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RobR

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  1. Well, that’s a shame. You might have enjoyed it had you chosen to go.
  2. I thought Geoff was specifically referring to an irritating male voice. I hope I didn’t misunderstand
  3. i shouldn’t be surprised, as many women (and men) will confirm, some men love the sound of their own voices and are more than happy to share their opinions without much consideration of the circumstances or the sensibilities of those with and around them
  4. RobR

    Physio Assessment

    Shirley Hancock in London. I don’t have her contact details but professional dancers have been to her.
  5. Actually, it was great in the cinema but even better on the small screen. The whole company was terrific but Hayward and Bracewell were beyond superlatives!
  6. Actually, does Coppelius merit remorse? He creates a beautiful doll but with our 21st century insight, we might suspect that his intentions are less than innocent. Franz enters by a ladder but his intentions are, arguably, every bit 'romantic' as Romeo's masked gate-crashing a private (Capulet) party and subsequent entry into a private garden to romantically pursue a 13 year old girl before subsequently marrying her without her parent's consent and sleeping with her after killing her cousin in an anger infused brawl. Coppelius deliberately drugs Franz ( Rohypnol?) necromantically intending to take from him, again without consent, his heart and other organs to selfishly infuse Coppelia with human characteristics. His mimes to the audience about her beauty suggest, again, that this is for his own carnal desires. When Swanilda asks if he 'made' Franz, he lies to her about that too. He is clearly selfish, amoral and grasping (requesting two bags from the duke). He is then caught out and exposed by Swanilda’s bravery. So, why does he merit remorse?
  7. Yes, I noticed that in all the performances I’ve seen. Dr C waves a blessing on the couple from the upstairs window through which he watches the dancing.
  8. I must have misread your original post and, as a consequence, misunderstood it. I am happy to stand corrected and apologise. It was just that I thought that you were generally criticising her and/or her dancing as 'leaden' and 'lumpen' with regard to all her performances and not just that in Coppelia.
  9. I’m sorry to say that I think this criticism is too personal
  10. I certainly agree with your take on the performances but think that adapting and filming a classic for general release (and BBC Boxing Day must count as that) is, in part, often designed to introduce a book, a play, or a ballet to very many people who will never have read or seen the original. If the TV or cinema audience is sufficiently intrigued to watch and, hopefully, enjoy this R & J, then it must count as a positive. I suspect that 99% of those who watch will not notice nor be concerned by the bush's intrusion, much less Ms Hayward's lovely feet, or their absence.
  11. Interesting to read the various reviews already posted. R & J has always been my favourite ballet, from the perspective both of dancing and orchestration and, as a consequence, I was apprehensive that I would not enjoy a filmed ballet, reduced to 90 minutes by Nunn & Trevitt, as much as I’d hoped I would. I have just seen it at the Curzon and really enjoyed it. The acting of the dancing principals; Hayward, Ball, Bracewell & Sambe captures the essence of the characters in a way that the stage performance never can, whilst the principal character dancers, Saunders, McNally & Pajdak, develop the narrative, again by acting in the subtle way the filming encourages. Of course, I miss the big dance scenes, lost in the reduced time, but this is a wonderful ballet production and very much worth seeing.
  12. Is this this afternoon’s matinee or yesterday’s General?
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