BristolBillyBob

On a side note, he also says: As someone who has been to four F1 grand prix weekends at Silverstone, I guess I must be the exception that proves the rule...

This is from an interview with Formula One overlord Bernie Ecclestone: Brilliant.

I'm not attached to an academic department, I work centrally.

No... I've either been fighting a cold or something off, or I'm just not coping well with autumn, but I've been so run down the promise of a sofa and a blanket was too strong compared to a potentially long wait in the cold! I know, I know... Rock and roll... I work at the University! If you ever go through with your threat, give me a shout and I'd be happy to show you around the uni if you fancy some nostalgia.

Well, a second bite of the cherry yesterday afternoon at the Hippodrome, with one Tamara Rojo in the lead role. It's not often I do a double-take at the ballet, but when the ENB are in such a quality-ballet-strapped-town as Bristol, and the theatre's only a five minute walk from my front door, it seems churlish not go a couple of times. This was my first time seeing Tamara Rojo dance, and her casting was the reason I'd booked for the Saturday matinée particularly. I confess I've barely seen her dance before, but I've seen her Marguerite and Armand both at the cinema and on blu ray, and just from that I'd formed the opinion (rightly or wrongly) that Rojo's strengths are in the power of her dancing and in her willingness to throw herself into the emotion of the piece. Not necessarily the qualities required for a such a light-hearted role as Swanilda. I'd hoped to be awed by her performance. On stage, she had the supreme confidence of a dancer with absolutely nothing to prove, which made her wonderfully watchable, but it was only after the Spanish and Scottish dances in the second act that I felt I'd seen The Full Rojo. On quite a few occasions, though, if I'm completely, brutally, hope-that-Tamara-doesn't-read-this-and-recognise-me-from-my-photo-if-I-get-the-chance-to-meet-her-and-get-an-autographly honest... I wasn't strictly sure that I didn't enjoy Laurretta Summerscales' performance at least as much. I guess it feels tricky to say that, because from what I've seen Tamara is something akin to ballet royalty, but those are my thoughts and I'm sticking by them. Accompanying Tamara was Fernando Bufalá. And his interpretation of Franz couldn't have been more different to Junor Souza's. Well, I suppose it could've been if he'd played it as an overweight octagenarian one-legged pasta chef with a limp, but you get my meaning. Where Souza's Franz felt like a foolish soul, forever at the mercy of his adolescent impulses, Bufalá's Franz was a raffish rogue. This Franz was having a whale of a time, two-timing his way through life with a cheeky wink knowing full well his effortless charm would allow him to get away with murder. Both were exceptional dancers, but it was the two different takes on the same role that made seeing this twice so compelling. The cast in the smaller roles were pretty much the same, but I should give proper credit to Seo-Yeon Yu, who had impressed on Thursday, but who narrowly missed out on featuring in my first review. Finally, even though the cast sheet said otherwise, I was surprised and delighted to be treated again to another appearance by Jeanette Kakareka as Prayer. Shaking off any nerves she had on Thursday, this was much more confident performance, something I was relieved to see. And once again, she was the stand-out of the show for me. Which presumably means she'll be heading to Royal Ballet Flanders at the end of the season, so catch her while you can.

Ooh, I would love to see Alison McWhinney dance that part! *crosses fingers for Saturday*

Just got back from the Hippodrome here in drizzly Brizzle after a jolly fun afternoon seeing ballet instead of the more traditional weekday afternoon doing spreadsheets! I've seen Coppélia twice before, both by touring Russian companies and it was dreadful once and brilliant once. Since you ask, the brilliant one was, surprisingly, Moscow Ballet La Classique at that European powerhouse of the arts, the Yeovil Octagon. Anyway, I'm pleased to say there's now a 2:1 hit rate on this after ENB's lovely production. It's easy to forget that Laurretta Summerscales is still a First Soloist. Very easy indeed. She was a confident and hugely likeable Swanlida. Her acting in the middle act was impeccable, with a deft comic touch and a fantastic instinct for character, and she's a fine dancer. Junor Souza impressed me hugely in Le Corsaire and he didn't disappoint here. His Franz's matinee idol grin, I think, is the only thing that enabled Swanlida to forgive him rather than drown him in the fountain in exasperation. Souza's leaps and turns are mightily impressive. Although there was one slight comedy moment in the final act where, after a few tours of the stage, he ended up on one knee in front of one the male corps dancers rather than his bride. If I was Swanilda, this would've been the last straw and he'd be off to a watery grave post haste, but I guess it was that grin to the rescue once again. The one dancer who really caught my eye was Jeanette Kakareka in the role of Prayer. She seemed to have a few nerves, and the choreography in this particular role is merciless, with its long balances. So she might be a bit surprised to hear she was one of my stand-outs of the show. Kakareka has a lovely instinct for movement and traces beautiful lines in the air with her fingertips and toes. She was the only dancer I felt obliged to check my cast list for during the show, and I noticed an asterisk by her name (denoting a debut in the role) so it's unsurprising she was a little tentative. I hope she will be offered many more opportunities to showcase her talents and grow in confidence. I'll keep a keen eye out for her on the cast list in future shows. If I were picking nits, I would say that there were moments where the sychronicity of the corps and the small group variations wasn't quite there. I don't think ENB has a bad dancer anywhere in its ranks - quite the opposite, in fact - so I'm not picking fault there, but it may be an area to focus on particularly as it's not the first time I've noticed this in an ENB production. Maybe I'm just spoiled by David Bintley's exacting standards at BRB? In terms of the production, the costumes were lovely, the sets fantastic for a touring production. The middle act, in particular, had some lovely lighting touches, such as the stove - complete with steam! - and lit-up automaton. Anyway, a really fun afternoon at the ballet! I'm seeing it again on Saturday with Tamara Rojo in the lead role - something I'm quite excited about! - so I'll pop back with a bit more after that.

I'm a little in the dark on this term too, would someone mind filling us Bills in, please?

Funnily enough, the 'Rebalancing Our Cultural Capital' report has been published today. The Beeb has an article on it here, and the report is online. I haven't had a chance to read it properly, but the word 'ballet' doesn't actually show up on a search of the document.

I suspect you're right. That would be very sad news, though. ENB are the only top ballet company (leaving aside New Adventures) who tour to Bristol. I would hate for us to lose them.

I'll be seeing Tamara Rojo dance for the first time* in a couple of weeks at Bristol Hippodrome. Needless to say I'm quite excited. As I suspect she's possibly not a million years away from retiring, and I might not have the chance too often in the future, I was thinking I'd go to the stage door afterwards to say a quick hello. As she has a senior management role as well, though, does that mean I'm less likely to catch her at the door? Or might she take much longer, schmoozing, letting everyone know how marvellous they were (dahhhling!), berating an underling, etc.? * She's probably danced before, I'd imagine, but I'll be seeing it for the first time if you see what I mean.

I might be a relatively lonely dissenting voice here, but I was slightly underwhelmed by ENB's production. That might have been because I wasn't a big fan of the dancer playing Siegfried, though. I caught RB's on Sky Arts and was riveted by it, partly due to Zenaida Yanowsky who was utterly mesmerising as both sides of the swan. In either case, I would say you won't be disappointed. My recommendation would be to pick the favourite dancer you'd like to see in the O/O role, as that will make all the difference. As an aside, BRB's Swan Lake is terrific (although it won't be on this season). After being slightly disappointed by the Siegfried in ENB's show, I specifically booked in to see Iain Mackay in BRB's version and he was predictably awesome (as with all the male dancers at BRB).

So you were the accoster, accosting Acosta, the accostee? I think I need a lie down. ;-)

I did pick up a programme. My first that I can barely understand a word of, but I've got one for every ballet I've seen so I'm not going to let a piffling matter of comprehension get in the way. It has lovely pictures. I can't seem to see any reference to an AD for RBF. The only reference I can see is to Reid Anderson, listed alongside other staff's biographies, who from what I can make out is AD at Stuttgart Ballet? Is he RBF's temporary AD or something, then?

That's great! Thanks for the link, Ian. Oh, how I would love to see Nancy in Elite Syncopations. As an aside, the link also highlights a curiosity that intrigues the linguaphile in me, namely that the word ballerina has persisted (presumably from the Italian), whereas ballerino has fallen by the wayside in English in favour of 'ballet dancer'.

Ah, thanks for the heads-up! The perils of reviewing a first encounter of a ballet without a more knowledgeable Ballet Buddy in tow. I hope, then, that RBF won't take that criticism personally. Niets persoonlijks!

The timing and location of my mini-holiday to Belgium were largely inspired by Nancy Osbaldeston's debut for Royal Ballet of Flanders. I'd always remarked that I'd make the pilgrimage, and decided I should put my money where my mouth was. It was my first time visiting Belgium, my first solo holiday, my first ballet abroad, my first time seeing Royal Ballet of Flanders, and my first Onegin. And they were all, without exception, great. To see Nancy opening RBF's season as Olga, it made complete sense why she would make the jump across the sea. This is an opportunity that would probably have taken a lot longer to materialise in ENB, if only by sheer weight of numbers above her in the hierarchy. But she rose to the occasion magnificently. The last thing I saw Nancy in, discounting Romeo and Juliet, where I didn't get to see a huge amount of anyone, was in the excellent Vera at ENB's Choreographics and I wrote this at the time: Seeing Nancy take the stage in Ghent, I'm even more certain of this. She is even better now. She seems to have matured yet further over the summer and there's now a growing dramatic weight and maturity behind her ever-present immaculate musicality and effortless grace of movement. Chatting after the show with some fellow fans who'd also made the trip over, we all agreed that she'd make a terrific Swanilda in Coppélia. It would be a natural fit for Nancy, with her impish charm and her lightness of movement, but watching her as Olga I realised that Nancy's dramatic range is growing so quickly that I can't imagine a role that she wouldn't be able to make her own and excel in. I waited by the stage door after the show to say hello afterwards, and she was as charming off stage as on it. Still my favourite dancer by a country mile. Onegin, as a ballet, is right up my street. It's full of PDDs (which are my favourites), it's dramatic, moving, romantic and all-in-all, jolly good fun. It's also, as far as I can tell, a piece where the four leads can take centre stage, with the corps taking up the bulk of the rest of the action. I've decided that this is the ballet I'll try and take ballet newbies along to if they ask me to introduce them to the art. It's a simple plot to follow, there aren't endless ballroom scenes, and the choreography (at least in Cranko's version, presented here) I found accessible and exciting. Aki Saito and Wim Vanlessen... What can I say? They are the strongest partnership I've ever seen. I think they've been working together for 20 years (although I'm open to correction on that) and it shows. Their PDDs were genuinely thrilling, not just because of their synchronicity, but also because of their evident complete trust in one another. I think I actually gasped at one point. Both are exceptional dancers, of the highest standard, and dramatically they lived and breathed the characters. Wim, especially, demonstrated expertly judged dramatic range in his appearance from the mirror, dancing the idealised version of the character in perfect juxtaposition to the cold arrogance of the man himself. I've no idea how close either dancer is to retirement, but I implore you to try and see this pairing before it's too late if you ever get even a hint of an opportunity. The production itself was fantastic, too. If Onegin is typical of the way that RBF put on a show, then I definitely approve. The sets were simple and elegant, allowing the dancing and the drama to take the eye, rather than over-elaborate staging. The orchestra were note perfect as far as I could tell. My only small criticism is that the 'country men' at Tatiana's birthday were too caricatured. It felt slightly insulting to the audience's intelligence that they should be so over the top, and it detracted from the elegant, measured drama of the rest of the production. It could have been toned down a little bit and we'd have still got the idea. Anyway, I had a terrific time watching Royal Ballet of Flanders. Not only that, though, I had a great time seeing a bit more of the world, discovering that I quite enjoyed travelling by myself, and I met loads of very lovely people along the way. Top notch ballet with a side of personal growth thrown in? I'd call that a successful trip.

You are kidding me. That's AWESOME news. So exciting. I will DEFINITELY be there, and will definitely be at the stage door afterwards.

I only saw Elena dance a handful of times, including her sublime Aurora in Sleeping Beauty, but the way she commanded a stage was second to none. My favourite memories of Elena, though, will be of her performing with the Bristol Russian Youth Ballet Company in Cinderella at Weston Super Mare. Not just for the beautiful way she performed, but also the kindliness and respect with which she interacted with the other dancers. As I said in my review at the time: Elena earned my adoration and respect not only for her dancing, but also for being a jolly fine human being, and I wish her all the very best of luck with whatever the future may bring.

"You have this word, 'alcoves'?" I'd be lying if I said that film wasn't the prime reason I'm checking out Bruges. What a movie! And what a screenplay - definitely deserved the BAFTA win and Oscar nod for the script.

Thanks for fleshing out the post, Janet. Exciting news, huh?

http://northernballet.com/?q=media-releases%2F2014-09-26%2F2-2-1984 2 + 2 = 1984 for Northern Ballet Published on Mon 29 September, 2014 Northern Ballet is delighted to announce its next new creation will be 1984, based on George Orwell’s dystopian masterpiece and created by guest Choreographer Jonathan Watkins. Experts in passionate storytelling, Northern Ballet’s adaptations of some of the world’s most treasured novels move and inspire more people in more cities across the UK every year than any other ballet company. This dance adaptation of the literary classic will be an eagerly anticipated addition to the Company’s popular repertoire. The World Première of 1984 will take place at the West Yorkshire Playhouse in Leeds in September 2015 before a major UK tour. Smothered by a world of 24 hour surveillance in which totalitarianism is taken to new depths, Winston Smith fights back against ‘Big Brother’. Battling against conformity he starts a diary and begins writing his way to freedom but Big Brother is always watching. In a lonely world Winston seeks solace in memories of the past and falls in love. Little does he know his battle against the system will result in his ultimate isolation. Jonathan has brought together a team of respected and experienced collaborators for 1984. A new score has been commissioned from Tony nominated Composer and Arranger Alex Baranowski, who recently worked with Mercury Prize winning band The xx, the BBC Philharmonic Orchestra, and who worked with Jonathan previously on his dance adaptation of Kes. Sets and costumes will be designed by Simon Daw whose work includes productions with Royal Shakespeare Company, the Royal Opera House and Rambert Dance Company. Dramaturg Ruth Little, previously Literary Manager of The Royal Court Theatre and Lighting Designer Chris Davey, well known for his work in dance and theatre including collaborations with Matthew Bourne, will complete the 1984 creative team. Originally from Barnsley in Northern Ballet’s home county of Yorkshire, Jonathan was formerly a First Artist with the Royal Ballet and retired from dancing in 2013. He made his main stage choreographic debut in 2010 with As One and collaborated on the Royal Opera House’s Metamorphosis: Titian in 2012. Jonathan’s dance adaptation of Kes premièred at Sheffield Crucible Theatre in March earlier this year. Jonathan said, ‘I am extremely excited to be working with this multi-talented company to create my vision of 1984. This literary masterpiece has been a constant inspiration to me and now seems a highly relevant time to consider the possibilities of its thought-provoking story.’ Northern Ballet is committed to creating new full-length ballets which further the Company’s mission to bring new audiences to dance. A recently announced funding increase from Arts Council England means Northern Ballet is now in a position to be able to offer more opportunities for more artists to work with one of the UK’s most loved ballet companies. David Nixon OBE said, ‘I am delighted Jonathan accepted my invitation to create 1984 with us. He is an exciting talent and I believe, with the support of Northern Ballet, he is ready to take the next step in his journey as a choreographer. I am proud that we produce and tour more new work than any other ballet company in the UK. Our exceptionally talented dancers are the perfect company on whom Jonathan can create his first full-length ballet. It’s incredibly important that we invest in the future of British dance by providing opportunities such as these to young choreographers.’ Notes to Editors 1. For further information on 1984 visit northernballet.com/1984. Social media: facebook.co.uk/northernballet. Twitter @northernballet, please use #NB1984. 2.Northern Ballet is renowned for its full-length narrative productions which embrace popular culture and take inspiration from literature, opera or give a unique interpretation of classical ballets. The Leeds-based company is committed to touring throughout the UK and overseas, developing new audiences for dance. It has carved a unique place in the UK’s cultural landscape and was voted Britain’s favourite ballet company for three consecutive years at the National Dance Awards. Northern Ballet is a powerhouse for inventive dance. Based in Leeds in a centre of excellence for dance artists, enthusiasts and audiences across the north of England, the Company’s award-winning headquarters on Quarry Hill is the largest purpose-built space for dance outside London. northernballet.com 3. For further information about Jonathan Watkins and to read more about his work visit jonathan-watkins.com. Jonathan is currently creating a new work for Texas Ballet Theatre’s 2014/2015 season premièring at The Bass Performance Hall Fort Worth, Texas in May 2015. He will also premiere a new one act ballet for Ballet Manila in the Philippines in October 2014 to be performed at The Aliw Theatre. 4. Production Credits – 1984 Choreographer: Jonathan Watkins Music: Alex Baranowski Set and Costume Designs: Simon Daw Lighting Designer: Chris Davey Dramaturg: Ruth Little 5. 1984 is supported by The Emerald Foundation and The Garfield Weston Foundation.

It's not, I dropped a line to Nancy on Twitter to say I was thinking of popping over to watch her and she very kindly let me know which performances I should aim for.

I'm flying EasyJet to Brussels from Gatwick, at the frighteningly early time of 7am, then getting the train straight to Ghent from there. It looks like the train is only about a tenner and takes about half an hour. Antwerp I think isn't a great deal further. I did look at Eurostar, but it was £131 return, whereas EasyJet was only £59. I know Eurostar can be done for only £60 (+£10 for travel anywhere in Belgium on arrival and departure days) but it seems the price starts ramping up sooner than the plane option, so I'd recommend booking dead early if you'd prefer Eurostar. As I'm travelling solo, I'll be staying in a hostel as the more sociable option. I wonder how many people at the opera house will be going back to a dorm in the evening? I'll report back my other experiences when I return.

Hi all. My ballet-going is taking me to Belgium this autumn. Does anyone have any suggestions for things I shouldn't miss, or hidden gems, in Ghent or Bruges, please? Alex