Odyssey

I am enjoying the series. I hope they don't 'cut' the dances in tonight's final - it has been irritating at times. I would have also liked to see a round at a time rather than focus on a dancer's total contribution to the competition.

I think it might be Dancing Star by Gladys Malvern, If you are interested in getting hold of a copy, I know a book dealer who has an extensive collection of old ballet books. As it happens, I visited his store today and noticed he has a copy with its original dust jacket. If you would like the details let me know.

I also seem to recall something called. Gala Performance which I think was shown mid week and frequently featured extracts from the ballet, but I'm going back to my childhood. I share the disappointment regarding Tony Hall's apparent commitment to the Arts. I see no sustained attempt to foster an interest in dance. I will miss Sky Arts 2 for the complete performances from the Royal Opera House. I'm not convinced it's simply a matter of less repeats.

Did David Bintley only dance the role at Covent Garden? I can't recall whether I saw him dance it in Birmingham , but I imagine he would have been a fine Widow.

Two titles which are new and perfect for young teenagers are Dance of Shadows and Dance of Fire by Yelena Black. Another really interesting and uplifting book for young people is Hope in A Ballet Shoe the true story of Michaela DePrince who grew up in Sierra Leone under some horrendous circumstances, then adopted and brought to the USA. She's currently dancing as a first soloist with Dutch National Ballet.

I forgot to mention 'Dancer' by Colum McCann which is a fictionalised version of the life of Nureyev - very well written.

I like reading dance autobiographies. Some I have enjoyed which haven't been mentioned include Gelsey Kirkland's two volumes, particularly the first, Dancing on My Grave, Lynn Seymour's 'Lynn' and 'Ballerina: A Dancer's Life' by Margueritte Porter. ( I wish Anthony Dowell would write his memoirs).

Me too. I wonder if she danced it with Scottish ballet ( not Ashton ?)

Just going slightly off the main thread, has Tamara Rojo danced Lise at anytime in her career ?

Yes, I failed to appreciate how extensively she published and the variety of her work. Thank you Jane for confirming an impression I had gained of her from reading her work.

I love these type of threads for sparking thoughts. Interesting how many mentioned are Ashton. I agree about 'Fille' & The Dream (it's such a long time since I saw The Two Pigeons to confidently add it to my list, but I have only good memories). Apollo like 'Symphonic' is sublime and perfectly formed for very different reasons. I also share a high opinion of Macmillan's R & J - it's the ballet I often recommend to friends who are new to ballet & the BRB's "Nutcracker" is pretty near perfect ( although even in this production "the family dances" in Act 1 can still drag), A couple I would add would be Ghost Dances & The Firebird.

Just picking up on the posts about BRB's Edward II . I was teaching the Marlowe play to 6th form students during its first run in Birmingham and we were able to link up with BRB with a range of activities including a memorable visit by David Bintley to run a workshop and talk about text into performance. The week culminated in a visit to see the ballet . It certainly provided a whole new insight to the dramatic qualities of the play and the interactions between the central characters. And I like to think some of those 16-19 year olds are still attending ballet performances now, thanks to the generosity of the Company and in particular its director who gave up his time to be associated with the project.

Just returned from the encore screening of the live performance. So much to praise. Starting with some of the finer nuances which really come into their own when you get closer shots of the performance. Loved Elizabeth McGorian's look of utter diisdain towards Benno during her entrance in Act 1 as if to say " You are to blame for my son"s carefree approach to his royal duties." Then there was Gary Avis in character during the applause for Matthew Golding's solo in Act 3 - he could only sneer at the reception to Prince Siegfried's dancing, but was all animation once his daughter began her solo. Natalia danced beautifully - could only echo what one member of the audience had tweeted " she fizzed through those fouettes.". I think I found her dancing at its most moving during Act 4, again partly due to being able to see so closely the account of the betrayal and her subsequent forgiveness of Siegfried. I thought the corps were pretty hot throughout, but I was particularly mesmerised by their unity in Act 4. I share other people's view of Matthew Golding in that he is a true danseur noble, ideally suited to this part, and his partnering of Natalia was exemplary. As for the production itself, I have always found it magical and whenever I see Act 3 I feel I am indulging in a particularly rich fruit cake- the costumes are beautiful with their jewel colours and I love the setting with the clever mirror reflections. The orchestra were on form too and the interviews in the intervals offered a lovely surprise with Cynthia Harvey and Johnathan Cope. All in all what a wonderful way to spend a Sunday afternoon ( and I say that even though it was brilliant sunshine outside). One last minor thing to mention entering in the discussion about costumes. I have always been intrigued that in any production of Swan Lake I have seen, the 6 princesses wear identical costumes - is this to suggest their blandness in Siegfried's eyes? Otherwise it would surely be the case that they shouldn't be dressed as sextuplets!

Just had a look at my cast list when this production was at the B'ham Hippodrome (April 1989) Susan Hogard is cast as both Odette and Odile with Schaufuss as Siegfried. Interestingly, Trinidad Sevillano danced the Pas de Quatre with Leanne Benjamin, Patrick Armand and Maximiliano Guerra and Alexander Grant was the Master of Ceremonies. Happy days !

I just found a link to information about some of the exhibits at White Lodge - it's an old article, but I assume it is still relevant. It looks welI worth a visit. I'd be interested to hear from anyone who has visited the museum,particularly to know how extensive it is. I assume it focuses more or less entirely on the Royal Ballet. http://www.theguardian.com/education/gallery/2009/feb/25/museums-ballet

I remember there was a Diaghilev special exhibition some years back - I assume it was at the V&A . It would be lovely to have more photographic exhibitions celebrating the work of say, Leslie Spratt. Perhaps an exhibition to mark the 25th anniversary of the death of Margot Fonteyn, which I think is in two years time.

I thought I would start a discussion surrounding the lack of a dedicated museum/ exhibition space for ballet. Since the closure of the theatre museum in Covent Garden, the V & A have a very limited space to show the wonderful collection they have. I understand there is a museum at White Lodge, but I have never seen this publicised other than via the website which indicates you have to book in advance, with limited opening hours. I'd be interested to know what other people think and also whether there are any upcoming significant exhibitions planned.

I am so sorry I missed this. I'm pleased to hear it was well attended as there wasn't too much publicity about the event. A lovely variety of activities too. I can recall going to see the opening of the original studios and facilities when BRB moved to Birmingham. It has been a very positive move and one that has benefited the city greatly. Are there any photos/ details of the new premises?

Mary, I do agree with you assessment and I think it would sit well in the established repertoire of the Royal Ballet offering several meaty/interesting roles for dancers. It has some wonderful choreography and again on my second viewing, I found it extremely moving. Contrary to a couple of other comments, I think the score is very accessible and I love seeing the musicians on the stage in the second act. Here the joy and celebration of dancing is a pleasure to watch and the tree is a thing of beauty which I think projects well even on the small screen. I do hope this will be back in the repertoire soon.

It's a few years since I saw the BRB Nutcracker, but in its early years I would go at least twice a season. In those days there were a occasional guests in the Prince/ Sugar Plum fairy roles. I recall going on the night the performance was filmed for tv and in the battle scene the soldier's gun failed to "fire" so had to be dubbed on the TV transmission. The magic of the production didn't come across too well on film - very dark in the first act , but on stage it is a gem. I agree that the transformation of the Christmas tree which cleverly grows new, convincing branches rather than just extending towards the ceiling, and the rotating fireplace when the mouse king pompously strides forward with his standard, is a theatrical triumph. There is so much to praise about this production - from the choreography for the dance of the snowflakes, to the beautiful red dress worn by Clara's mother. Yes, I have to agree it is the best version of Nutcracker I can recall. It deserves a live cinema feed.

I would be interested to know about the practice of flower throwing. I believe it is now reserved for farewell performances and the occasional gala, yet I have seen many recordings from Covent Garden to suggest it used to be a more frequent occurrence. Is the rarity of this practice a case of health and safety gone mad/ the cost of flowers or for some other reason ? And, I'd be interested to hear of any recent performances when there has been a showers of flowers. Returning to the original post in this thread, this is a lovely way of showing appreciation for both male and female dancers.

I'd like to add just one further point about tweets( although I do agree we should be talking about Manon here). When you are in a fairly empty cinema where we follow the general custom of no clapping, it is a warm feeling to know there are others out there who have shared the magic and want to express their enthusiasm

Just got back from the live screening of Manon and what a wonderful performance it was. Sadly, there were only about 20 people in the audience- but not that surprising given there was no advertising for the screening around the cinema. I thought the interview with Lady Macmillan during the first interval was insightful and for once, Darcey seemed more at ease when interviewing her. I've seen Manon several times at the theatre, including a performance by Guillem, but I have to say being able to see close ups made it a very emotional and memorable performance. Nunez and Bonelli were superb tonight.

Has she announced what her future plans are?

I will have to find the video and check. One of the extracts is an interview with Darcey who,is about to participate in the prix de Lausanne (1986?)