Odyssey

Yes this is an accessible event which presents a wide range of ballet extracts. Birmingham also hosts a dance festival - I think it is an annual event- BRB participate alongside other dance troops from a wide spectrum. I believe these kind of events can help bind a company to their home - BRB is much loved in Birmingham and their outreach programme is exemplary. However, it is still a challenge to convince the person who may have enjoyed several short extracts to book for a full programme of ballet. One drawback of the festival approach is that it could result in "bite-size" ballet becoming the norm. I'm thinking of the wonderful production of The Winter's Tale - would works such as this be commissioned in such a world?

I have a combined DVD/VHS video player which thankfully still works. There's so many performances/documentaries and little features I have taped over the years which would be really difficult to track down. I have labelled the longer programmes but occasionally I come across an unmarked gem such as a very young Darcey Bussell on Blue Peter and Saturday Superstore - happy memories !

I share your love of ballet books and have built up a fair collection over the years. I agree about The Art of the Royal Ballet - one of my favourites. There is a further title by Keith Money called The Royal Ballet Today which is very nice. Also his books on Fonteyn are wonderful photographic tributes. Another one in a similar vein is The Dancer's World Alexander Bland & Michael Peto . Here's a couple more favourites that haven't been mentioned:- Sibley & Dowell , Leslie Spatt & Nicholas Dromgoole, Karen Kain, Lady of Dance, David Street and Nureyev, Clive Barnes. I'm not surprised you have been able to pick up titles quite cheaply. Books seem to have decreasing value as people dispose of their collections and there's been a huge rise in online discounting of new books. Great for the new collector, but sad that the secondhand bookshop is fast disappearing along with independent booksellers.

Thank you for this link. So many lovely dancers whose performances in these roles I have often seen only in photographs.

One of my first visits to the ballet ( Sadler Wells) had Monotones prior to Giselle. I had been taken to see a traditional, romantic ballet - which I loved, but Monotones was a revelation to my young eyes. I do think there is an added bonus of introducing a new (and often younger) audience to works they wouldn't otherwise make an outing to see - particularly plotless works.

Janet, thank you for posting the Swansong extract. I have a very old video copy of this and like you used to play it endlessly. Ghost Dances is another favourite of mine.

Just widening this thread a little to enquire if people have found the behaviour at the live screenings is similar to that expected at a live performance. From my experience of three screenings, I have found audience behaviour to be excellent, with no evidence of widespread eating & drinking which you would suspect might be the case at a cinema. There's certainly less chance of being annoyed by spreading legs and elbows as there is usually far more room! My one (slightly) annoying incident at the recent screening of The Winter's Tale was from one half of a couple behind me who kept up a running commentary of remarks to his other half such as "ooh that was nice" & " how about that". But as these were all complimentary remarks, and ones that I found I shared, I really couldn't get too annoyed by this distraction.

I really hope the BBC have the opportunity to screen this ( although I imagine it is more likely to be Sky Arts). This is exactly the type of ballet which could engage a wider audience.

I couldn't agree more about the preference for a live performance, although I do think the cinema provides an enjoyable and different experience. The cost of tickets may not be so very different, but if you don't live close to London, then travel/ food can make it expensive.

I just noticed in the cast notes that Christopher Weeldon has dedicated the ballet "in loving memory of Peter Weeldon, My Dad 1935-2014". This adds a poignancy to so many aspects of the choreography.

Yes, this did strike me at the time, particularly as the moment was beautifully realised in the score yet the stage was bathed in darkness in transition for the celebratory scene.

What a joy! I don't know where to begin. Dramatically, I don't recall having come across such a vivid realisation of jealousy - to see someone so racked in torment and then self loathing as Watson's portrayal of Leontes demonstrated ( as if it needed to be proved) how ably dance can communicate the rawest of emotions. The pas de deux in Act 2 was dance heaven - some wonderful lifts and gorgeous parallel shapes beautifully performed by Lamb & McRae. The resolution of the third act was incredibly moving with Cuthbertson creating a wonderful feeling of serenity in her movements. I love the score and can't wait to hear it again - such variety of instrumentation and interesting rhythmic variations. I imagine it must be a real joy for the dancers to have the musicians on stage. The tree! The interpretation of "exit pursued by a bear" I'd read about these moments but they still worked their magic. The storytelling of this giant of a play was clear and required no explanation. Some inventive and clever choreography - thank you Mr. Weeldon for one of the most stimulating ballet going experiences I have had the pleasure to enjoy.

Perhaps this might be of help http://www.nosweatshakespeare.com/plays/play-types/tragicomedy-plays/ The posts on this forum have really whetted my appetite for Monday night's live feed.

There's a lot of information on the Channel 4 website (UnreportedWorld)including several short clips from the programme. I found it a very salutary experience-particularly the worn pointe shoes and the piano the gifted Mohammed was paying - we have so much to be grateful for. Sadly the future of the school and Leezan's career as a dancer looks pretty bleak.

With regard to the title assoluta, it doesn't appear to be a term used as a description for female dancers in recent years. (This may be different in Russia). I have only seen this description used in reference to Ferri. Perhaps this is because dancers do not remain with one company throughout their career, and there may be less motivation to apply the term - mind you Ferri danced with several companies, so my logic doesn't apply to her. I think it is sad this isn't a term generally recognised for someone of the status of Makarova.

Thank you for the information about the red button. I really enjoyed the extra programme. I was curious to hear Darcey's comment about her first appearance with Sadler Wells when she appeared as a skeleton - does anyone know which ballet she was referring to? I also loved the tiny footage of her in Birthday Offering - a glimpse of an arabesque which she appeared to hold for ages.

Sorry, I forgot that she is no longer a guest. But I think my overall point is still valid.

Yes, Don Q, I thought your original point was understandable. Those of us who are unable to visit Covent Garden on a fairly regular basis choose our casting with a certain amount of trepidation. Having booked for a dancer you are keen to see perform in a particular role, a cast change brought about by injury (although it can reap unexpected rewards), is bound to cause upset as you reflect that there goes that one opportunity to see the dancer. This is particularly pertinent if the dancer is a guest artist (which is relevant to your post about Osipova). At least there is the consolation that as SB is regularly performed, further opportunities will follow:)

Really pleased to see Onegin is back . Would someone be so kind as to explain the restrictions placed upon it being filmed. I'm sure I have seen excerpts in the past, although not the Royal Ballet's staging. The triple bills really took my eye, it's disappointing that there is no live screening. I agree about there being a glut of filmed broadcasts of Alice, but I guess there is no alternative in the run up to Xmas. Incidentally, are there more performances which are filmed during the season for Sky Arts? I'm hoping a triple bill might be included.

A couple of observations I would add to the excellent points already made concerning Darcey are her height and more athletic physique which was frequently drawn attention to as untypical of the traditional Royal Ballet /English trained dancer. These qualities made her look wonderful in Balanchine roles, and guesting with New York City Ballet, she gained a wider audience for her work. I think a lot of balletomanes were quite proud that here was an English dancer who could shine in this repertoire. ( whereas Fonteyn had not). I also recall that when Darcey was given the lead role in Prince of the Pagodas & was created a Principal at such a young age, she was frequently on children's TV - (Blue Peter & the Saturday Morning Live programmes). Children's ballet books & merchandise appeared bearing her name. So, a whole generation grew up aware of Darcey and her meteoric rise which in many ways resembled a fairy tale.

I have read/ heard so many dancers towards the end of their career comment to the effect that it is just as their technique is on the cusp of waning that their understanding andi interpretation of a role is at its height. It's the sad predicament of the classical dancer.

There is something very satisfying about reading a reviewer who is an accomplished writer and blessed with a pithy turn of phrase. I enjoy reading comments that crystallise the impressions your mind has been grappling to formulate.

In case people miss the link posted on the Dance features forum, there is a very interesting and detailed interview with Tamara Rojo currently on BBC iPlayer as part of the HardTalk series. She is extremely eloquent about a wide range of topics. The interview left me thinking how fortunate the ENB are to have her. http://www.bbc.co.uk/iplayer/episode/b040hwh8/hardtalk-tamara-rojo-artistic-directorlead-principal-english-national-ballet

Building an audience - a point Janet refers to,is key. Ideally there should be a longer term view (perhaps a commitment to perform for 3-5years) with accompanying outreach activities such as in education. Small scale performances in venues like a university campus could be incorporated as additional opportunities to see a company perform. Appearing for a week every couple of years does not an audience grow.

I don't think any of the recent programmes lectured or went into too much technical detail. They seemed to strike a good balance between substance and what you might term as popular appeal. What several posts here reflect is a desire for there to be a range of presenters - which the recent BBC programmes did provide, whereas the live cinema feeds have maintained Darcey as the presenter. Whilst she might be at ease in front of a camera, her interview skills are arguably not so accomplished.