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Fonty

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  1. Fonty
    True Wayne Sleep story: My brother and sister-in-law were having a meal in Langham's Brasserie* in London some years ago. A slightly inebriated Wayne Sleep, who was dining at a nearby table, came and sat on my brother's lap and said "My word, what a handsome chap you are." . My brother was extremely embarrassed; my s-i-l dissolved into fits of laughter, before saying "Yes he is, and he is my handsome chap, so hands off him!" Hand shakes all round before Mr Sleep returned to his table. * For those that don't know, LB is a restaurant in London near the Ritz Hotel where you can often see famous faces. I think a media person had a financial interest in it once. Maybe Michael Caine?
  2. Fonty
    I've seen Morera in so many things, it is difficult to pick out my favourite. She was the most versatile dancer in the RB imo. She could do drama, comedy, pure classical. A terrific all rounder. Sadly I didn't see her in a Month in the Country. Stand outs for me recently, apart from Cinderella, were her Giselle with Bonelli, and Coppelia with Campbell. Two more contrasting roles it would be hard to imagine. I would have loved her last appearances to be in a full length ballet that showcased not only her dancing but also her acting, whether it be as a funny character or a tragic one. Just not Anastasia, although as I couldn't go to any of these it doesn't really matter.
  3. Fonty
    Not enough if the pictures are anything to go by! Although perhaps they look better on the stage?
  4. Fonty
    Possible, I suppose. Who would make that request? Mr O'Hare?
  5. Fonty
    I have had posts moderated myself, so it is not an uncommon occurrence. I have no idea why other posts were removed, but the main reason why mine have been is because of potential copyright problems with links. Maybe if people have questions, then a DM to one of the hard working moderators as to exactly what was/is wrong with a specific post might help? Anyway, back to the triple bill. I was amazed to read that McGregor uses 19 dancers. That seems a lot to me for a plotless one act ballet.
  6. Fonty
    I wouldn't normally respond to this, and at the risk of causing offence, but is it possible you are taking things a little too personally? Of course we all have different views, it is a discussion forum after all, and we all have our likes and dislikes. I have no problem at all with someone disagreeing with me. I would expect people to have all sorts of views. However, I certainly don't take offence if someone disagrees with me. I was rather startled on the Cinderella thread when someone asked how they could blank me. That seemed to be bordering on personal dislike of me as a poster, which I thought was rather amusing. I didn't think I had been THAT controversial, especially as others had made similar comments, and the moderators didn't think so either! Maybe they don't like my photo? Anyway, back to McGregor. I think the main issue I have with him is that I think his style of choreography is suited to a smaller setting. I find that when his works are on the main stage, he feels the need to fill the space, to the detriment of the overall piece imo. A more pared back setting with simple costumes and lighting would be my preference.
  7. Fonty
    Precisely how I feel. Having said that, I would have given this new work a go if it had been on a triple bill that had other things that I really, really wanted to see. However, I dislike the one act Anastasia, and said my goodbye to Morera when I saw her final Cinderella, which would have made a wonderful ending to her career. @Vanartus If your remark about McGregor being unable to do anything right was aimed at me, it isn't true. I enjoyed some of Woolf Works, although not all of it, and there are some of his one act pieces I would be happy to see again, if they were on the sort of triple or quadruple bill that Japan is getting (which makes my mouth water). I never saw the Dante Project, which most people seemed to enjoy, so cannot pass comment on that. And I rather like the look of the costumes for Untitled. Although that could be that they look positively elegant in comparison with those ghastly, ghastly ones for Corybantic Games. Whether or not the dancers enjoy working with McGregor is beside the point. Of course they do; they would enjoy working with anyone who is creating something new especially for them.
  8. Fonty
    I can only assume that McGregor puts bums on seats, and that is why he remains in post. For some, he seems to be able to do no wrong. Having said that, I have always wondered if there is a case of the Emperor's new clothes when it comes to audience members raving about his many works. Print a 4 page synopsis with lots of long words explaining the concept and the creative process, get the wonderful dancers to perform a multitude of contortions with everyone on stage doing something different, clad them in weird costumes and bingo! This is seen as "cutting edge." Whatever that means. Apologies to those who actually like his stuff. No personal offence intended, as I am sure you will realise.
  9. Fonty
    The whole of this used to be available on Youtube, and I watched it several times. I was always blown away by Durante's Rose Adagio. Absolutely gorgeous.
  10. Fonty
    Yes, it is one of the joys of watching the RB, that there are so many outstanding dancers. Osipova is certainly unique, I agree. Sadly, time restraints mean that often I can only see one performance of anything in the rep. so I tend to go for "traditional" in the classics.
  11. Fonty
    Didn't someone do a spoof Sleeping Beauty once which showed that the court were in an enchanted sleep, but they carried on aging? The prince goes to kiss the princess, recoils in horror, and gets into an argument with the Lilac Fairy. Can't remember who it was; sounds like the sort of thing Morecambe and Wise would do in a Christmas special.
  12. Fonty
    She was a great singer, and when I saw her perform live in the UK she gave one of the best concerts I have ever seen. She also really did have a fabulous pair of legs. Which of course she showed off to full advantage in her stage costumes. RIP Tina.
  13. Fonty
    I agree completely. If I was seeing the ballet multiple times then a radically different approach might appeal, but I very rarely do that.
  14. Fonty
    This is a fascinating description of Osipova's approach to Aurora, but I am sure I cannot be the only one in thinking that perhaps she is trying to put way too much drama into the role? Of course Aurora is not a child, and she is certainly aware of her position as a princess. However, she is definitely young, hence the fact that she is still single and is being introduced to possible suitors. Does the synopsis still say she is celebrating her 16th birthday, I can't remember. I can't help thinking that if her characterisation is as you describe, then she is trying to approach the SB as if it was a MacMillan ballet. Sometimes a more simple approach is the best imo. I like my Aurora to be young, radiant and not too complicated. Of course she is a different girl in Act 111 to the one who dances the Rose Adagio. She is, after all, marrying the man of her dreams, but she hasn't matured that much. In fact, technically she is still 16 isn't she? (Or whatever age she was when put into the enchanted sleep.) Sadly I couldn't go to the cinema last night, and I cannot make the encore performances on Sunday either.
  15. Fonty
    I find the cost of the best amphitheatre seats shocking now. And you can't even put in a coin and get some opera glasses in order to see the tiny dots on the stage a bit better. I've forgotten how much those glasses were, btw.
  16. Fonty
    As I said on the other thread, I have never sat in the stalls at Sadlers Wells. I usually go upstairs. Maybe I have just been lucky in my choice of seats whenever I have been but I do tend to go for the ones where I know the view is great.
  17. Fonty
    Row D where? I can see we will all be trying to book the same seats now! With regard to Sadlers Wells. I must admit I have never sat in the stalls there. I go upstairs, and I usually find the view to be great.
  18. Fonty
    Just to clarify that I have been a head weaver myself on many occasions! There is no other way to ensure you see most of the action. But it still annoys me that everyone has to do it. Even more annoying is someone weaving their head in, say, Sadlers Wells, where the sight lines are excellent and there really is no need, even for a short person like me. I think some people have either a nervous tick, or they like to sway to the music.
  19. Fonty
    I cannot pass comment on any other opera houses, as I haven't been in anything other than the ROH. I do find it intensely annoying when people weave about in front of me, in order to be able to see everything. However, this seems to be particularly bad in some of the most expensive seats in the stalls, and I can understand why people do it. It really, really annoyed me when I paid £170 for what looked to be a terrific seat right in the middle of the stalls for Cinderella, purely because it would be the last time I would see Morera dance. And then discovered that because a relatively tall person was sitting in front, the whole of the right side of the stage was blocked if I sat normally in my seat. I spent much of the evening draped over the seat in front, having apologised in advance to the person sitting behind me (who assured me I wasn't blocking her view.) This seems to me to be a ridiculous state of affairs. I am assuming that when they did a refit of the opera house, there was a very good reason why they could not provide a bit more rake to the seating on the ground floor?
  20. Fonty
    I did RAD a bit earlier than that, and we never did any of that. And we never did turns at all. In fact, I have never been taught to turn (which is probably why I am so lousy at it.)
  21. Fonty
    i am sure that was incorporated into one of my childhood ballet books, where the pianist used to read the newspaper in between playing. I remember one of the pianists in my classes when I was a child had a thing about musicals, South Pacific in particular. A good pianist makes a class; it can really liven up the barre work a treat.
  22. Fonty
    I've always made the assumption that the 4 princes were invited to Aurora's birthday party as they were sort of eligible young bachelors who are usually invited to these things, and if she thought one of them was hot stuff, so much the better. I've never given a thought as to what happened to them afterwards. I suspect being blokes they probably went off to quaff wine and compare notes in the local tavern, easing off their boots and being thankful they didn't have to do any more dancing. I love the idea of disgruntled suitors lurking in the background at the wedding, though. Or perhaps chatting up Red Riding Hood or Puss in Boots?
  23. Fonty
    I really do hope this is not the case, but sadly I wonder if you are right. BRB were (and hopefully still are) an exceptional classical ballet company with a superb classical ballet rep. I don't get to see them as much as I would like, but when I have in the past, I have been overjoyed by not only the ballets they chose to perform, but also the wonderful technical expertise they displayed. Nobody has said that BRB have been struggling financially and playing to half empty houses, so presumably there is no need to change their rep substantially? Unless they are in worse trouble than any other company after covid, and I haven't noticed articles stating that? I know the Acosta programme was designed to showcase younger talent, but reading the reviews it does sound as though a fair bit of it is not actually classical? Acosta is a very high profile appointment, but I would be extremely upset if he felt the need to jettison the traditional in favour of the trendy. Rojo was also a very high profile appointment for ENB, but she managed a careful and canny mix of tried and trusted ballets together with newer pieces.
  24. Fonty
    Well, I caught up with this last night, having recorded it because I was out partying on the Saturday. I really enjoyed the whole thing, as did my husband, which surprised him more than me, as I had seen the concert for the Platinum Jubilee. I thought each act was given the right amount of time (although personally I think Olly Murs could have been allowed 2 numbers as I think he is very good). I enjoyed the ballet segment, although like others I found it irritating that the camera kept cutting away during the dance segment. But at least this time we did actually see the dancers, plus the little interview with Sambe before it was welcome.
  25. Fonty
    They are not exactly anti-monarchist, or even anti-religion. More a sort of general air of not being bothered, or having no interest. Which I thought was sad, because I found it fascinating, both from the historical perspective, and from the sheer spectacle or watching so many ceremonial robes in action. I do find occasions like this to be spiritually uplifting, and nobody needs to be religious to feel that. The rousing music, the gorgeous singing, the glorious pageantry, all made me swell with joyful emotion. (I often feel the same way watching a ballet at Covent Garden)
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