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Paul Arrowsmith

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  1. Actually managed to get a Clore ticket for Playground! In and out in under five minutes. Amazing!!!
  2. And for those of you with access to the Arte TV iplayer a recording from 2017 (with Haydee as the nurse and Madesn as the friar) is currently avialable.
  3. Circles? You just have to look at Ashton's choreography - Sleeping Beauty waltz, Cinderella, Daphnis among more - to appreciate how magical circles can be.
  4. A big question - and probably it has already been answered by a doctoral thesis. But initial response would be to say that - good - design tells the viewer where to look but more fundamentally is a visual embodiment of the ballet's meaning. Stage designs are as much victim to the vagaries of fashion as any other visual art so what once may have appeared 'right' can later appear 'wrong.' By which token, it is perfectly possible to redesign ballets successfully - and discover things in/about them that their choreographers may not have originally imagined. That's a part of keeping ballet alive.
  5. I imagine there was a second cast too - but I don't recall who. Think Opus 19 was in something of an unwieldy mixed bill (again, don't recall with what. La Valse?) which may have had an impact.
  6. When the BBC archive was searched for material for the 2016 documentary about Peter Wright, The Ballet Master, only the second and third acts were found.
  7. I agree much with much of what you say Angela, particularly in relation to use of a classical language interestingly put. I would differ only from you when say 'light years ahead.' I think just different.
  8. If you delve into contemporary news reports, the audience was kept waiting outside the ROH as the workers inside had not finished preparing the foyers. There will still carpenters walking around with their tools when the audience was admitted, making adjustments to the front of house decor. And Gloriana was a live relay on the radio too. A modicum of pressure!
  9. As Scarpia says in the previous act, 'Tosca, finalmente mia!' Lucky this Cavaradossi did not get knifed too for keeping his lady waiting!!
  10. It was the Royal. June 1984 at the Palace theatre.
  11. Yes - in Zurich, nearly 20 years ago in a double-bill with Pagliacci. No memory of the cast or conductor - just lost of wilis interrupting proceedings in an aggressively contemporary way.
  12. Perhaps I can comment. Peter Wright is well advanced with his memoires (I am working with him to prepare them for publication). The book is scheduled to be published in 2016 by Oberon Books to celebrate Peter's 90th birthday.
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