Fonty

I also saw them in the 22nd and I thought they were beautifully matched as a couple. Not sure what you mean by "the technique is weakening." I agree that perhaps Hirano isn't leaping as high now as some of the younger men, but I noticed how soft and controlled his landings were. I couldn't see anything weak about Lamb's technique at all. As I said on another thread, she has never been a flashy dancer, but I thought her Sugar Plum Fairy was smooth, elegant and poised. I thoroughly enjoyed her performance.

Nobody has responded to my comment about the speed of the music for the act 2 pdd or the spf solo, so I assume it must be played at that speed at all performances. I do know the music very well, though, and it definitely sounded a tad on the slow side to me.

It does look fantastic, though.

Really enjoyed the show this afternoon. Sarah Lamb is an exquisite Sugar Plum Fairy, and Hirano made a very handsome Prince. He isn't a showy dancer, but neither is Lamb, and I thought they were beautifully matched. Several things struck me. 1) The music for both the grand pas de deux and the Sugar Plum variation sounded a little on the slow side to me. Is that the speed it has been played at this season? I noticed it particularly for the latter because I watched the video of Darcey coaching it which someone put up (sorry, can't remember who), and I thought it was faster. Obviously the dancers were happy with it, as they glided serenely through it. 2) I've always been slightly puzzled by the repeated sequence of lifts towards the end of the pdd. The music builds up to a soaring crescendo, the Fairy is raised by her Prince...and the people on the left side of the auditorium are treated to a prolonged view of her frilled bottom. Every time I see it, I can't help thinking that something a little more elegant might be appropriate? 3) I noticed that Lamb did her wonderful fouettes with the arms in second. Is that part of the choreography or a personal choice, as I think it is more usual to bring the arms in as the dancer turns?

Lucky Queensland Ballet.

Thanks @Alison. I never thought of looking there.

Can I ask a favour? If it is possible, could people put the names of the dancers under their photos? I don't go often enough to be able to recognise everyone immediately, and I have to scroll back through the posts to see if the dancers performing different roles have already been named in conversation.

Although not about the ballet, it is sort of on topic. I went to a lunchtime carol concert, where there was a brass band quintet. Along with carols, they did various musical numbers. One was from the Nutcracker Suite. We were treated to variations of the Sugar Plum Fairy as performed by circus animals. The one for Nellie the Elephant was particularly amusing - rather slow, with lots of trumpet(ing). My husband said it was better than the real thing. But he never has been a particular fan of the ballet. I can't wait to see the real thing on Friday.

I am desperate to know how her Googlies went.

Interesting. I've always thought that step looks rather clumsy, and wonder why anyone would do it in the first place.

Is the stage very dirty? I only ask because all the pointe shoes look rather grey in places.

I haven't got my diary on me, but can I have it? Just checked, but can definitely go, if it is still available?

They could always turn Cinderella into a seasonal ballet by putting a bit of tinsel up in the kitchen in act 1. And/or a magnificent Christmas tree in the garden in act 2. After all, why shouldn't the ball be a festive one?

According to the ROH database, the original casts were: Monotones 1 - original cast Antoinette Sibley, Georgina Parkinson, Brian Shaw. Monotones 2 - Vyvyan Lorrain, Anthony Dowell, Robert Mead. It really does need people who not only have superb technique, but can really dance it with a wonderful flow.

Looking at this thread, it does seem sad that so many wonderful one act ballets seem to be shoved away in some dusty basement and forgotten about. Instead, new ballets are created, many of which are full length, modern in style, and frequently not to my taste at all. Yes, I know, dancers love having something new created especially for them, but if some of the rep hasn't been danced for many years, then it will be new to the current crop of dancers. I am sorry that some people find Monotones 1 & 2 boring. It is pure classical ballet, danced to glorious music, but it definitely depends on who is dancing it. I must admit the last run of performances were patchy, and I didn't think technically some of the dancers were quite as good as they should have been.

I think you are right, but perhaps it should be?

I love so many of the choices above. I don't think Monotones 1 & 2 has been mentioned yet? So maybe: Monotones 1 & 2 Rite of Spring The Concert The last two could be substituted with anything dramatic in the middle and something cheerful and lively at the end, out of the many suggestions already made. Incidentally, has the RB ever done Etudes? I believe the last time I saw it was with ENB (?) Wouldn't mind seeing that as part of a triple bill. Oh, and the Lesson as part of a triple as well?

I can understand it if someone has a particular liking for one dancer, but not the partner they are being paired with. It happens. I often longed to see Guillem with someone other than Cope, as I felt they were not well matched dramatically. However, Cope was a fantastic partner, and tall as well, so presumably that is why he was always paired with her. Looking at ballets mentioned above, when it comes to the Nutcracker, the principals have so little to do, comparatively speaking, I don't think it really matters. Everyone speaks highly of Hirano's partnering skills in Manon, which are vital for that particular ballet. So really, I suppose it boils down to Swan Lake, where they will spend a great deal of time on stage together. However, much of that will see the man standing behind the lady supporting her, so those watching could feast their eyes on Ms Lamb and tune out the pair of hands holding her if they want to.

I haven't seen the ballet enough times to know who the greats are, but I was really impressed with his performance in this. He was dancing with Rojo, and together they seemed to gel dramatically. I found myself wishing he could have been paired with her more often, rather than his usual partners of Guillem and Bussell. I agree about the last run of Cinderella. Prior to that, for some reason it never really seemed to do it for me; I didn't find the music that appealing. This time, I really enjoyed it, and wondered why I hadn't liked it before. I would be very happy indeed to see it again. I was really impressed by McRae when I saw him as Oberon in The Dream. I'd always thought him an excellent technician, but I never really warmed to him, preferring others. I thought he was wonderful in this, both in terms of his dancing and his acting. So wonderfully haughty.

I adore Sarah Lamb, I think she is a delightful dancer. I haven't seen her with Hirano, but I thought he was wonderful as Espada, the best one I saw from the last run of Don Quixote.

Talking of coughing fits, I find that even if I don't have a cough before I go in, there is something about the atmosphere in theatres that sets me off. I had a terrible couple of minutes when I went to see Witness for the Prosecution recently, and I was really embarrassed. No idea what caused it. My water bottle was buried deep in the depths of my bag, so it took some frantic rummaging to retrieve it, which seemed to solve the problem. Does anybody else have this problem?

I went to Cecil Sharp House this morning with my husband. We were going to see if one of the rooms there would be suitable to hire for an event. We met up with the person who co-organises the event with my husband, whom I have known for years. While we were there, I mentioned that although I had never been to the place before, I remembered someone from a ballet class I did years ago talking about. it. They used to go there for folk dancing classes. This led on to a general discussion about dancing. My husband's friend said he was a terrible dancer, and knew nothing about any of it. However, one of his friends from school was married to an ex ballet dancer. He asked me if I had heard of her. Her name was Darcey Bussell......

With regard to littering, where I live I overlook a small local park. In the summer I am appalled when people just dump their rubbish by the litter bin and saunter off. On hot days, the mounds of stuff are dreadful. People carry the full bottles and containers to the park in a bag of some sort; why the heck can't they use that same bag to carry their empties home with them? I challenged a group once as I was walking home. They said they didn't want to carry around dirty, smelly containers with them, and said it was the fault of the council for not providing big enough litter bins. The fact that other people might have to endure the resulting smell and pest problem didn't bother them at all. Also, I recently took a train to Portsmouth. I had to change somewhere on route to get the right train, and when the train arrived, the first two carriages were completely taken over by a huge group of primary school children. At the end of the journey I walked back through the train. Those two compartments looked as though a bomb had hit them. Rubbish piled high on every single table, drink and food crushed onto the table tops and underfoot, together with what looked like the result of a paper napkin fight - bits of paper everywhere. These children must have been travelling with teachers. What on earth were they thinking to allow children to make that much mess and then leave it behind. So, if parents and teachers aren't bothered by littering, and the idea of clearing up is not enforced on the younger generations, then a filthy dirty environment is seen by many as someone else's problem now.

Anybody else got a Telegraph offer I can take??

I am trying to think what attitudes, language and conventions were so controversial at the time that they need a warning sign outside. Are theatres doing this for everything now? I would imagine some of Shakespeare's works might be pretty alarming to the modern generation.