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Lynette H

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  1. There are more tickets available for the previously completely sold out Cross Currents bill available now, for all performances, up to 25 available. The ROH Box Office moves in mysterious ways.
  2. From "From the Box Office" site - they say 45% off https://www.fromtheboxoffice.com/city/2957-london/XVRA-alvin-ailey-american-dance-theater-programme-a-lazarus-revelations/?utm_source=From+The+Box+Office+Newsletter&utm_campaign=09ac4179a7-AlvinAileySolus&utm_medium=email&utm_term=0_0ab28542ae-09ac4179a7-95557993&mc_cid=09ac4179a7&mc_eid=7a07d33fc9 Unusual to see a special offer for this - its usually packed when they come
  3. Gesham College has announced its new lecture series for the coming year and one of its strands in ballet, more particularly the Ballet Russes. Presenter is Martina Frolova-Walker. There are six in the series. All are ticketed (but free). The college has been providing free lectures for the last 400 years. Usually they are recorded and accessible online later. Details here https://www.gresham.ac.uk/series/diaghilev-and-the-ballets-russes/?mc_cid=76d9e5fe84&mc_eid=67ea143a9a
  4. Dane Hurst appears at Wilton's Music Hall on 19th and 20th August. It's a piece about male suicide (not a cheery subject I know...) created with film maker Tom Rowland. Details here http://www.wiltons.org.uk/whatson/583-falling-man I see Oxana Panchenko is listed as a guest artist.
  5. I will miss John's pithy assessments of choreography and performances, crisply delivered in the intervals, and his calm good sense. It was always such a pleasure to talk with him. His dance interests were very broad and you would find him at some more avant garde performances at Sadler's at well as at ballet. He was always affable and happy to agree or disagree with the utmost politeness and good humour. My sincere condolences to his family and friends. He will be much missed.
  6. https://www.royalballetschool.org.uk/discover/alumni/graduate-contracts-2019/
  7. For packages, if you are booking single (or double or whatever) tickets, select the seats for each item in the package, add to basket, then go to checkout and pay. If then you want to buy another set of tickets ( i.e. another package, for the same or different dates/ casts) start again and put the selected dates / cast in your basket, checkout and pay. That works. So if you want say 3 x Manon, 3 X Beauty, 3 x Coppelia, etc you need to buy 3 separate packages. But you don't loose your place in the queue.
  8. The ROH has put a tribute to Julia Farron up on its news pages https://www.roh.org.uk/news/remembering-julia-farron However I rather winced at "During her time with the Company she created several roles including Psyche (Ashton’s Cupid and Psyche), Princess Belle-Épine (Ashton’s The Prince of the Pagodas), Berta (Ondine) and Jocasta (John Cranko’s Antigone)." Ashton's Prince of the Pagodas ? Cranko. Surely someone could have checked this.
  9. If you want to find out more about the history of this particular theatre, I'd recommend "The Pantomime Life of Joseph Grimaldi" by Andrew McConnell Stott. Life in the early 19th century theatre - triumph, comedy, love, tragedy. It's a very well written biography, a compelling read.
  10. This takes place 6-8 July at St Hilda's college. "At DANSOX's Inaugural Summer School, Alastair Macaulay will give guest lectures on Petipa, Balanchine and Cunningham. Richard Alston will give a lecture on Cunningham's influence in relation to his work. Leading dance scholars will give seminars on dance history and theory. There will be unique lecture demonstrations on technical and choreographic practice led by Susie Crow and Jennifer Jackson, formerly of the Royal Ballet, and film showings." Full details here https://www.sthildas.ox.ac.uk/content/dansox-inaugural-summer-school £15 per day, including lunch.
  11. SFB came in 2008 and brought us three programmes of new work then. I stumbled on this thread from the old ballet.co forum about it http://web.archive.org/web/20081121101547/http://www.ballet.co.uk/dcforum/happening/6805.html I was interested to see that they brought Wheeldon's Within the Golden Hour on that trip, very soon after it was made. At the time it didn't make such an impression. It seems to have grown in stature since then. I wondered which pieces from this years offerings might have such a successful future life.
  12. One thing that did strike me as odd. Usually at Sadler's there are quite a few dance school groups in attendance during the week, occupying the upper reaches of the second circle, chattering like flocks of starlings. I didn't see any groups this time on any visit. Perhaps that made the place feel emptier ? (The stalls always seemed quite full). But why wouldn't these programmes attract schools ?
  13. Something of a tangent, I know, but seeing Firebird again kindled some old memories. Does anyone recall seeing Dance Theatre of Harlem's production of the Firebird which came to the Coliseum sometime in the 80's (I think). It was very striking. I think the dancer playing the Firebird descended on wires to preside over the final tableau. Does anyone remember this ?
  14. There were lots of terrific things about SFB's visit, but one thing struck me which I don't think I've seen remarked on anywhere. The lighting. In all these new works, you could actually see the dancers. The gloom which is so prevalent in new productions in London was just not in evidence. It was great to see what was on stage properly. If only it could happen more often....
  15. I think Muriel Valtat did Odette/Odile in the Dowell production, and she wasn't a principal. 1998.
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