capybara

There is much to celebrate in this list and some well-deserved promotions among the younger members of the Company who have attracted our interest and given us so much pleasure this year. But, alas, there are some regrettable omissions. We predicted this would be the case as opportunities within a ballet company are so much a matter of Directorial taste. But isn't it time, for example, for Ludovic Ondiviela to become a soloist - he has done so much so well this year including Alain and Kolia - and for an addition to be made to the female Principal ranks? We will not tempt fate by mentioning any names! It will be interesting to see who replaces Ursula Hageli.

This show is inventive and its multi-media approach is a novel one although we found the pace at which one is required to walk rather slow and the storyline a bit contrived. The pictures on the screen were more fully populated with dancers than the reality although there were some lovely dance cameos, including one from the only ENB dancer we recognised (Joshua McSherry Gray) and two from two female ENB 'extras'. The good news is that the event (which lasts for 40 minutes, starts every 5 - 10 mins, and involves no more than 4 people in a group) is exciting a lot of interest. Apparently, it is fully booked for the rest of the week. Once again, ENB deserves congratulations for experimentation and outreach.

Please does anyone know the timings for this Show and its finish time? Apparently ENB were on first on Wednesday but, since then, have gone last - is that so?

We understood Anthony to have moved from the ENB School in 2007 to replace David Wall on the Ballet Staff of the Company. We once had the privilege of watching him coach Thomas Edur and Agnes Oaks in the Nutcracker Pdd. Together, they dismantled and built up almost every move in order to strive for perfection and the respect the two stars showed for Anthony's input and opinion is illustrative of the asset he is to ENB. The same applies to Ros Whitten who surely has no equal as a Ballet Mistress for the female corps.

We saw Jose's 'farewell' performance on 12 June and regret his departure - another first soloist who has been scarcely used by the RB of late. We find it equally regrettable that news of his appointment at ENB has been promulgated informally via Twitter and in other ways. Unless, as MAB hopes, Jose's appointment in an additional one, the problems with information management which seem to beset ENB can only cause hurt to the existing Ballet Staff who deserve nothing but praise. [incidentally, Anthony Dowson (a former RB Principal) joined during Wayne's tenure some 5 years ago.]

Thank you. Would have loved to have seen 'her'.

Is there anyone who can report on Johan's performance as Madge, please?

This is very sad news for Lauren and Rupert and those of us who had booked specifically to see them in Pagodas. At the same time, it is wonderful news for both Beatriz and Ryo whom some of us were fortunate to see rehearsing at the Insight evening. At last, the RB has taken a leaf out of Wayne Eagling's book at ENB and is showing itself prepared to field dancers in leading roles on the basis of their talent and unique suitability rather than their rank and time served.

The Pagodas Insight lasted only an hour and a half. We have heard that some opera Insights have been cut to around 2 hours.

The evening consisted of: 1) a half hour input on the music, lucidly presented by Barry Wordsworth with the assistance of Colin Matthews who is an afficionado on Britten and who was bursting to offer more. They introduced some extracts played by Rob Clark on the piano and referred to the cuts and re-ordering which have been effected this time round to give more coherence to the storyline 2) Claire Thurman, the Ballet Education Manager, reading a brief synopsis 3) a rehearsal of the final act pdd with Jonny Cope teaching Beatriz Stix-Brunell the steps along with Ryoichi Hirano who was already familiar with the piece. [Although nothing was said, there was a feeling in the air that one if not both of them could well feature as the second cast.] 4) a few questions of Jonny about what it was like to create the role of the Prince/Salamander It was enjoyable, of course, and especially lovely to see two rising stars rehearsing. However, Insights used, in our experience, to be distinguished clearly from rehearsals by being spread over a day/half day/full evening, covering many elements of the production and its history and providing opportunities for questions at each juncture. What we now seem to have is a very pared down version - which is not only a great pity but, in our view, missed opportunities to fully engage an audience wherein the majority were coming new to the piece. After all, there are currently hundreds of tickets remaining to be sold.

Please does anyone know who will be dancing a the rehearsal tomorrow?

Best to steer clear of the Alexandrinsky. The theatre is beautiful but the ballet company is a small number 'scratch' affair with very average quality principals. We have heard that it is a much favoured destination for cruise ship passengers.

If one looks at the ENB's published accounts, it would appear that the Artistic Director is paid significantly more than the Chief Executive - i.e. the former over £100K per annum, the other quite a bit less. This may, or may not, say something about the inter-relationship of the two posts. Interesting, however, to compare these levels of remuneration with the salaries at the Royal Opera House!

We are for ever grateful to my father who decided, in 1970, that my fiance and his mother should come with us to see Fille. It was David Blair and Merle Park with Lesley Edwards as Thomas and, perhaps, David Morse as Alain. As a direct result, my now husband became a ballet fan. No better recommendation than that! Memories of Fille also go back to a performance in a 'big top' in Battersea Park when Wendy Ellis and Wayne Eagling were dancing Lise and Colas. As the Act One storm broke on stage, the heavens opened outside, rain pelted on the tent roof and thunder clapped along with the orchestra. An amazing experience. Please can anyone remember who might have played Widow Simone in 1970? I don't think that it was Stanley Holden.

As a postscript to this discussion, Ivan Putrov is about 5ft 9ins, so not short. What he does have, of course, is a wonderful (long) leg to body ratio which some shorter dancers do not possess.

Aileen - surely, a corps de ballet achieves the kind of excellence currently on display at ENB by working with one another over time? Bringing in additional swans for the Albert Hall is arguably necessary.... but it is an exception. Please could we avoid potentially upsetting speculation here as to how Tamara will approach the job?

We are uncertain of the rules of engagement here where quoting other websites is concerned but readers of the BalletCoForum might be interested to know that some further contributions on the subject of changes at ENB have now appeared on: http://www.ballet-dance.com/forum/viewtopicphp?f=338t=35828

This post is to celebrate the critical acclaim heaped this week on ENB's Beyond Ballet Russes Programme 2. Two reviews which we have just read in the Sunday papers serve to highlight the achievements of the Company under Wayne Eagling's: the very interesting repertoire, the skilled composition of mixed bills, the introduction of new choreography, the nurturing of young talent, the excellence of established stars and the overall high standard of performance. Yet the services of this Artistic Director are being dispensed with. It is still not too late to sign the petition calling for Wayne's reinstatement at: http://epetitions.direct.gov.uk/petitions/32127

Apologies for changing the subject temporarily but we don't know how to start a new thread. Does anyone know, please, what the line-up is for Alain and Widow Simone in Fille and who is aligned with which cast? We have purchased a range of tickets in the hope of seeing certain people who delight us in these roles and it's time to think in terms of offloading some of them.

Returning to the Ballet Russes programmes per se...... Last night saw the arresting premiere of Jeux by Wayne Eagling, an achievement made all the more remarkable because he had to 'fill in' at short notice when another choregrapher dropped out and has done so with professionalism and aplomb in far from ideal personal circumstances. This ballet is set alongside an entertaining short extract from Le Tran Bleu, the timeless Apollo, and the wonderful Suite en Blanc.with the latter showcasing last night some of the amazing young talent in the company alongside stellar Senior Principals. We understand that there is a Dancing Times ticket offer for the remaining shows this week (£10 for any available seat). This requires the Promo Code RUSSES on www.eno.org. Please do yourselves a really big favour and go. You will have a wonderful afternoon/evening.

Contributors to this post and other readers will be interested to learn that there is now a petition concerning Wayne and the ENB Board on the government website [http://epetitions.direct.gov.uk/petitions/32127] Please visit with a view to signing. Many thanks.

We feel that it is a real pity that this thread, which started being about Wayne Eagling, has been swamped by posts about anonymity and really quite unfortunate attacks on Irmgard, whom we know from our frequent visits to the ENB studios and attendance at performances of Giselle, and who wrote in such a supportive and thoughtful way about the situation at ENB. We should also say that, out of 14 possible dress rehearsals/performances in the current Ballet Russe run at the Coliseum, we are going to 11. We have been thrilled by the first programme, which evidences all the points we make below, and looking forward to the second, which includes the wonderful Apollo and Suite en Blanc, together with Jeux which Wayne has made at very short notice after a choreographer had to drop out. In common with the writer of the letter to the DT, Jeffrey Taylor in the Express, and people we have spoken to recently, we cannot understand the thinking of the ENB Board in wishing to dispose of Wayne's services, as clearly they have. For us, his achievements include the following: - standards of production and performance generally acknowledged to be the highest ever achieved by ENB - attracting top dancers to join the company and stay happily - bringing on, and giving opportunities to, new, young talent - developing an exciting line up of young male dancers - introducing international teachers of high calibre - assembling and leading an enormously talented Ballet Staff able to get the very best out of the Company at all levels and imbue the rehearsal process with a sense of enjoyment and shared endeavour (no wonder the corps is such a joy) - nurturing choreographers from within and outside the Company - commissioning new works as well as choregraphing some himself - introducing audiences to little seen works and choreographers - e.g. Roland Petit - balancing innovation in the repertoire (which inspires the dancers) with the necessary Box Office favourites - programming mixed bills with great skill (an aspect which many Directors get wrong) - developing the ENB brand and support in the regions even though progress in this respect is hard won - engendering critical acclaim/media support It is against such criteria that we believe the performance of an Artistic Director should be judged. The flower throw at last night's performance spoke volumes in terms of people's acknowledgement of the achievements of the Company under Wayne's leadership. BalletcoForum readers who may not yet have a ticket for Ballet Russes Programme 2 - please get yourselves down to the Coliseum: you will not be disappointed. Linda and Michael Gainsbury