Two Pigeons

May I point out that BRB have performed The Prospect Before Us and Jazz Calendar comparatively recently. They did Card Game last year and Brouillards a few years ago. I did see Dowell and Rencher in Shadowplay and Lilac Garden done at Sadler's Wells (the old theatre) but I cannot remember which company was performing. It must have been in the eighties. I do think there is a very serious point here. Tudor has been criminally neglected by both Royal companies over the decades and there really is no justification for it. As has been pointed out above, other non-participants in WW2 have not been subjected to the same treatment. Even his minor works like The Leaves are Fading only appear in extracts and then only rarely. You do have to wonder why. I think it was Clive Barnes who said that Britain had produced two choreographic geniuses, Ashton and Tudor. May be Tudor's work was just too cerebral and too much competition for others for it to be given the respect it deserves.

When I read this thread earlier Etudes was one of the ENB works which came to mind. Again back to the Schaufuss years we had fantasic performances with those by Andrea Hall with Patricks Dupond and Armond (the Flying Frogs) being right up there. I do wonder if we are left with a question of speed again. Improvements in technique have undoubtedly led to higher extensions and jumps but the down side of things is that a lot has slowed down. On another thread Symphonic Variations was mentioned as a work which takes longer to perform than around the time of its premiere. As national styles are becoming more alike and less distinct larger, grander movements mean the smaller, quicker stuff is less prevalent. This is another thread which picks up on issues raised elsewhere on these boards.

FLOSS makes the point that pretty much all major companies take on dancers who they regard as physically perfect (often tall these days) as opposed to those with real stage presence. This point was made about the Bolshoi in Deborah Bull's excellent documentary about dancing in Russia. When I look back on the dancers I have seen and really enjoyed from both the RD and, particularly, the old SWRB I do wonder how many of them would be taken on now. Despite their now thought to be unfashionable imperfections some of them have had some of the greatest British choreography created on and for them. The obvious foremost example of this is Lynn Seymour. In my early and most eager ballet going days my great idols were Lesley Collier and Marion Tait. Would either of them get contracts now? I doubt it but this is not a case of lack of technique but a physical mismatch. Some of my happiest memories centre on dancers like Sandra Madgwick, Karen Donovan and Michael O'Hare. Seeing them in works like Two Pigeons, Fille and Hobson's Choice showed them to be real standard bearers for the English demi character style. When I see BRB's men I see much taller, stronger dancers which has much to commend it. However, Robert Parker apart and he has retired now, the magic the earlier dancers had just isn't there any more. If you take Darcey as the physical ideal she was wonderful in the roles that suited her. However, much of the repertoire was closed to her because of her height. If companies continue to take on only tall slim dancers and tailor the rep for that kind of body we are going to lose far more than we gain. All in all I think FLOSS has a very valid point and it draws on a lot of issues raised elsewhere on these boards. Personally I would much rather see a great Ashton dancer who understands his choreography and intentions over a physically perfect but bland dancer delivering the steps they have learnt by rote and with very little meaning or soul behind them.

I am sorry Luke Schaufuss is not listed for a matinee. Given the cost of the tickets I cannot see that an overnight stopover is viable for us hicks from the sticks.

Sorry, last word should be taste. But I expect most people will realise that.

When Floss speaks about LFB/ENB's pasr classics may I enter a plea for Peter Schaufuss' La Sylphide. I count my memories of seeing him dance this with Eva Evdokimova as right up there on my list of treasures. That aside, I could see why the original posting did limit the question to the repertoires of the RB and BRB. Both companies have been blest by wonderful 'in house' choreographers together with sone great imports by Balanchine, Fokine, Tudor etc. They have a heritage which is pretty unmatched by no other company in the world. How that heritage is protected and preserved is a moot point and entirely a matter of personal tasts.

I remain slightly amazed that Joan Collins and, even more surprisingly, Angelina Jolie have been made dames before Lynn Seymour and Deborah Bull. I am sure that the honour will come to Darcey in time. I agree about both Tamara and Wayne though. I have speculated before that I am a bit disappointed David Bintley hasn't been knighted. It was pointed out to me that he may have turned it down. In that case may be Desmond Kelly should/could have been considered.

At least I will get to see Tyrone in something that night. Having got over my initial sulk I will be very interested to see Samara Downs with Brandon in Carmina. They are undoubtedly two of the most interesting dancers in the company. At least I have my memories of Celine and Tyrone last time round.

You're very lucky. You get to see both casts. I am sure you will enjoy it all.

I can't get worked up about Carmina but I do have a ticket for Friday. Brandon should make it worthwhile. Everyone else is a bonus.

I've missed Tyrone but I do get Brandon Lawrence. Heigh ho! At least I'll be seeing one of the future stars of the company.

Regrettably we are most unlikely to see Choreatium again. I gather it is not popular with the current BRB management. At least it was saved and properly notated for future generations.

Hi Floss, I would live to see A Wedding Bouquet again. BRB have presented both Daphnis and Facade within the last 3 years and Petrushka was done comparatively recently. However, I do take your point about these works missing from the RB rep. Unfortunately I think too much of the Massine rep does look very dated now. BRB did Le Tricorne about 20 years ago and, frankly, it didn't work. Not even Joe Cipolla and Monica Zamora could save it. Although these works are historical curiosities I don't think a modern audience would judge them fairly. There are certainly works by de Valois which could be revisited. Checkmate has been seen comparatively recently but Job and The Rake's Progress not so. I think your point about yards of the blockbusters, both classical and Macmillan, being shown and every principal having a go regardless of suitability is a fair one. I saw a lot of ballet during the Morrice years and I remember someone like Marguerite Porter being put into absolutely everything, whether she could really cope with it or not. As I said earlier, this is a subjective topic and one likely to spark much lively debate. Coupled with the two about preservation and acquisition does make you think about works which have been shown before and could benefit from a fresh airing. It does seem to me that the preponderance if new and more contemporary works at the RB is both crowding out much of the legacy rep and shaping audience attitudes to the type of performance they expect to see. If I could make a special plea for one work I would like to see given full justice by either Royal company I think it would be Birthday Offering, possibly closely followed by La Sylphide. I wonder how the latter would fare in the absence of Mr Kobborg.

I am not a close follower of the RB but I would suggest that in many ways this topic could also relate to BRB. Added to that this is a highly subjective thread and I am sure no two answers will be the same. My own view, for what its worth, is that both companies have to retain their classical core. The great Petipa works are both the best training ground and touchstone of a company's facility if that company wishes to be regarded as a premier one. If the RB was viewed as excellent in the onterpretation of Macmillan and MacGregor (sorry if spelling is wrong) but could not deliver a world class Sleeping Beauty then alarm bells should start to ring. Personally, I do not believe either company can have enough of Ashton's works. However, I do agree that the number of his ballets is finite and the same ones tend to be overly repeated with gems such as Les Patineurs often mistifyingly ignored. Added to that we have a number of concerns about redesign and the preservation of the true Ashton style. These concerns do not seem to apply to the Macmillan repertoire. If we are to extend the question to BRB then the heavy reliance of David Bintley's work is also an issue for consideration. I am really looking forward to the coming season where the range of choreographers is much broader. I feel that the season which is ending this month has not had enough variety within it.

The Green Table was performed by BRB around 1990 and I remember it very clearly, not least Joe Cipolla as Death and Vincent Redmon as the Profiteer. It would be a welcome and timely piece to revive now.

I think I would go for ballets not danced by other companies. So Ashton's Cinderella and Ondine would be on the list. Rhapsody I agree, and Gloria. I think my last one would be Les Noces. These are not necessarily my favourites but the ones that should be preserved. Lots of the Ashton and Macmillan rep are danced by BRB so I would regard those as in safe hands. I have chosen ballets that do not fall into that category.

For BRB I would like La Sylphide and Onegin. I am sure the dancers would love a crack at Manon. Added to that, Ashton's Cinderella and Macmillan's The Four Seasons. As all of the above are in the RB rep my wish for that company would be Cranko's Romeo and Juliet together with full length Raymonda. May come back to this as the old grey cells are churning away!

She grew up in Vancouver. Their loss is definitely our gain.

Oh dear, it takes all sorts!

I agree with everything you say about Celine but would also add that when she dances with Tyrone, for me, the company has a really valid leading couple. There is a kind of magic between them which reminds me of the old days of Michael O'Hare and Sandra Madgwick or Joe Cipolla and Monica Zamora. It's a different kind of partnership but they have something a little bit extra when they dance together. I love them both individually but put them together and something special happens.

You are not alone BBB.

Bad lighting, dark costumes, dark backcloth. How very current. The company seems to have an utter blind spot (pardon the pun) about all of these. Even previously well lit ballets are now being dimmed down just in case the audience can actually see the dancers. I really don't understand what the choreographers, designers and producers think they are gaining by this. If it's a fashion statement trust me, IT'S NOT WORKING!

I see Brandon Lawrence is continuing to get very good reviews. His is clearly one to watch.

I have booked for all the opening nights and I am just hoping I don't get my least favourite of the Lady principals every time. I do so agree that there are some really interesting solists and I would always choose to Celine and Tyrone in pretty much everything. I have been clearing out some of my late mother's papers and I found some old fliers for both SWRB and the early days of BRB under Sir Peter Wright which gave advanced casting. Those were the days!

This is getting a bit like Classic fm which has orchestras all over the place. The CBSO is now their 'orchestra in the Midlands'. So, we have the RB which is entirely London based. BRB cover the Midlands and places like Plymouth and Sunderland. NB cover the North with trips to the Linbury. This is a hugely simplistic view I appreciate but it's one way of having the Royal setup cover most of the country thus getting much of the Arts' Council funding. Doesn't bode that well for ENB in the food chain does it.