Sophoife

Thanks @Emeralds and sorry @Vanartus - I did delete the thread, as it was misleading, and I couldn't edit it as it was 32 minutes after posting. On carefully re-reading his Insta post, he is taking a break, not retiring for good (we all hope). Sadly yes, your excellent post and link went the way of all flesh...would you mind awfully re-posting it?

12 minutes ago, capybara said:

I’m concerned that posts on this thread, which are really unsubstantiated hearsay, seem to be being carried forward and built on as if they were fact.

 

I do hope that's not looking in my direction 😘

He was offered the job after having been not cast. I believe the whole thing has taken only about three weeks - but I could be wrong!!

George-Murray Nightingale, coryphée with The Australian Ballet, has announced he is taking a break from life as a professional dancer. His Instagram post describes feelings of inadequacy and "impostor syndrome", despite nearly ten years dancing with English National Ballet, National Ballet of Romania, Royal Ballet of Flanders, and The Australian Ballet.

 

The openness and honesty in his words are a rare thing in the dance world. I applaud him, and hope to see him back on stage sometime soon.

 

His Bottom in last year's Ashton bill was a highlight, and he's dancing the Mad Hatter in Wheeldon's Alice in the current season.

 

This is a new thread, replacing the one claiming he had retired, which implied it was permanent. George is looking to return to the stage in the future.

7 minutes ago, Richard LH said:

So he at least has known something of the casting for some time, if only that he was not himself  included?  

That's what he said.

Argh I'm so envious. We haven't even had the cinema relay in Australia yet! It's not on until 2 March.

Alexander Campbell was not cast in either Winter's Tale or Swan Lake, nor in the Ashton. So his departure has nothing to do with the casting delay. I know, I know, you all want to know, but at least this is negative but confirmatory news.

 

My source for this information is the horse's mouth.

Links – Thursday 22 February 2024

 

Obituary – Hilary Trotter, dance writer, advocate and activist: Michelle Potter, Michelle Potter…on dancing

 

 

Review – Ivan Putrov Productions, Dance for Ukraine II, London Palladium, London UK: John O’Dwyer, Seen and Heard International

 

Review – Matthew Bourne’s New Adventures, Edward Scissorhands, Liverpool Empire, Liverpool UK: Ellen Kirwin, Liverpool Echo

 

Review – Joffrey Ballet, Studies in Blue, Lyric Opera House, Chicago IL: Hugh Iglarsh, New City Stage

 

Review – Twyla Tharp Dance, Ocean’s Motion / Brel / The Ballet Master, Joyce Theater, New York NY

Jocelyn Noveck, Japan Today

Leigh Witchel, dancelog.nyc

 

Review – Ballet Fantastique, Cinderella: The ‘60s Rock Opera, Hult Center, Eugene OR: Brianna Murschel, Eugene Weekly

 

Review – Oregon Ballet Theatre, Peter Pan, Keller Auditorium, Portland OR: Martha Ullman West, ORArtsWatch.org

 

Review – Taki Rua Productions, Hatupatu Kurungaituku – A Forbidden Love, touring Wellington, Auckland, Christchurch and Rotorua, NZ: Jennifer Shennan, Michelle Potter…on dancing

 

 

Preview – Alonzo King LINES Ballet, Deep River, Rose Theater Lincoln Center, New York NY: New York Latin Culture Magazine

 

Preview – Ballet San Antonio, A Midsummer Night’s Dream, Tobin Center for the Performing Arts, San Antonio TX: Macks Cook, San Antonio Current

 

Preview – Marigny Opera Ballet, Água Mole Pedra Dura, Marigny Opera House, New Orleans LA: Saboor Bayat, BNN Breaking/The People’s Network

 

Preview – New York City Ballet, Winter Season

Jenna Adrian-Diaz, Surface Magazine

Robert Greskovic, The Wall Street Journal (paywalled)

 

 

News – Alexander Campbell Becomes Artistic Director Of Royal Academy of Dance:

Stephi Wild, Broadway World

Graham Spicer, Gramilano

 

News – Principal dancer Guillaume Côté to retire from National Ballet of Canada: Nicole Thompson/The Canadian Press, Toronto Star

 

News – Sara Mearns and Jamar Roberts to Be Resident Artists at Vail: Roslyn Sulcas, The New York Times

 

News – MU rejects using recorded music in place of live orchestra at Northern Ballet: Theo Elwell, Gramophone

 

News – Ballet West ballerinas advocate for dancers of color: April Baker, Fox 13 Salt Lake City

 

News – National Ballet of Canada Announces 2024-25 Season of Premieres, Faves, And A Poignant Adieu, Guillaume Côté is retiring: Anya Wassenberg, Ludwig Van Toronto

 

 

Feature – From Pirouettes to Pop: Kazuha’s Daring Leap from Ballet to K-Pop Stardom: Saboor Bayat, BNNBreaking/The People’s Network

 

Feature – When groove is in the art, Florence Peake: Victoria Woodcock, Financial Times

 

Feature – Dance Theatre of Harlem’s Ingrid Silva Shares How She Feels Safe and at Home When Dancing Onstage: Dance Magazine

 

 

Video Feature – Acclaimed Russian-Ukrainian choreographer brings the battlefield to ballet: Christiane Amanpour, CNN

 

Video Feature – Behind the Scenes: Milwaukee Ballet: Mike Strehlow, CBS 58

 

Video Feature – Ballet West’s unique twist on the classic show ‘Swan Lake’: KUTV 2 News Salt Lake City, YouTube

 

Video Feature – Utah’s Ballet West is reaching record attendance, this is why: ABC4 Utah, YouTube

 

 

Helgi Tomasson was AD for 37 years. Not even Yuan Yuan Tan danced there for that long!

 

The US-style gala final performance for a retiring dancer is just that - a US tradition. Some dancers don't want to do it that way.

 

On another note, the promotion of another dancer to principal status the day following YYT's retirement is awkward, but some ADs have form for that.

 

When Yosvani Ramos left AusBallet, David McAllister (who had introduced a new "tradition" of on-stage promotions) promoted Ty King-Wall the day before YR's final show. When Olivia Bell retired (final show Paquita as part of a double bill), Guo Chengwu was promoted after dancing James in La Sylphide at the same performance, making people unsure of whether the company party was to celebrate Bell or Guo! On two occasions McAllister promoted three dancers to principal at the same performance, somewhat diluting the effect.

As far as I understand it Mr Campbell was not cast in The Winter's Tale or Swan Lake, the RAD opportunity knocked on his door, and in order to take it up in a timely fashion, it was a choice between Des Grieux and Different Drummer as a final rôle.

 

Just think of the influence he is going to have on how ballet is taught - the AD has serious input on syllabus work!

His name is Alexander, shortened to Alex. Not Alec, that's my late great-uncle who was the last of the Australians who fought at Gallipoli when he died in 2002.

 

I first connected with Alex on Twitter many years ago now, because someone tagged me by mistake - I introduced myself as "the other cricket-loving A Campbell" 🤭 I actually knew his father through cricket and was vicariously thrilled when I heard he'd gone to RBS.

 

I will miss his dancing but wish him all the very best in the new role.

17 minutes ago, PeterS said:

Even though I am writing this TONGUE in CHEEK , I’ll probably still have to change my identity or even enter a witness protection programme by suggesting that, all other things being equal, perhaps there is no widespread appetite for or support for a production of La Fille? 😉

 

Peter the Peregrine Preferrer 😘

...but it's Sunday night at the London Palladium! ITV and Bradley Walsh where are you?

...and I will remind everyone that AusBallet is not good for advance casting info - Alice's Adventures in Wonderland opens in Sydney on February 20 and the casting went up on February 15 2024.

 

Booking for this production opened in October 2023. 

 

I don't have a choice - given that seeing the company involves travel by train or car to Melbourne (3 1⁄2-4 hours each way) plus a hotel if not squeezing in a matinée and returning the same day, or travel by plane (1 1⁄2 hours EW), train (8 hours EW) or car (6 1⁄2 hours EW) to Sydney plus a hotel twice the cost of one in Melbourne - I just book as early as possible to get lower cost preferred seats. Casting is a lucky dip and always has been. I can't just decide "Oh I want to go to the ballet tonight" and hop on a tram or suburban train.

Links – Saturday 17 February, 2024

 

Review – Jean Butler, What We Hold, Irish Arts Center, New York NY: Brian Seibert, The New York Times (paywalled)

 

Review – Joffrey Ballet, Studies in Blue, Lyric Opera House, Chicago IL:

Lauren Warnecke, Chicago Tribune

Kathy D. Hey, Third Coast Review

Nitish Verma, BNN Breaking/The People's Network

 

Review – Madison Ballet, Paquita / Armistice / Agapé / Farewell / Dance Odyssey / Recession / Something to Remember You By, Promenade Hall, Madison WI: Dan Van Note, The Cap Times

 

Review – New York City Ballet, Solitude, David H. Koch Theater, New York NY: Gia Kourlas, The New York Times (paywalled)

 

Review – The Royal Ballet, Festival of New Choreography, Royal Opera House:

Jonathan Gray, Gramilano

Teresa Guerreiro, Culture Whisper

David Jays, The Guardian

Louise Levene, Financial Times

Alastair Macaulay, Slipped Disc

Mark Monahan, The Telegraph

Siobhan Murphy, The Stage (paywalled)

Joy Sable, The Jewish Chronicle

Catherine Smith Perez, This is Local London

 

Review – San Francisco Ballet, British Icons (Song of the Earth / Marguerite and Armand), War Memorial Opera House, San Francisco, CA: Charles Lewis III, 48 hills

 

Review – Tanztheater Wuppertal Pina Bausch, Nelken, Sadler’s Wells, London:

Teresa Guerreiro, Culture Whisper

Louise Levene, Financial Times

Vera Liber, British Theatre Guide

 

Review – Twyla Tharp Dance, Ocean’s Motion / Brel / The Ballet Master, The Joyce Theater, NY:

Christina Pandolfi, Broadway World

Liana Wilson-Graff, Splash Magazine

 

Review – The Washington Ballet, Jazz Icons: A Fine Romance, Eisenhower Theater, The Kennedy Center, Washington DC:

Carolyn Keleman, MD Theatre Guide

Celia Wren, The Washington Post (paywalled)

 

 

Preview – The Australian Ballet, Alice’s Adventures in Wonderland, including discussion of 'blockbuster ballets', Capitol Theatre, Sydney NSW / State Theatre, Melbourne Vic: Hannah Story, The Age

 

Preview – BalletMet, Asian Voices, Davidson Theatre, Columbus OH: En Face Magazine

 

Preview – Birmingham Royal Ballet, The Sleeping Beauty, touring to Birmingham, Salford, Sunderland, Plymouth, Bristol and Sadler’s Wells: Vivian Summers, ATV Today

 

Preview – Cincinnati Ballet, Don Quixote, Music Hall, Cincinnati OH: Janelle Gelfand, Cincinnati Business Courier

 

Preview – Dance for Ukraine II gala, London Palladium: Stefan Kyriazis, Express

 

 

News – Cape Town City Ballet reveals repertoire for 2024: Tamlynne Thompson and Staff Reporter, Plainsman

 

News – A new Nutcracker as English National Ballet’s 75th season is announced: David Mead, SeeingDance

 

News – Nigerian star of viral video stars in MADU, a Disney documentary filmed at Elmhurst Ballet School: Graham Spicer, Gramilano

 

News – S.F. Ballet receives $60 million donation, the largest in its history: Joshua Kosman, San Francisco Chronicle

 

News – San Francisco Ballet Star Yuan Yuan Tan Gracefully Exits Stage after 29-Year Career: Eric Tanaka, Hoodline.com

 

 

Article – Endnotes: ‘The Swans of Harlem’ by Karen Valby, how the book came together: PW Staff, Publishers Weekly

 

 

Feature – Dancer Tiler Peck makes her choreography debut at the New York City Ballet: Brooke Lefferts (Associated Press), ABC News

 

Feature – Career-ending injury didn’t stop Ballet Kelowna director, Simone Orlando, AD/CEO Kelowna Ballet: Brittany Webster, Kelowna Capital News

 

Feature – Why Houston Ballet’s Gian Carlo Perez Lives for the Stage: Emma Love Suddarth, Pointe Magazine (paywalled)

 

Feature – Dance artist Elle Sofe Sara draws on Sámiland roots in Vástádus eana – The answer is land: Janet Smith, Stir Arts & Culture

 

Feature – Beyond the Exaltation of the Individual Dancer, How Thomas Forster reminds us of the social dimension of dance: Alice Courtright, The Hedgehog Review

 

Feature – How the Choreographer for ‘Poor Things’ Uses Dance to Tell the Story, Constanza Macras, founder of the Berlin

dance company DorkyPark, uses “dance as a function, as a language,” in her work, be it for the stage or the screen: A.J. Goldmann, The New York Times (paywalled)

 

 

Book Review/Interview – Tammy Greenwood, The Still Point: Sophie Bress, Fjord Review

 

 

1 minute ago, TSR101 said:

To be honest, I have always considered RB's to be more early Victorian 1840s/1850s in style but I may misremembering the costumes! 

 

The high waistlines place them between about 1800 and 1825-30. The narrow sleeves with varying degrees of puff at the shoulder in combination with the high waistlines suggest 1815-20.

I am very envious of the Forsythe evening.

 

2 hours ago, TSR101 said:

I'd have preferred perhaps a regency setting to make a greater differentiation from the RB's version.

 

Uh, judging by the costumes in the Royal Ballet's Nutcracker party scene, Julia Trevelyan Oman plonked it firmly in the Regency era (c.1795-1837).

 

Perhaps you're thinking of John Macfarlane's designs for the Birmingham Royal Ballet, which, with Frau Stahlbaum's stunning red gown with a bustle, are more 1870s, perhaps even 1880s.

16 minutes ago, PeterS said:

perhaps they will be guesting at Sadlers Wells with ENB

 

No, they're learning it for AusBallet's upcoming performances in Sydney, 10-27 April (I asked Jill). It makes sense for them to go to London to join ENB in learning and rehearsing the piece rather than for Inger and his team to spread themselves too thin and travel all the way out here.

 

Ten or so years ago when AusBallet revived The Dream, a small group travelled to London to learn it from Sir Anthony Dowell (who apparently doesn't like flying).

 

It would be extraordinarily disrespectful to the ENB dancers if Elmes and Harvey, in particular, both just promoted from the corps to coryphée a month or so ago, were to guest in lead roles.

Half a dozen AusBallet dancers (principals Dimity Azoury, Callum Linnane, Marcus Morelli and Jill Ogai, with coryphées Adam Elmes and Lilla Harvey) have been learning/rehearsing Carmen with ENB.

 

The closest we get to advance notice of casting 🤣

 

 

On 14/02/2024 at 05:51, FionaM said:

I thought Claire Calvert performed Hermione before?

 

On 14/02/2024 at 06:09, Sim said:

Yes she has, so this time she is dancing Paulina instead.  I'm looking forward to that.

 

On 14/02/2024 at 06:13, Rachel H said:

I definitely remember seeing Claire Calvert as Hermione.

 

Indeed. Claire Calvert was rehearsed as Hermione in Brisbane on 7 July 2017 by Christopher Wheeldon and Jackie Barrett, a tour version of Insight I suppose. It was explained that Thiago Soares had sustained an injury so Claire hadn't danced yet, but that she was rehearsing with Ryoichi Hirano who was being rushed into his début as Leontes.

 

Claire Calvert Hermione Brisbane

 

17 hours ago, LinMM said:

Has Campbell danced Oberon before perhaps he is as somebody else suggested being used more in the Ashton …if he hasn’t performed it before I think he’d be an excellent Oberon. 

 

17 hours ago, bridiem said:

Yes - he danced it in 2017.

 

He did indeed, making his Oberon début opposite Laura Morera on Monday 5 June. My last performance of that year's #BalletTourofEurope

 

Alex Campbell Oberon début 😉

We've got a few down here who'd be stellar performers...

That's so kind Jamiel! Especially for those of us who are unable to attend in person (I do love me some well-done Spring Waters, but it has to be fast and death-defying) due to living in, say, Australia 😉

1 hour ago, Peanut68 said:

Just watched some of this ball - am fascinated that what appears to be an Opera House can be transformed into a ballroom with stunning floor where one would exist to find ‘stalls’ seating…. Is this the usual layout or are removable seats added for traditional performances? I so would love to witness something like this! 

 

It takes 30 hours to convert from the opera house to a ballroom, with 500 working on it. Then 21 hours to go back to opera house. Information source.

AusBallet dancers get a gold pin/brooch from the company for their 10th anniversary.

3 minutes ago, Sim said:

👸🏻I am duly impressed!!  

🤣 In my case it was two years after I left school, as the rule was a girl had to be 18. Also we didn't get to choose our partners, they were from the police academy (!). I got lucky with a partner who didn't have two left feet and whose hands were not clammy. We're still friends.