Jump to content


  • Content Count

  • Joined

  • Last visited

Community Reputation

1,058 Excellent

Recent Profile Visitors

1,052 profile views
  1. I note the casting has now disappeared. Does this mean there is likely to be a change?
  2. I didn’t have the pleasure of knowing John personally but he sounds a dedicated and lovely man. My sincere condolences to his family and friends.
  3. The NEC logo on the structure suggests it may have been a gala/ concert at the National Exhibition Centre. I did a quick search and there is mention of a Prince’s Trust concert featuring dancers from the Portuguese ballet but Diana is wearing a different gown. But there may have been another gala there in other years.
  4. I share Janet’s endorsement of Sir Peter Wright's production ( not forgetting the contribution made by Galina Samsova). Not only is it beautiful to look at, but the narrative is told simply with the prologue showing the funeral of Siegfried’s father both an imperative reason that he marry and an explanation for his restless, melancholy. I had seen several productions prior to this, and quite a few since, but it does stand out for it’s all round qualities. Fortunately, BRB have had, and continue to have, dancers who can transform the production into a memorable ballet going experience.
  5. Difficult to see what is the motivation for the more established female first soloists this season.
  6. Is there any news about the last two performances in Los Angeles, and in particular, Inferno, the first part of the new McGregor?Surprisingly, nothing on Ballet Alert either.
  7. Yes you are right although I think it may refer to the theatre as well. Sadly I haven’t the books to be able to check.
  8. Those of us who are old enough will also recall a certain children's ballet series by Lorna Hill with titles like No Castanets at the Wells and Jane Leaves the Wells - references to the old shortened name for Sadler Wells.
  9. Yes, I had worked this out too - not least because of the length and quality of comment from at least one of the members
  10. So pleased for Brandon Lawrence and that this came under David Bintley’s tenure- a lovely final flourish.
  11. Thank you for posting this. I heard that they had made an appearance as part of Stormzy’s set and that it was much appreciated by the crowd. I can remember ENB performed at Glastonbury a few years ago but I think it was as an independent ‘act’ and not on the Pyramid stage, but perhaps someone else can put me right.
  12. Brilliant to hear that a copy has been uncovered. It would be wonderful if it were possible to share this. Thanks in anticipation!
  13. I have that book , a beautiful record of their partnership. I had never noted that the preface indicates that Leslie drew on a very much larger collection. Every now and again some individual photographs appear on eBay, but it would be wonderful if a new book were published. I imagine many of the photographs from that era which are displayed in the corridors and walls of the studios at the Opera House are also by Leslie E Spatt.
  14. This is a query that has been raised previously on several forums. It appears the book was never published other than as an online photo essay available on Keith Money’s website which is sadly no longer available. It would be lovely if someone could host it and make it available again as Money’s four books on Fonteyn and the Royal Ballet are exquisite. It strikes me how little is published in the way of ballet titles these days - other than hugely expensive volumes such as the recent Ed Watson title.
  15. Well at the risk of being very unpopular I am going to put forward the view that several of the younger dancers may have been given too many of major roles very early in their career. Much as I enjoy the dancing of Naghdi, Styx - Brunell and O’’Sullivan, when I look at the roles they have already danced in both established ballets and new work, I think it would have been both fairer and kinder to allow other dancers more opportunities to establish themselves in roles. It might be seen as a strength that the Royal Ballet can field so many promising Juliets and Manons, but how is this fulfilling in the long term for the dancers? To follow up on an earlier point, I find it ludicrous that Hamilton gets one school performance of Manon next season. A similar case could be put regarding some of the male dancers, although the number of injuries has had a considerable impact on the amount of new roles certain dancers have had to take on. Which leads me to a point about the impact this ‘packing things in at the start of a career’ is having on the physical and even mental well being of the dancers. I am all for fostering new talent, but I think that this has to be tempered by other considerations about keeping a balanced and healthy company with opportunities for dancers to steadily develop their careers.
  • Create New...