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About LinMM

  • Birthday November 30

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  1. I’m sure it’s my lack of observance but didn’t know there were lifts down to the main loos on the ground level 🙄
  2. Have just discovered that on the Saturday morning you can pay to watch the Company class on the stage so may see if can book that as well 🙂
  3. I have the luxury of car travel this time around as my partner is on a wood working course so we’re there for a couple of days. Last time when I went by train from Brighton it was all a bit fiddly! It’s never that easy travelling east-west on the train down here! Im still toying with the idea of doing a quick visit over to Isle of Wight on the Sunday but maybe a bit cold for that and will double check no activities at the theatre that day as well!
  4. Have just booked my ticket for this!! There was me thinking I would just leave it until the day next Saturday and then wander up to the theatre to buy a ticket as probably the matinee won't be that busy ....well good job I had a quick look at the Mayflower website just now as its looking very nearly sold out just a few seats on each level left and still over a week to go! So thought I'd better book it now. For anyone for whom the Mayflower is their local theatre etc then check out the site as it looks as if this is selling well at the weekend at least which is great for BRB
  5. Had a think and am not including anything from fairly recent Rep but there are two prongs really Firstly from what I saw on Saturday : Three Preludes, Playlist, Swansong and Etudes ...though the latter would also be part of second prong ....of bállets seen quite a long time ago now : Petrouchka, Scheherezade, Polovtsian Dances, Napoli and Prodigal Son as previously mentioned but my absolute favourite apart from the latter would be Songs of a Wayfarer. While there is so much male talent around would be great to see Wayfarer sooner rather than later! Certainly current bállets I would hope would be kept in the Rep and revived fairly regularly are Broken Wings, Le Jeune Homme et La Mort, Dust, and Le Corsaire of course ...as well as the main classics.
  6. When I first went to the ROH in December after my accident in August I was still struggling on the stairs and there are quite a lot of them down to the loos from the new cafe area. I’d never noticed the two disabled toilets round the corner on the cafe level before as I used to automatically go down the stairs. Anyway I asked an attendant in the cloakroom if it would be alright to use one of those disabled ones and she said it would be fine. I was down to one crutch then but had put it in the cloakroom for the performance. But I did wonder what the person waiting in a wheelchair thought when I came out as although I still had a limp then I didn’t look that disabled but at that point going up and down too many stairs was a bit difficult for me unless absolutely unavoidable.
  7. The only ones I was pretty certain of were Vergie and Lesley and wasn’t sure if it was Laura in the last one or not! But many thanks for this info as the film quality wasn’t brilliant 😊 But the dancers were!!
  8. In the course of this thread have just discovered that I share a birthday with Marguerite Porter!! Im exactly one year older so back in 2015 she must have been in very good nick indeed! Absolutely doesn’t look her age at all. Sorry this nothing to do with anything really but enjoyed finding this out anyway,
  9. Zakharova is 1.75 metres or 5ft 8.8 inches....so not far off 5ft 9 inches in fact.. quite tall for a classical dancer who has to wear pointe shoes! Your height is 5ft 4inches actually much more ideal for ballet really😊
  10. Have now exhausted myself on Lilac Fairy clips! I have found one clip where the dancer has captured the beauty of the carriage of the leg in the initial part. Most kick the leg up without then showing this carriage that well. The dancer I found who I don’t know but others might is Marie Agnes Gillot of Paris Opera ballet. In her variation she carries the leg around with the body in a lovely way so makes that bit of choreography look less ‘pedestrian’. Others may kick the leg higher especially in some Russian versions ( which can be painfully slow) but still haven’t shown the beauty of this movement. The sissone step has become really almost boring these days! It’s now taught as a very upward jumping step instead of what I thought (maybe wrongly) was originally a forward moving step .. there is still an upward element to it ...but the excitement was in the forward travelling movement of the step across the stage. Of course the music for this variation has got a slight dragging quality to it especially when played too slowly .....I imagine it’s supposed to have a ‘commanding’ quality which is why I think Gillot has lent something to this choreography. I can’t find the Beryl Grey version unfortunately.
  11. That’s a terrific post FLOSS we were posting at same time so only read after I had written mine. I think Lesley Collier in her fairy variation ( the clip that Fonty posted earlier) is a supreme example of what I was trying to explain! She is not just doing the steps ...she’s found the core of the dance in that role ...very inspiring. Lesley Collier is still coaching at the RB so perhaps she could be let loose on the fairies!!
  12. Beryl Grey I think is 5ft 7ins so tallish and especially for back then. I think making the dance flow is a combined confidence and experience thing. I am supposing ( from my very limited experience as an amateur in these things) that when you first learn a role you may be concentrating more on the steps and getting it right etc. But eventually you do have to find the ‘dance’ in it which may seem a strange thing to say! You can’t just ‘ do the steps’ Familiarity with the music and choreography should enable you to ‘relax’ into the dance aspect ( sorry not making this as clear as Id like) I don’t know ...find the dynamics more of that combination of steps which should make it flow more. I wonder if as much attention is given to dynamics today .. am not sure.
  13. So why would the tempo be slower then if it’s easier to take it faster? Is it to accommodate the higher legs?
  14. Looking at those Fairy clips I would be interested to know who did the other variations ...was it Lesley Collier in the songbird variation and the first one looked a bit like Vergie Derman who quite often did the Lilac Fairy variation back then. I may have this wrong but I thought they always seemed to pick the taller dancers for the Lilac Fairy role ...as a general rule. So slightly more of a challenge to be fairy like. Marguerite Porter is not quite so tall ( I know I’m taller than her from seeing her around YBSS classes) A couple of years ago when I was at YBSS she and I think Ricardo Cervera ( not sure of that spelling) went into an impromptu pas de deux practice in the corridor for something they were taking part in and she still looks pretty good ...must be in 60’s by now!! I wonder if the variation looked more secure in Porters hands because of the quicker body positioning especially in those fouette turn thingys ...perhaps not having to worry about getting the leg higher than 90 etc? The slightly lower leg means you can do the movement faster and with more confidence. I do think the Lilac Fairy has a couple of tricky solos to pull off but especially in that role they need to be done with confidence. I quite liked Gina Storm Gensen in the role she just needed a little more projection but had a nice air about her. Isn’t this her first really big role? Im sure was it Deanne Bergsma who used to do the Lilac Fairy .....I seem to remember her as being very radiant in this role. Don’t know if there is any film of her.
  15. Again I think the top of the foot of the kneeling knee may be able to give some support as you go down .... also depends how good the non kneeling knee is in supporting the movement. I suppose you could go down but not quite all the way onto the knee and make it quite a wide movement but I’m sure you will work something out with your teacher!!
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