Bruce

For info Alina Cojocaru joined RB in Nov/Dec 1999 and in June 2002 debuted as Odette in Sydney. So that's around 2½ after joining as a member of the corps. But there is always a bunhead who knows more, so await other bids for Alina's first Lac!

Judas Tree and ENB Song of the Earth Hope I'm in the right place - I think Judas Tree and ENB Song have been discussed on separate threads - but they were both on stage together last night so assume they are discussed here... Just wanted to say how much I admired the Judas Tree revival - it's a hell of a piece that makes you think about the base instincts that hover around us humans but rarely fully surface. MacMillan's movement is chillingly graphic and underpinned at every turn by Brian Elias' score. It still feels fresh - years ahead of its time and for me something of a riposte to those still finding their dramatic feet on the dance stage. I wish somebody else would commission Brian Elias. Not easy watching but it makes you ponder at length. I thought Cuthbertson really rose to the occasion as the woman and Watson is a peerless friend. Soares, I think, can did deeper and be more terrifying. Reece Clark, as the second friend, seemed rather out of it. I love the end of Song of the Earth... but not much else. German singing/Lieder does nothing but depress me. Philistines R Us I know! That said Erina Takahashi looked in command of what she was about.

Thank you and Duh - I should read my email more closely - I've just posted more details of these shows on the relevant thread:

Some more information on this from the press release... Viviana Durante Company – Kenneth MacMillan: Steps Back in Time Wednesday 18–Saturday 21 April 2018, The Pit Press night: Wednesday 18 April 2018, 7.45pm In honour of Kenneth MacMillan, the hugely influential and ahead-of-his-time choreographer, the legendary ballerina Viviana Durante directs extracts from his enthralling earliest works. Tearing up convention and turning staid ideas on their head, MacMillan began creating his own ballets in the 1950s. Believing that dance had the power to explore the human condition, he made potent stories with an emotional quality that invited audiences to become caught up in the fate of his characters. As an artist whose association with MacMillan dates back to their time at The Royal Ballet, Durante has both danced and revived his creations. To celebrate his legacy and to mark 25 years since his death, she selects three short ballets: House of Birds, Danses Concertantes and Laiderette, the latter staged in full. Together, they highlight the boldness, insight, complexity, wit and relevance of MacMillan’s choreography. Performed by artists from Ballet Black and The Royal Ballet, including principals Lauren Cuthbertson, Laura Morera and Edward Watson, each contains a passionate pas de deux, another famous MacMillan forte. Kenneth MacMillan: Steps Back in Time Viviana Durante Company UK Performed by artists from Ballet Black and The Royal Ballet, including principals Lauren Cuthbertson, Laura Morera and Edward Watson Wed 18–Sat 21 April 2018 (5 performances) 7.45pm; 2.30pm on Sat 21 Apr 2018 1 hour/no interval (includes post-show talk after each performance) £18 plus booking fee Age guidance: 10+ Presented by the Barbican #MacmillanBarbican

Yes, yes, yes! The House of Birds pdd was a particular revelation - would love to see that brought back again, if not the complete work. More details: http://www.kennethmacmillan.com/house-of-birds

Sorry but that rather cavalier response just makes me wonder how many other things get casually asserted without really knowing for sure or checking. On a more positive note I really enjoyed tonight's livestream and thought Clemency Burton-Hill did a fine job knitting it all together. I hope she does more and similar for RB. Nice to see Marion Tait, Viviana Durante and Irek Mukhamedov at work coaching two diverse works, each spine-tingling in very different ways.

You most certainly won't. Jann Parry's illuminating piece about Scottish Ballet bringing back Baiser: http://dancetabs.com/2017/10/bringing-back-kenneth-macmillans-le-baiser-de-la-fee-the-fairys-kiss/ Jann Parry is also taking part in the Livestream tonight.

A few things come to mind. I doubt that anybody on the list has taken a salary cut associated with the base directors salary. Differences for Bintley and Hampson are probably down to choreographic licence fees and reflect what's in the repertoire in that particular year. Christopher Hampson is not 'just' an artistic director - he is also CEO. That's effectively a separate (and very well paid) role in all the other companies. Everybody should be paid what the job is worth - which is not necessarily what an individual person is worth in the wider and more open market. When Rojo stops dancing it would be hard to defend the current rate I suspect. But I'm sure a case could be made - Rojo has done more then anybody to get ENB's name out there and given a very public national face. That's gold-dust for any organisation. It would be nice to know the numbers in context - what other major arts undertakings pay for their management.

I think the company is making a huge miscalculation wrt Brandon Lawrence. All dancers are on different trajectories and sometimes talent comes along that needs accelerating through big time. Significant dancers are leaving Birmingham in search of both better rep and access to modern/talented choreographers and while Brandon might get more roles within the limited confines of Bintley's approach to ballet, not to show him how much he is appreciated by the company is just bonkers. I conclude that the company isn't too worried about seeing him go. I had a lot of respect for Wayne Eagling's decision to back Vadim Muntagirov from fresh out of school. And ENB and their fans did well out it - as did Vadim. But there came a time when his talent was such that to reach his full potential he needed to move on. There is a natural assumption that you bash on the Royal Ballet door, but it's a much bigger ballet world and there are fabulous companies in Europe and the USA. Just look at SFB's approach to new work/rep and the choreographers it works with - and weep. There are lots of options for incredible talent.

ACE have been under much pressure to get money out of London and ROH is a huge spend for them and a company that doesn't look to tour the UK at all (Cinema relay, while useful, is not the same) In the last 3 funding round 56% of ACE funding went outside London (so 44% of spend in London) For the next 4 year round that changes to 60%+ outside London. London is the nations capital and will always have more spend, but I think there is more to do yet in shaking money out to the rest of the country

I just created a couple of pictures that give the essential info for dance on who gets what, the decrease or uplift etc and all sorted by size of grant...

I see it like MAB - the gaffer tape and falsetto singing sections are about indomitable spirit and faith firmly held being unshakable. There is black humour everywhere but a good parallel for this is Chris Bruce's Swnasong and the interrogators putting a clowns red nose on the prisoner. The tape is low tack and no animals or dancers are hurt! Brilliant idea to mic up the dancer doing the taping - such a horrid and yet theatrical sound. I also like the end with its Escher perpetual circle of the those with faith testing themselves and constantly communally reaffirming that faith. But like Aileen I think the piece draws out the first section way too long and with it more than a few switch off. I've not run it on DanceTabs yet (later today) but Jann Parry gives a good breakdown of the piece, and the confusions it sets off, in her 4* review of the show. But I will say that I find it interesting that of the 2 pieces on the bill its the Preljocaj that has generated the most thought and exchange.

Worth having a read around about MC 14/22. I was rather bewildered by it the first time and the second I picked up on much more. Although nominally about the Last Supper, in actuality it’s a much bigger piece that makes you think about religion and unshakable faith generally, the camaraderie of men and the wretched and cruel side of human nature. It's a bit too long, but a better piece than most reviews implied. The Pite speaks for itself but again there is interesting background material. Generally the bill got 4 stars when shown in Scotland - and rightly so. It's a busy week in London and there is naturally much interest in the RB Ashton bill and its parade of interesting casts, but well worth seeing SB at the Wells - such a contrast from a huge slap of the new.

There is a regular meeting/forum where most companies talk about what they plan. But I don't believe anybody is under an obligation to avoid a clash. It makes sense to, but sometimes institutions can be bloody minded etc. I seem to recall a few years ago that just before ENB were due to present Manon for the first time, RB reminded everybody how it should be done...

I see that BRB have released an updated press release. I wont put it all up but the title has now become: World premiere* of Birmingham Royal Ballet's Arcadia and at the bottom is added: * The full version of Arcadia receives its premiere as part of Three Short Story Ballets at Birmingham Hippodrome, 21-24 June, following the tour of a reduced version during May I think that's a more honest way to talk about Arcadia - though I can't recall the Southern tour pitch being to come and see a 'reduced version' of anything! More generally I'm looking forward to seeing this triple bill in Brum - if mainly for the wonderful Pineapple Poll and to refresh my memory on Corder's Baiser. Later this year Scottish Ballet will be touring (to London as well) MacMaillan's Baiser, so interesting comparisons to be made.

Interesting to see that DNB's Ted Brandsen is now on the Scottish Board. It was also recently announced that Brandsen in on the 'Creative Consortium' that steers the Sadler's Wells/BRB Ballet Now initiative to develop choreographers. Good to see ballet forming new links like this. And good for Scottish Ballet to be seen to cultivate links into Europe, given the current politics. Also impressed by the appointment of Anna Bateson - beefing up their digital knowledge. Although it didn't feature here particularly Scottish Ballet recently had a digital season and are clearly looking to push the boundaries beyond "lets do lots of videos and live transmissions". That's useful stuff, but not ground breaking.

Brandon Lawrence is very special and I think world class material. But he needs feeding in the same way Vadim was recognised and fed, first by ENB and now RB. It's nice to be chosen as the lead in a 24 minute piece by a junior choreographer but to reach his potential he needs to be cast in the big classics. Interesting that his fellow soloist, William Bracewell, is leaving BRB at the end of the season and going to RB. I hope BRB don't loose Brandon as well.

Arcadia has already been premiered on the small scale Southern tour - albeit with 4 less corps dancers and a smaller orchestra than will be used in Brum. Personally I think it a bit cheeky to make out the Birmingham show is of a brand new piece just being unveiled. Anyway... Arcadia and the rest of the bill is enthusiastically covered on the forum here: And I reviewed the first night in Cheltenham here (somewhat less enthusiastically): http://dancetabs.com/2017/05/birmingham-royal-ballet-arcadia-premiere-wink-cheltenham/

This might be helpful, hopefully I've deposited in the right place...

My point was perhaps more a generic response to a generic observation. I so actually much admire some of Bintley's work - I don't have a universal down on all he does at all. Long may he create... but not dominate creation. I don't think so many companies of the BRB size are run this way. Hamburg Ballet is under Neumeier. Possibly Houston under Welch? But who then of this size? Contrast NYCB and SFB both with choreographing directors and both giving the bulk of the money to outside choreographers. I think that's a far better model. Not sure it's so good to raise Balanchine's name in the same breath as Bintley. They do different work but I don't think many would put them in the same league. Certainly if anybody had a 'right' to give themselves all the new work it would be Balanchine. He certainly did an awful lot for NYCB (understatement!) but even he realised that there needed to be another very significant choreographer creating on NYCB - Jerry Robbins. I've done this to death I know - and upset many I'm sure. Time to move on I think. But I will say I will be at the premiere of Ruth Brill's new work for BRB this Friday. Very much support growing choreographers and the company.

I am of course not in any way privy to BRBs commercial contracts... But in general I'd say that directors and those who represent them are no fools. Nobody is going to loose track of the value of choreography as distinct from directing. The costs of work are real and will be factored in one way or another. But even if one believed it, it seems wrong to repeatedly choose the same creative for your new work because they are cheap.

Oh - I certainly love ballet and want to see them carry on and doing classical rep as well, which I also love etc. So I wasn't suggesting that they become Birmingham Royal Dance! ENB, Scottish, RB and many ballet companies around the world have a wider vision of what ballet companies, and ballet dancers, can do - and I like that. No suggestion that all companies should copy one another in terms of specific rep. But I think having somebody at the top with wider vision is good. In BRB's case I also think Bintley giving himself so much of the action around creating new work is too narrow a vision. With regard to BRB vs ENB I'd note that BRB get significantly more Arts Council grant than ENB - and yet they appear less vibrant and progressive. Less the future. For my money BRB need to go through the same artistic change that Northern Ballet are going through - with a wider diversity of choreographers *creating* (major works) on the company.

Good to see fresh money going into developing choreographers. But isn't BRB classical enough already? To date Bintley wouldn't dream of doing anything like an Akram Khan Giselle, having a piece of Wayne McGregor (new or old) and I doubt Crystal Pite would fit. Scottish just premiered their new piece by Ivgi & Greben to 4 stars and more reviews - again a diversity of work that Bintley has generally struggled to get his head around. Perhaps the saving grace of the Ballet Now money is that the commissions are by BRB and the Wells and that the process (including selection of creatives) will be overseen by a consortium: "The Consortium consists of: David Bintley (Director, Birmingham Royal Ballet), Koen Kessels (Music Director, Birmingham Royal Ballet), Alistair Spalding (Sadler’s Wells Artistic Director and Chief Executive), Cassa Pancho (Artistic Director, Ballet Black), Ted Brandsen (Director, Dutch National Ballet), Emma Southworth (Studio Programme Senior Producer, The Royal Ballet), Sally Beamish (Composer), Sally Cavender (Director, Performance Music and Vice-Chairman, Faber Music). More members will be announced shortly." I wish it well that's for sure. Not long to sort themselves out - the first commission is presented by BRB next summer. Under is the actual press release. I find it very interesting that it does not put the same stress on the classical that the BRB Blog does (first post) - in fact it doesn't mention "classical" once. Good! ---- BALLET NOW – NURTURING TALENT ON THE BIG STAGE Birmingham Royal Ballet, in association with Sadler’s Wells, to launch world class ballet development programme in 2017 In a new and ground-breaking initiative to develop choreographers, composers and designers who show originality, insight and world-class potential but have not had the rare opportunity to work on the largest scale, Birmingham Royal Ballet (BRB), in association with Sadler’s Wells (SW), funded Oak Foundation, are to launch Ballet Now this month. Ballet Now is a five-year programme of professional development with two commissions made each year by BRB & SW, supporting a total of 6 artists per year - one choreographer, composer and designer per commission. Commissions will provide the support and freedom to champion artistic innovation, risk taking and new choreographic practice. With mentoring from BRB’s Artistic Director David Bintley, Koen Kessels, Music Director for BRB, and other experts in the dance industry, choreographers, composers and designers will have the opportunity to challenge their choreographic practice and develop creative collaborations for presentation on the large-scale, whilst gaining valuable skills in leading a creative process in a major ballet company. The process will be developed and overseen by a Creative Consortium - a panel of experts drawn from across world ballet supporting the selection of creative talent, as well as overseeing mentoring opportunities and the on-going success of the programme. The framework established by the Creative Consortium will enable the evolution of new and innovative works and for talent to be developed within the most experienced of ballet environments, with day-to-day guidance from some of the most globally renowned experts in their field. The Consortium consists of: David Bintley (Director, Birmingham Royal Ballet), Koen Kessels (Music Director, Birmingham Royal Ballet), Alistair Spalding (Sadler’s Wells Artistic Director and Chief Executive), Cassa Pancho (Artistic Director, Ballet Black), Ted Brandsen (Director, Dutch National Ballet), Emma Southworth (Studio Programme Senior Producer, The Royal Ballet), Sally Beamish (Composer), Sally Cavender (Director, Performance Music and Vice-Chairman, Faber Music). More members will be announced shortly. Ballet Now will also ensure the widest possible circulation of that work, developing the artistic collaborations needed to forge careers around the world by working in close partnership with some of the world’s leading Companies. “A ballet company should not be a museum,” says David Bintley, “it should be active creatively, within its artistic boundaries and also within the communities it serves. Giving an opportunity to artists to work together and take risks on this scale will be a game changer; this is not happening anywhere else in the world and we will make it happen here.” Ballet Now will launch with the first meeting of the Creative Consortium on Thursday 27 April, with the first awarded commissions to be announced on 3 November 2017 at Sadler’s Wells.

Just out of seeing tonight's performance. I have to say that the second cast Dawson really went for it - bravo. But I still think when the Wheeldon starts you immediately feel you are in the hands of somebody with more experience and mature views. But the Pite takes you to a whole other place. Whereas the boys concentrate on a few dancers, Pite sees how to make a mass of dancers into a greater and more interesting body. I just love it that while others want to work with 'top brass' of the company, Pite wants to work with soldiers and low officer ranks and in the doing shows us a magnificent vision of what dance can be in 2017. But it's not for everybody - about 5 minutes in I saw a couple leaving - its not ballet as many understand it.

All choreographers have to come to terms with criticism. I'm sure it must hurt if read (some don't!), but it goes with the job. Most choreographers don't respond - in the long term it goes nowhere at all. Just throwing a hissy fit does not inspire confidence. Later withdrawing what you said might be helpful, especially if accompanied by an apology/explanation (not the case here), but it doesn't mean it didn't happen and people/ADs won't remember it all and reflect. Dawson wasn't the first choreographer to garner a handful of not so great reviews and he wont be the last. His distinction is to draw attention to them. Not good for him or the company. None of this is understandable at all.