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Everything posted by Fonty

  1. The trouble is, the glass-half-full members are galloping along on pure bred horses, a breed which is gradually fading away, while the Arts Council introduce a new hybrid mount - able to cover many more terrains that the pure bred, but much less attractive. πŸ™‚
  2. The only one of those I have seen was The Judas Tree. Thought it was an awful waste of Irek Mukhamedov and Leanne Benjamin (I think). Never willingly seen it since. You are not alone. The only one I can remember anything about is Woolf Works, and that is mainly because of the voice over. There was one other one with weird robotic figures going across a screen at the back, but I have no idea what it was called. Otherwise, just a blank as far as I am concerned.
  3. I thought the idea of any of these apps was to show that you had been within 2 metres of an infected person for over 15 or 20 minutes. I am vague about the time and distance, as it is a year now since I looked at the details, and obviously all parties have to be on Bluetooth. However, if people are being pinged while travelling in a car and stopping at traffic lights, then something has gone seriously wrong with the programme!
  4. Loved Pineapple Poll when I finally got a chance to see the BRB perform it. My first thought? "How come the RB doesn't perform this?" I don't mind reimagined versions of the classics, I just don't want to see classical ballet companies doing them in place of the original, or at the expense of their more traditional rep. I am a huge fan of Matthew Bourne's versions of the Tchaikovsky ballets. I was very amused to see his version of the Kingdom of the Sweets, and thought it was as good (if not better) than the classical one, but I have never really been a huge fan of the RB's Nutcracker, I have to admit. The final act of his Swan Lake never fails to move me. However, I have no desire to see the RB or any other classical company performing it.
  5. Talking of Cecchetti, I am abroad at the moment, and reluctant to stream any Youtube video, so I haven't played the link above. However, is it true that the Cecchetti method is not taught at the RB anymore? It was never the main method of training, I don't think, but it used to be taught one day a week years ago.
  6. I thought the last time I saw SB that the fish dives were a bit on the slow side, and consequently felt dull and almost clumsy. Why take them slower, can't the current crop of dancers manage the speed of the previous generations? Now that I find hard to believe!
  7. You've forgotten to add dancing in a Stygian gloom in nasty vest and pants outfits.
  8. I can't read the article unless I sign in, but what exactly does Mr Acosta mean? I assume he doesn't envisage ballets showing people queueing up for their Covid injections, or sitting on sofas watching tv and eating junk food? What are the issues that he wants reflected? Is he saying that anything dealing with the supernatural, or magic, or some imaginative fictional world, should be jettisoned in favour of gritty realism? I can guarantee that when he says the world as it is today, he is thinking of something dark and gloomy, as this is somehow perceived as being more meaningful However, if you think about it, something like La Fille, which deals with conflicting views between a mother and daughter as to a suitable husband, followed by a joyous wedding, are pretty relevant, aren't they?
  9. If I remember correctly, Lucette Aldous was less than 5 feet tall. She really was tiny. RIP.
  10. I found this fascinating piece on Youtube, with Patricia Neary talking about the staging of Balanchine ballets. I hope this doesn't break any rules by putting it here? Apparently one of the first things she does with any company is to speed up the tempo, because dancers like to dance slow. This sounds like a very familiar complaint in many a discussion on this forum. πŸ™‚ https://www.youtube.com/watch?v=sczJRVQOU-8
  11. I had forgotten until I looked when the programmes were first mentioned, that Dances at a Gathering was by Robbins. Whenever I see his name, I instantly think of his film work, and start humming the music for the wonderful dance scenes from West Side Story. Now there is someone who was capable of doing both classical and contemporary (if that is the correct term for his choreography for stage and screen). πŸ™‚ Just imagine if someone like him was to come along and start choreographing for the Royal Ballet.........
  12. So glad I watched it before it was deleted, then. πŸ™‚ Strange the RB would alter that particular staging, it was magnificent.
  13. She is still quite young, isn't she? I am surprised she didn't put her academic career on hold until she was closer to the normal retirement age for a dancer.
  14. Strange that Wendy Ellis Somes should allow such overblown performances of the Ugly Sisters. She has impeccable credentials; Royal Ballet through and through. She inherited the rights to Cinderella from her Principal Royal Ballet dancer husband, who worked with Ashton for many years, danced with Margot Fonteyn, and was in the first cast for many of his ballets. If anyone should know what the original intention of the choreographer was, she should!
  15. I can't remember the last time I saw Cinderella, so I have no idea which designs I saw. I believe Yoshida was dancing the title role, which probably dates it a bit. I remember reading somewhere that Ashton's ballet was a tribute to late 19th Century ballet. Who was the Napoleon character supposed to be?
  16. Did the director say what was wrong with the current design? I am always very wary of redesigns. I still have spots in front of my eyes after looking at the recent photos of the updated dresses in Les Rendezvous.
  17. The only good thing about those ghastly baggy trousers the dancers are wearing in two of the pieces is at least it spares the audience a view of the veins and sinews in their legs, which are so prominently on display in the other ballets. 😦
  18. πŸ˜€ It has been so long since I have seen any dancers, I am struggling to put names to faces. Who were they in the photos, Rob? (Just the main dancers will do.)
  19. Could one of the issues be that performing Ashton requires a level of pin sharp technical accuracy, particularly with regard to footwork, that is not quite so necessary for Juliet and Manon? I have heard it said that the role of Juliet is not technically that difficult. Plus R & J, Manon and Mayerling have such terrific plots, allowing the dancers to display their dramatic skills. A girl pouting at her lover to catch his attention in Two Pigeons, or sneaking off behind her mother's back to enjoy a romantic tryst in Fille, requires a much more subtle approach. It doesn't capture the imagination in the same way from a performing point of view as Manon dying in the swamps, I would imagine. For some reason, someone who excels in comedy is never given the same credit for their acting skills as a tragedian. When was the last time someone won Best Actor for a comedy role in the Oscars, I wonder?
  20. I think Monica Mason started the trend by employed McGregor as the resident choreographer. A completely crackpot idea in my opinion, totally wrong for a classical ballet company. I know nothing about opera, so I can't think of a suitable analogy. However, I would imagine appointing, say, Andrew Lloyd Webber, to write one new piece for the Royal Opera every year might not be too well received by those preferring more traditional fare? Having said that, as I enjoy Lloyd Webber's musicals, I rather fancy the idea of him having a go!
  21. Ok, I know these have been exceptional circumstances, and we are all overjoyed to see the RB back on stage. However, this seems to be the message being put across generally - Kevin O'Hare giving "an important indicator for the company’s future" to quote one review. If the future rep is going to consist of modern works, the 3 Tchaikovsky ballets, and the full length MacMillan ballets in rotation, with the occasional Month in the Country to satisfy Ashton fans (or possibly Marguerite and Armand if someone is retiring) then I might have to give up watching the Royal Ballet. If heritage works are going to be reduced to something dusted off to mark an anniversary in the company's history, tentatively danced to cool reviews, and thankfully discarded afterwards, then I might have to give up going. While I don't mind a new work, I want to see it balanced with something more traditional with attractive costumes. People in office outfits, or leading ladies with bare legs (a particular dislike of mine) just don't do it for me.
  22. She is 27. I am surprised that Anna Rose O'Sullivan is also 27. Where does the time go?
  23. Now that is a book I must have, however long it takes to be published.
  24. We can all express our hopes with regard to farewell performances though, can't we?
  25. So which one of these new dancers will excel in the Ashton works then? πŸ™‚ I think Anna Rose O'Sullivan has been groomed for the highest rank since she joined the company, so that doesn't come as any surprise. I cannot say I know too much about Fumi, although she has always struck me as a very polished, elegant dancer. As far the others, it remains to be seen, but like others I am surprised at some of the promotions. It seems natural to assume that some people will be leaving, as otherwise there will be too many dancers in certain ranks to allow them all to get a fair crack at the major roles. However, I am very sad to think that one of my favourites may not be appearing on stage when things finally get back to normal.
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