Jan McNulty

I saw this programme at the Lowry a couple of weeks ago. I thought the dancers were fantastic, the music great and I particularly loved the costumes for Sem Mim but I have to confess that after a while I started to find the choreography repetitive in both works.

I wonder if it is because they have decided to hold off until the next booking period opens in a couple of weeks, although when I checked the day this thread was started some tickets had already been sold.

Linda is referring in her post #3 to post #2 which I moved from the Ashton mixed programme thread. Linda, I very much agree with your comments about dancers returning from injury.

On the RB Manon thread Aileen said: Post #259 refers: http://www.balletcoforum.com/index.php?/topic/7881-the-royal-ballet-manon-autumn-2014/page-9#entry107686 " I think that there are questions to be asked about casting generally (ie whether the RB should be more particular about casting some principals in some roles) and about the wisdom of casting dancers in certain roles when they have recently returned from injury or when they are nearing the end of heir careers. Let's remember that this forum is not representative of people going to watch a ballet performance. Most people only go occasionally.They are not much interested in factors which lead to a less than stellar performance (and that includes dancer development and debuts). The are only going to judge the performance on what they see and that will include wobbles and uncertain technique. " She has made some interesting points but let's not be RB-centric about this. What are our opinions on casting???

It had in a motorway service station I use but it seems to have been discontinued... There are some portaloo boxes that apparently self cleanse, supposedly after you have left them... I avoid them like the plague!!!!

Yes aromatic soap dispensers and taps are quite common here now. I have experienced auto-lights both in toilets and on stairs as well as in some car parks. I find them very disconcerting.

For me, it has always been the overall performance that grabs me by the short and curlies! Obviously I prefer the dancers to dance the roles well but age and experience can bring other facets to a role when the technical fireworks are fading. And just because the technical fireworks are fading does not mean to say that a more experienced dancer cannot still dance the role, just perhaps the tours and jetes aren't so high and such like.

New York Times obituary

Yes indeed Yaffa, it is impossible to know if someone has an invisible disability. However, I have often stood in the queue at the Lowry where the ladies' disabled toilet is outside the main ladies and often visible to the queue and have heard people say "oh it's vacant, I'll use it". I always glare at them when they come out!

Jack Bruce was one of the greatest bass guitarists ever as well as being the composer of most of Cream's most successful tracks. Sincere condolences to his family and friends. http://www.bbc.co.uk/news/uk-scotland-29772926

Thanks for the link Victoria - quite inspirational.

Links - Saturday, October 25, 2014 Feature – Wendy Whelan Farewell: Deborah Jowitt, Arts Journal Review – American Ballet Theatre, Rondo Capriccioso, With a Chance of Rain, Thirteen Diversions, New York: Leigh Witchel, Danceview Times Reviews – American Ballet Theatre, Raymonda Divertissements, Jardin aux Lilas, Fancy Free, New York: Alastair Macaulay, NY Times Marina Harss, DanceTabs Mary Cargill, Danceview Times Review – Royal Ballet, Ashton Quad Bill, London: Louise Levene, FT Opinion – Why the Royal Ballet must keep Frederick Ashton centre-stage: Judith Mackrell, Guardian Feature - How to survive the Soviet Union by Maya Plisetskaya and Rodion Shchedrin: Ismene Brown, Spectator Preview – This week’s new dance: Judith Mackrell, Guardian Reviews – Ivan Blackstock, A Harlem Dream, London: Judith Mackrell, Guardian Sarah Crompton, Telegraph Katie Columbus, Stage Review – Beijing Dance Theatre, Wild Grass, Washington: George Jackson, Danceview Times Review – Alvin Ailey American Dance Theatre, Memoria, Bad Blood, Lift, Kansas City: Hampton Stevens, Kansas City Star Review – Washington Ballet, Petit Mort, Five Tangos, Polyphonia, Washington: Sarah Kaufman, Washington Post Review – BalletBoyz The Talent, Serpent, Fallen, Philadelphia: Merilyn Jackson, Phladelphia Inquirer Review – Ballet du Capitole, Les Forains, Les Mirages, Toulouse: Gerald Dowler, FT Review – London Contemporary Dance School – MA and Alumni Projects, Upturn programme, London: Sara Veale, DanceTabs Preview – LA Dance Project, mixed programmes, Los Angeles: Jordan Riefe, Hollywood Reporter Review – Shaun Parker and Company, Am I, Melbourne: Simon Piening, Australian Stage Preview - Milwaukee Ballet, Don Quixote, Milwaukee: Elaine Schmitdt, Journal Sentinel Interview – Edward Liang, AD BalletMet, about Innovations triple bill, Columbus: Amanda Etchison, Broadway World Review – Alexa Wilson, The Status of Being, Wellington: Sam Trubridge, NZ Theatreview Review – Out of the Box Hip Hop Showcase, Auckland: Kerry Wallis, NZ Theatreview Review – Cynthia Oliver, Boom!, New York: NY Times Preview - Carmen de Lavallade, As I remember it, Washington: Peggy McGlone, Washington Post Review - Company Non Nova, L'après-midi d'un Foehn - Version 1, Cambridge: Ella E Walker, Cambridge News

Hello Amy and welcome to the Forum. I do hope you will let us know how you get on.

Please give the lady a chance! You saw her dance in one performance of Month - often a debut performance is very different from the final performance. I remember seeing Mukhamedov dance Des Grieux and thought he was awful and would be better suited to Lescaut. I later saw him dance Lescaut and thought I was right but then I saw him dance Des Grieux again and he had become, to my eyes, totally subsumed into the role. Most dancers continue to develop and change during their careers, even when they have reached the heady heights of principal. I've only seen Osipova dance once, in Rubies which I very much enjoyed, but to write her off on the basis of her first few performances with the RB seems somewhat harsh. OK don't see her in Month again but don't write her off completely!

I really don't think there is any excuse for the toilets to be in that state anywhere. Unless there had been a matinee earlier the lack of paper towels and soap is a disgrace.

Interesting comment Ribbons. I've noticed dancers coming in from other companies to companies that I follow where they have not initially had "the company style" but that his come with varying degrees of time and it has been good to watch these dancers transformations. Hopefully Ms Osipova will continue to grow as an artist and subsume the RB style ... and perhaps the RB can also learn something from her style.

Links - Friday, October 24, 2014 Review – New York City Ballet, Chaconne, Interplay, After the Rain, Everywhere we go, New York: Wesley Doucette, Broadway World Review – American Ballet Theatre, Piece D’Occasion, With a Chance of Rain (Scarlett premiere), Thirteen Diversions, New York: Apollinaire Scherr, FT Reviews – American Ballet Theatre, Rondo Capriccioso, With a Chance of Rain, Thirteen Diversions, New York: Alastair Macaulay, NY Times Marina Harss, DanceTabs Review – Fall for Dance roundup and Wendy Whelan farewell, New York: Robert Gottlieb, NY Observer Review – Royal Ballet, Ashton quad bill (Osipova/Month cast), London: Sarah Crompton, Telegraph Reviews – Tao Dance Theatre, 6,7, London: Lynette Halewood, DanceTabs Lyndsey Winship, Standard Previews – Thomas Ades, Hear the music, See the dance, London: Judith Mackrell, Guardian Alexandra Desvignes, Bachtrack Review – Australian Ballet, Swan Lake, Berkeley: Madeline Zimring, The Daily Californian Review – Trisha Brown Dance Company, Pure Movement Program 1, Melbourne: Jordan Beth Vincent, Sydney Morning Herald Review – Birmingham Royal Ballet, Shadows of War, London: Graham Watts, London Dance Special Gallery – Rambert in the studio rehearsing Shobana Jeyasingh’s Terra Incognita: Foteini Christofilopoulou, DanceTabs Feature – Fred Herko, a weeklong programme marking the 50th anniversary of his death, New York: Tim Teeman, Guardian Interview – Laurretta Summerscales (English National Ballet): David Bellan, Oxford Times Review – Bangarra Dance Theatre, Kinship, Adelaide: Barry Lenny, Broadway World Review – Shaun Parker and Company, Am I, Melbourne: Chloe Smethurst, Sydney Morning Herald Review – Northern Ballet, Cinderella, Newcastle: Tamzin Mackie, The Journal Preview – Washington Ballet, Petit Mort, 5 Tangos, Polyphonia, Washington: Gary Tischler, Georgetowner Review – Beijing Dance Theatre, Wild Grass, Washington: Sarah Kaufman, Washington Post Review – Steve Paxton, Selected Works, New York: Brian Seibert, NY Times Review – Amber Funk & Josh Martin, Surrender, Leftovers, Hero and Heroine, Ottawa: Natasha Gauthier, Ottawa Citizen Preview - Alberta Ballet, Three Musketeers, Calgary: Stephen Hunt, Calgary Herald Review – American Repertory Ballet, A Midsummer Night’s Dream, Rahway NJ: Patrick Kennedy, Broadway World Preview - Ballet Met, Innovations triple bill, Columbus: Bill Mayr, Columbus Dispatch Feature - Tehreema Mitha in Toronto: Aparita Bhandari, Toronto Star

I think Beauty is in the eye of the beholder Aileen. Some dancers move me more than others and all my friends find the same with different dancers. Just because some people liked her performance doesn't mean to say that they are unanimously uncritical of her just that they enjoyed a particular performance.

This review will be in tomorrow's links but here is Sarah Crompton on Osipova in Month

Post moved to this thread as requested Kat.

Rambert: Triptych A triple bill of exciting dance from one of the UK’s best-loved contemporary dance companies. Mark Baldwin, Shobana Jeyasingh, Ashley Page Sadler’s Wells Tuesday 18 – Saturday 22 November, 2014 Tickets £12 - £38 Rambert is Britain’s national dance company. Its new triptych of dances takes you inside a series of unique worlds, from underground depths, through uncharted territories, to the outer-reaches of the cosmos. They are created by three of Britain's most exciting choreographers, and brought to life by Rambert's peerless company of world-class dancers. Subterrain is an enigmatic voyage underground, with five couples displaying grace and power in former Scottish Ballet Director Ashley Page's sensuous work. Terra Incognita is choreographed ground-breaking dancemaker Shobana Jeyasingh "one of our most imaginative theatrical auteurs". Her distinctive style combines mathematical rhythmic patterns from classical Indian dance with contemporary movement, and the piece draws on urban legends and ancient cartography to look at the politics and power of journeying into the unknown. The recent discovery of the 'God Particle' inspires The Strange Charm of Mother Nature, choreographed by Rambert Artistic Director Mark Baldwin. In three movements representing the phenomena of the cosmos, the dancers fizz with the energy of the miniscule building blocks that created life, the universe and everything. The performance is accompanied throughout by live orchestral music, ranging from Bach's Brandenburg Concerto no 3, through Stravinsky's Dumbarton Oaks, to original compositions by Gabriel Prokofiev and Cheryl Frances-Hoad. Fuelled by this music, and packed with vivid dancing, Rambert's Triptych is a thrilling spectacle. Beautiful and breathtaking, it will live long in your memory. Notes to Editors: Sadler’s Wells Rosebery Avenue, London EC1R 4TN 0844 412 4300 sadlerswells.com Tue 18 – Sat 22 November 2014 Evenings 7.30pm Tickets £12 - £38 Transaction fee applies to online (£1.75) and phone bookings (£2.50). No fee in person at Sadler’s Wells. Discounts and concessions available, see sadlerswells.com/terms Insight Matinees Thu 1.30pm & Sat 2.30pm Tickets £8 - £20 (family ticket £40) Features Terra Incognita and The Strange Charm of Mother Nature, plus special introduction Save 20% when you buy tickets for two or more participating Sadler’s Wells or Peacock Theatre shows. Seesadlerswells.com/save Free pre-show talks: Wed & Fri 6.30pm Sign language interpreted performance and talk on Wed rambert.org.uk CREDITS AND CASTING Gabriel Prokofiev – Music and composer Jean-Marc Puissant – Design Lucy Carter – Lighting design

Updated Principal Casting for English National Ballet’s Nutcracker and Swan Lake at the London Coliseum Nutcracker returns to the London Coliseum this Christmas from Thursday 11 December 2014 - Sunday 4 January 2015 . Nutcracker sees Guest Artist Mathias Dingman’s debut performance with English National Ballet. He performs in the role of the Prince, alongside Erina Takahashi’s Clara and Fabian Reimair’s Nutcracker. Mathias Dingman trained at the Kirov Academy of Ballet in Washington DC. He joined Birmingham Royal Ballet in 2006 and is currently First Soloist. Dingman has performed in a variety of productions including The Dream, La Fille mal gardée, Cinderella and Aladdin. In 2006 he won the Gold Medal at the Varna International Ballet Competition. First performed in 2010 to celebrate English National Ballet’s 60th anniversary, Wayne Eagling’s version ofNutcracker has since been seen by over 300,000 people. This is English National Ballet’s 11th production of Nutcracker since it performed its first full length Nutcracker in 1950, its founding year. Since then, English National Ballet has established the tradition of performing Nutcracker at Christmas every year. From Wednesday 7 - Sunday 18 January, English National Ballet return to the London Coliseum with Derek Deane’s critically acclaimed Swan Lake, following a UK tour. Swan Lake sees Guest Artist Isaac Hernandez, Principal at Dutch National Ballet, perform alongside Erina Takahashi. He is joined by previously announced Guest Artists Ivan Vasiliev, Alban Lendorf and Vitor Luiz who perform alongside Alina Cojocaru, Tamara Rojo and Fernanda Oliveira respectively. Currently a Principal with Dutch National Ballet, Isaac Hernandez has previously performed with San Francisco Ballet and American Ballet Theatre. Hernandez won Gold at the USA International Ballet Competition in 2006, Bronze and a special commendation at the International Ballet Competition in Moscow in 2005, and first place at the International Ballet Competition in Cuba in 2004. Arguably one of the most popular ballets created, Swan Lake tells the story of Prince Siegfried’s love for the Swan Queen, Odette, their battle against the evil magician, Rothbart and an encounter with the manipulative Odile. This popular production features Tchaikovsky’s score played live by the Orchestra of English National Ballet. This version of Swan Lake premiered at the London Coliseum in 2000 and has since been seen by over 550,000 people around the UK. As previously announced Swan Lake also sees Lead Principal Elena Glurdjidze’s farewell performance with the Company. Of leaving English National Ballet, Elena Glurdjidze says; “I have spent 12 years of my professional career with English National Ballet and would like to express my immense gratitude to all of the staff, from the artists, directors, to the technical, orchestra and administrative staff. They have been great and it has been an honour and a pleasure working with them. For anyone in the dance profession the audience is what drives us, judges us and makes us happy. English National Ballet’s fans have been amazing and I’d like to say a special thanks to them. I’m leaving English National Ballet with a feeling of pride of what has been achieved and hope to stay in touch with everyone and continue to serve the arts.” Artistic Director of English National Ballet, Tamara Rojo says; “Elena is a wonderful dancer and her loyalty to English National Ballet has been greatly appreciated. I wish her the very best for the future.” Updated Principal casting for Nutcracker and Swan Lake can be found below. Please checkwww.ballet.org.uk/swanlake for further announcements. Principal Casting in detail Nutcracker (in the order of Clara, Prince and Nutcracker) London Coliseum Thursday 11 December 2014 – Sunday 4 January 2015 020 7845 9300 or www.ballet.org.uk/nutcracker Thursday 11 December (press night) – Alina Cojocaru, Alejandro Virelles and Junor Souza Friday 12 December (mat) - Begoña Cao, Arionel Vargas and Ken Saruhashi Friday 12 December (eve) - Erina Takahashi, Mathias Dingman and Fabian Reimair Saturday 13 December (mat) - Fernanda Oliveira, Vitor Luiz and Fernando Bufalá Saturday 13 December (eve) – Tamara Rojo, Junor Souza and Max Westwell Sunday 14 December (mat) - Elena Glurdjidze, Arionel Vargas and Nathan Young Tuesday 16 December (mat) - Fernanda Oliveira, Vitor Luiz and Fernando Bufalá Tuesday 16 December (eve) - Tamara Rojo, Junor Souza and Max Westwell Wednesday 17 December (mat) - Elena Glurdjidze, Arionel Vargas and Nathan Young Wednesday 17 December (eve) - Erina Takahashi, Mathias Dingman and Fabian Reimair Thursday 18 December (mat) - Begoña Cao, Arionel Vargas and Ken Saruhashi Thursday 18 December (eve) - Alina Cojocaru, Alejandro Virelles and Junor Souza Friday 19 December (mat) - Fernanda Oliveira, Vitor Luiz and Fernando Bufalá Friday 19 December (eve) - Alina Cojocaru, Alejandro Virelles and Junor Souza Saturday 20 December (mat) - Shiori Kase, Yonah Acosta and Fernando Bufalá Saturday 20 December (eve) - Erina Takahashi, Mathias Dingman and Fabian Reimair Monday 22 December (mat) - Begoña Cao, Arionel Vargas and Ken Saruhashi Monday 22 December (eve) - Erina Takahashi, Mathias Dingman and Fabian Reimair Tuesday 23 December (mat) – Laurretta Summerscales, Arionel Vargas, Vitor Menezes Tuesday 23 December (eve) - Tamara Rojo, Junor Souza and Max Westwell Wednesday 24 December (mat) - Elena Glurdjidze, Arionel Vargas and Nathan Young Friday 26 December (5pm) - Katja Khaniukova, Ken Saruhashi and Daniele Silingardi Saturday 27 December (mat) - Shiori Kase, Yonah Acosta and Fernando Bufalá Saturday 27 December (eve) – Laurretta Summerscales, Arionel Vargas and Max Westwell Sunday 28 December (mat) - Alina Cojocaru, Alejandro Virelles and Junor Souza Monday 29 December (mat) - Ksenia Ovsyanick, Max Westwell and Fabian Reimair Monday 29 December (eve) - Shiori Kase, Yonah Acosta and Fernando Bufalá Tuesday 30 December (mat) - Katja Khaniukova Ken Saruhashi and Daniele Silingardi Tuesday 30 December (eve) - Tamara Rojo, Junor Souza and Max Westwell Friday 2 January – Laurretta Summerscales, Alejandro Virelles and Max Westwell Saturday 3 January (mat) - Elena Glurdjidze, Arionel Vargas and Nathan Young Saturday 3 January (eve) - Shiori Kase, Yonah Acosta and Fernando Bufalá Sunday 4 January (mat) - Ksenia Ovsyanick, Max Westwell and Fabian Reimair Swan Lake (in the order of Odette/Odile and Prince Siegfried) London Coliseum Wednesday 7 - Sunday 18 January 2015 020 7845 9300 or www.ballet.org.uk Wednesday 7 January (press night) - Alina Cojocaru and Ivan Vasiliev Thursday 8 January (mat) – TBC and Junor Souza Thursday 8 January (eve) – Tamara Rojo and Alban Lendorf Friday 9 January - Fernanda Oliveira and Vitor Luiz Saturday 10 January (mat) - Erina Takahashi and Isaac Hernandez Saturday 10 January (eve) - Laurretta Sumerscales and Alejandro Virelles Sunday 11 January (mat) - Alina Cojocaru and Ivan Vasiliev Tuesday 13 January - Alina Cojocaru and Ivan Vasiliev Wednesday 14 January – Tamara Rojo and Alban Lendorf Thursday 15 January (mat) - Laurretta Sumerscales and Alejandro Virelles Thursday 15 January (eve) - Erina Takahashi and Isaac Hernandez Friday 16 January - Alina Cojocaru and Ivan Vasiliev Saturday 17 January (mat) - Fernanda Oliveira and Vitor Luiz Saturday 17 January (eve) – Tamara Rojo and Alban Lendorf Sunday 18 January (mat) - Elena Glurdjidze and Arionel Vargas

WORLD PREMIERE OF LIAM SCARLETT’S THE AGE OF ANXIETYALONGSIDE WORK BY KIM BRANDSTRUP AND CHRISTOPHER WHEELDON CEREMONY OF INNOCENCE / THE AGE OF ANXIETY / AETERNUM Friday 7 – Monday 17 November 2014 The Royal Ballet presents the world premiere of Liam Scarlett’s The Age of Anxiety, his latest work for the Company, alongside the London debut of Kim Brandstrup’s Ceremony of Innocence and Christopher Wheeldon’s Olivier Award-winning Aeternum. The Age of Anxiety is a new ballet inspired by WH Auden’s 1946 poem. Set in war time New York it follows four disparate characters who meet in a bar and try to make sense of their shifting worlds. Led by Principal dancers Laura Morera and Steven McRae The Age of Anxiety is Scarlett’s fourth work for the Royal Ballet. Scarlett was appointed Artist in Residence in 2012 and past work for the Company includes Asphodel Meadows (2010), Sweet Violets (2012) and last year’s Hansel and Gretel (2013). The Triple Bill of one act ballets also features Kim Brandstrup’s Ceremony of Innocence which was originally created for the Benjamin Britten Centenary Celebrations at the Aldeburgh Festival in 2013. Ceremony of Innocenceis set to Britten’s Variation on a Theme of Frank Bridge, and is a subtle response to his final opera Death in Venice.The work features an older protagonist, performed by Principal Edward Watson, looking back on the careless brilliance of his young self, danced by First Artist Marcelino Sambĕ. The programme closes with Royal Ballet Artistic Associate Christopher Wheeldon's Olivier Award-winningAeternum which was created for The Royal Ballet in 2013. Aeternum is set to Britten’s harrowing Sinfonia da requiem, written in 1940, and is his anguished musical response to the Second World War. This darkly lyrical ballet concludes with an extended duet to create a powerful tribute to the fallen. The cast for Aeternum will include Principal dancers Marianela Nuñez, Federico Bonelli and Nehemiah Kish. Wheeldon’s other recent work for the Company includes two full-length ballets; Alice's Adventures in Wonderland, which returns to the main stage this Christmas, and the critically acclaimed production of The Winter's Tale which opened earlier this year. --- ENDS --- Generous philanthropic support from The Royal Opera House Endowment Fund, Richard and Delia Baker (Ceremony of Innocence), Mrs Susan A Olde OBE, Karl and Holly Peterson, The Age of Anxiety Production Syndicate and the Friends of Covent Garden (The Age of Anxiety) Ceremony of Innocence / The Age of Anxiety / Aeternum 7, 13, 14, 17 November at 7:30pm / 8 November at 2pm and 7pm CEREMONY OF INNOCENCE Choreography Kim Brandstrup Music Benjamin Britten Costume Design Kandis Cook Designs Leo Warner for 59 Productions Lighting design Jordan Tuinman THE AGE OF ANXIETY Choreography Liam Scarlett Music Leonard Bernstein Designs John Macfarlane Lighting Jennifer Tipton AETERNUM Choreography Christopher Wheeldon Music Benjamin Britten Designs Jean-Marc Puissant Lighting design Adam Silverman Conducted by Barry Wordsworth, Music Director of The Royal Ballet with the Orchestra of the Royal Opera House. NOTES TO EDITORSBIOGRAPHIES Kim Brandstrup Kim Brandstrup made his Royal Ballet debut in 2005 with Two Footnotes to Ashton. Ceremony of Innocence will be the fifth work presented on the Royal Opera House main stage by Brandstrup, who also won an Olivier Award in 2010 for his Goldberg Variations in the Linbury Studio Theatre. Brandstrup recently created the short film Leda and the Swan for Sampling The Myth as part of the Deloitte Ignite Festival 2014. Brandstrup studied film at the University of Copenhagen and choreography with Nina Fonaroff at the London Contemporary Dance School. He has been working as a choreographer since 1983 and in 1985 founded his own dance company, Arc. Brandstrup work as a choreographer spans dance, theatre and opera. Liam Scarlett Liam Scarlett trained at The Royal Ballet School and danced with The Royal Ballet, retiring as a dancer in 2012 to focus on his choreographic career. In the same year he was appointed The Royal Ballet’s first Artist in Residence. His works for The Royal Ballet include Despite and Vayamos al Diablo (2006), Consolations and Liebestraum (2009 – nominated for a Critics’ Circle Award), Asphodel Meadows (2010 – nominated for a South Bank Award and an Olivier Award, and winner of a Critics’ Circle Award), Sweet Violets, ‘Diana and Actaeon’ from Metamorphosis: Titian 2012(2012), Hansel and Gretel (2013) and the Jubilee pas de deux in celebration of HM The Queen's Diamond Jubilee. Christopher Wheeldon Christopher Wheeldon is Artistic Associate of The Royal Ballet. He trained at The Royal Ballet School and danced with the Company 1991–3, where Kenneth MacMillan encouraged him in his choreographic work. For The Royal Ballet he has created the one-act ballets Tryst (2002), DGV: Danse à grande vitesse (2006), Electric Counterpoint(2008), ‘Trespass’ (Metamorphosis: Titian 2012, in collaboration with Alastair Marriott) and Aeternum, and the full-length ballets Alice's Adventures in Wonderland in 2011 (The Royal Ballet's first full-length commission in almost 20 years) and The Winter's Tale in 2014.

Links - Thursday, October 23, 2014 Reviews – Royal Ballet, Ashton Quad Bill, London: GJ Dowler, Classical Source Graham Watts, London Dance Review – Australian Ballet, Swan Lake, Berkeley: Paul Parish, Bay Area Reporter Reviews – Fall for Dance, Program 5, New York: Lauren Gallagher, DanceTabs Mary Cargill, Danceview Times Marina Harss, Random Thoughts Reviews – Tao Dance Theatre, 6,7, London: Louise Levene, FT Graham Watts, London Dance Review – LA Dance Project, Reflections, Murder Ballads, Quintett, New York: Jessica Abejar, Broadway World Special Gallery – Rambert in Rehearsal: Foteini Christofilopoulou, DanceTabs Feature - Degas' Little Dancer: Oksana Khadarina, DanceTabs Q&A – Sasha Waltz: Mary Ellen Hunt, SF Chronicle Review – Dean Moss, johnbrown, New York: Siobhan Burke, NY Times Review - Jennifer Monson, Live Dancing Archive, New York: Siobhan Burke, NY Times Review – Trisha Brown Dance Company, Early Works, Melbourne: Jordan Beth Vincent, Sydney Morning Herald Review - Tripspace Projects, Trip the Light Fantastic Toe, London: Alice Robotham, London Dance News – Your Move Modern Dance Festival moves to Hoboken: Summer Dawn Hortillosa, Jersey Journal Preview - Allie Hankins, Like a Sun that pours forth light but never warmth, Portland: Celina Russell, The Oregonian Preview - Théâtre La Tangente and BoucharDanse, L’Implorante, L’Eternal Voyage, Toronto: Michael Crabb, Toronto Star Review - Footnote Dance, The Status of Being, New Plymouth: Holly Shanahan, NZ Theatreview

Hello OccasionalBalletGoer and welcome to the Forum. I do hope you will continue to post.