Two Pigeons

I have just wasted almost an hour and a half of my life, not to mention some hard earned money watching the relay of the triple bill from Sadler's Wells and am truly wondering why I bothered. Chacona made me think of a group of preying mantis, much of which was pretty much invisible against the black drop. It became a bit of a game of 'spot the dancer you actually recognise'. It was a lesson in pseudo modern pretentiousness, even with the undoubted star power of Alessandra Ferri and Carlos Acosta. The choreography was pretty undistinguished and I find it pretty incredible that so many ballet pundits and glitterati are carrying on as if the Company had no artistic achievement or merit before Acosta took it over. Imminent was an improvement in that at least you could see the dancers although the plot defeated me. Were they all auditioning for an obscure episode of Blake's 7 or Doctor Who? I decided a few weeks ago to sever all links with BRB but this chance to see the company perform without having to leave my sofa and a rare chance to observe the divine Tyrone Singleton close up seemed too good to miss. However, when I got to A City of a Thousand Trades I confirmed that decision and was so grateful I hadn't wasted the time, cost or energy travelling to see it in the theatre. More than that I was so glad I hadn't asked my husband to take me. He would have been bored out of his brains. Despite being a native of Birmingham/Staffordshire through several generations I doubt very much he would have recognised the City of his heritage. I have lived and worked in or around Birmingham for over 30 years but it was all pretty alien to me too. If this is Carlos' idea of a 'love letter to the City' what on earth would be have produced for a place he didn't like? I must praise the committed performance of the dancers but if this type of production is all the Company has to look forward to I wish them well but I will not be making any further contributions to it.

Great news for Iain! I wish him every possible success and feel he is an excellent choice.

I remember that day. The catalogue for the auction specified that the costume still had some of her makeup on it!

P.s. I am not sure that there is exactly a rosy view for the orchestra members. If they are leaving in droves I am not entirely surprised. Wall to wall Nutcracker with only a bit of Minkus to provide some variety is hardly a very enticing prospect.

Hear, hear! Especially the bit about a lack of press reviews. I have had some, very limited, contact with the Company and it seems to me that the administration is so grateful to have the job taken by an indisputable ballet megastar that his word is law. However, sometimes all powerful people may need someone who is prepared to rein them in and say 'no', or even 'do you think that's wise sir', from time to time.

During the heyday of Sadler's Wells Royal Ballet a great friend of mine used to say that the Royal Ballet recruited all the best dancers but SWRB did more with the students they took. I know exactly what he meant. I am afraid that the spirit and ethos of that Company seems to be disappearing and very fast.

I think there is a genuine dichotomy here for the Company. I agree your point that this may well be a time for the real 'tried and tested' approach to the repertoire in order to provide a more familiar product for the audience. However, from my recent dealings with the Company and the points raised in the most recent issues of Entrechat and Dancing Times the clear emphasis seems to be on a different repertoire aimed at a new, younger and more diverse audience. To say that the timing for such major changes is unfortunate is an understatement. A new audience cannot be built in a hurry so this may not be the time to reject the more established one. I share your concern for the effect on the dancers, and I would add to that the effect on the orchestra.

For a couple of reasons I have taken the decision to sever my links with BRB. However, this does not mean that I do not wish that the company shouldn't thrive. But from my distant standpoint I share Janet's view that the Company should receive top billing in its own programming. I think the current dash for a new, younger audience may be counterproductive.

I think many of us are expressing much the same view of our delight in Clem's eloquence. If there was one thing better than a good review from him it was a report in his very idiosyncratic style of work he didn't like!

Well said Rina!

Now available from Amazon at a cost of £20. Having spent £30 on my copy I am not sorry to have given my money to Waterstone's rather than the behemoth that is taking over the world.

Me too !!!

My copy has just arrived and I will be delving into over the next few days. However, there is one point I would like to praise from what I have seen so far. I think it is a universally acknowledged opinion that Clem is pre-eminent amongst ballet critics and his opinion is to be held in the highest esteem. Right at the end of the book he has a section discussing dancers he has loved. Amongst them are two great ballerinas who I feel are very underappreciated and effectively being airbrushed out of their place in Royal Ballet. The first is Lynn Seymour. I remain staggered that TV programmes discussing the life and work of Macmillan ignores any hope of a contribution from her in favour of younger dancers. The second, as this is sort of the crowning moment of the book, is Alicia Markova. Now, I am far too young to have ever seen her but whenever I see Fonteyn described as our first truly famous or internationally famous ballerina I want to scream 'but what about Markova?'. I mean absolutely no disrespect to Fonteyn by this but she just wasn't the first. Markova inspired Clem, he still treasures her memory and that is more than good enough for me.

Waterstone's have confirmed they have taken my money so I am hoping it will arrive within a matter of days. I am really looking forward to receiving it. Clem is my hero!

Many thanks for posting this extract Rina. I had forgotten how criminally difficult is the solo for the principal girl. Makes you appreciate how technically strong Markova was.

She really was a very special ballerina.

Lovely dancing but - sorry, pet peeve- hideous set and costumes.

I saw Nina at the Coliseum in 1999 too. I still regard that as the greatest individual classical performance in a full length I have ever seen in over 40 years of ballet going. Sylvie Guillem as Manon ran in as a close second.

Good week coming up. Rhapsody and Two Pigeons on Thursday morning. But then, I would say that wouldn't I.

Just ordered my copy too! Really looking forward to it.

Thanks Janet. I will give it a go tomorrow.

I have today received a glossy brochure from the Hippodrome announcing its reopening and listing forthcoming productions with the appropriate dates. The Nutcracker is listed but there is absolutely no indication that it isn't the usual version. If I can find e-mail contact details for Carlos Acosta or Fiona Allen I will notify them of my feelings.

I have had moments like that when l completely lose confidence in my memories. I have excused them as a sign of rapidly advancing age!

With the greatest respect it really is not the issue which years were involved. My key point is that I have paid for one product which has subsequently been replaced with another. Pulcinella is in the same situation. As I turns out my family members are content to go with the flow but I do feel that this is a case where the opportunity for a refund should be at least extended to customers.

I think this is another severe test of loyalty to the company I have watched since May 1979.