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  1. Hi All, I'm interested in understanding how valuable co-productions really are.. and what I have in mind are things like the Royal Ballet's co-production of Obsidian Tear with the Boston Ballet, or its co-production of Winter's Tale with the National Ballet of Canada (not for the premier, but only in stagings in 2017 onwards, I believe). Might anyone be able to shed light on exactly how valuable these co-productions are, or why they are pursued? Off the top of my head, I guess it helps to share the cost of a new production across multiple companies.. but then again, the costs of shipping everything across oceans/reproducing sets or costumes seems astronomical and perhaps not quite worth the money after all. As far as I can tell, it's also not something many other companies do.
  2. Hi! Just had a really random question pop into my head.. does anyone know if companies discuss their repertoires with each other beforehand? I ask because you don't often see a conflict of say, one giselle from both ENB and RB in one season. Or do they not conflict because they have different licenses to the material? Does the central Ashton foundation for example, decide who gets to produce what/when? What about works that don't have gatekeepers like that? Curious to know how it all works! Thanks!
  3. Guess I was watching too critically! Such a treat regardless though. By the way, how do final performances work..? Does the audience bring in flowers that they might throw them on stage..?
  4. The Dream was absolutely amazing!! I've never been so completely wowed by everything on stage. Dancing and acting from every single member superb, orchestration excellent, so hard to pick a favourite moment in this piece. Splendid all around. Symphonic good as well, but Ashton's non narrative works are simply not my thing so i can't comment :/ M&A I loved, such searing emotions of course from Yanowsky and Bolle. But the dancing really left me a little wanting.. if only because I've seen what these two are capable of, and tonight just wasn't them at their best! I sat up close so saw the moment when she fell off his knee, or a couple of missed arabesque landings. They kept being just millimeters off and it constantly stunted their emotional heights. It got much better as it went though, so here's to the 7th!
  5. One thing the One thing the evening convinced me of was how much Scarlett continues to experiment, while Wheeldon seems to apply the same style in different contexts. Somehow nothing Scarlett has done falls into a real 'pattern' for me, and I'm very admiring of that. Maybe it's just a matter of age.
  6. Actually, I will say the costume trope is one thing I think Scarlett handled amazingly, but I may have been reading too much into it. I loved that the choreography for 'skirt swishing' was almost exactly the same in the 1st/2nd movements, with or without the skirt. I'm referring to the part in both movements where she stands in the middle of the circle, in a second plié, waving her arms about her. It seemed to mean that she had that power, regardless of what she was wearing. Another bit I absolutely loved was when the men came around her waist to form a kind of human skirt in the 2nd movement, somehow showing that they fed into the myth of its power. Personally I think the 1st and 2nd movements together made some of the most pointed and meaningful choreography I've ever seen. It's just that darned 3rd one.. Someone above mentioned (or was it a review?) that it just feels like he lost energy and inspiration halfway through, and I have to concur...
  7. I'm annoyed at the whole third movement really, not just the ending.. It seems to me like the first two movements were about her ability to defy gender norms and lead the pack.. that is, until the right man comes along to 'subdue' her.
  8. So I'm not sure she's always meant to be squashed.. on the 23rd, the final light shone on her just as she did a triumphant, arms-open yearning toward the sky.. on the 25th, she was face down on the floor when the light hit. Actually, we asked her at the stage door what the piece meant (because I likewise really didn't understand the last moment, nor the whole third segment).. and she didn't seem to be sure either
  9. Anyone have a ticket to spare? I'll take anywhwere!
  10. Hm, for some reason today's performance was much better! Perhaps they finally got to sink in to their roles, because it sure looked like most of the rehearsal time had to go into making sure they didn't get run into by a bathtub or squashed by a wall. Zenaida had a really rich interpretation going on today, and they clearly amplified a lot of the subtleties like Gyula Nagy's Paul pretending to have been sleepwalking, or Paul Curievici's narrator pausing a lot more out of irritation. Or, maybe they just really wore me down by my third viewing.
  11. So, it's a very nice visual and audial menagerie, but you really don't need the likes of Zen and Ed to pull it off.. and especially knowing what these two could have otherwise done with these themes, it is quite the let down.
  12. YANOWSKY/BOLLE M&A!?!? THANK YOU ROH. Best send off ever.
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