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Jan McNulty

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Everything posted by Jan McNulty

  1. A friend of mine needs.a nebuliser. I was shocked to discover that if you need one permanently you have to buy your own ... although the NHS will then provide the medications for it.
  2. Hello NotaClue and welcome to the Forum!
  3. BRB are performing a week of Hobson's in Birmingham and then 3 performances at Sadler's Wells at the end of June. The performance on Saturday 29th June will mark David Bintley's final performance as AD of the company. Please use this thread to discuss. The company has issued a fabulous new trailer:
  4. Hello Lara and welcome out of the lurking shadows!
  5. I believe Mr Campbell has proved his acting chops, mostly at BRB. To name just 2 roles that had me an emotional wreck with his performances - Cyrano and Will Mossop. I also thought he was an extremely moving Albrecht with the Royal Ballet and as for his Des Grieux (and Lescaut)... Mr Campbell's performances as Romeo were opposite the magnificent Ambra Vallo so he definitely had to stand up to her glorious Juliet. I agree Osipova is a force of nature but I prefer (usually) a more understated style.
  6. Even though they have a dancer who had previously danced the role to great acclaim with BRB!
  7. I haven't eaten in the restaurant but have had a sandwich there and the odd cup of tea. I find the cafe sandwiches and tea over-priced and bland (although I did get a lot of very bland sandwiches on the plate).
  8. Hello Charliesmum and welcome to the Forum!
  9. I finally got to see this programme on stage last night, having seen it at the cinema last week. I appreciate that at the cinema we have to see the "directors cut" but, for me, it was almost like seeing a different programme! I should point out that I did greatly enjoy the cinema showing last week but last night took every piece to another level. Was it just the cinema/theatre contrast or was it the different casting for the first two works. Within the Golden Hour was just glorious last night. The whole cast melded beautifully and their dancing was immaculate and with feeling. This really was a gold standard performance. I was talking to the gentleman sitting next to me and he wasn't keen on the new costumes. I do still prefer them but the ladies' skirts were not as diaphanous live as they had seemed at the cinema. Again, although I enjoyed Medusa at the cinema last week I got so much more out of this piece last night. I will say that I much preferred Fumi Kaneko's interpretation to Natalia Osipova's. I thought she gave a much more rounded, nuanced performance. I saw her attraction to Perseus, I saw her being frightened and distraught by Poseidon's unwelcome attentions. I saw her as the steely snake-headed gorgon and I saw her dreamlike redemption when Perseus had beheaded her. I would happily see Medusa again (especially if Fumi Kaneko is in the eponymous role). Last week was my first viewing of Flight Pattern and last night was the first time I had seen it live. Oh wow, what a powerful and thought provoking piece it is. The whole cast really brought the tragedy over the footlights and Kristen McNally was truly heartbreaking. Bravi Royal Ballet! So for me it was an excellent programme. Great too to see other Forum members!
  10. I believe it is stipulated for all companies. Miyako Yoshida was promoted to principal by BRB when Marion Tait was injured during a tour to Japan. IIRC Marion Tait mentioned this at a talk when she said she managed to perform Odette but someone had to take over as Odile due to the stipulation. Two Pigeons (if she is reading this) may remember better than me.
  11. Press release: Internationally renowned contemporary circus company Gravity & Other Myths bring Backbone to Edinburgh Fringe for the first time Press release for immediate use Underbelly and Gravity & Other Myths present Backbone Internationally renowned contemporary circus company Gravity & Other Myths bring Backbone to Edinburgh Fringe for the first time A high-octane spree of physical virtuosity, Backbone tests the limits of physical, emotional, individual and collective strength Human connections between 10 strong cast are laid bare and exposed through relentless, raw physical endurance and skill Backbone runs from 31st July – 26th August 2019 at Underbelly’s McEwan Hall Tickets available now via www.underbellyedinburgh.co.uk Backbone rehearsal shot by Darcy Grant Backbone, the third touring production from world-leading contemporary circus company Gravity & Other Myths (GOM), makes its Scottish debut at Underbelly’s majestic McEwan Hall during the Edinburgh Festival Fringe following more than 170 shows in 18 countries since its premiere at the Adelaide Festival in 2017. Embracing GOM’s inherent and inimitable style, Backbone is a celebration of everything that’s gone before. A cast of 10 acrobats and 2 musicians deliver a relentless performance that is both as intensely beautiful as it is fiercely raw. Strength in its many forms is deconstructed and explored through a high-octane spree of physical virtuosity and acrobatic prowess. Backbone is a visual extravaganza, offering audiences the opportunity to experience circus in its most visceral form, circus that dispenses of trickery and distraction, circus that goes straight for the jugular and leaves no viewer unmoved. In true GOM style, human connections and camaraderie are explored onstage through a huge array of jaw dropping acrobatic disciplines, as trust and physical strength are frenetically pushed to the absolute limits. A Simple Space wowed Fringe audiences in 2013, 2015, and 2017. This August, viewers can once again experience GOM’s raw contemporary circus punch. In Backbone this is developed further still and laid against a deceptively DIY aesthetic, told through a stunningly visual production and set in the grand surrounds of McEwan Hall, elevating to an entirely new level. Sexy but sincere, raw yet utterly disciplined, Backbone is proof you can't do the impossible without heathy amounts of risk, sweat and trust. ENDS/ LISTINGS Backbone Underbelly Bristo Square, McEwan Hall, 31st July – 26th Aug, (5pm), (no show Wednesday 7th, Monday 12th, Monday 19th), runtime 70 mins Preview: 31st - 2nd, £13.00 Weekend: 3rd – 6th, 9th – 11th, 16th – 18th, 23rd – 25th, £18.50 (£17.50) Weekday: 8th, 13th – 15th, 20th – 22nd, £17.50 (£16.50) Keep up to speed with Underbelly at the Edinburgh Fringe Facebook @underbellyedinburgh Twitter: @followthecow Instagram: @underbellyedinburgh CAST AND CREATIVES Current Cast: Jacob Randell, Jascha Boyce, Lachlan Binns, Alyssa Moore, Joren Dawson, Jordan Hart, Rachel Boyd, Lachlan Harper, Kevin Beverley, Jackson Manson Current Musicians: Chris Neale & Alexy Kochetkov Creative Ensemble: Jacob Randell, Jascha Boyce, Lachlan Binns, Mieke Lizotte, Lewie West, Martin Schreiber, Joanne Curry, Lachlan Harper, Lewis Rankin, Jackson Manson Director: Darcy Grant Set & Lighting Designer: Geoff Cobham Creative Associate: Triton Tunis-Mitchell Composers & Musicians: Elliot Zoerner & Shenton Gregory NOTES TO EDITORS Gravity & Other Myths Gravity & Other Myths (GOM) is an internationally renowned circus company pushing the boundaries of contemporary circus. Formed in Adelaide, Australia in 2009, GOM has rocketed to stellar acclaim with a series of disarmingly accomplished ensemble works. GOM’s work utilises an honest approach to performance, to create shows with a focus on human connection and acrobatic virtuosity. GOM’s show A Simple Space has achieved huge international success, receiving multiple awards, and having performed more than 500 times across 24 countries. The follow up show Backbone, created in 2017, has already been nominated for multiple awards, had stellar reviews, and toured to festivals internationally. GOM has a focus on community engagement and always tries to support the circus community in Adelaide, as well as local circus communities in cities they travel to. Underbelly Underbelly is a UK based live entertainment company. Their events and festivals division operates one of the largest operations at the Edinburgh Festival Fringe, selling over 460,000 tickets for over 200 shows, in 22 venues over 25 days in 2018. 2018 was the sixth year Underbelly produced Edinburgh’s Christmas for City of Edinburgh Council (2017/18 saw a record breaking 781,520 tickets issued to visitors from 47 different countries), and the second year of producing Edinburgh’s Hogmanay also on behalf of City of Edinburgh Council, which in 2017-18 welcomed 160,000 over 3 days. 2019 marks the eleventh year of Underbelly Festival on the Southbank - one of the biggest multi-arts offerings in London - with over 100 shows programmed over 6 months on the South Bank. Underbelly also produces Christmas in Leicester Square, Udderbelly Festival in Hong Kong, West End Live in Trafalgar Square for Westminster City Council and the Society of London Theatre. Underbelly Productions is the theatrical arm of Underbelly, presenting, producing and promoting a diverse programme of international work. In 2017, in association with Cameron Mackintosh, they produced a major revival of the classic musical Five Guys Named Moe, which ran for 30 weeks at the purpose-built Marble Arch Theatre. This scorching production garnered rave reviews and was nominated for 3 WhatsOnStage Awards (including Best Musical Revival) and as Best Entertainment and Family at the 2018 Olivier Awards. In 2017 they were also Associate Producers on the UK Premiere of the musical Big Fish starring Kelsey Grammar, which enjoyed a sold-out Christmas run at The Other Palace. As part of the 2018 Edinburgh Festival Fringe, Don’t Tell Me Not to Fly a one-woman cabaret featuring a revolving cast of some of the West End’s favourite leading ladies premiered in the 900-seater McEwan Hall. In 2018 Underbelly sold over 1.5 million tickets to their various events.
  12. Hello DancePants and welcome out of the lurking shadows!
  13. Hello Fairydust and welcome to the Forum!
  14. https://teatrwielki.pl/en/repertoire/the-201920-season/performances-201920/filter/0/2/ The list is in alphabetical rather than date order.
  15. I'm not being funny but how does it benefit the dancers? If that is necessary for them but it causes issues for a lot of the audience who would like to watch the performance but who have difficulties with the early start time then perhaps they should not do those matinees?
  16. Why on earth do they start matinees at noon? If it is supposed to help people in the provinces it most certainly doesn't!! A couple of years ago I booked for an early matinee ... there was a problem with the train and I STILL haven't seen After the Rain live!!! Since then, I have booked a hotel for the night before, which is an expense I can do without!! Such programming certainly doesn't cater for many people who live outside London.
  17. I saw both performances in Shrewsbury yesterday. I thought Seasons in our World was terrific. After 2 views I want to see it again! Although choreographed by 3 people (Laura Day, Lachlan Monaghan and Kit Holder) all three sections melded together to make a complete whole. The music was tuneful and appropriate with the odd nod to Vivaldi and what sounded like Eastern European folk music. The costumes were simple and effective and the lighting was superb. All three choreographers had created beautifully lyrical dance with a couple of beautiful duets for Samara Downs and Yasuo Atsugi and Alys Shea with Alexander Yap. Peter and the Wolf was a delight from start to finish and a perfect introduction for children going to the ballet for the first time. It was stylish and witty and the cast danced their hearts out. Ruth Brill has set the stage in an urban landscape but the story is the familiar one. Peter (Petra) is danced by Laura Day who is just perfect in the role. Mathias Dingman was a very threatening wolf indeed. Ruth had made some gorgeous fast, deft choreography for the bird as danced by the quicksilver Tzu Chao Chou. There was a fascinating talk with Ruth and Laura before the evening performance. Both pieces are around 35 minutes each so with the interval the programme is about 90 minutes long.
  18. Isabella Gasperini, who lights up the stage every time she walks on!
  19. Thanks for posting the casting in full Bluebird. I was away for the weekend and had very limited internet availability. This is the body of the press release that came with the casting: English National Ballet Cinderella in-the-round Royal Albert Hall Thursday 06 – Sunday 16 June 2019 Tickets: ballet.org.uk/cinderella / royalalberthall.com/cinderella / 0845 401 5045 This summer English National Ballet performs their biggest production to date, a new, in-the-round version, of Christopher Wheeldon’s Cinderella at the Royal Albert Hall (06–16 June 2019.) Principal casting for the production is announced today and sees Lead Principals Alina Cojocaru and Isaac Hernández, Lead Principals Erina Takahashi and Joseph Caley, Lead Principal Jeffrey Cirio and Guest Artist Maria Kochetkova, and First Soloist Emma Hawes and Principal Francesco Gabriele Frola dance the roles of Cinderella and Prince Guillaume respectively. Kochetkova joins English National Ballet as Guest Artist for performances of Cinderella having previously danced the title role with San Francisco Ballet. Born in Moscow, the international ballet star trained at the Bolshoi Ballet School before going on to dance with companies across the world including The Royal Ballet, San Francisco Ballet, American Ballet Theatre, the Mariinsky and Mikhailovsky Theatres, and English National Ballet (2003-2007). Also announced today are those dancing the role of Benjamin, the prince’s friend: Jeffrey Cirio, Francesco Gabriele Frola, Soloist Ken Saruhashi, and First Artist Barry Drummond. Co-produced by English National Ballet and the Royal Albert Hall, Wheeldon’s inventive staging, with over 130 dancers working on the production, combines magnificent sets and costumes, theatrical surprises, and lively choreography set to Prokofiev’s famous score performed by English National Ballet Philharmonic, in what promises to be the ballet spectacular of 2019. Working from the darkly intriguing Brothers Grimm version of the story, Wheeldon originally created Cinderella to great acclaim for Dutch National Ballet and San Francisco Ballet: he and his creative team now reunite for the re-staging of this sparkling ballet. The production includes striking set design by Julian Crouch – founder of the influential theatre company, Improbable – puppetry from Basil Twist (whose credits include Charlie and the Chocolate Factory) and projection from Daniel Brodie. English National Ballet has presented grand-scale in-the-round productions at the Royal Albert Hall since 1997, including Swan Lake – with its record-breaking 60 swans – and re-workings of Romeo & Juliet and Sleeping Beauty.
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