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Fonty

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  1. Fonty
    I tend to read biographies with a large dose of healthy scepticism, particularly those written long after the subject is dead. I haven't read the Kavanagh biography on Ashton, but I have read a couple of biographies about Fonteyn, both of which seemed to be hell bent on proving that she was having an affair with Nureyev. The theories were long on gossip imparted by nameless individuals, and very short on any facts.
  2. Fonty
    Well, I think the gay sub-text is only clear if you happen to to know the history of the ballet. It certainly never occurred to me as I was watching, and now I am not sure if I wanted to know that! Suddenly, I feel unbelievably naive. Next, you will be telling me that the knot tying in Fille has some sort of gay significance. (And if it does, please don't tell me. I would rather watch it with innocent eyes.)
  3. Fonty
    The only Tudor I have seen is The Leaves are Fading, which I think was promptly rechristened The Fades are Leaving. I can't remember much about it, apart from the fact that I thought the costumes looked a bit insipid. I would love to see a proper performance of Birthday Offering. The last time I saw it, Rojo was dancing the Fonteyn role. I am a huge fan of Rojo, but I never really liked her in anything non dramatic, and this occasion was no different. She was technically fine, but rather cold. Looking at the current crop of females, who would you cast in the various parts, particularly the Fonteyn one?
  4. Fonty
    No, Floss, you are not the only one! But if the resident choreographer for a company is a contemporary dance specialist, then care has to be taken to make sure that dancers don't lose the finer points of classical technique. Incidentally, I wan't suggesting that a role originally created for principals should only be danced by principals, and I hope I didn't give that impression. I simply meant that it gives an indication of the standard of dancing required. Sibley was not only a superb principal, but one of the best performers of Ashton, and a very tough act to follow.
  5. Fonty
    I am trying to remember the last time I saw Les Patineurs. It was on either a double or triple bill, before they started shoving it in with Tales of Beatrix Potter, which does it a great injustice, and it was a bit of a curate's egg, I seem to remember. This was because, yet again, some of it wasn't very well danced.
  6. Fonty
    Oh dear. I didn't mean to sound ageist, I am not a teenager myself. But it seemed to me that the normal broad range of ages was missing on the night I was there. . Regarding the wobbly Monotones 1, I appreciate every dancer can have an off day,but I question the decision to cast two first artists in roles that were designed for principals. Of course it has happened before. Cojocaru was still in the corps when she performed in Symphonic Variations, I believe. However, she had danced principal roles with another company, and was clearly destined for the top with the RB. I know people will say that young dancers have to be given a chance, and I have no problem with that as a concept. Unfortunately, this particular piece is not the right place for that IMO. It demands about 10 minutes of absolute perfection, and I am not sure many first artists are in the position to achieve that. I would have loved to have seen Marquez in the role.
  7. Fonty
    That is possible, Lindsay. Although it has been on in London relatively recently, maybe these people do not go to Sadlers Wells? Even so, I would hope that younger audiences would have heard of these ballets, even if they haven't seen them. I am not talking about people in their teens here, but those in their forties who are regular ballet goers. I am not sure how the last bill with Raven Girl sold, was that full? Are teenagers and twenty somethings flocking see McGregor, but not Ashton? I find that quite a shocking thought, personally. Would the ROH be struggling to sell tickets if it had been a rarely seen production of a couple of Balanchine ballets? I must apologise for my typo in my last post, by the way. That should have read "blockage", not "blackage". Goodness knows what a blackage is, I hate to think. In my defence, could I just say that I am struggling with a keyboard where most of the letters have worn away, and I don't always hit the right letter!
  8. Fonty
    On a slightly different tack, the theatre seemed full to me last night, although I couldn't see the entire place from my seat perched up in the rafters. But I couldn't help noticing that the average age of the audience seemed significantly higher than normal. There was quite a delay at the end when we started to file out, as people took time to get up the stairs, and there appeared to be a blackage caused by a tangle of walking sticks in the aisles. Was there a special offer for people over a certain age? Or was this a sign that this was the audience that this particular bill was likely to appeal to? And if so, how sad that younger people didn't find it tempting. Has Ashton really lost that much popularity?
  9. Fonty
    Once more back to Two Pigeons I thought this was interesting, and adds to what I thought in my previous post on the topic (somewhere above in a mass of PC comments....! ) "Seymour, fresh from playing the rape victim in MacMillan's The Invitation, worried that her role might be too sugary, and asked MacMillan to advise; she went on the emphasise the role's mischief and sexuality." I got this from the Ballet Lover's Companion by Zoe Anderson, as I was searching for original casts for the different ballets. Interesting that she went to MacMillan for advice, and also that it specifically mentions the word sexuality. When I was watching Cuthbertson last night, the adjective that came into my head was "ethereal." Maybe this was why the attic scenes didn't feel quite right to me.
  10. Fonty
    I am just wondering what the point is that is being missed? If every generation changes an original creation to suit themselves, you lose the original intent. And who decides what is and isn't acceptable? I've heard of Women's Lib storming productions of The Taming of the Shrew, deeming it totally unacceptable, and labelling Shakespeare a misogynist . I am as much in favour of liberation for women as the next woman, but I don't take that play seriously, just as the (very funny) comedy it is intended to be. And those people are ignoring the fact that Shakespeare wrote many plays with strong, capable women at the heart of the drama.
  11. Fonty
    Janet, any chance you or one of the other moderators could shift the PC posts to a new thread? I am dying to joing in, but I feel the original topic of Monotones and 2P is being lost in a maze of comments about other issues.
  12. Fonty
    Just musing here about the choice of male dancers. Would you say that Anthony Dowell "transformed male ballet"? He was a fabulous dancer, for sure, but isn't he mainly known for his wonderful partnership with Sibley? And the same for Mukhamedov and Ascosta. Fantastic dancers, but did they actually transform anything? Do we know the full list of names? Someone mentioned Nureyev, who is an obvious choice, and also Nijinsky. Or is it is simply a case that Darcey talks to male ballet dancers who are still alive.
  13. Fonty
    Maybe this could be started as a separate thread? I am sure people will have plenty to say about it?
  14. Fonty
    It was not my intention to attack anyone personally, and I apologise if any poster thought that was the case. I was just being a little bit more robust in my opinions that usual! (I am allergic to PC) I think the point I was trying to make was that ballet is based on fairy tales and fantasy. If the word gypsy is offensive to some, then perhaps they could mentally substitute "exotic foreigner". And I don't think I was being illogicial - merely applying the same criteria to other aspects of the art form. Anyway, back to last night. First of all, I adored the concept, costumes and choreography of both parts of Monotones. I had no problems at all with the caps, they looked elegant and charming to me. However, although the music for 1 was gorgeous, it just didn't work properly for me, and I think it boiled down to one simple fact. The dancing wasn't good enough. I checked to see who the original cast were, and it was Antoinette Sibley, Georgina Parkinson, and Brian Shaw. Three superb dancers at the top of their field. Last night we got 2 first artists and a first soloist, and I think it was too hard for at least one of the females. I don't know which lady was the one standing on the right from the point of view of the audience, but she didn't manage a single arabesque without wobbling. Unfortunately, she was the one who was always at the front when they were lined up one behnd the other, so there was no hiding place for her, and I felt myself getting more and more tense as I watched. Having said that, I thought James Hay looked very comfortable and gave a good performance. Which is why Monotones II was so wonderful I felt I could relax in the capable hands of Nunez. But then, she is a principal with a proven track record in the Ashton rep, so I would expect nothing else. Watson also looked good, and I don't remember feeling that Hristov stuck out too much, but I wasn't really looking at him. Nunez stole the show. Regarding Two Pigeons, altough I thoroughly enjoyed it, I didn't like it as much as when I saw the BRB production. I am trying to put my finger on why this was. Morera was sensational, as everyone has said, and I thought the gypsy traveller exotic foreign dancers were terrific - showy, lively and fun. It was the bits in the attic that seemed a bit flat. Muntagirov was great (is there nothing he can't do?) so that only leaves Cuthbertson. She danced beautifully, but I don't remember the Girl being such an annoying character before, she seemed a bit too young and childish. I remember Lynn Seymour saying that the key to the character was to make her hoydenish, and I wasn't getting this at all from Cuthbertson. All I saw was an irritating girl, and I am not surprised the young man left her. What amazed me was that he went back, although the final pas de deux showed he had made the right choice.
  15. Fonty
    Well, I was going to post my thoughts about last night, but I seem to have stepped in to the Political Correctness forum by mistake! Instead, I shall say that if PC starts creeping in to ballet, then I shall stop going. Can we not just accept that the gypsies are an excuse for some exotic costumes and lively dancing, and leave it at that? Or do we have to comb through every ballet and take out everything that is deemed unacceptable to today's sensitive dispositions? Perhaps we should rename them Travellers? And what costumes would modern audiences find acceptable? Otherwise, I can see we shall have to get re-choreograph all those national dances in the Nutcracker (we can't have such stereotyping of all the countries, and anyway the music isn't right) Cut out all those peasants that feature so heavily in so many productions (they are now esteemed agricultural workers, and must be shown as the equals of everyone else on stage). Swan Lake must be cancelled (animal cruelty) Ditto the Bluebirds in the Sleeping Beauty, not the mention Little Red Riding Hood and the Wolf. No more Shades in La Bayadere, as it seems to be saying that drug taking is glamorous. No princesses (the idea of a monarchy in today's society is totally unacceptable) No kissing the Sleeping Beauty to arouse her from her sleep. This must surely be sexual assault, she is incapable of giving her consent. Etc etc etc I shall now stomp off and have a col shower to calm down.
  16. Fonty
    I would have no problem at all if the programme was "Darcey's Ballet Heroes - as told to...".followed by the name of an experienced presenter. I thought the chap who co-presented Romeo and Juliet with her was excellent, and they seemed to have a nice rapport together on screen. Sorry, I can't remember his name. She could relax and talk about her own experiences, and share her knowledge. The male interviewees such as Underwood could simply talk to camera; it is not necessary for the viewer to hear the questions being put to them. I do wonder why the BBC persists in running programmes where Darcey has to be in shot all the time. While she is an attractive woman, surely the focus of the programme should be the male dancers. Unless she is going to get into ballet gear and get them to do a bit of partnering? Edited to add that while Lucy Worsley does seem to be getting a lot of time on the BBC, she is a very lively and interesting personality, and she does seem to be able to bring out the best in the people she is interviewing. I haven't seen the programme about horses, but I have watched other programmes she has presented, and thoroughly enjoyed them.
  17. Fonty
    I won't pass comment on Cuthbertson until I have seen her. However, from the things I have seen her in, she doesn't strike me as being a natural for the Ashton style.
  18. Fonty
    I wish I had Darcey's agent! He or she does a wonderful job of keeping her firmly in the public eye. Sorry, but the fact that she is presenting it is enought to put me off watching, she simply isn't very good at it, and she really should be, given the amount of chances she has had. I also find this quote rather odd: "Bussell will then interview two stars of the future: Eric Underwood and Alban Lendorf, who are taking ballet into a new era of men who are viewed as equally glamorous as ballerinas." I know nothing about Alban Lendorf, but it seems to imply that in order to classify as one of Darcey's ballet "heroes", you have to be gorgeous looking as well as talented. And Eric Underwood has been dancing with the Royal Ballet for nearly 10 years. He is hardly a newcomer.
  19. Fonty
    It is interesting that while some or all of the ladies are being praised in Monotones 1 & 2, there are hardly any comments on the men by the critics. Has anyone seen Watson? I am going on Tuesday, and am looking forward to seeing him doing some pure classical dance.
  20. Fonty
    Thanks for that, Floss. You have confirmed my earlier thoughts about this, but expressed it much better than I ever could! Although Guillem, Bussell and Yanowski are probably taller than normal, the average height of dancers is probably still in the 5' 2" to 5' 6" range, as it was about 50 years ago (although the upper limit may have gone up one inch). I really think that some of the more famous dancers have been allowed to alter timings to suit themselves, rather than as the choreographer originally created it. Didn't the current crop of dancers ask for the music of Symphonic Variations to be played a bit slower, so that they could point their feet? I know nothing about opera, but do the stars slow down arias, or prolong the top notes in order to show off their vocal dexterity? Or are they required to sing it the way the composer intended?
  21. Fonty
    Well, I am not sure, but probably the taller you are, the harder it is for you to cope with the quickness required? But is there an optimum size? How tall does a dancer have to be before they cease to be able to cope with Ashton?
  22. Fonty
    It is good to hear that Ashton is popular with the current crop of dancers. I did wonder if, in the past, the dancers themselves were the reason that certain Ashton works were performed so rarely. If, as AD, you feel that the majority of your principals are not going to excel in those works, either because they are physically or technically unsuited to them, you are not likely to think about staging them.
  23. Fonty
    Ah, Daphnis. I saw the wonderful Yoshida in this. :sigh:
  24. Fonty
    I get emails for ROH regularly. I used to get something through the post for BRB & ENB, but that has vanished. However, I get an email periodically from the Coliseum, which covers ENB.
  25. Fonty
    I am surprised by the fact that the RNZB in Canterbury had such a small audience. My niece likes to travel there to watch various dance companies, and it seems there is quite a good appetite for ballet in Kent, from what she has told me. Generally, I think publicity these days tends to rely heavily on the internet. I get emails telling me about various productions, but only if I happen to be on the mailing list to start with. And there is a limit to the number of mailing lists I can subscribe to before my mail box gets too full. Other than that, my main source is the tube, where I can see the posters they put up. Which, of course, is no help to those who don't travel on it.
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