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Fonty

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  1. Fonty

    Prince. RIP.

    Fonty replied to Lisa O`Brien's topic in Not Dance

    I also adored Prince. A sad loss. Although a lot of celebrities have died this year, some of them have not been totally unexpected e.g. Ronnie Corbett, who was in his 80s. But 57 is way too young.
  2. Fonty
    I was absolutely shocked when I heard this. She was a very talented woman, and never failed to make me laugh. Such a dreadful loss.
  3. Fonty
    29 - I think? I have actually sent PMs to individual moderators, asking them to pass on my thanks to everyone. Never thought of doing it on an open thread, though. Just one small point. It isn't only Northerners who happily chat to strangers. Some of us Southerners are quite good at that.
  4. Fonty
    Actually, I thought the term originated in IKEA ;-)
  5. Fonty
    What is wrong with using the words "wardrobe malfunction" when talking in general terms about costume mishaps? I have seen several over the years, and it has never bothered me as a member of the audience. The dancers must be used to these sorts of things happening in live performances, I would have thought. Edited to add that the costume hooking onto the wings barely registered with me at the time. And it was not something that would have an impact on her performance, would it? Or perhaps it would, I don't know, never having had to dance in such an outfit!
  6. Fonty
    I thought Mendizabal was very good as a stage presence, and I would not criticise a dancer for a slight wobble, if that was the only mistake they made. And a wardrobe malfunction is a minor issue, unless a dancer loses a shoe, or her top, or something like that, and has to leave the stage to rectify the situation. However, I think I said I found some of her jumps a bit leaden, with some very noisy landings. It might, of course have been the camera angle.
  7. Fonty
    Regarding your first point, I was just checking the names of the female soloists, and I find it interesting that while I know some of them very well, I don't really know much about people such as Harrod or Hinkis, for example. I mention the females because the classical rep has more opportunities for them than the males, and those are the things I am more likely to go and see. As far as world class guests are concerned, I can see it might be great if the dancer in question is considered to be the best example of a role that the dance world has to offer e.g someone from the US in a Balanchine role, or a Russian in one of the flashy, firecracker roles that they do so brilliantly. Not so sure how it would work if Mr X or Miss Y was brought in simply because they were world famous.
  8. Fonty
    Do they have to hire in? Lamb, Cuthbertson, Nunez and Morera are all still going strong, and even with the latter being injured, her stand in has done a fine job in Giselle. Among the first soloists, as well as Takada, both Choe and Hayward have proven themselves more than capable of lead roles. Moving on down, Naghdi has already had opportunities and should get more. Those are only the ones that I have seen, I am sure there are others I have missed out. I would rather have the situation where soloists are given the chance to dance lead roles they are suited for and given a chance to develop those skills, rather than have someone promoted and see them shoe horned into every single production simply because they are a Principal. And maybe that policy will see an improvement in the standard of dancing for solo roles.
  9. Fonty
    "Being a star does not confer additional abilities apart from commercial clout." How true! But that fact alone may be the most important issue for management. There are some dancers who will ensure packed houses and adoring fans, even if they have very little to do. I am sure Bussell's performances used to sell out long before everyone else's.
  10. Fonty
    I have been reading this thread with increasing bewilderment and dismay. Like others have said, it seems very odd for anyone in a position of responsibility to keep up a running commentary in public in this way. Surely the best way would have been to fight it out behind closed doors, and if a conclusion could not be reached that suited all parties, then those that wished to could resign and walk away. After that, they can give their side of the story in as much detail as they like. But to air your side of things while discussions are still under way is completely wrong. If one of my work colleagues started ranting on Facebook or Twitter about discussions in meetings, and calling one of their co workers rude, stupid or whatever because they thought they were being insulted, I would expect them to be disciplined, at the very least.
  11. Fonty
    It reminds me of the old joke: "you are the 300,000th person I have told today- there is no demand"
  12. Fonty
    Funny how the same ballets can arouse love and dislike in equal measure. I adore Bourne's Swan Lake, and the last time I saw it I was moved to tears at the end. My brother hated every minute of it.
  13. Fonty
    Perhaps Golding will be given the lead in Mayerling and surprise everyone, in the same way that Cope astounded me when he performed it.
  14. Fonty

    Room 101

    Fonty replied to taxi4ballet's topic in Not Dance

    I would like to put the amount of media time spent on the American Presidential election into Room 101. I feel as though it has been going on for so long, and there has been so much time given to reporting the results in various states, I am starting to wonder if they will ever get around to a final election.
  15. Fonty
    Yes, I agree. I know we are meant to suspend belief, and we do. But I love the sound of the earlier touches, and they sound like an improvement on the current production. And while I appreciate that this was created for a touring company, that must have been a very long time ago.
  16. Fonty
    I missed Hilarion's death completely this time as I was busy watching the Corps, but when I saw it live it reminded me a bit of Swan Lake, as it looks as though he commits suicide by choice rather than being hounded to death. I also did not spot that Albrecht makes his first entrance swordless. I have always wondered how he managed to get access to the hut in the village, though. In a small place like that he would have to have a convincing story in place, to satisfy the curiosity of the peasants. Also, in the film i thought it showed him going into it shortly before Hilarion enters to search for incriminating evidence. I assume it was the camera angle. Either that or the hut has a handy back door.
  17. Fonty
    No,probably not, especially as none of them are principals and they usually have at least two in each cast. But I would still like to see them in it together. Who was in the cast you saw?
  18. Fonty
    I would like to Symphonic Variations with the cast that performed that magnificent pas de six in Giselle at the cinema, as they were so good together.
  19. Fonty
    Apologies if this has already been discussed on this thread, but I don,t remember the ending with Albrecht walking forward holding the flower. Etched in my memory is the image of him lying on the grave looking both exhausted and grief stricken. Am I thinking of another production? Also, I always find the appearance and final exit of Giselle very slightly disappointing. Myrtha directs her powers towards the grave to draw Giselle out, yet she makes her entrance from the wings, so she looks as though she was already up and about. A bit nit picky, but other companies make the connection more obvious, and it is much more powerful visually.
  20. Fonty
    I watched the performance in a nearly empty cinema in Portugal - about 20 people in total. However the live theatre audience provided plenty of atmosphere, and we added to the applause as loudly as we could at the end. I thought the dancing was superb from just about everyone, although I was slightly disappointed by Mendizabal. It was not the wobble, but I also thought some of her landings from the jumps looked heavy and untidy. I think it is a Principal role and should be cast that way. Apart from that, I loved it. I also enjoyed the fact that the close ups showed up little details. I was amused by the one sparkly earring of the Duke, for example. Very premiership footballer! Muntagirov? Wow! Those jumps will live long in my memory. And his hair was magnificent. :-)
  21. Fonty
    I am looking forward to seeing this at the cinema on Wednesday, but I am a bit concerned about the way in which some of the leading roles seem to have been played. For me, Albrecht has to be a very privileged, almost arrogant young man, used to getting what he wants, and Giselle has to be a rather innocent wisp of a girl, otherwise the second act doesn't really have the same impact.
  22. Fonty
    Has he been there 10 years? And after all that time, the only piece he has done that I found vaguely agreeable was Woolf Works. Time for him to moving on now, isn't it? (She said hopefully.)
  23. Fonty
    I'm not. All I can think of is Donald Trump.
  24. Fonty

    Room 101

    Fonty replied to taxi4ballet's topic in Not Dance

    I think I am probably heavy handed with the pepper myself. It is the salt I find overpowering in many of these things.
  25. Fonty
    Closing? Why? Please don't tell me they are knocking it down and putting up blocks of flats. Apologies for going off topic, but I used to live in Croydon, and have very fond memories of the various wonderful shows I saw there over the years.
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