RobR

I know I’ve already placed a vote but might I add a plea for Ashton's 'La Rendezvous'?

18 minutes ago, Rob S said:

 

Get rid of Stage Centre Standing!!😄

Thanks Rob,

I’ve not come across that description before …. is that in relation to performers or the audience?

I've no problem if it’s the audience but, if it’s performers, I’m totally against that.

I like watching the peripheral members of the company doing their thing in the big ballets. 
 

I do sometimes go to Galas when there is no action apart from the one/two/three/four main dancers, which is all very well but it’s a little dull.

35 minutes ago, capybara said:

 

Yes, agree - but, meanwhile, they can de-clutter the sides of the stage in terms of 'onlookers'  in order to afford the paying public a slightly better chance of seeing the action.

Hi @capybara,

 I’m not sure I understand where you’re heading when you say, “de-clutter the sides of the stage in terms of ‘onlookers' ….?
 

😀

12 minutes ago, capybara said:

@RobR  I don’t think anyone underestimates the corps. I’m full of wonder and admiration for them at every performance and often focus on particular individuals for several minutes at a time.

However, when a show is advertised with a certain cast, it’s inevitable that subsequent comments will be mainly about those dancers.

Thanks @capybara, I’ve no doubt that you’re right but it’s the comparisons/criticisms that get to me.

We all, or nearly all, post using pseudonyms and, while everyone is entitled to their view, we readers have no idea if the criticism/enthusiasm is objective and based on the poster being a former dancer, teacher, experienced balletomane, or if they are newbies with minimal experience. 
 

Of course, we know certain contributors have their favourites (indeed a critic’s enthusiasm for FH has been commented on earlier in the thread) but it is all very subjective as I suppose a forum like this will always be. 

I have to say, I feel too much is made of the 'this principal is better than that principal'.
 

I, and I’m sure many others in the audience, most of whom don’t post on, or even read this (these) thread(s) or even know of BCF's existence, come to ballets, at the ROH and elsewhere, without any real knowledge or interest in which principal is dancing which role in which performance.

They come to see the performance as a whole.

For my part, and some of you know I have an interest, I always enjoy watching the Corps, whether or not my favourite dancer is performing.

They're drilled to perfection and without them and IMHO it really wouldn’t be much of a show although I accept that some balletomanes like, and even prefer, the little vignettes such as are the usual fare on gala nights. 

1 hour ago, zxDaveM said:

hmmm - this thread is becoming more a wishlist than a set of predictions! 😉

If it’s a wish list, can I please have Les Patineurs and The Winter’s Tale 

I’m hooked on pretty much any Prokofiev ballet movement 

1 minute ago, Missfrankiecat said:

Thankyou - what a friendly and informative group you all are.

And I agree with you about the costumes, …. and I also very much liked the lighting, the sets, the effects, the music …… and Marianella!

And I also thought that the rest of the cast were very good too … well rehearsed, very expressive and completely in character.

Cinderella may not be everyone's favourite ballet, it isn’t mine, but I always come away from seeing it feeling that things are better than if I hadn’t seen it. 

31 minutes ago, capybara said:

The ‘drivers’ are standing in the back - hence the bulky design.

But they are still magicians.

I was going to suggest it’s generally the tiniest JA, before they stand behind a tree but an inside source* once assured me that the driver had to hold a driver’s licence (for insurance  requirements) so that puts paid to this idyll. 
 

*I’m afraid I can’t disclose the identity of said ‘source’. 

8 minutes ago, Linnzi5 said:

I meant to say, and didn't in my long-winded ramble about Beauty on Saturday, that I thought the costumes looked amazing.

 

Also, I hope someone can answer this for me and it is a strange question. The magically powered carriage (?)The Lilac Fairy and Prince travelled in (amongst the dry ice, erm, mist). How is that powered and steered? I know it's a ridiculous question, but I couldn't work out how it could traverse such a meandering path as well as it did. As I was watching it wend its way, that random thought came into my head. Does anyone know?

Magic. 
The Lilac Fairy’s wand is either magic or a remote control. I think it’s the former 😀

You won’t be surprised if I agree with your review but I add that I’ve seen Amelia dance Golden Vine a couple of times and I really enjoyed her effervescent performance ..,

25 minutes ago, Sim said:

Yes…I always say that I want someone (anyone!) to look at me the way Will looks at Fumi! 😍😍  So I could end up in the divorce courts too!  😂

….. and this from the BCF member who’s only just been posting about her wedding anniversary??? 🤔

5 minutes ago, zxDaveM said:

😆

I think @LinMMmeant a humorous laughing emoji, not an evil laughing emoji. Yours reminds me of the evil doll, Chucky. 😉

The school performed Kylians' 'Sechs Tänze' at the summer performance in 2015 and it was one of the highlights.

Hi Sim,

I'll pm you about both.

Yes. Well spotted and thanks for asking 😀

9 minutes ago, Rob S said:

 

 

 

 

 

Lovely photos. Thanks 

2 hours ago, Angela Essex said:

Ticket is central balcony standing Row D. £12. 

Hi Angela, if it hasn’t already gone, I’m interested. 

Speaking as a parent who’s daughter went at 9, and some years ago, I can offer the following insight.

First, as you’ll know, your child will need to be regularly attending a ballet class, and will need a recommendation/reference from his/her teacher and will need photos as specified in the entry form.

Second, It’s a fun week away and will give your child an idea of what to expect if they intend applying for a full time place, probably as a boarder, at White Lodge at 11 or older.

Third, if your child shows well during the week, it may just help if you and they decide to apply for a full time place (although thoughts of that are more than a little premature) at 11 or later.

Good luck

15 hours ago, Dawnstar said:

I feel as though everyone I'd like to see as Princess Florine & the Bluebird is dancing when I'm not there. First Dias & Jun then Hamilton & Richardson. By the time I see it tomorrow evening it'll probably be dancers I'm less interested in seeing because all the dancers I like will have already been used!

Well, you can rest assured. The cast list is published and it looks very good indeed 👌

I’m afraid I disagree with you and your suggested approach. 
 

First, all the applicants start on a level playing field to the extent that they must attend and succeed at all the auditions. A previous appearance is no guarantee that an applicant will be successful again. 
 

Second, your suggestion would preclude dancers developing or gaining general experience of working as a group. 
 

It is often the case that a younger or less experienced dancer will have a small or limited role in their first production but will have developed as a dancer and be considered for a more prominent or difficult role. 
 

Equally, a small dancer may be asked to take on a difficult role at the outset but in subsequent productions be part of the ‘corps’ and dance in such roles. 
 

My daughter danced in three productions, and I always liked the fact that they were always selected and cast on merit and not because it was their turn. 

+1 for Les Patineurs

And on a more serious note ….
 

I’ve always very much enjoyed the two scenes in Mayerling, when the four Hungarian officers come out of the curtains, successively, and accost Rudolf.

On each occasion, they lean on Rudolf, cup a hand to whisper in his ear and, standing on one leg, allow Rudolf to turn 360 degrees, whilst the officer's second leg, is raised and bent in what I now realise is known as a 'dog-leg' position.

Walking my dog round tonight and stopping at various lampposts and wheelie bins, I now realise that either my dog, Jim, knows more about ballet than I realised or, perhaps, the great Kenneth MacMillan may have discovered the step walking his own dog around - although not necessarily late on New Year's Day evening ……

Happy New Year 😀🥂🎈

I should add that I assume, given that it’s the Royal Ballet, that all the dancers can dance all the steps of their roles. 

I like an expressive dancer who engages with the audience, and the other cast members, whatever the part she’s dancing.
 

Think Fumi as Larisch, Sugar Plum or just about any role she dances.

For the men, Vadim, Luca Acri and, for both male/female, all the character artists.

Some dancers; principals, soloists and artists don’t really express, facially, the part they’re dancing.