Jan McNulty

Thanks for the link SBF.

Nothing in the press release inbox yet, but hopefully later today or tomorrow.

Bill, I hate to be blunt, but as has already been pointed out, this is a discussion forum. Many people have reasonably explained why they are discussing the issue of guest artists with the RB. Post #424 is Penelope's as quoted above. If you think Mr O'Hare would make a statement on why he is using guest artists I would be very grateful if you will approach him for that statement and put us all in the know. Not necessarily on this board but many of my friends often speculate about castings and promotions and any other item of the day to day minutiae of the companies that we follow. I think, given our joint passion, that is is quite a legitimate subject for discussion.

PLEASE NOTE THAT THE MIXED PROGRAMME RUNS FOR A GOOD 2hrs 15mins, as I discovered to my cost yesterday. (It's great though!)

Thanks Naomi.

Is it really so long ago??? I would love to see Patineurs again. As the skating scene in NB's latest Cinderella was so effectI've, perhaps someone could persuade them to take it on. I can think of at least 2 dancers I would love to see as the Blue Boy!

Links - Wednesday 04 November, 2015 Review - Paris Opera Ballet, Quartet No 4, Grosse Fugue, Transfigured Night, Paris: Roslyn Sulcas, NY Times Interview - Xander Parish: David Jays, Guardian News - Osipova rejoins Bolshoi as guest star: Ismene Brown, Blog via TASS Review - Rambert, Transfigured Night, Frames, Rooster, Birmingham: Bruce Marriott, DanceTabs Feature - Itzik Galili: Mike Dixon, London Dance Preview Feature - Twyla Tharp, 50th Anniversary Tour, Chicago: Hedy Weiss, Chicago Sun Times Preview Feature - BalletNext and Abraham.In.Motion experiment with jazz: Brian Seibert, NY Times Preview Feature - Daniil Simkin, Intensio, Houston: Olivia Flores Alvarez, Houston Press Preview Feature - Claire Cunningham, Guide Gods, Give me a reason to live, Perth: Cameron Woodhead, Sydney Morning Herald Reviews - Boris Charmatz / Anne Teresa De Keersmaeker, Partita 2, New York: Deborah Jowitt, Arts Journal Philadelphia: Merilyn Jackson, Philadelphia Inquirer Review - CoisCéim Dance, The Wolf and Peter, Dublin: Chris O’Rourke, Examiner Review - Spectrum Dance Theatre, The Minstrel Show Revisited, New York: Gia Kourlas, NY Times Review - BalletMet, Dracula, Columbus: Amanda Etchison, Broadway World Preview Feature - Ballet BC & choreographer Stijn Celis: Janet Smith, Straight Preview Feature - Dance Theatre of San Francisco, San Francisco: Andrew Gilbert, San Jose Mercury News

Well said, TP! They have some tricks of the trade. There are, I believe, small seed trays on the back of the chair. I also believe there are three pigeons because the pigeon that sits on the chair at the end for so long has a clipped wing. I think they may also have understudies - at a performance in Plymouth I saw some years ago there were three pigeons fluttering around and 2 of them spent most of the time fornicating on the rooves at the back! In the last run at one performance, the second pigeon flew in at the end and sat on Chi's head! He and Ambra handled the situation really well and ended up cuddling the bird.

SCOTTISH BALLET’S NEW VERSION OF CINDERELLA WILL RECEIVE ITS EUROPEAN PREMIERE IN DECEMBER On December 5 at Festival Theatre, Edinburgh, Scottish Ballet gives the European premiere of Christopher Hampson’s production of Cinderella. Hampson, Chief Executive/Artistic Director of Scottish Ballet, originally created this version for the Royal New Zealand Ballet in 2007. Set to Prokofiev’s iconic score, performed live by the Scottish Ballet Orchestra, this rendition of a timeless rags-to-riches story features luxurious costumes and extravagant sets by designer Tracy Grant Lord who also collaborated with Hampson on his production of Romeo and Juliet. The classic story returns in an imaginative re-telling. Like Prokofiev’s score the story takes us from darkness to light and focuses on Cinderella’s journey through her grief at the loss of her mother. A young Cinderella plants a rose at her mother’s graveside and from this the magic grows and her journey towards happiness begins. Cinderella’s future seems bleak after her father remarries; her wicked stepmother is intent on favouring Cinderella's two nasty step-sisters over the kind and beautiful Cinderella. The course of true love never does run smooth, but just like the rose Cinderella planted at her mother’s graveside, romance blossoms when she finally meets her prince. Scottish Ballet Chief Executive/Artistic Director Christopher Hampson: “This production of Cinderella is born from the heart of the Prokofiev score. Beginning in the darkest place possible the story journeys through misfortune, magic, mishaps and finally, a ‘happy ever after’. I’m thrilled to be working with the dancers, musicians and the support staff of Scottish Ballet to look afresh at a production which will light up the winter months ahead.” Cinderella will premiere at Festival Theatre, Edinburgh before touring to Theatre Royal, Glasgow, His Majesty’s Theatre, Aberdeen and Eden Court, Inverness in January 2016. Scottish Ballet will also present a specially adapted hour long version, titled Wee Cinderella, aimed at small children and families. Wee Cinderella will be performed in Edinburgh, Glasgow, Aberdeen and Inverness in December 2015 and January 2016. As part of our commitment to making ballet accessible to all, Scottish Ballet will perform a ‘relaxed performance’ of Cinderella for people with additional needs at Festival Theatre, Edinburgh on 18 December. Trained staff are on hand to help with access needs, the performance will last an hour, and we’ve significantly subsidised the ticket prices with a free ticket for an accompanying carer. Experience Cinderella’s journey to the ball with online events Thursday 12 November: Experience ‘A Day in the Life’ of Scottish Ballet soloist, Bethany Kingsley-Garner as she takes over our social media to reveal how she transforms into the role of Cinderella. Thursday 19 November: Scottish Ballet: Uncut – The next in our series of exclusive behind the scenes rehearsals from Scottish Ballet studios. Christopher Hampson leads a rehearsal with the principal characters building a scene, speaking with the dancers about their characters and showing some of the costumes from the production. NOTES FOR EDITORS Christopher Hampson Christopher Hampson joined Scottish Ballet as Artistic Director in August 2012 and was appointed Artistic Director / Chief Executive of Scottish Ballet in June 2015. Christopher trained at the Royal Ballet Schools. His choreographic work began there and continued at English National Ballet (ENB), where he danced until 1999 and for whom he subsequently created numerous award-winning works, including Double Concerto, Perpetuum Mobile, Country Garden, Concerto Grosso and The Nutcracker. Christopher’s Romeo and Juliet, created for the Royal New Zealand Ballet (RNZB), was nominated for a Laurence Olivier Award (Best New Production 2005) and his production of Giselle for the National Theatre in Prague has been performed every year since its premiere in 2004. Christopher created Sinfonietta Giocosa for the Atlanta Ballet (USA) in 2006 and after a New York tour it received its UK premiere with ENB in 2007. He created Cinderella for RNZB in 2007, which was subsequently hailed as Best New Production by the New Zealand Herald and televised by TVNZ in 2009. His work has toured Australia, China, the USA and throughout Europe. Other commissions include, Dear Norman (Royal Ballet, 2009); Sextet (Ballet Black/ROH2, 2010); Silhouette (RNZB, 2010), Rite of Spring (Atlanta Ballet, 2011), Storyville (Ballet Black/ROH2, 2012) nominated for a National Dance Award 2012, and Hansel and Gretel (Scottish Ballet 2013). Christopher is co-founder of the International Ballet Masterclasses in Prague and has been a guest teacher for English National Ballet, Royal Swedish Ballet, Royal New Zealand Ballet, Hong Kong Ballet, Atlanta Ballet, Matthew Bourne’s New Adventures and the Genée International Ballet Competition. Christopher’s work now forms part of the Solo Seal Award for the Royal Academy of Dance. Christopher most recently gave a talk on ‘Creative Thinking’ for TEDx Glasgow and is developping and leading the inaugural Young Rural Retreat for Aspiring Leaders, in association with Dance East in summer 2016. CINDERELLA LISTINGS Festival Theatre, Edinburgh Sat 5 – Thu 31 Dec 2015 Box Office: 0131 529 6000 edtheatres.com Theatre Royal, Glasgow Tue 12 – Sat 16 Jan 2016 Box Office: 0844 871 7647 Atgtickets.com/glasgow His Majesty’s Theatre, Aberdeen Wed 20 – Sat 23 Jan 2016 Box Office: 01224 641122 Aberdeenperformingarts.com Eden Court, Inverness Wed 27 – Sat 30 Jan 2016 Box Office: 01463 234 234 Eden-court.co.uk WEE CINDERELLA LISTINGS Festival Theatre, Edinburgh Tue 22 Dec 2015 - 3pm Box Office: 0131 529 6000 edtheatres.com Theatre Royal, Glasgow Fri 15 Jan 2016 - 3pm Box Office: 0844 871 7647 Atgtickets.com/Glasgow His Majesty's Theatre, Aberdeen Fri 22 January 2016 - 3pm Box Office: 01224 641122 Aberdeenperformingarts.com Eden Court, Inverness Fri 29 January 2016 - 3pm Box Office: 01463 234234 Eden-court.co.uk CINDERELLA RELAXED PERFORMANCE LISTING Festival Theatre, Edinburgh Fri 18 Dec 2015 - 3pm Box Office: 0131 529 6000 CINDERELLA GET CLOSER LISTINGS PRE-SHOW TALKS FREE | 6:30-7pm | Call box office or follow the links below to book online EDINBURGH Festival Theatre Thu 10 Dec 2015 (Focus on dance) Fri 11 Dec 2015 (Focus on music) Thu 17 Dec (Focus on dance) Box Office: 0131 529 6000 GLASGOW Theatre Royal Thu 14 Jan 2016 (Focus on dance) Fri 15 Jan 2016 (Focus on music) Box Office: 0844 871 7647 ABERDEEN His Majesty's Theatre Thu 21 Jan 2016 (Focus on dance) Fri 22 Jan 2016 (Focus on music) Box Office: 01224 641 122 INVERNESS Eden Court Thu 28 Jan 2016 (Focus on dance) Fri 29 Jan 2016 (Focus on music) Box Office: 01463 234 234 FAMILY INSIGHTS £5.50/£3.50 conc | 11am - 12.30pm | Book through your preferred theatre EDINBURGH Festival Theatre Sat 12 December 2015 Sat 19 December 2015 Wed 23 December 2015 GLASGOW Theatre Royal Sat 16 January 2016 ABERDEEN His Majesty’s Theatre Sat 23 January 2016 INVERNESS Sat 30 January 2016 BALLET CAFÉ EDINBURGH Festival Theatre Tue 15 December 2015 0131 529 6000 GLASGOW Tramway* Wed 13 January 2016 0844 871 7647 ABERDEEN His Majesty’s Theatre Wed 20 January 2016 01224 541122 INVERNESS Eden Court Wed 27 January 2016 01463 234234 ENHANCED HEARING, AUDIO DESCRIPTION AND TOUCH TOUR EDINBURGH Festival Theatre Sat 19 December 2015 GLASGOW Theatre Royal Sat 16 January 2016 ABERDEEN His Majesty’s Theatre Sat 23 January 2016 INVERNESS Eden Court Sat 30 January 2016

Over the last year or so I've read that it is unwise to pick up and use your smart phone in the night if you wake up (guilty as charged!) because of the daylight effect. I hadn't thought about computer screens though. I read the linked article Melody and unfortunately you cannot get the app for iPhones or iPads without fixes. Food for thought though...

Kevin O'Hare was my first Young Man in Two Pigeons at Sadler's Wells at the beginning of January 1990. I fell in love with Two Pigeons then and have loved it ever since. I think it is a masterpiece; as ever Sir Frederick Ashton took what is basically a very silly story and created characters that you really care about. The final duet is so beautiful, I don't think I have ever been able to watch it without sobbing out loud. I have a vague recollection of reading somewhere that Sir Fred created this beautiful duet to show that ballet does not have to be all spectacular lift and leaps and I have got to say that there are not many of the block-busters that make me burst into tears for no apparent reason. I do hope that all Forum members who are London-based or who can get to ROH go to see this wonderful ballet and I hope you enjoy it as much as fans of BRB have been able to for so many years. I also hope that after a couple of performances the word will have got out and the rest of the season sells out very quickly!

The Yorkshire Evening Post has published a short rehearsal video of one of the pieces in the mixed programme being shown in Leeds tonight and tomorrow: http://www.yorkshireeveningpost.co.uk/news/latest-news/top-stories/video-royal-new-zealand-ballet-dancers-to-turn-heads-with-city-performance-1-7549626

Here's a reminder of the casting details: http://www.roh.org.uk/mixed-programmes/monotones-i-and-ii-the-two-pigeons

Links - Tuesday 03 November, 2015 Review - Paris Opera Ballet, Clear, Loud, Bright, Forward, Opus 19 / The Dreamer, Theme and Variations, Paris: Patricia Boccadoro, Culture Kiosque Review - American Ballet Theatre, AfterEffect, Company B, The Green Table, New York: Marsha Volgyl, Broadway World Review - David Hallberg / Francesco Vezzoli, Fortuna Desperata, New York: Gia Kourlas, NY Times Feature/comment: Bolshoi Ballet, The crucial appointment will be in 2018: Ismene Brown, Blog via Kommersant Gallery - Carlos Acosta at The Royal Ballet: various photographers, Guardian Review - English National Ballet, Romeo and Juliet, Southampton: Mark Pullinger, Bachtrack Review - Suzanne Farrell Ballet, Walpurgisnacht, A Midsummer Night’s Dream pdd, Emeralds, Washington; Pennsylvania Ballet, Concerto Barocco, Philadelphia: Alastair Macaulay, NY Times Review - Rambert, Frames, Transfigured Night, Rooster, Birmingham: Rosamaria Kostic Cisneros, Bachtrack Review - Lucinda Childs, Available Light, Paris: Laura Cappella, FT Interview - Madison Keeler of ENB: Laura Dodge, London Dance Review - Hussein Chalayan, Gravity Fatigue, London: Graham Watts, London Dance Review - Jose Limon Dance Company, Orfeo, Chaconne, Dances for Isadora, New York: Barnett Serchuk, Broadway World Review - Zoonation, Into the Hoods, London: Josephine Leask, London Dance Review - Akram Khan Company & MOKO Dance, Chotto Desh, London: Katja Vaghi, Bachtrack Reviews - Gregory Maqoma / Vuyani Dance Theatre, Exit / Exist, London: Lynette Halewood, DanceTabs Anna Winters, Exeunt News - London Contemporary Dance School launches postgrad programme: Georgia Snow, Stage Review - Ballet Memphis, Confluence, Water of the Flowery Mill, Devil’s Fruit, Politics, New York: Sondra Forsyth, Broadway World Review - Spectrum Dance Theatre, The Minstrel Show Revisited, New York: Deborah Jowitt, Arts Journal Blog - Jarkko Lehmus, Head in the Sky. Hands in the Mud: DanceTabs Review - PrismCo, Persephone: Shadow World, Dallas: Janice L Franklin, Theater Jones TV Review - Flesh and Bone: Judith Mackrell, Guardian

They are really pretty.

Hello Jess and welcome to the Forum. BRB, Northern Ballet and ENB all have children's performances these days. As far as I am aware, most of the performances are on weekdays as Saturdays will be a double main performance day. I may be wrong but I think schools would regard these performances as an educational experience. It is probably worth checking with your children's schools. I have not been able to attend a BRB or ENB performance but I have been to NB performances on weekdays and these have usually been sold out.

No, Mr C didn't dance it with BRB. His fan club are so looking forward to seeing him dance this role!

I am sure the school will be able to answer that question if no other members can.

No, I was particularly early. If I'm just doing it at home without a time constraint I usually go back and check if nothing has appeared but I didn't have time yesterday. They usually seem to be visible on the site from around 0830.

Here's a link to the website? http://www.surreyballetmasters.co.uk If you get any answers from the company for the general questions I am sure our other members will be interested in the responses because they do seem interesting.

Links - Monday 02 November, 2015 Review - Royal Ballet, Viscera, Afternoon of a Faun, Tchaikovsky pdd, Carmen, London: Luke Jennings, Observer Preview - Wendy Whelan, Hagoromo, New York: Kate Guadagnino, Vogue Preview/Feature - Australian Ballet, Filigree and Lace, Sydney: Philippa Hawker, Sydney Morning Herald Review - Royal Danish Ballet, The Hubbery; Danish Dance Theatre, Love Songs, Copenhagen: Eva Kistrup, Copenhagen Report for Danceview Times Review - Donald Byrd & Spectrum Dance Theater, The Minstrel Show Revisited, New York: Marina Harss, DanceTabs Review - Hussein Chalayan, Gravity Fatigue, London: Siobhan Murphy, DanceTabs Review - Sydney Dance Company, Variations 10, Les Illuminations, Project Rameau, Melbourne: Gracia Haby, Fjord Review Review - E-Side Dance Company, Asian-Male Episode, Hong Kong: Kevin Kwong, South China Morning Post Review - Zoonation, Into the Hoods, London: Graham Watts, DanceTabs Review - The Construction Company, A Trail of Irreverence, New York: Brian Seibert, NY Times Review - Peacock Visual Arts, This is Performance Art, Aberdeen: Mary Brennan, Herald Scotland Review - Footnote New Zealand Dance, 30FORWARD, Tauranga: Gin Mabey, NZ Theatreview Interview - Tsiskaridze: 'Russian ballet still has no equal’: Ismene Brown, Blog via RIA FNA

No, it wasn't up when I did the links. The review will be in today's links (Monday).

Hello Munchkin, I do hope you can get something sorted out for yourself. In what part of the country are you looking for a teacher?

Quite a few choreographers seem to use a dramaturg these days when creating story ballets.

Same here in Edinburgh Jane, we saw loads of adults in very imaginative costumes. On he bus back to our guest house I was sat next to a merry gentleman(!) who was wearing a necklace of what looked like organs from a body (plastic but very realistic)!