Odyssey

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.

Re: Clare Calvert. I am so pleased that she is getting the opportunity to dance a role she has long coveted. But all that preparation for one performance is such a shame. Just as last season, Melissa Hamilton got one Manon ( and in her case, not a performance you could book). Surely there must be a way to ensure all that coaching isn’t wasted. Plus, for first soloists who, to put it kindly, have reached a stage in their career where they are unlikely to be promoted to Principal, and are obviously only going to get one or two lead roles in a season, it would be ‘nice’ and ‘ fair’ were they to have more than one opportunity to perform in the role. But I guess ,sadly, niceness and fairness doesn’t come into such decision making.

It made the BBC Spotlight South West evening news yesterday with some brief footage of rehearsal and an interview with Meaghan Grace Hinkis You can watch it here at about 22mins in. https://www.bbc.co.uk/iplayer/episode/m000zqjr/spotlight-evening-news-13092021

Sad to see more of the ‘old guard’ departing . Denis Bonner has been a fixture of BRB for so long. Have very fond memories of Wolfgang Stollwitzer. In particular, his striking interpretation of Edward II.

I am hoping to book for Romeo and Juliet at Plymouth Theatre Royal. I haven’t been to this theatre before and would appreciate any advice about best seating, value wise and particularly where to avoid. Thank you.

That’s really interesting. Striking how many performances were by the original cast which is what I had thought might be the case. Regarding the Robbins’ story, I hadn’t come across that before, but several autobiographies/ biographies of dancers who were in the original cast devote quite a bit of comment to the rehearsal period. Unfortunately I can access my books at the moment to have a look though.

Please edit my earlier post I meant to say they weren’t in the original cast

Thank you. I must have been looking at a snapshot page of the ROH database in order to get the figure of 63. It will be interesting to trawl through the database to see how much variety there was in the cast of the early performances . I noticed straightaway that Jennifer Penny , Marguerite Porter and Carl Myers appeared in the original run, but were in the first cast.

I would be interested to know if when Dances at a Gathering was performed previously in 1970 and 1976 whether there was the variety of casting we have the pleasure to enjoy today. I seem to recall reading somewhere that many of the dancers learnt multiple parts and Robbins didn’t reveal who was dancing which colour until just prior to the performance. I think Nureyev was the exception to this. According to the ROH it has been performed a total of 63 times ( I don’t think this includes the current run) so I imagine there were some changes. It’s a shame there doesn’t appear to be even a little extract anywhere that we can see of the original cast. I imagine a recording does exist somewhere in the archives.

I thoroughly enjoyed the live stream. This triple bill is wonderful and so successful in showing the strength and depth of the company. That they can present two quite different casts without any apparent ‘weak links’ is an embarrassment of riches. I have always been drawn to Apollo; such light and shade in the choreography and such a memorably, moving final tableaux. I found Matthew Ball’s Apollo quite majestic and haughty (in a nice way). I have seen other interpretations that have offered a more playful god, which provides a little more light and shade, but his striking demeanour gave him the wonderful gravitas the role also demands. I have always been a fan of Melissa Hamilton’s dancing and she is very at home in this role, technically secure, with some beautiful lines and quite coquettish in her response to Apollo’s attention. Fumi Kaneko is a gorgeous, expansive dancer and I very much enjoyed Clare Calvert’s variation. I have read reviews that indicate the first cast is superb, but this cast definitely deserves praise. There is nothing I can add to what has already been said about Nunez and Muntagirov. Just perfect. Their partnership is a joy to behold as they channel each other’s joy of dancing. Inspiring each other to attain even greater heights. I cannot understand why some here have found Dances at a Gathering to be over long. The variety of mood and various configurations of dancers makes for such a rewarding watch. The choreography plays about with the various tempo of the dances and it’s endlessly fascinating to observe the nuances in the relationships between the dancers. I really don’t feel it’s fair to single out any one dancer as they were all, to my eyes, wonderful. They have been beautifully rehearsed, and the brilliance and fluidity of the dancing makes me so proud and excited about the future for this Company. I would however mention that Teo Dubreuil has a striking stage presence and is an exciting prospect for the future. Such a lovely watch which I know I am going to make the most of repeat viewings before the streaming window ends.

Yes, Ghost Dances is a perfect example of a work that beautifully makes it point without needing to revert to some gritty realism. it would be wonderful to see it revived. ( I’m sure Janet would agree). Swansong would be another I think would work well.

I wish there were more opportunities for principals and first soloists to exchange with BRB and perhaps other companies. I know it’s fraught with issues, but it would enable dancers to widen their repertoire and would be good for audiences. I understand that dancers can request a year sabbatical to work elsewhere, but I don’t think many would risk this as the Company moves on and re-establishing yourself might prove difficult, but for a dancer who isn’t looking for further promotions, it seems a good way to enrich your dancing career.

Yes, I do too. Judging from the photos, the dancers seem to have signed in close proximity to their printed names in the programme which often happens. It ‘s a fun exercise trying to decipher signatures .

I think this is the pas de deux between Apollo and Terpsichore which is often performed at galas. I know Melissa Hamilton has performed this with Roberto Bolle as part of his Roberto and Friends tours.

Lovely photos. Thank you for posting these.

Another sad loss. The filmi of her partnering Nureyev in Don Q, who staged the production at Australian ballet which also starred Robert Helpmann is a must see.

Really hoping that someone will post some photos of the curtain calls from last night. I do enjoy seeing them.

I am glad she was able to come over and coach ( or did she do this remotely?) I recall her sharing the coaching for Jewels with the late, much missed, Elyse Borne. Interesting, in view of the discussions elsewhere regarding Ashton, how the Balanchine Trust seems to work effectively when staging productions.

Really looking forward to the live screening with this cast ; a lovely triple bill. .What was Apollo like? I am wondering who has rehearsed this ballet.

Such mixed emotions. She has such an infectious presence both off stage and on. Just sad that the final year of her ballet career was beset by injury and the pandemic. There was so much more she would have brought to the repertoire.

Cinderella would provide the perfect combination of crowd pleaser and honing of classical technique (which Floss refers to) . What is the current situation with the rights to this ballet? Someone from the ‘older generation’ with influence and excellent persuasive skills needs to be recruited.

In case anyone is just reading this, the magazines are no longer available.

I have some copies of Dance Now magazine volumes 3-7. 1994-1998/99( including the Ashton issue vol 3 issue 3). May be the odd one missing but I have a total of 18 issues. I haven’t got time to list them all, but there’s some lovely in depth interviews . Would only charge p&p, estimate about £7.00 to send. PM me if you are interested.

I was pleasantly surprised to see there are several clips of her on YouTube.