pianolady

I'd recommend Sally Banes Dancing Women for a look at differing interpretations of the classic ballet female roles and her reading of Aurora as empowered rather than passive, and there are lots of feminist critiques of ballet which take hugely differing views about how far women are empowered- or otherwise- by these roles and by ballet generally. Off the top of my head, Alexander Daly, Jennifer Miskec, Priya Thomas on the sylphide, a few searches will these will bring up copious examples through their bibliographies. This subject is especially close to my heart as I'm midway through a PhD on the children's ballet novel as an empowering female space! As others have said, there is a big difference about how the ballets seemingly treat gender at plot level, as opposed to the differing interpretations across the eras, as well as ballet offering such a powerful space for female expression- albeit often with male ballet company directors in charge!

I really enjoyed both ballets. In Carmen, I loved the treatment of Bizet's music and the striking set. The only thing I wasn't keen on was the background of broken fence panels- it kept distracting me by reminding me of my back garden! Really liked the high chairs with the onlookers-for me, this production was about constriction in a surveillance-based society in which no one was free, whether male or female. For me, and this is why I liked the pairing of ballets in the programme, Petrushka continued with this theme of lack of autonomy and being conscious of viewing and being viewed. I loved the use of the mannequin doll models. I didn't like the men in the bear coats either and wasn't sure what point was being made, but did love the Russian dolls and this whole idea of the piece being pared down. One I'd definitely like to see again. With the lack of the fairground crowd, however, I did miss a sense of a reaction to the puppets and that felt slightly disjointed with the magician and his creations being somehow seperate and apart from everything else going on.

The reception in our theatre was flawless- it sounds as if things went wrong your end of things, Alison. Surely some kind of partial refund should be in order when it's as bad as that? Agree that the production is very impressive in appearance. The start of the Kingdom of Shades act was superb I thought as the ramp wasn't visible at first, making the dancers seem to be floating. Less impressive was the camera work, with the constant flitting in and out of the dancers in close-up-in this scene it really lost the full impact of the whole of the corps de ballet. I rather like the idea of the ending with that scene, but found the actual realization of it a bit unsatisfying. Maybe I'm an old romantic but I'd have preferred the two to be reunited in death rather than him seemingly lost and alone. Couldn't quite believe my eyes at the blacked-up children, and I couldn't stop laughing at the dancers with their dead parrots. With all that, and the large amount of Divertissements and endless stopping and starting with the applause, it was hard to quite get into the high drama of the latter part of the act.

Agree about the choreography- I really didn't like the Sugar Plum Fairy solo which looked routinely virtuoso rather than delicately beautiful, or the Act 2 pas de deux. Another vote down for the snowflakes' bathing caps and the prominence of the toys there(that said I'd rather it be toy-infested than rat-infested like ENB's production), and the dominance of Marie and the Nutcracker rather than the corps de ballet in the snow flakes' scene. Do quite like Drosselmeyer's choreography although the marigold gloves a bit off-putting. But very grateful to see a Nutcracker at all- last year was jinxed because of snow and I missed out on the RB screening due to a virus-laden household.

Couldn't resist looking at that- I found it highly amusing- maybe as I couldn't get your mention of a hostess trolley out of my head. Funny how trying to be literal with a swan swimming doesn't work. I may have grumbled a bit about Scarlett's ending but it's so much better than that in my opinion. Actually I liked the blue sheet but not Nureyev bobbing up and down for so long.

Lovely screening of Swan Lake yesterday at local Vue and I'm so grateful to them for showing the repeat performances which few others in our area do. It was also irritating that 2 nearer venues who are situated over the road from each other both decided only to show the live screenings this year- especially as neither are especially well-attended unless it's something like Swan Lake. I had complained to ROH and Vue last time round as they forgot to turn the sound on or the lights down until we told them. So I approached this one with a bit of trepidation but this time round there was perfect co-ordination with intervals and interviews and lighting. Also nice size screen and excellent sound with no transmission blips during actual performance (backstage interviews a bit quiet)

Finally managed to see this at the repeat screening. I loved the production although I didn't think it was perfect. Didn't like the ending, I found it unsatisfying and find the death of both Odette and Siegfried and their being united after death far more emotionally telling and in keeping with the passion of the music. Also didn't like Siegfried spending the latter moments of the act out of the action. The air of menace, corruption and potential unhappiness which for me underlays Act 1, which was even more prominent in this production with Rothbart's role suggesting a court full of political intrigue and power struggles, to me, fits in with the tragedy that two young lives have been lost at the end. I did think that Scarlett's ending maybe suggested a Prince who could cope with the fantasy, perfect unattainable swan but not the reality- this is an unhappy young man who doesn't fit in or feel ready for the responsiblity that is about to be forced upon him with his father's death, and isn't ready for marriage. This would I think have fitted in had Siegfried had a much more prominent and compelling presence throughout Act 1, and his relationship with his sisters (a touch I really liked) could have been explored and shown to be uneasy. That said, loved the role of the Queen- the placing of her in mourning and so evidently in deep distress turned what often seems a snobbish and unsympathetic woman into a mother who loved her son but had no choices in anything. Loved the ramped-up Rothbart role though, and the general sense of strong narrative running through. Agree with others about it being very dark lighting-wise in acts 2 and 4- at any rate for cinema.

Happy endings, jesters, bizarre musical changes (am thinking of Vienna Festival Ballet's Sleeping Beauty which moved the overture to the end of the Prologue and did a strange sort of medly at the beginning- with the house lights still up, sending a hugely confusing message to the overly chatty and restless members of the audience). Also some touring companies tackling elements of the choreography that is beyond them. I think these companies pay a very important role, and what is frustrating is when they are making wholesale changes anyway. Plus Rothbart nightmare costumes looking like Darth Vader on an off-day hanging around.

I saw the Encore screening on Sunday and I do totally agree about the music. I find it so mesmerising, especially the first and third acts and the ending sends chills down my spine.

I agree with aileen. The Nephew felt to me like an awkward plot device superimposed on the narrative. I've seen this production twice and didn't like it any more the second time- I agree that the puppet theatre idea in the second act doesn't connect or seem to say much, and it makes for a strangely empty stage and rather dry experience. Also don't like the rats continual presence. I'm also not keen on the balloon and would love to see it go. It's a shame we haven't seen the full potential of this production but I agree with others that it's time for a change.

For me, the dance content was slightly better than I'd anticipated. Liked the bedroom pas de deux the best. So far I've never been overwhelmed by Bourne's choregroaphy and now I don't watch expecting that I will be but I enjoy the dancing and I think the dancers do a good job with the material they have. I do enjoy his take on different themes and the production side of his shows and I'm looking forward to seeing this closer at hand. I think that Matthew Bourne has done a great deal in terms of popularizing dance and it's great to see such well-attended performances at our local theatre- but- there is still a part of me that just can't quite get to grips with his popularity and the full theatre compared to recent performances by Northern Ballet (well attended but not a sell-out) and ENB when it isn't Swan Lake or Sleeping Beauty. He has very astutely cornered a particular market which is really interesting in itself.

Beautiful photographs, thank you-have just booked to see this at Milton Keynes. I was a bit undecided as I wasn't sure if I'd enjoy the concept but having seen it on TV today, I thought the wartime London setting really worked and added really fascinating layers to the story- as well as wanting to see the production live as I know my smallish TV screen didn't do it anywhere near justice.

I much preferred SB to RS. I enjoyed the production of RS but loved the Gothic reworking of SB so much more. Thanks for the heads up about Cinderella on TV- will look forward to that.

Yes, I did think it's one I'd see again and see if I felt differently. It just didn't gel musically for me tonight- could be my mood- Mahler at the end of a long day of teaching piano lessons possibly not the best thing...

Just got back from seeing this at Milton Keynes. Shame to see half the circle empty (and top circle was completely closed) but good sales on stalls. Loved the performances- but I think both ballets can evoke very different responses. Husband loved Song of the Earth, enjoyed La Sylphide but didn't fall in love with it, I absolutely loved La Sylphide but with Song of the Earth I felt I ought to be moved by it but somehow wasn't. No reflection on the outstanding performances of the dancers and also the singers - it could be the music as I'm not a massive Mahler fan althoughthe combination of ballet and singing works so well. On the other hand I adored the period piece feel to La Sylphide.