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I typed the word ballet into the ABC iView website and this is the result/

Cinderella offers a solution...

We in Adelaide have to make do with the Sleeping Beauty. There is a story telling version (1 hour long) coming to Adelaide in January. I'm not a fan of the Beauty - too long and dull choreography until the story is out of the way.

There are a couple of episodes on BBC iplayer here https://www.bbc.co.uk/iplayer/episodes/p02mbg0z/call-my-bluff The one from 23/12/1974 features Beryl Grey.

In the early days of the internet, Usenet was precursor to forums. The wonderful Tom Parsons curated the ballet faq, which upon his sad death was archived with Gaynor Minden's site. From the faq 3.3. I'm in my early twenties; it it too late for me to start a professional career in ballet? It's not impossible--it has been done before--but the odds are against it. Leigh Witchel offers more details: The average age of a woman starting ballet is between eight and eleven, of a man, often in his teens. Later is not unheard of; Melissa Hayden began at 15, Igor Youskevitch at 22. A word of warning, however: As you grow older, developing flexibility is infinitely more difficult. If you do not have a natural facility, you will be fighting an uphill battle the whole way and may find the pain too great to be worth it. Also, for a woman, developing the ankle strength and articulation of the feet necessary for pointe work takes around five years, which adds another handicap. Moreover, at the onset of training, you can really only take so many classes a week without risking injury. So the roads of an amateur and professional do not diverge until at least a little way into training. At that point, take a good look at what you are doing, your progress in relation to others, and how happy it is making you. Are you ready to play a game of catch-up that may be sisyphean? It may be worth the struggle.

I think Balanchine ballets are difficult to review, as which ever company is performing, the ballet will always look the same, except for the dancers. The George Balanchine Foundation ensure this is the case. I haven't seen the Australian Ballet for several years, having been living in Birmingham for the last 30 years, so I have lost touch with the members of the company. I do know Joseph Caley, ex BRB, is a principle. Unfortunately, he wasn't dancing the night that I attended. I have long thought Caley is a very exciting dancer to watch. Of the three acts, Emeralds, Rubies and Diamonds, all were superb, but I favoured Emeralds. Perhaps because I have been starved of ballet since I returned to Adelaide. Ask me tomorrow which was my favourite and I might well respond with one of the other two. Both Rubies and Diamonds received lots of applause for the costumes when the curtain rose, but Emeralds didn't. The principles for Emeralds were Dimity Azoury & Misha Barkidjija and Katherine Sonnekus & Brodie James. For Rubies we saw Ako Kondo, Brett Chynoweth & Belle Urwin and for Diamonds Sharni Spencer & Callum Linnane. Chynoweth's biography indicates he guested with the BRB in 2018; I am sorry to say that I don't remember him. Linnane was, for me, the standout male. Tall, elegant and powerful. You just couldn't take your eyes of him. As for the ladies, all are beautiful and graceful. The music was played by the Adelaide Symphony Orchestra. AFAIK, the Australian Ballet don't have a regular orchestra, using which ever orchestra is in the capital city that are performing in. When the conductor took to the stage, I recognised him as Jonathan Lo. He gets around, doesn't he? The glittering and luscious visual ensured that the audience’s gasps grew louder with each curtain rise. This belies the complexity of the choreography, which the dancers made look effortless. The costumes are, of course, exact replicas of the originals. I read that the hundreds of rhinestones and beads sewn by volunteers from the Country Women’s Association and the Embroidery Guild of Australia. I trust they received free or cheap tickets to see the labours in action. Jewels is a welcome and glittering escape from a dark winter’s night.

Royal New Zealand Ballet are streaming Hansel and Gretel Tuesday June 25 2024, 12:00 AM NZST (130 mins) and don't worry if you miss it, it will be available 25-30th June https://www.tikstream.com/rnzb/Event/hansel-and-gretel

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Aurora Australis is visible too. Even living in the suburbs, with all that light pollution, it has been visible. I'm hoping go go somewhere dark tonight on the coast for a better view.

This is a sculpture I saw today in Adelaide. It is by Gregg Mitchell & Greg Healey. The two parts are on opposite side of the Morphett Street Bridge.

The cover page of Wikipedia says "Welcome to Wikipedia, the free encyclopedia that anyone can edit." If you feel something is missing from a page, add it; if something is wrong, correct it. Appropriate references will ensure your changes remain.

I didn't have a problem. It might be worthwhile adding 8.8.8.8 to your DNS list. That's google's DNS and this will allow your system to go to another provider if there is a problem with your ISPs DNS.

How does someone move Rudyard Kipling's Jungle Book from the printed page to a visual experience? There are several film adaptions and now Akram Khan brings it to dance, changing to a post-apocalyptic setting, reimagined characters and a multi-layered production, transforming the children’s tale into an urgent call to action. As the curtain rises, the silhouette figures of the dancers stand posed against a green backdrop on an otherwise empty stage, while snippets of radio broadcasts fade in and out warning of drought, flood, fire, rising sea levels and the impending destruction of civilisation. The scene is set in a drought. The rain comes; an animated tempest projected onto the front of the stage, while the backdrop projection we see this is not set in Kipling’s jungle, but a post-apocalyptic cityscape surrounded by rising seas. The stormy sea grows deeper and we see refugees clinging to flotsam tossed about on the waters. The primary focus is one makeshift raft, that carries a mother and her daughter. The child falls into the ocean, is rescued by whales, and we are transported with her into the aforementioned post-apocalyptic city, where a wolf pack finds and presents her to the animal council which decides to let her stay, giving her the name Mowgli. The characters from Kipling's book are present, but changed to facilitate the story. Baloo is an elderly dancing bear who escaped from his captors, and provides comic relief from the bleak setting. Bagheera the panther was also a prisoner as a palace pet, while the Bandarlog are former lab monkeys. The dancers portray each of the individual characters, although without the narrative identifying them might be difficult. Of course, some have been omitted; in his book,Kipling created a cast worthy of Cecil B DeMille. I wondered how Kaa the python would be envisaged. It is amazing what a few cardboard boxes can do. Also we learn that fire, is the most feared possession of mankind. Animals can’t control this, only mankind can. The piece ends with the elephants offering advice on how the animals can survive, and Mowgli returning to the ruined city, to stand up and fight for her newfound friends. There is no advice on solving the climate crisis depicted throughout the work. The blend of dance, spoken narrative, animated projections, music and sounds, is superb. Everything works together seamlessly. There are some wonderful effects. I especially liked Mowgli shooting the arrow from the bow. This is an unbelievably good watch.

Me neither what I logged in.

Adelaide is home to one of the largest annual arts festivals, with this weekend being the conclusion. Entering the auditorium to see Streb Extreme Action, there was a voice-over running, which is Elizabeth Streb speaking, and/or another voice talking about her personal history in the arts. This dialogue was largely pointless, because as the audience grew in number, it just became part of the background noise you experience in a theatre before the show starts. The lights dimmed and the curtains parted to reveal a rather large semi-circular device, with some young acrobats dressed in tight-fitting outfits, who began climbing upon this rocking prop, all the while yelling out positions. This consisted of standing, squatting, crouching, lying down, etc and announcing their next moves as if they couldn't see each other. As the semi-circular prop got to vertical, the whoops of the audience grew louder, as the apparent danger increased. With plenty of hand-holds on the prop and very thick crash mats, it was all perfectly safe. It was fairly standard tumbling, but the participants whooped and yelled as if they were doing something extra special. Next the Streb Extreme Action group went through a few spots which drew inspiration from silent movie slapstick routines. Firstly a chap with a ladder on his shoulder who turns around and narrowly misses decapitating someone, except it wasn't a ladder it was a bar. When I first saw it, I thought "Ooh nice, Russian Bar"; I was disappointed. Also there was the falling wall with the open window trick, which Buster Keaton made famous, all performed to whoops and yells, ignoring the sublime nonchalance of Chaplin, Keaton etc. We where then treated to some simple pole turning and two people walking on a 6" diameter pipe. The voice over mentioned that originally the latter was done on a hard floor. Now it is done on a thick mat, which makes it very easy indeed. Finally came some trampoline, with all members of the company leaping high and landing on crash maps. Nothing we haven't seen many times before. I felt it was trying to be Cirque du Soleil; it failed. On the cast sheet, the performers are billed as "Action Hero", in a typical over-hyped American attitude. Overall, I felt the performance was uninteresting. The opening spot was the best visually and it went downhill from there. There was a Q&A with Ezliabeth Streb and the cast. Streb said something about music getting in the way of dance. What rubbish! Link to cast sheet with a picture of the opening https://www.adelaidefestival.com.au/digital-show-programs/time-machine-show-program/ I found the opener on youtube