RobR

2 minutes ago, Tony Newcombe said:

She was a junior associate when she first appeared in La Sylphide

She’d just started 

3 minutes ago, Fonty said:

Sorry, something doesn't make sense in that biography of Julia.  She must have been a pupil at White Lodge when she appeared in La Sylphide in 2005.  When she would have been about 10 years old if she was in the first year at WL.  So how come she joined the company in 2015, when she would have been about 20?  Did she go somewhere else first?  She must be about 28 now then?

Quite right - almost. Julia hadn’t even started as a 9 year old JA when she was cast and was still 9 when she made her debut in October 2005. Johan Kobborg had seen her in The London Children’s Ballet’s ‘The Canterville Ghost’, and tracked her down 

Thanks Lee,

As you can imagine, I’ve got the odd photo …… 😉

3 minutes ago, bangorballetboy said:

Unfortunately my picture of Myrthe and her bouquet that evening is blurred but here’s another from the same evening.

 

 

For those who remember La Sylphide 

2 hours ago, Fonty said:

 

Has Julia Roscoe suffered a lot of injuries?  I remember seeing her as the little girl in La Sylphide in 2005, and thinking she was marvellous and one to watch.  Not seen much of her since.

Not a lot of injuries, but one big one - snapping her ACL in rehearsal in February 2020 and out for 18+ months after surgery and rehab. Her first major role on returning was Myrthe.

It’s very good and the cast includes dancers, at least one of whom was at the RBS and another at the ENB

I thought she did very well Nikki

I’ve sent a pm

10 hours ago, JohnS said:

Hugely enjoyed yesterday’s annual performance. Highlights for me were the Mozart Sechs Tanze, brilliantly performed, with I think five of the dancers joining the Royal Ballet’s Aud Jebsen Programme (there is a sixth), and Takademe, an astonishing performance by Caspar Lench (one of the five in the Mozart). I was rather taken with the Romanian folk dances performed by the White Lodge students, not just the dancing but the panache they displayed with their percussion sticks. Always good to see a Two Pigeons extract, the closing Pas de  deux, albeit no pigeons on this occasion. And of course the Grand Defile brought the house down.
 

I did wonder whether the balance was quite right: modern pieces predominated and were excellently performed whereas I thought dancers seemed not quite as at ease in the more classical pieces.

 

Congratulations to all students and the staff who joined the curtain call before leaving the stage to the dancers and conductor Paul Murphy.

 

I see the performance has been filmed so hopefully it will be made available to Royal Ballet School Friends as last year.

Thanks for this nice review.
 

I kept checking into this thread and was surprised that no one had posted 😯

1 hour ago, capybara said:

 

That is a real achievement in the face of all the 'assessing out' which now goes on along that 8 year RBS journey.

Congratulations Caspar.

And he was very watchable in the recent run of Sleeping Beauty. He always looked as though he really enjoyed being on stage and watching the dancers in Act 3.

Yes, definitely Akane and Luca

A sticky label would only work if they were handed in. Mine were not handed in. 

…. and don’t spend too much. Sadly, we all, at some point, have lost a pair. 

Yes please 

1 hour ago, Rob S said:

 

I think Rihanna sang a song about it .......umbrella ella, ella, eh, eh, eh

 

 

N’don’t forget N’ella?

Pleased to see this photo in today's RB 'What’s on in May' email sent to all subscribers …
 

D37👍

Hi Amanda, 

I’ll pm you if it’s still available 

2 hours ago, Ondine said:

 

This Julia Roscoe, looking fabulous in a tutu in oooh 2012 while still at White Lodge?🙂 A foretaste of Things To Come!

 

https://cicb.org/wp-content/uploads/2016/06/2012-NewsletterV4.pdf

 

(Page nine) 

 

 

I hadn’t seen that before. All three now First Artists 😀

43 minutes ago, Dawnstar said:

 

 

Ooh, does that mean I might finally see a Lilac Fairy other than Gina Storm-Jensen on 15th? Fingers crossed.

I'm not sure who’s Lilac ……. but if I had to guess at Crystal fairy …..

I’m going on Monday 15 at7.30

My daughter went all the way through WL. We live in London and we brought her home every Saturday and took her back very early on Monday morning (occasionally Sunday evening) apart from exceptional occasions. 

It wasn’t until the last year or so we agreed that she could spend the odd weekend at school.

Some children did suffer from homesickness in the early years, and the school was very happy to make different arrangements. One girl would go home both at weekends and on Wednesday evenings. WL understood that different children had different needs. 
 

We were always positive, we never suggested that we regretted her going away to school (although it would have been lovely to have her at home) and she never appeared to be homesick or anxious about boarding.

Good luck to your daughter. I suspect that if she believes that you’re happy for her to board but also that you’re always there for her, it should work out fine. 

Interesting to read the majority of posts in this thread about the athleticism of various male dancers and minimal mention of female dancers. Even before I had any particular connection with ballet, when I just went to enjoy a performance, it was the grace, co-ordination and the choreographic symmetry of the female dancers, which entranced me. 
 

David Drew, doubtless being over modest, told me (and others) that when he joined the company his principal job was to support his female partners. 
 

So, great though it is to watch all the guys jump and leap about the stage, I’m not sure that that’s what ballet is all about 🙂

10 minutes ago, Fonty said:

 

Yes, I didn't get this either.  I thought the glamorous outfit most odd, given she is supposed to be out begging. I thought the costume made her look very like Carabosse's twin sister - the good fairy as opposed to the bad one.  It made the gesture of giving bread to her meaningless.  This lady did not look as though she was starving.  This is one occasion where less is more.  If the figure is bent over wearing a simple, threadbare cloak, it makes it much easier to stage the transformation scene.  

It’s a magic fairy tale @Fonty.

The cast see her as she’s supposed to appear to them.
We, the audience, see her for what she is - a fairy …..

(No general posts please about Odette not appearing as an actual swan, Dr Coppelius believing Swanhilda is a mechanical puppet, Giselle rising from her grave …… )