Jan McNulty

In respect of post no #146, which suggests that a dancer's rapid rise was due to "luck": surely that could, (and has), happen(ed) with many people. In all walks of life there is an element of "being in the right place at the right time". The talent must also be there though.

George Lamb is a TV (mainly of the reality variety) and radio presenter. He's got an entry on Wikipedia that gives more detail if anyone cares to look him up. I only saw bits and pieces of the day - it looked good though. Perhaps he was invited to present the day in the hopes of attracting some fans of reality television.

I've just had a look at the NYCB website. Of 22 principals listed, 3 did not go to SAB at all - one Spaniard (trained in Spain), one Spaniard (trained in San Francisco) and one French (trained in France). Perusing the biographies, not all of the SAB-trained principals went there at the youngest age (they take students from 6) and some only did the last couple of years (equivalent of US?). SAB is described as the official school of NYCB so perhaps it is not surprising that most of the dancers come from that school.

I was under the impression that it was sold out (or nearly so). Someone must like it! And surely variety is the spice of life...

I don't like the Bastille. The impression you had in the cinema is the one when I have attended a couple of performances there.

A lot of it seems to be to do with the size of the photograph file. The oneg I use on twitter is one that was sent to me and the file is considerably smaller than any taken with my current camera. This photograph was set up using Gravatar.

Re the 2 B&Bs - obviously there is a certain similarity in the storyline because they come from the same source but they are completely different in style. NB's production has one dancer for the Prince and one for the Beast which leads to some interesting scenes where the Beast is thinking back to the way he was. I enjoy both versions but then I am a Gemini and don't feel the need to compare!

Re the BRB dancers, they have all risen through the ranks and have spent their careers so far with the company, except for Natasha Oughtred, who transferred over from RB. It's a similar story at NB. One or two danced for other companies but have then devoted their careers to NB. It should also be noted that at BRB a number of the other dancers, non-British, came through Upper School and have devoted their careers to BRB for which, I applaud them. On a slightly facetious note, what is it about the water in Hull? Mark Silver, Michael and Kevin O'Hare, Robert Parker, Neil Westmoreland and Ashley Dixon are all from Hull. Come the Autumn, three of those named will occupy three of the most influential posts in British ballet...

I just had a look at the BRB and NB websites. Excluding the retiring Robert Parker, 5 out of 12 principals are British, 3/4 senior soloists, 4/9 soloists and 6/8 first soloists are British at BRB. At NB, 21/37 are British (7/12 at senior level). I think with some of the countries listed eg Spain, Brazil, Japan, either the working conditions are not as good or there is not as much opportunity professionally, which may explain why so many dancers from those countries seek opportunity abroad.

Northern Ballet are touring their Beauty and the Beast at the moment. Their season finishes with I Got Rhythm in Leeds and Norwich at the end of May/beginning of June. It's a good, fun piece to end the season! http://northernballet.com/index.php?q=whats-on-tour If you are thinking of going to BRB's NE midscale be aware that Durham usually sells out fast. Additionally I no longer sit in the stalls in York. Buxton is a new venue for the company (we're going).

Northern Ballet have made a brief announcement that the Company will be premiering a new ballet "The Great Gatsby" in Leeds on 2nd March 2013. http://northernballet.com/index.php?q=news/12-03-19/northern-ballet/great-gatsby

Although not as close together, they were still incredibly bright in the clear sky last night. A stunning display of the heavens even in my light-polluted area.

I think Onegin is performed by all the "big" companies in Germany plus POB, RDB, Australian Ballet, National Ballet of Canada and SFB that I know of. Much though I adore Onegin I suspect that it could not be put on in this country by more than one company at a time. I have always been sorry that ENB let it go from their rep.

Aileen, you wrote as you saw and I don't think you were being hypercritical. I have come to realise that everyone sees things differently and it's very much personal preferance. I enjoyed Nao and Joe very much and I felt there was a connection between them but that is how I saw it, you just happened to see it differently and your point of view is just as valid. (I saw three performances in Birmingham and three at the Coli so six in all.) Actually at the Coli, I was discussing differing views with some friends and we all agreed that we should celebrate our differences! Edited to add a missing word

I enjoyed very much the three performances of Spring Passions that I saw at the Coli. Tuesday evening marked Robert Parker's fnal performance on a "main stage" as he danced Two Pigeons with Nao Sakuma. It was a very special and emotional performance. He danced with such youth and vigour that it is hard to realise that he is retiring. For me, Wednesday evening's performance of Two Pigeons was the highlight with Ambra Vallo and Chi Cao performing the honours. They were totally subsumed into their roles and were so believable. The final reconciliation duet was incredibly moving. Carol-Anne Millar and Iain Mackay were spectacular as the Gypsy and her Lover. I thought the whole company were on sparkling form.

The Scotsman liked Northern Ballet's Beauty and the Beast: http://www.scotsman.com/lifestyle/performing-arts/dance-reviews-northern-ballet-beauty-and-the-beast-edinburgh-festival-theatre-1-2177167

I am disappointed that only two of the listed mixed programmes have matinees. I like the look of a lot of this season but I expect I will make it to few, if any, performances. Re casting: I think it is probably harder for ENB and BRB to predict casting too far in advance because they tend to do blocks of performances and casting order can change frequently at short notice. BRB used to announce casting months early but it nearly always used to change by the time you got to the performance. I'm afraid the lack of casting tends to make me book more tickets! I book for when I know I can go and then book extras if there are other casts that I am desperate to see!

Re the Newsnight interview: I saw it with a friend who has no interest in ballet. The first thing she said on looking at his body language was that in her opinion he was "burnt out"

Northern Ballet's short run of David Nixon's elegiac Madame Butterfly in Leeds ended on Saturday evening. I was lucky enough to catch the final three performances. Madame Butterfly was the first ballet that David Nixon mounted for NB when he had just taken over as Artistic Director. I loved it then and I love it now, time has in no way diminished its power to move and its beauty. The set is a simple Japanese style house at the back of the stage with various side and hanging sections depicting either blossom or Autumn leaves. It's very simplicity lends itself to the story. David Nixon also designed the beautiful costumes - adaptations of traditional kimonos for the Japanese ladies being particularly striking. I was able to see all three casts over the weekend. On Friday evening we were able to enjoy Keiko Amemori gracing NB's stage again with Kenneth Tindall as her Pinkerton. They have often danced together and were very comfortable in the choreography meaning they were able to give their all to the characterisations. Kenny has got to be one of the best actors around on the dance stage today; you utterly believe in the character he is dancing. He seemed genuinely fond of Butterfly but was ultimately cowardly when faced with the reality of his situation. I'm surprised his wife Kate (gorgeously realised by Martha Leebolt) didn't run off with Sharpless (or maybe she did after our story was ended!). Saturday afternoon was one of those magical afternoons when the air is sprinkled with star dust and we were treated to a breath-taking and extremely moving performance from Pippa Moore and Toby Batley. I was in floods of tears by the end and, yes, I was one of the people on my feet at the end acclaiming this wonderful performance. Georgina Roberts greatly enhanced the performance as a sympathetic and caring Kate, she was genuinely distressed by the torture that Butterfly was going through as she reached her decision to give up Trouble. Michela Paolacci and John Hull took the honours on Saturday evening and gave a beautifully nuanced and moving performance. I particularly enjoyed Sebastian Loe's performances as Goro - he had just the right amount of obsequious money-grubbing and danced the role beautifully. Martin Bell was similarly excellent in the role and, in another performance, as Sharpless. Darren Goldsmith also brought gravitas to the role of Sharpless. Saturday evening saw Yi Song's final performance with Northern Ballet. He danced the triple role of Father/Bonze/Prince Yamadori with sharpness and an enormous stage presence. At the curtain calls, David Nixon gave a short speech thanking Yi for his contributions to the company, explaining that he will be undertaking a university course in Japan. All Yi's many fans will really miss him and I would like to send very best wishes to him for the future. Madame Butterfly is being performed at some venues during the Autumn tour and I would highly recommend it.

What is it about the water in Hull........ Ashley Dixon of Northern Ballet and Hull talks to the local paper about his creation of the Beast in David Nixon's Beauty and the Beast: http://www.thisishullandeastriding.co.uk/Ashley-s-beast-artisic-performance/story-15496419-detail/story.html

I was in Sunderland for the first three performances of Coppelia. Sir Peter Wright's 1995 production is handsome and very traditional and still looks as fresh as a daisy. Opening night honours went to Elisha Willis and Matthew Lawrence. Elisha is terrific as Swanilda - her outrage at Franz' flirting is a joy to behold and she is very deft of foot in Act 2. Matthew Lawrence "acts big" and Franz suits him. He's a terrific partner. On Thursday evening we were treated to a delightful performance from Laetitia Lo Sardo and Joe Caley. Laetitia is sublime as Swanilda; she is totally subsumed into the role. I adore Joe as Franz - he really is a cheeky chappy with just the right amount of frivolous flirting and enormous energy in his perfomance. The highlight for me was the schools' matinee on Thursday afternoon. The children present were, without exception, wonderfully behaved and created a very enthusiastic and enjoyable atmosphere in the audience. They were treated to a dazzling virtuoso performance from Nao Sakuma and Chi Cao. The roles fitted them like gloves and they brought just the right amount of humour, flirting and pathos to their sparkling, fizzing performance. Bravi to them! The whole company were on joyous form. I particularly enjoyed Callie Roberts as Dawn at one performance and we had three terrific "Call to Arms" leaders in Tyrone Singleton, Matthias Dingman and Tzu-Chao Chou. Jonathan Payn, Rory Mackay and Valentin Olovyannikov are all notable and enjoyable as Doctor Coppelius. Coppelia is at the Coliseum at the end of the week - I do hope you can all get along to see a performance and record your thoughts here!

The Yorkshire Evening Post's view of Northern Ballet's Madame Butterfly: http://www.yorkshireeveningpost.co.uk/lifestyle/arts-entertainment/theatre-reviews/theatre-review-madame-butterfly-leeds-grand-theatre-1-4322830

I think it is safer to assume that the running time is nearer 3 hours. Am in Sunderland for a couple of Coppelias - it's looking very good - more later!

Birmingham Royal Ballet completed a week of performances of the Spring Passions programme in Birmingham at the weekend. I was lucky enough to catch the three weekend performances. The score for Daphnis and Chloe is absolutely glorious and I thought the orchestra sounded terrific. I really liked the set and the 1950s style costumes. The story is pretty silly but we saw some lovely performances. I was particularly taken with Saturday evening's cast of Jenna Roberts and Jamie Bond who were absolutely sublime together. I adore Two Pigeons. It may be silly and sentimental but Ashton has created characters that you really care about. Saturday evening saw Nao Sakuma and Robert Parker giving a beautifully nuanced, expressive performance that was all the more moving because it was Robert's final performance at the Birmingham Hippodrome. They were both totally subsumed in their roles and carried me away on waves of emotion. I had to try very hard not to sob out loud by the end. In other casts I very much enjoyed Angela Paul as the Gypsy and both Tom Rogers and Tyrone Singleton as the Gypsy Lover. We had three terrific Gypsy boys in James Barton, Matthias Dingman and Tzu-chao Chou (whose dancing is so fast and precise). We are so lucky to see these Ashton gems in the BRB rep. Long may they continue! Don't forget that this super programme is at the Coli next week (13th and 14th March).

Choreartium ...................... I loved that when BRB used to do it! Mmmmmmmmmmmmm - thinking hat on!