Odyssey

Sadly, I think for some, the experience of being in a cinema where people are free to eat, exchange the odd comment, even nip to the loo is something that is familiar and they are more comfortable with.

Just want to draw attention to a review posted in today’s links from Aayush Chadha for the Mancunian. I was really struck by this considered response.

I know this topic has been touched on previously in other threads here, but what is ‘the elephant in the room’ regarding the revival of Cinderella? I am aware of the ownership, but how is this currently impeding the revisiting of a work that so desperately needs to be performed while a significant number of dancers who were coached by Ashton are still able to teach it? What is the likelihood the situation might change in the near future? This would be a wonderful focus ( and potential marketing tool) for any future Ashton festival.

Oh lucky you. A superb cast but that apart, just get lost in a wonderful production in which the whole company - and marvellous orchestra, come together to spread the magic and ensure you have one of best theatrical experiences of Christmas you can have.

At long last they are showing Yuli ( it was initially supposed to be part of their last dance season). It’s such an enjoyable film. With the documentary about McGregor, I wonder if they will be screening The Dante Project at some point in 2022- in recent years it was the BBC that screened both Woolf Works and Frankenstein relatively soon after both had premiered.

Apologies, Sim. I have been following the various casts ( of which there are many combinations) and this latest one escaped me!

I don’t think Bracewell and Gasparani have danced the lead pas de deux in the same performance. It was Bracewell and Hamilton.

I have tickets for Plymouth right at the end of the run. I guess the ‘bubbling’ will continue, so it may be possible to predict some of the partnerships, just not able to crystal ball gaze about for which performance.

Gorgeous footage and lovely contributions from dancers past and present. For anyone who treasures memories of original interpreters of Ashton’s work, this will be an emotional watch.

But judging from comments made by those here who have seen it, it might be a pleasant surprise. I seem to recall it was the BBC that screened Woolf Works - I think it was in the New Year, so it is a possibility.

Just listened to episode 3 of the latest series and it’s another cracker. A great subject that must have crossed all of our minds - What does it feel like to dance with your spouse? - with two entertaining guests who should know - Lauretta Summerscales and Yonah Acosta. A perfect Friday evening antidote to the live footie match! Thanks Julia and Brandon. ( I noticed your guests maintained the running theme of Romeo & Juliet).

Further to my comment higher up this thread regarding confusing casting information, due to localised flooding, I ended up swopping my Thursday evening seats for last night. How lucky was I? I was fortunate to be able to see Yu Kurihara’s Juliet and I agree with Tony Newcombe’s assessment. Her interpretation was so convincing and beautifully nuanced. Her journey from shy, but curious, potential child bride to a passionate, desperate, but determined young woman was clearly mapped in her facial features and importantly in the varying responses to the other characters. Like Tony, I found the way she initially burst onto the stage giggling and slightly gauche was enchanting.. I loved her initial, besotted sight of Romeo in which she ‘drank him in’ , and credit to her strong technique in the final pas de deux where her limp body was chillingly almost too real. After a couple of shaky moments in those early first lifts with Romeo, the partnership with Lachlan Monaghan was secure and became steadily more involving. His sensitive partnering and strong technique made for a very accomplished and believable Romeo. The remaining cast included some lovely interpretations - Yvette Knight was a particularly fine Lady Capulet ((perhaps coached by Marion Tait who remains, for me, the touchstone ). I also enjoyed Shuailun Wu’s Mercutio, particularly in the third act , where he came across very much as the tragic clown. Valentin Olovyannikov‘s Tybalt perhaps could have done with some more light and shade, but I still found the heartless thug who idly stands by, enjoying the fatal result of his fight with Mercutio, a satisfactory interpretation. BRB is such a fine company, with a depth of talent that ensures there really isn’t a weak link. And with the Sinfonia’s superb playing, this was a pretty faultless performance.

So enjoyed the first episode. Love the relaxed atmosphere you generate and the topics you chat about. There isn’t anything else out there quite like it. Looking forward to my next fix!

Just had a look at the cast sheets for performances of Romeo and Juliet in Plymouth this week and I haven’t a clue which couple I’ll be seeing tonight. There appears to be considerable shift in the dates the various partnership are performing from those originally announced. The discrepancy is still there if you look at the BRB site for booking and then follow the link for the various casting sheets. I thought I would be seeing Miki Mitzutani debut as Juliet but the casting now says it’s Yaoqian Shang. Not a problem as I will enjoy whoever I see and I also get to see Tyrone Singleton. Wonder why this is, and if this happened in Birmingham. https://www.brb.org.uk/whats-on/event/romeo-and-juliet https://www.brb.org.uk/downloadable-castsheets

I’m wondering how much information will be available for the live streaming. It would be good if the ROH resurrected the digital programmes they used to produce in the early days of the live screenings.

The photo gallery in the Links page look stunning. This seems to be a successful fusion of some of the most interesting and talented, creative artists working across the spectrum .So looking forward to the live stream. Thank you for your review Bridem.

Looking forward to seeing Miki Mizutani and Yasuo Atsuji in Plymouth later this month. Am I right in thinking it is Miki’s debut as Juliet? Interesting that the casts in Plymouth are totally different from Birmingham reflecting perhaps not just the apparent depth of the Company but also the confidence of the director in his dancers. Very much in the tradition of Sir David.

Yes, you’re right, but those ghost dancers are so sinister how they emerge silently and steadily take the people away. Moving indeed.

Christopher Bruce’s ‘ haunting’ Ghost Dances would have to be included in my list.

A stimulating fusion of two remarkable works of art. What a tremendous initiative. I share your enthusiasm for Agon to be brought back into the repertoire.

Really pleased to see Sky Arts showing performances at better times in the day, but I’m wondering if there will be some more recent broadcasts from Royal Ballet. Sky used to show the screenings less than a year later which was brilliant.

Me too Alison. Technicalities aside, there’s nothing former about his dancing.

A very important observation. I’m not being flippant when I say it was ever thus, in that certain versions of events are venerated and hold a higher truth. For me it is his deployment of the English language that makes such a delight to read. I have frequently disagreed with his view. That he can cite so much passion, whether or not you agree with him, is why I am so pleased to have a compilation of his writing. edited to say I appear to have attached this to the wrong quote, I was actually referring to Ian’s post and I don’t appear to be able to correct this mistake in edit mode. Perhaps moderators can.

Yes, of course, you are right. Performing arts sections in bookshops are rare, and books on dance never number more than a few. There are very few independent, small publishing houses that have managed to survive, and it must be a real labour of love to be able to produce a quality volume such as this. I wonder what the print run is - really hope it sells well and who knows, it may go for a reprint.

Yes, I was (pleasantly) surprised by the book’s format. My copy arrived at the weekend and I have already found that it’s ideal for dipping into rather than to read in hefty amounts (my habit is to read in bed at night and the sheer weight and size would make this an uncomfortable experience!) So it’s found it’s place on the coffee table and a handsome looking volume it is. I like the inventive way the reviews are arranged which is far more interesting and conducive to short bursts of reading than had it been a chronological run through. Does anyone share my surprise that the illustration used for the cover design, which is repeated throughout the chapter pages, doesn’t reference dance? That such a beautifully produced publication, devoted entirely to the elegant writing of one critic about a minority art form, can be produced in today’s economic climate makes me very happy.