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We still have National newspapers, and it is to be assumed, therefore, that our Arts critics serve the Arts of the United Kingdom. But we all know that this is simply not true. Look each weekend at the lists of the forthcoming major Arts events of the Spring, Autumn, or just the next week, and count the number of events outside London which are deemed worthy of mention. Very little outside the M25 will appear. When it comes to Dance the M25 becomes an Iron Curtain. In last Saturday's Telegraph, looking forward to the week ahead, the Arts Editor and Dance Critic, Mark Monahan, for whose artistic judgement I have considerable respect, mentioned forthcoming performances at Sadler's Wells by Birmingham Royal Ballet, a Company for which I have great affection. He referred to the new ballet by Didy Veldman and said that it would be interesting to see if David Bintley's "Hobson's Choice" would hold up to our memories of it.(It did, and more!) At this point I confess that I saw red. The World Premiere of the Veldman piece had happened already in Birmingham to considerable acclaim and "Hobson's Choice" had been performed to very enthusiastic audiences the following week. But you see, Dear Reader, to a critic, if it ain't in London it ain't happened, and it apparently ain't worth reviewing. I am not aware of a single national press review of any performances of the World Premiere ballet, or the important revival. In fact I do not think I can remember any critic of a major newspaper being seen in Birmingham for any performances, however important, for several years. Even less likely are they to watch the Company on tour. No doubt the response will be that the critics will be at the Sadlers Wells performances, but we know that the reviews are unlikely to appear before the season is over, and even if they are, as they deserve to be, enthusiastic, this is small compensation to the Company facing thin houses in London, partly, at least, because of the total failure of Critics to go to Birmingham and report on ballets and performances in time for the London season. And you would really have thought that, at this special time in the History of BRB , an effort could have been made. But of course not. Just in case it is assumed that these are the views of one disgruntled and untutored provincial, may I point out that I have been going regularly to ballet for 60 years, that I live in London, that I go regularly to the Opera House and other venues and that my views are shared by others, Londoners not least, who frequently go to BRB and other Companies' performances throughout the Country; something which seems strangely beyond the ability of critics. The next line of defence will be to argue that the general cut-back on Arts coverage in the National Press inhibits the ability of critics to cover as much as they might like. There is obviously some truth in this. But the problem with this argument is that the excellent chief drama critic of the Telegraph, for example, manages to cover new plays and revivals throughout England and Wales, and, unfortunately, dance critics seem to think that it is an imposition to expect them to travel outside London, especially to Birmingham, to review anything. It is a question of attitude as much as of money. One would hope that critics would wish to see Dance flourish throughout the Country, and that they would make an effort to serve the art they claim to love, wherever it happens, but the reality is that they care for very little outside London. I do not think that it would not be an exaggeration to say that the majority of Dance critics are held in something approaching contempt by the ballet audience outside London. That audience is knowledgeable, perceptive and loyal., as the critics might find out for themselves if they could summon up the courage, to face the deserts, jungles, mountains and raging torrents that we must admit, in all fairness, form such a formidable obstacle to spending all of 80 minutes on a train to Birmingham, or other excellent centres of dance, so largely ignored by those who have the gall to call themselves national dance critics.

You have all said it all. I am so glad that this evening, which brings such enjoyment, will be a part of the repertory for 2020. But who can match David Bintley's natural rapport with his audience, or his wit and good humour. I know that the evening exercised my lachrymal glands to their maximum, as well as giving my hands a good work-out. He will be so missed. I don't suppose it will get a mention on the misnamed "National" Press but we are used to their indifference to anything happening outside the M25.

Apologies all round for failing to see that The Lowry is in the schedule. But only for Swan Lake. Is Giselle too cutting edge for Manchester?

Some worries have been highlighted here and need addressing, but Acosta must be given time. I doubt whether we are yet seeing his real plans. Don Q cannot physically be fitted into most of BRB's touring venues, I suspect, so I doubt whether this will remain in the BRB repertoire beyond this season and the the other one-off, the Acosta Festival. The loss of Bristol and The Lowry does seem odd, especially as BRB was asked by the Arts Council to fill in at Bristol when ENB cut half of its performances there. I hope this is a temporary change, but I suppose the experience of playing to miserably low houses on tour takes its toll, not least financially. No mention of Nutcracker at the Royal Albert Hall either, which seems odd in the light of the enormous success the Company has had there. A real money-spinner too, which is needed. I do not want BRB to be too much influenced by the preferences of Alistair Spalding, which are not very friendly to classicism. But let's wait and see while still making our feelings known. Let's also hope that Birmingham starts funding its Arts organisations properly with the arrival of Acosta, and let us also hope that the Arts Council stops interfering constantly in BRB plans.

The news today from BRB of the appointment of Carlos Acosta is sensational, heart-warming, a terrific relief and a vote for the future of the Company. Who knows ? Perhaps national newspaper dance critics might be persuaded to travel beyond the M25 again to give the Company the attention it needs and deserves.

I think we are all devastated. I am sure he has found the lack of funding a problem and the politics. Marion Tait is surely too old now to take on such a burden but I hope she will be there to smooth the transition. His successor must be a classicist by inclination. And he must have the people skills that David B has in abundance so that BRB can continue to be a family. Robert Parker would surely be ideal. The Board has a really difficult job on its hands. It has made at least one horrific mistake on the Admin side in recent years so we must pray for enlightenment now.

Just a quick correction. He steps down at the end of the 2018/9 season

I have just read that David Bintley is stepping down as Director at Birmingham at the end of this season. This is devastating news. It seems suspiciously sudden. Who do we think/hope will follow him? Please God it will be a Director anxious to maintain this Company as a classical Company. Who are the favourites ?

I could not get to see them, alas, but apparently Karla Doorbar and Max Maslen were glorious. How wonderful it is that BRB can field so many superb casts and how depressing that coverage of their performances in the national press is non-existent. If you have not yet seen this production do not miss it.

I too remember Stuart Cassidy's jogging pants debut in the tomb scene from R&J. He got full marks for carrying on regardless, but I wonder what was said after the performance? I used to giggle at the dear pussy-cats in "Beauty" and at the 4 Cygnets in "Swan Lake". Now I am more likely to let out an anguished scream.

Just a quick point. Peter The Great''s predecessors had absolutely no interest in ballet, or any theatre dance. Anna was the one who set up the school. I think Japan has adopted Western culture with alacrity because the Shinto religion, unlike Islam. Buddhism and, Christianity which pervaded all the social and cultural life of those countries never had the same cultural hold and, therefore, could not resist foreign imports. But Japan, while loving ballet, has no public subsidy tradition for western art forms like ballet. Hence the enormous number of, very welcome, Japanese dancers making their careers in Europe. And in Europe it was the courts which established theatre companies as part of monarchical hegemony. Perhaps if Charles 1 had kept his head British ballet, copying France, might have developed out of Court Masques. Diaghilev had a big success in Spain under royal patronage, but years of Civil War and its aftermath seems to have killed that enthusiasm off and Contemporary Dance tended to pick up the pieces. Portugal also has some good schools but. like Spain, and for similar reasons, failed to develop a performing tradition. And now high unemployment and serious economic problems have stifled any development. Italy is the fountain head of classical technique but ballet has always struggled against the overwhelming hegemony of Opera. Perhaps only in the UK and the USA and where British connections are strong has ballet developed free of court/state control, civil disturbance and opera domination and may be all the stronger for it. Classical Ballet is not the norm in most Opera Houses in France

Thanks Lizbie 1. You understood exactly what I meant. Beauty has little plot and has lots of marches, divertissements (those bloody cats!!!) that build slowly, set pieces, that are quite unlke the freer flow of Romeo, or even Giselle and Coppelia. BRB's performances just carried the audience along. And there were lots of;people in the audience who were new to ballet, probably persuaded to come bu Nutcracker.

I have just come back to London after 4 performances at the Hippodrome. There wasn't a dud performance anywhere, but, to me, Brandon Lawrence and Delia Mathews were peaches and ream. Beyond Gorgeous. Also loved Hirata/Dingman - faultless and Mizutani/Morales. I would echo the remarks made about Cesar Morales, a superbly classical dancer. Mizutani, despite a little nervousness in the Rose Adagio, clearly has everything going for her in technique and sweet personality. Bouquets too for all the Lilac Fairies and Carabosses. The Bluebirds showed how much Max Maslen has come on in technique and authority and exactly why Beatrice Parma should be promoted. Also glorious were Gittens/Atsuji and, of course. Monahan and Shang. What was obvious at all performances was that this is the most logical, best designed and coherent production of Sleeping Beauty round, and I hope that Sir Peter thought so last Friday night. The audiences, a little non-plussed at firs,t warmed to this company and this standard of performance and production, genuinely cheering at the end of each performance. And the orchestra was in magnificent form too. I wish I could see other casts, but what a lovely company this is - and so hard working, everyone except that night's principals dancing multiple roles. Pity then that out "national" ballet critics cannot make the journey to see them. Unfortunately it is not only their loss.

As I understand it, mid-scale is now to be restricted to "Midlands" theatres, including Nottingham and Cheltenham. I imagine that this year the tours to Japan and Virginia have taken heir toll. But in the end the Arts Council calls the tune and its control seems increasingly irrational and changeable. I share the feeling that it is wrong that audiences in York, Durham, Poole etc are to be ignored after years of audience building. On the other hand ticket sales at Poole in 2017 were poor so it may be case of support it or lose it.

Bless Janet McNulty for being aware - unlike most ballet critics - that great ballet exists outside London. But how would they know as they never travel outside the M25? I agree totally with her list from BRB and NB. I would add to all these names William Bracewell, who was superb in Nutcracker at the Opera House and surely is a great classical principal in the making

Total agreement. This was the best Evening of Music and Dance so far. "Spectre" was a revelation. I somehow did not think it could work a century on from its creation, but Cesar Morales was glorious. Just the right mix or virtuosity and sensitivity. Arancha Baselga is always a delight too. Iain Mackay's reception was richly deserved and he and Jenna were peaches and cream.

Please, please, please; One of the greatest ballets of the Twentieth Century, and, rightly, loved by Ashton. "Les Noces" needs to be revived asap.

Please could someone tell me why, as I tryto change my password for this benighted site I am three timestold my old Password is incorrect when IT IS NOT!!!!

I saw three performances of the BRB Double Bill. "Month" moved me with either cast and I totally understand why Dowell was so taken with these true and beautifully danced performances. No false histrionics, just honest and moving interpretations. Please, please Mr Bintley bring it back soon. The Dream was also gorgeously danced by all three casts I saw and if I have a preference for Jenna and William, well that is no suggestion that other casts were not just as fine.. I feel that Mathias Dingman is too tall for Puck, however fabulous a dancer. I wish Christopher Wheeldon would takes some lessons from Ashton - and Bintley - on how to tell the story IN DANCE. Something he signally fails to do in "Strapless". With Ashton you hardly need programme notes and the action is advanced through beautiful dance alone. Did anyone see much National Press review of BRB? More and more I think our National Press becomes a Metropolitan press. If it is not in London it is too far away to bother with. BRB is dancing so brilliantly across the whole Company and I wish the public in London heard about them more often. I think most National Newspaper critics think Birmingham is a sort of frontier town beyond the deserts and mountain ranges.

Views on this double bill seem mixed. All I can say is that I saw the Rehearsal and all 4 performances and thought the whole evening was stunningly good. I do not agree with those who felt the corps in Serenade lacked cohesion. I thought it was in excellent form (so did the Evening Standard and the gentleman behind me in the Stalls who loudly expressed his view that the Corps was exceptionally good) and I was pleased that the piece was taken at a proper pace. In the two casts Gittens (of course!) Hirata, Willis, Mitzutani were all excellent. Pirouettes were finished with sweet perfection, jumps were light and the whole thing had drive and real NYCB energy. Carmina Burana was marginally better with the second cast, though Singleton and Mackay were both in terrific form in The Court of Love. Joseph Caley threw himself into Boiling Rage with extraordinary technique and real passion, which Dingman nearly nearly matched at his second performance. Samara Downs was terrifying as Fortuna but Gittens gave it an extra layer of cruel sensuality which was devastating. William Bracewell in Spring had a wonderful innocence which, allied to his gorgeous seamless flowing technique,was very moving. The whole company performed with total commitment and disciplined energy. It is a real pity that Birmingham Hippodrome cannot accommodate the musical forces that the Coliseum can. I think a lot of nonsense is talked about David Bintley's production and choreography. He creates a real unity out of this succession of songs, and his choreography makes constant, and clever, reference to the words of the songs, sometimes directly, sometimes tangentially and the movement is always just so musically right. The pas de deux for Fortuna and the 3rd Seminarian is beautiful and very sensual and that for Boiling Rage full of inventiveness and physical excitement. I wish some people, some critics would realise that this isnot meant to be another Swan Lake, or a Beauty And The Beast. It is a real piece of dance theatre, a modern morality, entirely contemporary and deeply felt. On my way home via Tube and Train I experienced something quite novel. People carrying programmes of the evening engaged each other in conversation like people who,having experienced something wonderful,needed to share in that experience with others. That has never happened to me before in 54 years of ballet-going and it was extraordinarily moving. There was in the Critics an element of the usual Metropolitan patronising of anything not emanating from London, but the audience reaction in the theatre and the lasting impression the evening seemed to leave with that audience showed that thishad been an evening of moving and powerful theatre. Well done and thanks BRB.

I can only agree wholeheartedly with the praise for BRB's wonderful "Coppelia". I took a friend from London to the Saturday Matinee. She was new to both BRB and Coppelia and was enchanted by both. So good to see the representatives of the National Press in such numbers to review this impressive revival ! (NOT!!) National Newspapers? London Provincial Press!

I do not know what can have happened to "Upper Room" on the Friday evening. All performances I saw were sensational. I cannot share the dislike of "Carmina" which I always enjoy not least because it employs so many of the dancers. I shall be popping along to all of the Coliseum performances and look forward to them all. I can only wish the season was longer and that London could see "Upper Room" too. The serous question now that the Coliseum is to be much less open to dance seasons and Sadler's Wells is not a friendly House for classical dance, is where will BRB and ENB perform regularly in the future. It is a major issue, especially as our "National" Press hardly notices any dance outside London. London audiences need to see and to know about, the great classical dance happening outside the Capital. I sometimes think that dance critics in most dailies think Birmingham, Leeds and Manchester can only be reached by mule train across mountains and desert.

Did I really read that someone wanted MacGregor to be involved. Please God NO. He is incapable of telling stories in Dance. Scarlett sounds a brave decision if true and, for my money, he is better at narrative than Wheeldon. Best of all get Sir Peter to do it, possibly with Scarlett. Why are BRB's productions of all the classics but Giselle so much better than thoe of CGRB? Sir P. W.

My nightmare isto see those ghastly Cygnets doing an encore. Please can all four of them be shot !? Please!!!

I saw three performances of "Moving Stateside" and the Dress Rehearsal. I enjoyed all performances and thought this a very balanced bill. The Dancing was particularly good on Thursday night when a thin audience was rightly whipped into enthusiasm by the Tharp. I could not agree more about the title given to the programme. Does someone really think that these triple bill titles attract audiences? We all know that Triples are often the best programmes and that they are difficult to sell. I suppose that these titles are meant to overcome audience reluctance, but I think they have the opposite effect. Why is it assumed that the Triples should come before the full length ballets? Surely exposure to "Coppelia" might persuade some people to book or the Triple. It would also give more timefor the existence of the Triple programme to sink into potential audienceconsciousness, especially as BRB shows so little faith in its Triples in its advertising. I fear the death of Triples outside London if something is not done. With dancing as good as that shown by BRB in this Triple this would be a tragedy.