Bruce

Difficult and for people to do what the mods set. But I took a different view a while back wrt to Twitter and DanceTabs. I think the public record is the public record and if something has been made public (for a reasonable period of time) then it's best it remains public and if the poster subsequently believes they got it wrong then best they say why in public - but the original public comment remains. Thus the complete record is clear to all. That's very easy to say, I know(!), and sometimes things arise that would have us all act another way, but as a starting position I think it is good and sound. My specific intervention on Twitter came when David Dawson's "The Human Seasons" was put on by RB that was not so well received. Dawson unhappily and sarcastically tweeted about looking to withdraw the work - so incensed was he by the reception. The tweet was up for a good while and then was deleted. And on Twitter, I republished a picture copy of the tweet. It happened, and people could see what was going on. For those interested the Telegraph has more on the furore and quotes the tweet as well: https://www.telegraph.co.uk/news/2017/03/23/royal-ballet-choreographer-appears-ridicule-stars/ Going back to my running of this forum, back in the early days (very early - the late 90s or early 00's) we had a few occasions when posters edited posts that had generated angry response from others. Thus it was hard to see what was going on and why umbrage had been taken. And based on that I originally introduced an editing window of 1 hour. But that still allowed problems and it came down to 15 minutes - at least for a while. And that forced posters who later felt the need to revise thoughts to post again and what was going on was clear to all. And there is still an editing window on this version of the forum - because the mods are keen not to see the public record massaged, on a whim or otherwise. Wrt to this specific case, I'm not too fussed about the PowerPoint, but I certainly have a copy of the artspro article with its 'interesting' Lucy Sinclair quotes - just in case it ever might disappear. I'm actually surprised that ROH has not commented under the piece looking to repair some damage... that they haven't I think is a mistake. None of this is easy, and the mods have my knowing sympathy!

There is an interesting piece in The Stage re Facebook changes deemphasising arts journalism and the sharing of links: https://www.thestage.co.uk/opinion/2019/howard-sherman-how-changes-to-facebooks-algorithm-heaped-injury-on-the-arts-and-its-coverage/

Wrt to Northern Ballet, I think your mind must be playing tricks - Hutera covered the Marston Jane Eyre premiere in Doncaster, The Watkins 1984 premiere in Leeds and the Nixon Little Mermaid premiere in Southampton. Craine covered Tindall's Casanova in Norwich - not the premiere but a month ahead of it getting to London. Northern has been much more interesting these last few years as David Nixon has given commissions to other choreographers. And by and large, critics have responded as the above indicates. Hopefully, the new BRB artistic management will put on bills that attract more coverage.

I rather like Debra Craine and find her reliable and fair to ballet and contemp - some writers can seem overly drawn to one or the other. I read her (and others) if I've not got to something or if I'm interested in 'sniffing' the air for a rounded overall opinion on a new work. She always seems to be very sensible and usually on the money - for me anyway. Don't have a down on Craine re London only reviewing only - she is Arts Editor and very much tied to the desk. Good really that an Arts Ed is as dance centric as she is. Away from London Times readers are still catered for with Donald Hutera often reviewing for them - he got to the Cathy Marston Victoria premiere in Leeds for example.

Papers and magazines are seeing declining circulations with the rise of social media, particularly for news. There is also more 'distrust' of critics these days - several times some posters have said they don't trust critics or think them relevant, so why on earth would they read them or use the TodaysLinks service? All up some in the audience (a growing number I suspect) are now very self-contained and flying that way very happily. For myself, I don't trust all critics either but I value the mix of thoughts, and the putting of dance works into some perspective that is neither nearly all supportive gush or dismissively short. We need a mix of all the thoughts for dance (not just ballet), and criticism is still finding its new level in the mix. It's a sadness to me that meaningful criticism is shrinking - it matters which is why I support it. Boy, do I miss Clement Crisp, Ismene Brown and now Alastair Macaulay. I'm pleased to hear there are no plans to stop collecting the links if some of the local press ones are pretty poor if truth be told. Also, Twitter tends to be a conduit which many fans plug into to get newsy updates and links to reviews and features soonest. But one place with collates them has always been a grand idea and remains a grand idea.

I think it's a shame to see such largely negative reactions to ACE contemplating its navel as to how best to spend its budget on the nations art over the next few years. Most of the readers here have every reason to be thankful that ACE is funded as it is and has made the decisions it has around dance and company funding - so that many shows are substantially cheaper to see than would otherwise be the case. And of course, some shows tour that otherwise would not. In terms of The Stage report, I see lots of useful things emerging from ACE and particularly welcome its wish to connect with and be more relevant to more of the population. It's right that they are concerned about the audience who fund them. That doesn't mean they are not committed to high-quality work - it just shouldn't be an end in itself. It will be interesting to see how this crystallises out, but they are there to enrich the nation and not just a few who "Get it" in a high art sense. The only thing I don't spot in the report is any continued pressure to spend less on the arts in London and more away from the capital. But overall ACE deserve our appreciation and constructive support. No institution is perfect of course!

Foteini Christofilopoulou was at the International Draft Works 2019 photocall... Note that we have done the best we can with captioning a shoot involving many dancers and companies - what we have already represents much hard work. Dutch National Ballet at International Draft Works 2019, featuring choreography by Milena Sidorova and dancers Khayla Fitzpatrick and Giovanni Princic © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr Picture of Royal Ballet of Flanders at International Draft Works 2019, featuring choreography by Drew Jacoby who used the following dancers: Tieman Bormans, Daniel Domenech, Joseph Kudra and Oscar Ramos. © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr See more... Foteini Christofilopoulou: International Draft Works 2019 Courtesy of DanceTabs / Flickr

Foteini Christofilopoulou was at the photocall for Broken Wings and Nora... English National Ballet in Stina Quagebeur's Nora © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr Katja Khaniukova in Annabelle Lopez Ochoa's Broken Wings © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr See more... Foteini Christofilopoulou: English National Ballet in Broken Wings and Nora Courtesy of DanceTabs / Flickr

Yes. Nobody plans to make the odd mistake, but the odd mistake does happen. Writers do try, but pressures elsewhere in the newsroom can clearly introduce other issues as well. If a mistake happens the people to contact are the publishers. Its nothing to do with disrespecting anybody - it's a mistake in a busy world. For most this is all freely read on the net and great that reviews, features and pictures are out there for people to enjoy and bicker with. But don't expect perfection from a hard-pressed industry that people don't want to openly pay for and was never perfect in the first place. We need to be realistic and, actually, thankful.

Different strokes for different folks. I could readily discern all the people you mention above but that didn't mask my frustration at not always understanding the antics on stage of and with other characters. I obviously lack the necessary imagination!

Ian, thanks for the link to my interview with Cathy Marston. I can't recall a choreographer ever talking so much about the way they plan a narrative ballet and found it fascinating - which is why I quote it in such detail. Also good to talk to Cathy about how she and Uzma Hameed looked to bring Victoria to life. But, even armed with my interview, I'd say that I still got lost at times during Saturday's premiere - and that's not a great place to be. It's been fascinating seeing all the reviews - 2 at 4 stars, 2 at 3 stars + Louise Levene in the Spectator who do not star rate but, based on the words, I suspect would sit at 3 stars. Other major reviews will emerge in 2 weeks when the show gets to London. I think a few of us have alluded to the difficulty at times in understanding what is happening on stage. Levene perhaps makes the point best with: "The boldly episodic narrative outline runs to two rather confusing A4 pages — I defy anyone to convey ‘Albert dreams of a new Europe unified through his growing family’ without surtitles." I'm not sure if Northern Ballet has publicly released the synopsis from the programme, but if you plan to see Victoria, I'd suggest/urge/order you read the synopsis beforehand! Despite the problems, Victoria is a good ballet, with some particularly fine dancing. Just rather a shame that the same ingredients (Marston and NB) made such a gobsmackingly great ballet in Jane Eyre. You cant' win them all, but even so, I rather hoped for more clarity in Victoria I have to say.

Foteini Christofilopoulou was at a short Royal Ballet photocall featuring Marianela Nuñez & Vadim Muntagirov in Don Quixote... Marianela Nuñez and Vadim Muntagirov in Don Quixote © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr Marianela Nuñez in Don Quixote © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr See more... Foteini Christofilopoulou: Marianela Nuñez & Vadim Muntagirov in Don Quixote Courtesy of DanceTabs / Flickr

It's such a shame that she didn't mention this in the £5 programme. But that's not unique, many choreographers struggle to give the audience constructive notes about their work. Many just confuse things I find.

Join the club! I really was depressed as I trudged out. BUT I do support doing new things in new ways and am keen to see the company be more than 'Ye Olde British Ballet' and to keep recycling what were past glories. They need the blockbusters, to celebrate some past delights, to do new things by 3 in house resident choreographers and to break-out to other choreographers - Pite was the obvious example of this working, but they need more outside eyes working with the company. My 2p anyway. I think this bill depressed largely because the music was such hard going and the choreographic responses went with the flow. Mixed bills are no bad thing!

Good job Bluebird. For reference we were in BB 1 and 4 - BB1 is pretty hopeless and I don't think should be sold really. BB4 I would not buy again and the person next to us in BB5 was unimpressed...

Debra Craine in the Times on the @TheRoyalBallet #ROHnewworknewmusic bill - 2*s "The musical resources are fantastic, but the evening is short on creditable choreography." https://www.thetimes.co.uk/article/review-new-work-new-music-at-the-linbury-royal-opera-house-wc2-x5038c8n3 As Ian says the daily links will have more views, but I think Craine nails the stars right at 2 rather than 3 stars. Been a long time since I came out of one of RB's nights of new choreography in the Linbury/Clore feeling quite so depressed.

Just tweeted this: .@markymonahan on @TheRoyalBallet #ROHnewworknewmusic bill in Linbury covers a rather astringent night well. I'd have liked a more balanced bill but dancers looked fine. When I could see them that is - some seats have very poor views, not good at all https://www.telegraph.co.uk/dance/what-to-see/new-work-new-music-review-royal-ballet-linbury-theatre-fabulous/ It's a hard and samey night I felt - but then I didn't get to see the whole stage picture. But I'd have hoped for more. The bigger thing, for me, is just how poor the view is from some seats in the new Linbury. The old Linbury might not have been super comfortable, but generally, wherever you were you could see the stage. Having spend £50M+ (on the complete open up scheme, not just Linbury) it seems poor they made the overall seating position worse.

I now have details of the funeral for John Ross and plan to go... It will take place at Ealing Abbey, Charlbury Grove, Ealing W5 2DY, on Tuesday 12th February 2019 at 2:00pm. Family flowers only please. For further details please contact nicky@ross.uk.com or W Sherry and Sons (Funeral Directors) Tel: 020 8994 5474.

19 mins past 9 and at last its starting to react. 1268 in queue!

I've tweeted ROH and included a link to this thread. If you are on Twitter you might want to RT or make the point as well.

The site is on it's knees. Not possible to achieve anything

With great sorrow, I have to pass on the news that John Ross died unexpectedly on Monday night. John took photographs for Balletco, I think starting in 1999 and running through to 2011. He also put up pictures on this forum. In his time he took thousands of images for Balletco, and they will return at some point but under are three that I always remember - I'm doing a page on DanceTabs with many more pictures by him. John, who was a life-long professional photographer with premises on Tottenham Court Road when I first met him, had two of his own sites: http://www.johnrossballetgallery.co.uk http://www.johnrossmotorracingarchive.co.uk Besides taking photographs, John was always a keen supporter of the Ballet Christmas parties we used to hold and usually supplied large prints of his pictures as raffle prizes. He truly lived life to the full and was as busy as ever when I spoke to him in December. All who knew him will miss him, and our thoughts and sympathy go out to his wife Nicky and the family. Laura Morera and Johan Kobborg in The Lesson. © John Ross/ROH. David Drew (RIP) in Giselle. © John Ross/ROH. Leanne Benjamin in The Firebird. © John Ross/ROH.

Foteini Christofilopoulou was at the photocall for Asphodel Meadows and The Two Pigeons... Marianela Nuñez and Ryoichi Hirano in Asphodel Meadows © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr Lauren Cuthbertson and Vadim Muntagirov in The Two Pigeons © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr See more... Foteini Christofilopoulou: Royal Ballet in Asphodel Meadows and The Two Pigeons Courtesy of DanceTabs / Flickr

Foteini Christofilopoulou was at the photocall for Les Patineurs, Winter Dreams and The Concert... Fumi Kaneko and William Bracewell in Les Patineurs © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr Yasmine Naghdi in Winter Dreams © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr Thomas Whitehead in The Concert © Foteini Christofilopoulou/ROH. Courtesy of DanceTabs / Flickr See more... Foteini Christofilopoulou: Royal Ballet in Les Patineurs, Winter Dreams and The Concert Courtesy of DanceTabs / Flickr

I thought the Alastair Marriott choreography for Unknown Soldier desperately unimpressive, simplistic and lacklustre. I'd take more notice of Marriott (no relation!) if he dedicated himself to chasing, winning and creating work for companies around the world and improved over time. He hasn't and when it comes down to it has not created much really - nice website, but thin compared to what most serious choreographers can put up. RB have backed 3 professional choreographers which are all resident under various titles (McGregor, Wheeldon and Scarlett) and all are incredibly busy doing things elsewhere as well. They are the real deal. Having backed those 3, RB artistic management should use remaining commissioning dosh on professional choreographers from outside the organisation and, importantly, with fresh perspectives to bring. If Marriott wants to be a choreographer he should do what Jonathan Watkins did - stop dancing, leave RB and concentrate 100% on winning work wherever it is to be found.