simply not what the few black women who've made it into the top echelons of the world have chronicled...

I was looking forward to seeing him in the upcoming season... It will be interesting to see what he does next.

Interestingly enough Alastair Macaulay of the New York Times seemed to enjoy's McRae's performance. He wrote "this was by far his most prestigious local appearance, and he rose to the occasion. He’s a dancer of true brilliance: One solo featured an advancing string of five double air turns, each landing on one foot, and all his batterie (beatings of the legs in the air) scintillated." . He also seemed impressed with McRae's dancing "What fascinated most, though, was the intelligent naturalism of his acting.". I agree with FLOSS. People have different tastes...