Fonty

Can I just say that until it was pointed out in an article afterwards, I hadn't even noticed that Celine Gittens was black. It never registered with me at all. I simply saw a beautiful swan. And when Carlos Acosta started dancing with the Royal Ballet, I never thought, "Goodness, a black Principal." I just thought, "Wow, what an incredible dancer."

I haven't seen any other reviews of the Shang/Morales performance, was anyone else there on Wednesday night? If I hadn't already seen Gittens and Singleton on Tuesday, I would probably have enjoyed it hugely. As it was, I felt that Wednesday evening was a very slight let down. Shang was very good as Odette, but she didn't convince me that she was a swan queen in the same way that Gittens had, nor did she have the same seductiveness as Odile. With Gittens, you could feel the evil shimmering just underneath the surface, and this conveyed itself right up into the roof where I was sitting. With much better seats on Wednesday in the stalls, I just didn't get the same feeling. Morales danced wonderfully, but again I felt there was something missing, a slight sense of aloofness in his partnership with Shang. Regarding the other parts, I enjoyed Chou's relaxed and smiling Benno as much as Bracewell's the night before, and I thought the two Courtesans were better (Baselga and Brill). However, I did miss the haughtiness of Downs' Polish princess, and there was no outraged expression from Albutashvili as she lined up with her competitors. Shame; it made us all laugh on Tuesday. Everyone else was excellent, and the corps were great. It was great to see the swans rise up from the mist in Act IV. When you are up in the gods you can see them clearly before they move, so the effect is not as good. Some other thoughts generally. Watching groups of dancers, I find there is always one person who catches my eye. On Wednesday, one of the Prince's companions really stood out for me. Casting my eye over the dancers' photos, I think it might have been Luke Schaufuss. Shang didn't manage the fouettes in Act 3, losing her balance near the start attempting to insert double pirouettes into the sequence, and giving up half way through. She covered it well, and managed to do something else without losing her composure, but it made me think yet again as to why the trend now seems to be to try and make it even more difficult than it already is. The trouble is, if it goes wrong it is like forgetting the words half way through the To Be or Not to Be speech in Hamlet. Everyone knows what you are supposed to be doing, so the mistake is obvious. And I still live in hopes that someone will come up with a different party piece to show their own particular skill. Still, she obviously had a large group of fans who whooped and cheered at every possible opportunity as if they were staching Strictly Come Dancing, and gave her a standing ovation at the end. But for me, the whole thing never reached the heights of Tuesday's performance.

Yes, Janet, I agree. I don't think the title is rude in any way. In fact, it has started a thoughtful and interesting discussion ranging over a variety of issues. Which is exactly what a chat forum is for, isn't it?

Well, clearly Mr Pasha prefers the muscular Russian style of dancing. I agree that in some of the more showy ballets this is wonderful. However, there is a fine balance between athleticism and artistry, and many times the Russians prefer the former over the latter, to the detriment of the whole piece. IMO of course.

Absolutely agree, Alison. I have no problem with someone coming from Berlin, or any other company for that matter, as a guest Principal with the RB, if they have a unique talent that cannot be filled by any current dancer in the RB's ranks. I am sure Salenko is a very good dancer, I never doubted that for one minute. I wasn't questioning her pedigree, merely the fact that she has been invited specially to dance in an Ashton ballet that hasn't been performed for years in London. She doesn't appear to be a noted Ashton dancer, unless, of course, the information I have found on the web is lacking updates, and she has been dancing the Young Girl to universal acclaim all round the world. So the answer appears to be that she has been brought in specially as a partner for McRae in this ballet. Which brings a whole new set of questions to mind!

I was there last night, and agree with everything Bruce says. Absolutely fantastic performances, and a production that for once seems to make perfect sense of the story. I didn't feel there was one wasted moment of that glorious music. Gittens was sensational as O/O, one of the very few dancers I have seen who really made the differences between the two believable. And I loved the real sense of camaraderie between Singleton and Bracewell. If there was one small criticism, it was the pace of the music in the second act during the main pas de deux. I got the feeling that there were moments of slight hesitation, almost as if both the conductor and the dancers were waiting for each other to set the pace. Probably my imagination, but that's how it felt as I was watching. Other than that, a wonderful evening with superb dancing. Unbelievable to think that I paid less for my ticket up up in the gods than I did for my cinema ticket to see the live performance of R & J! Off again tonight to sit in the posh seats, and really looking forward to seeing it from a different angle.

Has O'Hare said publicly why he has brought in Salenko to dance in Two Pigeons? I don't really know anything about her. It has been a while since I saw that particular ballet, but I would have thought the Young Girl would be an ideal role for some of the younger dancers mentioned. Not as exhausting as some of the full length ballets, but with plenty of opportunity to display their dramatic qualities as well as their dancing. And London audiences love to see home grown dancers getting their chances, especially in such a delightful ballet.

I certainly don't think the idea of going back to the original should be deplored, but I think it depends on the ballet, doesn't it? For example, I have seen so many different productions of the Sleeping Beauty, I have no idea whether I am looking at it as the creator intended, or whether it has been tweaked and fiddled with. Programme notes are not always very helpful. Sometimes they say "addtional choregraphy by X, Y or Z", but I am never sure which bits are original and which are the additions. For example, was the original Lilac Fairy a dancing or non dancing part? When I saw the 1959 production by the Royal Ballet on the television recently, I adored the dancing Lilac Fairy. IMO, it was a huge improvement on the rather staid, non dancing figure that features in many productions!

Oh that really is shocking. An unbelievable way to behave. After all, it is a retirement home, so they must be used to having to deal with situations like that. I agree with everything Sim says.

I didn't reaslise that Ball was only a First Artist.

HI everyone, thanks for the suggestions. The reason I probably won't go in museums is we are not really there for long enough, and I think so much of the beauty of Venice is best seen from the outside, looking at those wonderful views. My friend has booked the Secret Passages tour of the Doges' Palace. Seems we get to see the dungeons and the torture chamber!

MAB, I did say that personally I enjoyed Fonteyn's performance, and I could understand the commercial reasons for the RB's superstars being used in the cinema film. The same thing happens today with the live broadcasts. Whether that individual is the best performer of the role is a subject for hot debate on this forum. I am sure Fonteyn was admired in the role. Was there ever a time when anybody criticised her in anything? However, it is a matter of public record that MacMillan had to alter some of the original choreography for her, and Nureyev just altered bits to display his own strengths (and presumably to hide any weaknesses). Having read about Seymour, she seems to have been a much more dramatic, abandoned sort of dancer. I imagine the contrast between her performance and Fonteyn's might have shocked some of the critics. I think it is a tragedy that there is no record of Seymour's Juliet, even if it was just classroom performances of the major pas de deux. MacMillan himself considered her his muse, after all, and she had huge input in the creation of the role. It should have been preserved for future generations. Incidentally, i know nothing at all about Christopher Gable. Is there any film of Gable's Romeo?

I think it is most unfortunate that the only proper record of the orginal MacMillan production is the film starring Fonteyn and Nureyev. I can understand that from a commercial point of view, this cast was much more likely to sell, but it is such a pity that future generations would get their impressions from Fonteyn's performance, rather than Seymour's, so we have no lasting record of what was actually intended. I remember reading that Fonteyn flatly refused to adopt some of the poses, replacing them with her own elegant, more lady-like positions, and that Nureyev also altered the choreography to suit himself. Personally, I happen to think that Fonteyn gives a great performance, and Nureyev was always had an animal magnetism, no matter what part he was playing. But I still would have liked to have seen how the two creators of the roles played the parts. I am sure those were, or should have been, the performances by which all others should have measured themselves.

I am having second thoughts about booking anything, and I might take up your ideas about simply walking. 72 hour pass on the vaporetto is something I had considered, and would really enjoy, although I suppose it does depend on the weather a little bit. I found a little clip of the Secret Passages walk, and I remembered that I had done it before on my last trip to Venice. When I was 9 years old!

Last year I went to Paris for a couple of days, and asked people on here for some ideas as to what would be some interesting walks and places to visit away from the usual museums and art galleries. I received some excellent suggestions, so I thought I would post again. This year, we are all off to Venice for 4 nights. I haven't been for years, and am getting a bit overwhelmed by the guide books. They seem to suggest that you have to book up for everything in advance, and as we don't know what we want to see yet, that is proving a bit difficult. Someone recommended the Secret Passages tour of the Doge's Palace, which shows you the prisons and the place where Casanova was kept prisoner. Trouble is, it says not suitable for people with vertigo. While I don't suffer from that, I am not dead keen on heights. Many years ago I had to be carried down over someone's shoulder after some idiot took me up into the roof to admire the ceiling of the cathedral in Florence, and we had to cross a flimsy walkway with an uninterrupted view going straight down into the cathedral below! If anyone else has done this tour, I would be grateful to know just what sort of heights are involved. Any suggestions or tips gratefully received.

I always think that as well. It helps if Juliet does a realistic stagger backwards after stabbing herself, so that she falls elegantly backwards over the death bed.

I don't count, but I do notice if the dancer falls out of time with the music by trying to be clever and attempting to do doubles or triples.

Oh, absolutely, Alison. They really believed in hell in those days, which makes the Nurse's behaviour so staggering! Something else struck me while I was watching the final pas de deux in the crypt, where Romeo is flinging Juliet's supposed corpse around. Given that the choreography gives her lifeless arms, should Juliet have beautifully pointed feet? Always puzzled me a little bit, was it choreographed like that originally? I am pretty certain I have seen at least one dancer with dangling feet. Possibly Guillem, I can't remember. And original pictures of Seymour seem to suggest the same, although it is difficult to tell.

I found a copy of the Shakespeare text on line, and had a quick look. When Romeo kills Tybalt, he dashes off to hide with Friar Laurence. The nurse knows he is there, and finds him. Friar tells Romeo to go back to spend the night with his lawfully wedded wife, and orders the nurse to return first, and inform Juliet that Romeo is on his way. The nurse definitely disturbs them together in Juliet's bedchamber the next morning, as she rushes in to warn them that Juliet's mother is coming to tell her of the proposed swift marriage to Paris. Romeo leaves, Juliet begs for advice from the nurse, and the latter promptly tells her to marry Paris with the immortal lines "Oh, he’s a lovely gentleman. Romeo’s a dishclout to him." Obviously the nurse is one of those practical ladies who thinks a husband in the flesh is worth two in exile. And who cares about a spot of bigamy.

Yes, thanks Floss. Ah, I am glad you said that, Floss. Nobody else replied when I mentioned it, so I was beginning to think I had got muddled up with another production. Incidentally, did Lamb pick up Paris' dagger from the floor in order to stab herself? It looked like it in the cinema broadcast. I thought she took Romeo's dagger. She certainly does in the play. But it has been a long time since I have seen it at the ROH.... That was me. I've not really noticed the hairstyles before, but again at the cinema, the close ups of some of the ladies revealed how unflattering it was. I thought I could see some of the netting used to conceal their own hair, but that could just have been the stage lighting. Talking of hairstyles, I couldn't help noticing that McRae's hair flopped about at the front. I found it quite distracting, especially when he was turning. Which got me wondering how the gents of the time would have worn their hair. I've had a quick look at some of the art works, but all the men seem to be wearing hats of some sort.

Janet, I have booked to see two different casts in Swan Lake - very unusual for me. The first night I have grabbled one of the cheap £12 seats so that I can view from above. Next night, I am in the slightly posher seats with a few friends. Really looking forward to it. BRB are the best (IMO) (Edited to add I am a Londoner, and am talking about Sadlers Wells. Trouble is, I can't remember who I am seeing, but I am sure they will all be great!)

Alison, all my books are in storage at the moment, and I can't get my hands on a copy of R & J, more's the pity. I thought (and I could be wrong) that the nurse knows that Romeo has spent the night in Juliet's bedroom after their marriage. Which makes her active participation in a new marriage to another man a few days later quite extraordinary. Although I fully appreciate the character of the nurse is a vital tool in the tragedy, pushing Juliet into taking desperate action, my practical mind is always annoyed by this! Another little thing from the film yesterday. Which dancer was wearing the green tights in the mandolin dance? He really stood out for me, and not just because he was wearing different coloured leggings to the others. I am sure someone on here will know.

Yes, that came across really well on screen. I always feel so sorry for poor Paris. After all, he does nothing wrong, and he is just another innocent victim in an ongoing feud. Which is why I hate the way in which Romeo dispatches him so swiftly at the end. If anyone has a copy of the Fonteyn and Nureyev film, perhaps they can confirm my vague memory of that scene from a clip of the film I saw several years ago. I may have got it completely wrong, but if so, I do think this needs to be rethought. The current production makes me dislike Romeo for that, which is not how I am supposed to feel. And also, there is the practical aspect that the body of Paris is left lying prominently on the floor (his boots kept coming in to shot in the film.) On stage, does the lighting place him in dark shadow?

Oh dear, I won't press you to name names, capybara!

Just got back from the encore performance at my local cinema. A few thoughts while the performance is fresh in my mind. First of all, like a lot of people, in the past McRae has not been one of my favourites at live performances. Fabulous technique, but there is just something about his characterisation that is not to my taste. Well, on this occasion, I changed my mind. I thought he was excellent, and I had no problems at all with his acting. I am trying to remember if I have seen Lamb in any lead roles before. If I have, it was some while ago. It is not that I have avoided her, just that I have always booked someone else. I really enjoyed her performance. Her dancing was fabulous, and the pas de deux with McRae were amazing. You can't get much closer than a cinema performance, and I thought that both Lamb and McRae came across extremely well on screen. especially in their joint scenes. I thought they really gelled together, which did surprise me given the rather negative comments that some people have made. The dancing was stunning. I have to say, though, that if I had been Juliet, I would have defied my parents and gone off with Campbell's Mercutio. His cheeky chappy personality and dark good looks are much more to my personal taste! Oh, and his dancing was rather special as well. And I agree with everyone else about the Tybalt of Avis. The downsides for me were more to do with the production itself. I didn't realise that the three harlots were on stage so much. Maybe it was the fact that the camera was continually closing in on them, particularly the one with the red hair, rather than panning out a bit to see the whole of the action. And why do the "decent" girls have wigs or headdresses that make them look bald? This was particularly marked with Rosaline, whose hairstyle reminded me a bit of Elizabeth I. I wish the RB would go back to the original staging for the last scene in the Capulet's cypt. If I remember correctly, Romeo meets Paris at the entrance, when they bump into each other, and draw their daggers in self defence. This makes Romeo's killing of Paris a lot less cold hearted. Then he goes through the entrance, into the crypt itself, which contains not only Juliet's body, but that of Tybalt as well. This adds to Juliet's horror when she wakes up and realises where she is. Finally, can someone please explain to me why the nurse, having just witnessed Juliet's official marriage to Romeo, then comes cheerfully in with a wedding dress for her marriage to Paris? Surely she knows Juliet is about to commit bigamy.