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Jan McNulty

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Everything posted by Jan McNulty

  1. I’m not that frequent a visitor but have always found the bag searchers courteous.
  2. I saw my final 2 live ballet performances of 2019 in Leeds on Friday and we were treated to 2 lovely performances of Cinderella. Fortunately there were no mishaps with the set as reported by Alice Shortcake. In the afternoon I finally caught up with Minju Kang and Javier Torres in the leading roles - they were absolutely wonderful together. Javier brings so much emotion to the role of the Prince. I was really choked up during the final, reconciliation duet. Minju is just sublime as Cinderella. Sarah Chun again proved to be absolutely terrifying as the Step-Mother ... beautifully understated menace. Sarah was definitely earning her crust on Friday because in the evening she gave us a gorgeous performance as Cinderella with Jonathan Hanks as her delightful and incredibly elegant Prince. On Friday evening Julie Nunès and Albert Gonzalez Orts (in his first year in the company and still an apprentice) were a total delight as the young Cinderella and Prince. I love Philip Feeney's score and the fact that the ballet ends on almost a quiet, reflective note. Roll on the gala next week!
  3. Links - Sunday 29 December, 2019 Feature - Best of 2019 UK: Jenny Gilbert, Arts Desk Interview - Collen Neary & Thordal Christensen, ADs Los Angeles Ballet: Victoria Looseleaf, Fjord Review Interview - Max Westwell & Will Bozier of New Adventures talking Swan Lake: Craig Byrd: Cultural Attache
  4. Hello RJL and welcome to the Forum!
  5. Oh Quintus, that's absolutely dreadful. I'm so sorry to hear that your car was a write-off.
  6. "should of" - need I say more!
  7. Well OK ... I should have been wrapping the Christmas presents I haven't wrapped yet but I decided to watch Victoria on the iPlayer instead!! I thought it came over very well on film - the close-ups of some of the facial expressions were exquisite. Although I had only seen Victoria from the front row in the theatres I noticed things in the film that I hadn't in the theatre and found watching it a very rewarding experience all over again. What a tour-de-force from Pippa Moore as the mature Beatrice and what a gift it was for her to create this role in her final season dancing with NB. (I still intensely disliked the three-quarter length sleeves on a lot of the male costumes and I still loathed the red chiffon skirts!)
  8. Did you take the photographs Richard LH. If not, you should provide the attribution. Thanks.
  9. I loved the matinee this afternoon. Laura Morera and Alexander Campbell gave sparkling performances as the leading couple. The grand pad in Act 3 was absolutely scintillating ... so much so that there were shivers running down my spine! Claire Calvert and Melissa Hamilton were both lovely as Dawn and Prayer respectively. I must admit to preferring both the BRB and ENB productions. SPW's for BRB seems to make a more cohesive role and makes clearer why Swanilda falls out with Franz over his flirting not only with Coppelia but the seductive gypsy girl. Nevertheless I hope this production continues to be performed in the future as it has much to commend it and it fits the RB like a glove.
  10. Link to the podcasts on the BRB website: https://www.brb.org.uk/post/tom-and-ty-talk Thanks CCL, I meant to start a thread the other day and I forgot.
  11. I'm intending to go and see Cats and will report back when I have. Bad reviews don't necessarily mean bad films or even films that won't do well at the box office ... Blade Runner, Dirty Dancing and Pretty Woman are three that spring to mind that were universally panned on original release but all did really well at the box office and actually gave a heck of a lot of people a heck of a lot of pleasure.
  12. It's in newspapers all over the world, easily findable via Google.
  13. Links - Saturday 21 December, 2019 Interview - Cassa Pancho diversifying dance and eliminating stereotypes through Ballet Black: Juan Michael Porter ll, Broadway World Review - Protein Dance, The Little Prince, London: Donald Hutera, Times Reviews - Arthur Pita, The Little Match Girl, London: Rachel Elderkin, Stage Emma Byrne, Standard Review - Staatsballett Berlin, SUNNY, Berlin: Katja Vaghi, Bachtrack Featurette - Francesca Hayward, Royal Ballet: Ellie Pithers, Vogue Book Review - Nadine Meisner, Marius Petipa: The Emperor’s Ballet Master: Joan Acocella, New York Review of Books Diaries - Three of the best dance shows in the UK: Lyndsey Winship, Guardian (scroll down) The week ahead in SoCal dance, Los Angeles area: Matt Cooper, LA Times 'Tis the Season... Review - New York City Ballet, George Balanchine’s The Nutcracker, New York: Carol Pardo, Danceview Times Review - English National Ballet, The Nutcracker, London: Anna Winter, Stage Feature - The Nutcracker endures as a ballet - despite its critics: Staff, Toronto Star Video Feature - Graham Lustig (ex-BRB), AD Oakland Ballet & The Nutcracker: Dion Lim, ABC 7 Review - Jennifer Weber, The Hip-Hop Nutcracker, Washington: Kristen Waagner, MD Theatre Guide Review - Ballet Ensemble of Texas, The Nutcracker, Irving: Emily Sese, Theater Jones
  14. English National Ballet celebrates 70th Anniversary London Coliseum Friday 17 & Saturday 18 January 2020 www.ballet.org.uk English National Ballet today announces casting for its three specially curated gala performances at the London Coliseum (17 & 18 January) in celebration of the Company’s 70th Anniversary. Showcasing the world-class talent of the entire Company, alongside the future stars of the ballet world from English National Ballet School, these performances include some of the most important and ground-breaking works that make up English National Ballet’s diverse repertoire. The gala performances will begin with a blend of film and performance. Using archive footage of English National Ballet, Dominic Best, who directed BBC documentaries Good Swan, Bad Swan: Dancing Swan Lake and Giselle: Belle of the Ballet, will create a special film which will dissolve into live performance on stage. Please note that Onegin will not be performed as previously announced. Performance details are subject to change. -ENDS- English National Ballet is a National Portfolio Organisation supported by Arts Council England. Notes to Editors Listings English National Ballet’s 70th Anniversary Gala London Coliseum Friday 17 & Saturday 18 January 2020 Box Office: 020 7845 9300 or www.ballet.org.uk/70th-anniversary-gala
  15. I had a lovely time at the matinee on Wednesday. I love Concerto and it was a joy to see Isabella Gasparini making her debut in the first section. I always think that ROH must save a fortune on electricity when Isabella is lighting up the stage. I thoroughly enjoyed the whole performance. Enigma Variations was the highlight for me. I thought Bennet Gartside was outstanding as Elgar and I was very moved by his performance. I would go as far as to say (never having seen the original cast and my first viewing being BRB with Desmond Kelly) that he is my favourite Elgar of all time. Kristin McNally was pitch perfect as Lady Elgar as was Gary Avis as Jaeger. William Bracewell was dynamite as Troyte ... oh wow, what a comeback! Enigma Variations is, IMO, a total masterpiece. Ashton's character vignettes are all exquisite and I think this piece works because there are no real fireworks - it is all subtle elegance and understatement. That one tiny move in Nimrod where Elgar just lifts his wife off the floor by a couple of inches always reduces me to mush. I am so glad that I got the opportunity to see this work again and I hope that will continue in the future. Raymonda was a splendid way to end the performance. (Although only the final act) I finally understood why Raymonda chose Jean de Brienne over Abderakhman with Federico Bonelli's gorgeous interpretation of our hero. Lauren Cuthbertson was a total delight in the title role. An added bonus was the coincidence of sitting next to a good friend - neither of us knew the other was going! Also good to see and chat to fellow Forum members. All in all, it was a great day out (and, fortunately, a good journey to and from Liverpool on the train).
  16. Links - Friday 20 December, 2019 Review - Matthew Bourne’s New Adventures, The Red Shoes, London: Judith Abrahams, Islington Gazette Reviews - Scottish Ballet, The Snow Queen, Edinburgh: Simon Thompson, Seen and Heard International Dominic Corr, Reviews Hub Interview - Mark Skipper, Chief Executive of Northern Ballet: Tony Greenaway, Yorkshire Life Feature - Francesca Hayward, Royal Ballet & Cats: Jenny Proudfoot, Marie Claire Feature - Robbie Fairchild of Cats, Broadway and ex-NYCB: Allie Volpe, Backstage Review - Northern Ballet, Cinderella, Leeds: Rich Jevons, Reviews Hub Review - Arthur Pita, The Little Match Girl, London: Jessica Wilson, Seeing Dance Review - ZviDance, MAIM (Water in Hebrew), New York: Joel Benjamin, Theater Scene Diary - Five dance performances to see in NYC this weekend: Brian Schaefer, NY Times Reviews of 2019 - Australia: Various, Limelight Jana Perkovic, The Age Top 5 dance shows UK: Various, Stage Pittsburgh: Sara Bauknecht, Pittsburgh Post-Gazette Film Review - Cats: Anthony Lane, New Yorker Featurette - What Mark Morris is reading: NY Times Feature - Andrea Schermoly, choreographer Louisville Ballet: Tatiana Ryckman, Louisville Magazine 'Tis the Season... Review - Dorrance Dance, The Nutcracker Suite, All good things must come to an end, New York: Ivy Lin, Bachtrack Video Feature - Two Raptors make debuts as Cannon Dolls in National Ballet of Canada’s Nutcracker: CBC Video Preview - City Ballet, Urban Nutcracker, Boston: Crystal Haynes, Boston 25 Preview Feature - Aspen Santa Fe Ballet, The Nutcracker, Aspen: Shannon Asher, Aspen Times Feature - Stephen Satterfield of Les Grands Ballets Canadiens talks about The Nutcracker: Nora Rosenthal, Cult Feature - Dancer does a ‘good” deed by bringing students to Southern California Ballet’s Nutcracker: Elizabeth Marie Himchak, San Diego Union Tribune
  17. Stylistically I would call it a narrative ballet. I found the synopsis more of a hindrance than a help but I was fortunate enough to attend an event at NB's HQ where Cathy Marston spoke about her ideas for the ballet. It is based around Victoria's daughter Beatrice editing her mother's diaries for "public consumption". Act 1 covers the period from Beatrice (Victoria's youngest child) as a 4 year old to Victoria's death. Act 2 covers the earlier diaries from Victoria becoming queen to the death of Albert. IMO you only need to be able to recognise Victoria, Mature Beatrice, Young Beatrice, John Brown, Beatrice husband Liko and Albert. The rest all other children, spouses of other children and politicians. The ones in the bizarre red chiffon skirts are described as archivists.
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