Fonty

Very sorry to hear that Alison. Back to room 101. I would like to put in it Tall People. Particularly those that end up sitting RIGHT IN FRONT OF ME IN THE OPERA HOUSE! I vote for height restricted performances for those of us who are on the shorter side.

@Ondine When I talked about Cecchetti and certain classes, I was only a child at the time! About 10 or 11 if I remember correctly. I wasn't suggesting for one minute that professionals could get by on that type of class once in a while. I think it is also a shame that Laura was always cast as the Gypsy in the Two Pigeons, and never as the main Girl. I think she would have brought real character and depth to the main role. With regard to Swan Lake and SB, do you think part of the problem is that some dancers are more pushy and demanding? Or is it that the powers that be are mainly concerned with the Box Office? Are the casting directors being swayed by a certain amount of self publicity on the part of individual dancers? I am sure we can all think of dancers who are/were guaranteed to fill the house, even if there are others who might have been a much better fit for the roles.

When I was at school, we had certain classes in the Cecchetti method. I adored the teacher, but I can't really remember much about how different the classes were. I saw Morera in Onegin and thought she was marvellous. I did wonder why she was never cast again. Having said that, she is in good company. I also saw Rojo, and she was prevented from dancing it in later runs. Not being cast as Juliet is a disgrace for Laura. I remember her saying she danced part of it with Cervera in front of Monica Mason. Mason agreed they were great in it, but said she was "too useful" in other roles to cast as a lead in anything. This was before Morera was made Principal. I would have loved to have seen her in Swan Lake, her dramatic skills would have created a wonderful contrast between Odette and Odile.

Yes, anyone can book the Royal Box, I believe. However, it is probably the most expensive box in the building. I sat in it once when I was on a school trip. The view is not very good, but you do have the luxury of your own private toilet. @Scheherezade @JennyTaylor Sorry I missed you. I didn't see your message until I was on the train on the way home. However, I did bump into someone I did ballet classes with about 20 years ago, so we had a lovely catch up. A wonderful performance last night. I was overjoyed to catch Morera in which will be her last performance for me. She was as terrific as I knew she would be. I think she had a tear in her eye when she came to take her final curtain calls, and it seems tragic that she is retiring when she is still one of the best (imo). The rest of the cast seemed in great form. The whole company look as though they have got to grips with the choreography, and are starting to dance it in a way that makes it look as though they are more at ease with it. A shame that they probably won't dance another full length Ashton ballet for at least another year, but at least we have to triple bill to look forward to. This is the third time I have seen it, but the first time I have seen the scenery in all its glory. It certainly makes a difference when you can see the entire stage, and now I can see what everyone was talking about. I still don't like the lights blinding the audience right at the start; I felt that could be dropped. Other than that, it was fine. The scenery for the second act doesn't seem as obtrusive when viewed straight on from centre stalls. And I finally saw the clock rise up.....! Certain things still niggle. Like others, I don't care for the fairy costumes in Act 1; too many bits and pieces on them, other than Winter, which has been paired back and I felt was lovely. I could ignore the attendants in their hilarious costumes (I still haven't the faintest idea what one of the Summer ones is supposed to be). No offence to anyone who may have a child taking part, but I think it is a mistake to have such young children involved, no matter how well drilled they are. I noticed this particularly when the one carrying the oranges in act 2 was doing the same steps as the adults; it felt out of place as this is not a local school performance in front of doting parents. I think they should be replaced with the older students they used to have in the past, who can obviously bring a certain dignity to the proceedings. Other than that, I suppose I have got used to everything else, and although the half strip leggings for the Prince's friends still look a bit odd, I didn't really notice them any more. Judging by the number of small children in the audience, this is clearly one that appeals to families, which is as it should be. I would be very happy to see this production again in the hopefully not too distant future.

I shall be in the Floral Hall during the intervals. Note that I have been coming for many years, so it is the Floral Hall to me, not the Whoever It Is Hall. I have treated myself to a posh seat in the stalls this time, as it is the last time I will see Morera. I shall be the one in the ball gown and the tiara..... Or not, if the diamonds need polishing.

I am going tonight. Is there a meeting point for other balletco people?

When I was at the cinema broadcast for Cinderella they were advertising a boxed set of various RB productions. The same principals were in every one, bar one I think.

The Taming of the Shrew is one I would love to see. However, I wonder if the same issues about the content that the Shakespeare drama has suffered from would apply to the ballet? Personally I think the story is very funny, and as a woman I do not take it personally at all, but apparently it is deemed so offensive that it seems no company dares to perform the play. Yes, I find it curious that someone such as Hayward, who has performed Odette/Odile, would not be happy with Kitri? I've never seen the ballet, but I am assuming that it is a role for a dancer who can be very fiery and flamboyant? I can imagine on that basis that Osipova would be marvellous in the role.

Probably needed a rest after dealing with all those dancing vegetables in the first act.

I agree and was going to mention it but you got in first! I thought this part was lovely, and would really like to see it again. I love Onegin, and on that basis I would really like to see more of Cranko's other works. I know BRB do Pineapple Poll which I think is delightful and would fit wonderfully into a triple ballet as the amusing ballet to finish the programme with. Has anyone seen any of his other full length ballets? I would be fascinated to see his Romeo and Juliet, and see how it compares to MacMillan's, but I think the chances of the RB performing that would be somewhere between fat chance and no chance. Am I allowed to say that when I saw Les Noces I thought it was rather dull? My husband still refers to it as that one about the prancing potato farmers!

That was the first pairing I saw, and I agree. I couldn't understand why the majority of the posts felt the step sisters were annoying/boring/unfunny until I saw other casts. Although I didn't find any of the pairs deserved those adjectives, I do thing Hay brought something extra to the role.

There is a quota?? Hmm, I am obviously not Liking enough! Checkmate is a very interesting ballet. I saw BRB perform it, and loved it, whereas when RB did it I didn't enjoy it as much. I would like to see it again though. With regard to choreographers, are Wayne McGregor's ballets still wildly popular? I speak as someone who really doesn't like much of what he produces, and would only go and see anything by him if there were other choreographers on a triple bill. And that includes Woolf Works, which I thought was ok, but wouldn't want to see on a regular basis. Given the amount of time, money, and dancers that presumably are lavished upon these efforts, I would rather have somebody producing openly classical new works. If I want contemporary, I will go and watch other dance companies. I've always felt that having a resident choreographer who is not in the classical mould rather defeats the object of the post in the first place.

@JNC I meant the reasonably priced seats will probably go before I know what my plans are for the summer months. I am sure I will be able to pick up a £200 (?) seat in the stalls at short notice.

I am already anticipating the triple bills being sold out before I get a chance to buy tickets. But as they are scheduled for the summer months, I shall probably be out of the country anyway. However, I have never seen Don Quixote, so at least there will be something new for me to watch. Believe or not, I am actually looking forward to seeing Swan Lake again, with dancers I haven't managed to catch before.

That was BRB's design, wasn't it? I really hated those costumes, the male ones reminded me of Dick Van Dyke dancing with penguins in Mary Poppins, and who thought cladding the women in marigold washing up gloves was a good idea? And don't get me started on the new scenery with what looked like a row of plastic trees and a huge gob stopper of a sun in the background. However, I am delighted with the triple bills. I don't know Different Drummer, I've never seen it.

She was probably a perfect Balanchine dancer. I am sure she would have been his muse if he had still been around when she was dancing.

I have just had a flashback to Antoinette Sibley coaching someone - Mara Galeazzi if my memory serves me correctly - and saying exactly the same thing. "Bend, bend, BEND...." I don't think it was any of the Cinderella roles, but it was definitely Ashton.

Cope was also regularly paired with Guillem. In fact, thinking about it, I don't think I saw her dance with anyone else. He was clearly a wonderful partner, to be the preferred choice for both ballerinas. Unless, of course, it was an issue of height?

I agree, Belinda deserved to go on a different night and get the attention she deserved. She suffered from frequent injuries didn't she? Maybe that is why she was never promoted to principal? @Richard LH With regard to your comments above about First Soloists possibly being less attractive to the public, Hatley wasn't a principal. However, I saw her in several lead roles and specifically booked to see her when I could. So it doesn't necessarily follow that ticket sales would be less. Song of the Earth is exactly the sort of ballet that suited Bussell perfectly. Plus I imagine the fact that it was her last ever performance contributed to the overall emotion of the occasion.

I believe Darcey's final performance coincided with that of Belinda Hatley? I never saw much of the fly on the wall documentary The House, but I believe Darcey featured a lot in that, didn't she? I think she was fortunate in several ways. She was very talented, of course, but she was also extremely photogenic, and either she or her parents were very media savvy. Nothing wrong with that, of course, but she had a lot to be media savvy with! Although I didn't specifically book to see her, I did see her dance many times. I always thought she was wonderful in certain pure dance roles, where she could just dance without having to display a character of any description. Also, I never felt she really engaged with any of her partners. For some reason, I always felt I was seeing the Darcey Show.

Absolutely, and that is the point I was making. On the other hand, personally I think Guillem was both. I didn't always like the way she did things, but she was utterly compelling to watch.

But Darcey was the epitome of a Star. Gorgeous to look at, featuring on every poster put out by the ROH, always being photographed and interviewed by the media. Her early career was like a fairy tale, plucked from the ranks to have a lead role created on her while still a teenager. You can't get much more starry than that! She had a huge following, and was adored by a huge number of people. She was practically a household name; even people who had never seen a ballet in their lives had probably heard of her. However, like others, I preferred other dancers in most things. Although having said that, I am not entirely sure why, when she was so popular.

Oh so am I! My mouth is watering after your review.

When a new production is radically different to the old one, then it always takes time to adjust your perspective. My initial thoughts were not exactly enthusiastic, but having seen it more than once, I am getting used to many of the issues that jarred with me to start with. There are things that continue to irritate me, and I suspect they always will, but I suppose I will just have to try and ignore them. Edited to add any detailed reviews of Morera and Ball? I am really looking forward to seeing her in this.

Very sad news. I saw him live many years ago, when the first half was his Les Patterson character, and the wonderful Dame Edna for the second half. He really was brilliant. So funny.