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  1. I've just read the Guardian review and it's hilariously bonkers. I'll be watching out for Naghdi's punchy high kicks next time I tune in for some kung-fu fighting. Or was it ballet?
  2. I just received the change of cast email confirming Kaneko/Clarke for Friday. Bit sad since that was my only Takada / Hirano SB, but very happy with the replacement (*tries to repress manic smile*)
  3. Sleeping Beauty, Sat Nov 9 @ 19:00 D46, Stalls Circle Standing, £11 Send me a pm if interested
  4. 2 circle standing tickets, £6 each, D22&23 for Kingdom of back triple, Linbury, Thu Nov 7 @19:45 Send me a pm if interested
  5. Tue Nov 5th, D49&50, Stalls Circle Standing, £6 each Send me a pm if interested
  6. This bill is shaping up interestingly for me. After watching the first cast, I was quite in love with the second movement of Concerto by Clarke and Cuthbertson, and Raymonda gave me what is commonly referred to as a 'ballet happy' in my house. It starts with a smile and ends with a delirious grin, in this case caused by the the marvellous performance of Lamb (happy and serene) and Muntagirov. Enigma variations left me wondering whether I would willingly watch it every time I'll see this triple. I liked a fair chunk of it, Morera lit up the stage and I thought Olivia Cowley managed to express the cast list description of her role to a T. But why on earth is there a woman with a scarf attached to her back that could double as fairy wings appearing out of a sudden waft of dry ice? Is it a lost Edwardian Wili? And as lovely as it is to see Hayward, how long is the Dorabella solo? The next performance provided an immediate answer to my last question: the solo feels endlessly long when not danced by Hayward and is somewhat unlikely to become my favourite bit of Ashton. Friday night, Cambell delivered a blistering Troyt, sharp, perfectly in character, creating a frisson of excitement early on in the piece. But the real eye opener for me were Christina Arestis and Gary Avis embuing the Elgars with such a depth of feeling that I welled up at some point. I thought Arestis was superb, the way she embodied concern though dancing alone, and then amplified it through her expressive eyes is likely to remain lodged in my brain. So, I guess I will faithfully attend all booked performances of Enigma and simply ignore the lost Wili. Hayward and Corrales made the first movement of Concerto zing, and I was already sold on the 2nd movement - and thought Hamilton looked rather good in it - but unless I experience another eureka moment in this run, I'd happily forgo the 3rd movement. Sadly I didn't get a repeat of my ballet happy from Raymonda. I really liked Cuthbertson imperial/regal take on the role, and there were lovely moments with both her and Bonelli, but without the complete magic woven by Lamb and Muntagirov, the wheels came off a bit and I noticed a lot of the more raggedy bits of dancing in places. Hopefully this will improve during the run, I like to think the RB can field more than 5 men capable of forming a straight line.
  7. I'd prefer to see a mix of partnerships. If there is a strong affinity between dancers, it's great to cast them together for a larger proportion of performances, but not all of them. Keeps things interesting. The only partnership I have a hard time with at the moment is Hayward and Corrales - I just don't know who to focus on if they are not in the same location on stage and eyes start to swivel like a loon.
  8. I'm saving my breath until the list of dancers one may write about in a positive light gets updated.
  9. I never had a problem with curtain call pictures, but I'm now starting to get fed up with half the audience seemingly forgoing clapping to get a few nice snaps - especially when they hold up their phone well above head height, oblivious or not caring that people behind them get to watch their arms and screen instead of an curtain call (yes, I mean you, lady at last Tuesday's Manon)
  10. Is it really a furore outside of this thread? Is the ROH obliged to ensure that 20% of each performance are held back, rather than 20% of overall tickets? How many other popular theatres partially funded by public money meet these criteria?
  11. I have SCS D27 for sale for Manon, Wed 9th. Please send a PM if interested, it's an eticket.
  12. I'd happily watch his Swan Lake as it is, but it would be lovely if someone could persuade him to tighten up and revise a little - particularly Benno, of whom I'd like to see significantly less, or at a more interesting solo if he must have that much stage time. Does Scarlett revise his work much? It seems to me that he hasn't made significant changes to the second outings of his pieces (that I've seen.)
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