Jan McNulty

Links - Sunday, January 04, 2015 Feature – Five Prima Ballerinas reflect on the biggest change in the dance world: Carla Escoda, Huffington Post Preview – Les Ballets Trockadero de Monte Carlo, Vancouver: Samantha Lego, Daily Xtra Review – Russian State Ballet of Siberia, Swan Lake, Cardiff: Kate Rees, Wales Online Preview – Barely Methodical Troupe, London: Laura Dodge, London Dance

I thought it was bad luck to leave them up after Twelfth Night? Mine came down on New Year's Day.

Hello Beckyl and a belated welcome out of the lurking shadows! Thanks for joining in and I hope you will continue to let us know how you get on.

I've merged 2 topics that discuss Italian fouettes. It would seem that the ladies of ABT had some difficulties with them in 2013.

Anna Tsygankova of Dutch National Ballet will be replacing Natalia Osipova on 5th January.http://www.roh.org.uk/news/cast-change-marianela-nunez-and-thiago-soares-to-dance-in-don-quixote-on-29-december-2014

Links - Saturday, January 03, 2015 Preview – Royal Danish Ballet Principals & Soloists, New York: Marina Harss, NY Times Preview – This week’s new dance, London: Judith Mackrell, Guardian Feature - Head of Creative Industries Federation fears ‘dangerous’ cost of austerity: Mark Brown, Guardian Preview – Dance in 2015: What to look forward to in Chicago this winter 2015, Chicago: Laura Molzahn, Chicago Tribune San Francisco: Allan Ulrich, SF Chronicle San Diego: Pam Kragen, UT San Diego Review – Cincinnati Ballet, The Nutcracker, Cincinnati: Jessica Dennett, Broadway World Mini Interview – Misty Copeland: Alene Dawson, LA Times Preview – Alvin Ailey American Dance Theatre, Odetta, New York and on tour: Joceylyn Noveck, Fredericksburg.com Roundup – The best of 2014, Atlanta: ArtsAtl Staff, Arts Atlanta Review – Steinvor Palsson, Wholly:Land, Edinburgh: Kelly Apter, Scotsman

Oh blummin' 'eck Swanprincess - I hope you get them back.

I particularly like the production performed by the Cuban National Ballet and would not define it as pallid compared to the Bolshoi version. I actually like the costumes in this current RB version.

I think that most dance companies in this country have annual contracts and regular assessments now. I also believe that the orchestra members are self employed. As in every working environment there are people who will be promoted and people who will be the bedrock of the workers.

I quite agree with you Bill.

As it happens probably not as silly as it sounds - most of that part of the world was part of the Ottoman Empire (capital Istanbul) when the music was written. Re rubbish - some years ago I was a volunteer usher at the Liverpool Playhouse. When I started to pick up rubbish I was told to leave it as that was why they employed cleaners!

I really enjoyed Akane Takada's performance when I saw her on 20th December. OK, hers was a gentler interpretation but IMHO no less valid for that. My first Kitri was Altynai Assylmuratova in 1986 ( a truly unforgettable performance! ) and I have also had the pleasure of seeing the glorious Anette Delgado in the role as well as the very feisty Kitri of Charlotte Broom in her NB days. Vive la difference!!!

PRESS RELEASE FROM THE ROYAL BALLET: JEANETTA LAURENCE ASSOCIATE DIRECTOR OF THE ROYAL BALLET RECOGNISED FOR SERVICES TO DANCE IN NEW YEAR HONOURS Jeanetta Laurence, Associate Director of The Royal Ballet, has been awarded an OBE in the New Year’s Honours list. Born in Oxford, Laurence trained with June Christian and at The Royal Ballet School. Her dancing career began in 1969 when she joined The Royal Ballet Touring Company and in 1970 she became a member of The Royal Ballet’s New Group, which in 1976 became Sadler’s Wells Royal Ballet. During this time she was promoted to Soloist and created roles in ballets by Jack Carter, Ronald Hynd, Joe Layton and Lynn Seymour, among others. Shortly after being made Assistant Ballet Mistress Laurence left the Company in 1979 to have a family. In 1983 she founded Dance Directory, an agency for freelance dancers and choreographers, with fellow dancer Rashna Homji, which ran successfully for eight years. She left the agency to work for director and choreographer Gillian Lynne in a commercial capacity before joining The Royal Ballet as Artistic Administrator in 1990. The position of Assistant Director followed in 2003 before she took up her current role as Associate Director in 2009. Jeanetta Laurence works closely with the Director of The Royal Ballet Kevin O’Hare and during her time with the Company has also worked alongside former Directors Anthony Dowell, Ross Stretton and Monica Mason. Laurence is also a Trustee of the Frederick Ashton Foundation, which exists to perpetuate the legacy and work of the Founder Choreographer of The Royal Ballet and of the Royal Ballet Benevolent Fund and the Benesh Institute Endowment Fund. On receiving the award, Jeanetta Laurence said “I am delighted to receive this Honour. It has been the most wonderful privilege to have been a part of The Royal Ballet organisation, first at the School then as a dancer with the Company and, for the last twenty five years, as part of the Senior Management Team.” Kevin O’Hare, Director of The Royal Ballet added “I’m thrilled that Jeanetta Laurence has received an OBE for services to dance. Jeanetta’s selfless commitment to The Royal Ballet is amazing and she is truly well deserving of this honour.” Jeanetta Laurence has worked for The Royal Ballet for over 46 years and will retire in June 2015.

Congratulations to all the awardees. I was so pleased to see that the wonderful Barrie Rutter, Margaret Aspinall and Trevor Hicks have been recognised amongst others too.

I'm sorry Taxi I'm trying not to laugh. It will be a nightmare to get rid of all the glitter.

Hello Don'taskme and welcome out of the lurking shadows! I do hope you will continue to join in. Good luck to your DD and to everyone else waiting anxiously to hear.

Very sorry to hear this Spacy. Your daughter must be devastated. Don't forget to claim compensation for being so heavily delayed. It's no substitute but the railways need to be penalised for appalling performance.

No, that is not necessarily the case at all Straceydor. For example all the current productions of Swan Lake, Sleeping Beauty and Nutcracker tend to be "based on" Ivanov/Petipa but will all have subtle differences. Where choreography is owned by a living choreographer or a trust then the steps should be the same eg Cranko's Onegin or Balanchine's works.

At least one of the ENB productions I have seen included a Mother Gingerbread/Hubbard/something of that ilk but I can't remember which production and it didn't inspire me. In fact it was completely erased from my memory banks till the recent discussion!

Lori Gilchrist and John Hull, both ex-NB.

I hope I get to see them when they are over here - a couple of my favourite dancers are now there!

Thanks Melody, I'd completely erased that piece of music from my memory!

Of course anyone who becomes aware of links hidden behind paywalls is welcome to mention them on this site, as Beryl H obviously had done.

Does Mother Gingerbread use the Mirlitons music (Everyone's a fruit and nutcase for anyone old enough to remember!)?

That is so beautiful to watch! Thanks for sharing the link. In the 1980s, just as was beginning as a ballet-watcher, the BBC showed a television series called Dancer, presented by Peter Schaufuss. He commented on the Bournonville style and one of the first things I saw was his production of La Sylphide for ENB (then London Festival Ballet) starring Eva Evdokimova and Peter Schaufuss himself. I just fell in love with the style! I love the very deft footwork and all the ballon and I think I like Ashton for the same reason. One of the most joyous things (IMHO) to watch on a stage is Act 3 of Napoli!