Odyssey

I am going to have to don my hard hat because I didn’t feel wowed by last night. I have to preface this with a long-standing coolness towards DQ and a general preference for the production which Carlos has since produced for BRB - far less cluttering of the stage ( also less busyness) and a wonderful windmill scene. It’s not a ballet which has much light and shade, but I was hoping for a more interesting interaction between Kitri and Basilo, but even though our two principals danced their hearts out of their various variations - in particular the grand pas de deux, I didn’t find myself responding to them as a couple in the way I hoped I might. I also found Leticia Dias as Mercedes, though technically very secure, lacking any real characterisation. For me, the stand out performances were James Hay, Gary Avis and Leo Dixon, who were totally convincing. Having said that, I think the Company is dancing with an attack and energy that is great to see.

That’s so disappointing. It’s not as if they are short of screens! Kingsbridge was pretty full, but that would have been a fair old trek for you too.

Yes, I must admit I had forgotten this, but I would still note how easily she came across in her wider address to the audience. Clearly her years on Strictly and other broadcasting experience have enabled her to relax and interact well .

I would echo this. As well as her excellent expertise in coaching these roles and her lovely manner towards the dancers, I was very impressed by how fluent and comfortable she was in explaining the sections to a live audience. I have found her presentation during the live streamings a little stilted , so this was a revelation. I also found the longer time given over to this rehearsal was preferable to the short ‘bites’ that RB, in particular, favoured in their streaming. It was indeed one of the best items of the day.

An unexpected pleasure to see Christopher Carr rehearsing The Dream. Thank goodness he continues to carry the flame for Ashton’s choreography. A great watch.

Melissa Hamilton has just posted pics of herself rehearsing Satan with William Bracewell (The Dante Project). That should fit her like a glove.

Yes, how I wish there was a recording of Jenner’s Fille. She’s widely recognised as one of the best Lises.

Yet, Melissa Hamilton who I would regard as a strong first soloist with a wonderful stage presence, has yet to appear. I know she has, and will be, guesting with Roberto Bolle at the end of this month, but I hope she will appear perhaps taking on a role such as Mercedes, rather than ‘just’ revisit the Queen of the Dryads.

A great review and I absolutely concur with your assessment. I would add that Celine Gittens and Tyrone Singleton were also pretty gorgeous in their pas de deux interludes in Acts2&3, and Celine particularly seemed to enjoy ‘letting her hair down’ in the final moments. I didn’t quite see the need for the devil atop an overturned car in Act3 to be constantly moved around the stage by the dancers, although this shiny metal presence was impressive. In fact the effective use of light boxes and large discs that the dancers rolled across the stage were simple ideas that worked well. What a fun way to spend an afternoon.

I was there too! Yes, it was so joyful. I particularly loved the first act which built to a high octane finish.Who’d have thought Lachlan Monaghan could not only sing, but could sing and dance superbly at the same time! I really liked the score which did justice to the iconic Sabbath tracks. So many things to admire, which I will reflect on later. Great to see a packed house ( they rarely open the upper circle for ballet) and such a varied audience. What an inspired venture - so glad that Carlos Acosta is at the helm of BRB during these difficult times.

The one exception on Trog’s list might be Duran Duran - iconic in their own way. I do think there’s potential for fusion of ballet with popular music. Interesting that Carlos Acosta brought Christopher Bruce’s Rooster, with it’s Rolling Stones soundtrack, to a potentially new audience in the UK with Acosta Danza just before he took up his post in Birmingham .

I’m seeing it on Plymouth and will be interested to see how it’s received outside the Midlands. Although I’m sure there’ll benenough ex Brummie and Sabbath fans like me to provide a warm reception. I’m really heartened by these early reviews after being less than wowed by some of the rehearsal footage. Yes, bravo to Carlos Acosta for his zeal and determination to see projects like this come to fruition.

A glimpse of a rehearsal

But how else are they to raise funds in this current climate? It’s certainly not going to be from Birmingham City Council. I’d prefer them to try to secure their immediate future and still be around when (if) the economic situation eases.

I feel another email is due. I know it’ll have no effect, but it makes me feel better

Yes, I have a copy but unable to post it until mid October. PM me if you still interested.

I well recall the previous cuts and the announcements by the Council regarding the steady removal of funds, but this is set against an acutely worsened economic background and one where the mood music about how much of a priority the continued support for the arts is perceived.

Shifting this thread slightly to the Company perspective, how can they realistically plan for the following season with this sword dangling over their head? Won’t the dancers, teachers, creative staff etc. quite naturally begin to look for other openings? How can they continue to focus on fostering community / educational links which they do so well, and need to continue to do in order to grow their audiences, if their collective minds have to turn to saving the Company?

When a few days ago Birmingham CityCouncil announced its bankruptcy, my mind immediately went to the likely impact on BRB and other superb arts institutions the City supports. Sadly, the report in The Stage which you can read in today’s Dance Links confirm my worst fears. It’s alarming because BRB is unlikely to command the same level of support and publicity as English National Opera have done to secure their immediate future. However, if anyone can marshall support Carlos Acosta is certainly the figure to do so. Nevertheless. I fear there’s a very rocky road ahead for this wonderful company.

Beautiful photos. What a privilege to be able to have a glimpse of her special day. So many of her fellow artists there too.

An acknowledgment of your support for the Company over the years and a comment regarding possible renewal of membership in the future is a reasonable expectation. ENB are not alone in failing to follow this procedure. I can think of several large organisations I have supported over many years, that didn’t send any acknowledgment when I withdrew my subscription/ membership. Like Jan, I’m not a Friends of ENB but I get frequent mailings - I think it originated when I entered the advent calendar promotion many years ago.

I have seen these Bintley ballets, albeit some time ago, and I would say these story ballets are firmly rooted in the classical tradition. However, Edward II which I recall I found very interesting and powerful, is more a dance drama.

Yes, I missed that too. Particularly interesting to see Leanne Benjamin and Ed Watson coaching. You can get a small section of the Mayerling rehearsal on this On Style YouTube account https://youtu.be/hfB_Vfjkk30

Is it likely this gala will have been filmed? It used to be a fairly frequent occurrence that an evening dedicated to a renowned dancer such as Carlos would be recorded and relayed at a later date. Sadly, that doesn’t appear to happen so much these days.

There’s footage on several dancers’ Instagram pages to suggest there were other performances affected, including pas de deux with dancing en pointe. Although dancers must have been given a choice as to whether they wished to perform, I imagine it would have been difficult for an individual to make this decision if the overwhelming group dynamic was to go ahead. But as Bolle was involved in several of these pieces along with his close friends, he wouldn’t take risks that could seriously damage a dancer’s career.