Odyssey

I stand to be corrected , but did Carlos Acosta actually say he wouldn’t stage heritage works? I’ve searched some of his original statements both when the announcement about his taking up the post of director was made, and from when he was first appointed , and I cannot find any direct statement of this kind. I also think it’s important to read what he says on his official website. https://www.carlosacosta.com/birmingham-royal-ballet/

They did this last year when they toured Don Quixote - promoting Sleeping Beauty for the following year- and it seems to have worked judging by Janet’s comments about Plymouth sales earlier in the thread. I would be very surprised if the production of Cinderella wasn’t Bintley’s. It’s very good and popular. Although I only saw it in Birmingham, I assume it adapts well for touring.

I should correct my opening remarks. Yes, Sir Anthony Dowell did serve for 15 years .

It occurs to me that Kevin O’Hare is now entering his 12th year as artistic director of the Royal Ballet. A tenure that, although considerably shorter than Madam ( Dame Ninette ), is quite a few years longer than any other director. I would be interested to know people’s thoughts on the advantages and disadvantages of having someone at the helm for this length of time. I should add that no way is this meant to be disrespectful to Mr. O’Hare, who has undoubtedly achieved a great deal.

So true Janet. I was delighted to find out I’m due to see Parma but will be on tender-hooks until the final cast sheet appears.

I would love to see the latter of the Covid galas which is the one that includes Monotones2 - very difficult to find decent recordings and beautifully performed here. It also included Within the Golden Hour and the pas de deux from Concerto.

What I hadn’t realised, when I first watched this masterclass uploaded to YouTube, is that Jan Pritchard’s initial talk before the masterclass has also been uploaded. This concludes with two recordings of Sibley & Dowell dancing the pas de deux plus the version danced by Bussell & Cope for a gala ( Dowell frequently refers to these during the masterclass) I have never come across any footage of Sibley & Dowell’s pas de deux before, so this was a wonderful surprise.

Not sure if this is the best place to put this .. Ashton Masterclass Anthony Dowell coaches Melissa Hamilton & Reece Clarke in Awakening pas de deux from The Sleeping Beauty. https://youtu.be/njZM4YxEE5M?si=SNzTEuT_KsFH5FQS

https://youtu.be/1Gp12dvXwM8?si=1WlkQhAkvrxq6Tpo I was surprised to come across this clip. It would seem Black Sabbath have inspired more than one company to have a ballet choreographed to their music. Information accompanying the clip is very limited, has anyone here come across this before?

So pleased to hear this news. No surprises that her career has progressed in this direction. She has so many qualities that suggest sh will make an excellent director of a company. If you read the full announcement, Kevin O’Hare is singled out by being quoted at length in his assessment of the qualities and experience she will bring to the role.

As Emeralds says “ The ever versatile Melissa Hamilton “. I admire how this dancer has carved out such a varied career for herself. I’ll be very interested to see which direction she chooses once she decides to hang up her pointe shoes( which I hope won’t be for a few years yet).

Most definitely, and I would add to that Arabian: Hamilton & Brændsrød

Yes, I remember him in that role too. A thoroughly , nasty piece of work - I mean that in the nicest way . His acting was superb. Callous and chilling.

Thank you Diandri for sending through this link. What a wealth of brilliant photos . I’m sure anyone who hasn’t looked at this site, will be surprised how many pics of a favourite dancer, across their repertory, which can be found here.

I was also at the Thursday matinee. to see the refurbished production which I didn’t get to see last year. Like Jan, I have no hesitation in naming this as my favourite production of ‘Nutcracker’. The newly restored sets and costumes are truly beautiful and reaffirmed my love for Sir Peter Wright and John Macfarlane’s vision. The transformation scene is unique, and it’s a rare performance that doesn’t generate spontaneous applause as King Rat emerges triumphantly (quite literally in a blaze of glory) at the exact moment of climax in the score. Unfortunately, a slight blip in the staging involving the lighting, meant this didn’t quite have the full, mesmerising effect. For a few seconds we were aware of the back cloth and the stage hands working the fireplace behind the scenes - surely a reminder of the important contribution made by the technicians in helping to create the (normally flawless) magical effects. I echo Jan’s appreciation of the Snowflake scene - both with the clever addition of the male winds, complete with their flowing hair, and the magical recreation of a wintry woodland in stark contrast to the rich red hues of the previous scene. The Kingdom of Sweets is just as stunning, with bold, vibrant representations of the themed dances, rather than the delicate, pastel confectionary that many Nutcracker productions tend to favour. I was of the impression that this was Lucy Waine’s debut as Sugar Plum but the cast sheet didn’t indicate this to be the case (not sure if they do this anymore). She’s quite a striking dancer - physique wise she’s a little taller than many of the BRB women. I’ve admired her in previous (very different) roles for her speed and attack. Whenever I watch this role these days, I’m reminded of Lesley Collier’s coaching of Francesca Hayward - the limited time to create the character and the gruelling nature of the dancing. I thought the partnership with Haoliang Feng was solid and evidently well rehearsed. She coped pretty well with the solo where there was some lovely shaping of the arms and a sensitive response to the phrasing of the music . She made a good attempt at the diagonal fouettés in the coda which was deservedly well received. A regal dancer and one to watch. A performance of note for me was Yuki Sugiura‘s Clara. She is a lovely, light dancer with a gorgeous jump. I have always admired the choreography of the pas de deux with the Nutcracker Prince in this production. . The joy and wonderment at discovering her Prince was etched all over her face, and the softness of her dancing a joy to watch. Miki Mizutani’s rose fairy was another standout performance for her assured technique, lovely feet and the musicality of her dancing. Finally Kit Holder was a suitably dramatic Drosselmeyer, squeezing every inch of his sinews into creating the magical transformation in Act 1. I’ve no idea how many performances of this production I have seen since Sir Peter Wright first gifted it to Birmingham, but it is genuinely no cliché to say it never loses it’s ability to recreate the child in me.

Yes, our thoughts collide.

There is at least one recent promotion to principal level that I think was not ready for the promotion. I’d be interested to know if the current ratio of principals to other ranks is unusual, somehow I suspect not, particularly if you include regular guest artists. I would much prefer a smaller number, with more frequent opportunities for these dancers to develop their interpretations and perhaps take on less roles in a season. I really dislike the current approach where virtually every principal is cast in a role, regardless of whether they suit the role. It would also follow that first soloists would be able to have more opportunities. I know several forum members are against the idea of regular guest artists, but reciprocal arrangements with companies, at both principal and first soloist levels seem to me a win win solution.

The balance does look odd with 12 first soloists , a good proportion getting towards the later years in their career.

Yes, Something that I had never come across before, but I’m not certain how the solution the article explores would be received.

Sadly, I think Petrushka could well be a candidate for this list. The music, the spectacle and the tragic figure of the eponymous puppet make it a ballet to treasure, but the moor is undoubtedly a problem. This article from Dance magazine provides a detailed examination of the issue https://www.dancemagazine.com/blackface-in-ballet/

Surprised, but delighted to see, that Celine Gittens is dancing Rose Fairy this season

Yes, I only saw Nureyev once in La Sylphide on the tiny stage at Stratford upon Avon when he was considerably past his best. Frankly it was excruciating to watch from a technical point of view, but we all cheered him because of what he had achieved . I also saw Fonteyn in Swan Lake quite quite late in her dancing career. I can’t remember how secure she was technically but her Odette was mesmerising to me and brought me to tears. She’s been the touchstone for me ever since.

This thread has made me have a look at a stack of old cast sheets I have kept. I found a triple bill from 1988 at Bham Hippodrome when RB used to do regional tours . Still Life at the Penguin Cafe , Symphonic Variations and The Concert.. That stuck me as an interesting mixed programme that would easily appeal to both seasoned ballet goers and newbies.

One of the first ballets I saw was Monotones 1 & 2 with Giselle back in the 60s performed by the Royal Ballet on tour. I am pretty sure it wasn’t a shortened version. I don’t think RB have ever danced anything but a full version.

Now this would be an interesting topic for the Open Barre ballet podcast.