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  1. Earlier this summer I asked Rachel Hollings (Artistic Administrator at the RB) if she would publish a contributing article for To The Pointe featuring her photographic highlights of The Royal Ballet’s 2018/19 Season. The result? A wonderful reflection of another superb offering of dance from The Royal Ballet. Although Rachel says she isn’t a ‘professional photographer’, for me, her photos capture the essence of ballet in its most beautiful and magical form. Enjoy! https://tothepointemagazine.wixsite.com/tothepointemagazine/single-post/2019/08/19/Abandonment-to-the-Art---the-view-from-Instagram
  2. I recently had the pleasure of interviewing Shale for my blog, To The Pointe. He's a lovely guy and a great ambassador for classical ballet... Link to the interview here: https://tothepointemagazine.wixsite.com/tothepointemagazine/single-post/2019/08/04/ToThePointe-Meets-Shale-Wagman
  3. I think it’s quite interesting how some find Naghdi too classical for Juliet. Naghdi and Takada are, in my opinion, the next big classical stars at the RB and I loved both of their Juliets because they looked so aristocratic. Because they naturally have such a classical hold, they really looked like they belonged in the Capulets' decadent mansion, and I think this worked really well. It explains how she is meant to be paired with Paris and married off and why she is a product of her upbringing. I really dislike it when Juliet is made to be too feral which I found with Osipova’s take. She ran into the ballroom looking completely in awe of her surroundings and completely shocked that someone like her could have a place in such a magnificent setting. To me, that is more like Giselle turning up to an extravagant party. Although it’s likely to be Juliet’s first party, it’s being held in her house, and she would be very aware and used to the glorious setting of it all. Naghdi and Takada are so classical, elegant and graceful that I think they were perfectly suited to depict the aristocratic nature of Juliet. I also felt that they cleverly ‘loosened’ as they fell in love, culminating in complete despair and limp like bodies by the end.
  4. Looking for a cheapish ticket for Friday 14th for the triple! Please get in touch if you can help, thanks!! X
  5. Tuesday 7th May sees the return of English National Ballet's Emerging Dancer Awards 2019. I caught up with the finalists to find out what they are most looking forward to at the awards and what it means to be named a finalist... https://tothepointemagazine.wixsite.com/tothepointemagazine/single-post/2019/05/03/ENBs-Emerging-Dancer-Awards-The-Finalists-Have-Their-Say
  6. Hi there Am looking for a ticket, ideally standing or cheap amphi, for Takada/Hirano in Romeo and Juliet on 28th March. Please let me know!
  7. Agree he has a wonderful partnership with Nuñez but I’m desperate to see Vadim dance with others - maybe Akane Takada or Yasmine Naghdi, both of whom are such beautiful classical dancers.
  8. Some of my views on Ball / Cuthbertson from Friday night: I’ve always been a huge Cuthbertson fan and always saw her as one of those special talents who can master all roles, whether it be a classic like Giselle, a MacMillan like Juliet or something contemporary from the McGregor sphere. I have to admit though, that I think her style has changed quite significantly over the past year or two. I find her a bit over the top these days and quite boisterous. When she danced in Symphony in C I found it all a bit frantic and I have a similar view on her Kitri. She really bounds onto the stage, chaotically weaving through the crowd and it seemed to me in quite a few instances that she was unsure about where she needed to be on stage. I also found the acting slightly forced and over the top. Yes Kitri is independent, stubborn and cheeky, but she’s also flirtatious, warm and full of joy. I felt Takada really understood this, and in the more seductive moments used everything, from her eyes to her fan, to really seduce Basilio and the audience. Technically Cuthbertson was great, but I just found it all a bit chaotic and too much of a whirlwind. It’s sort of how I expect Osipova will be when she dances Kitri – but I don’t mind that as much with her because a) I expect it and b) it’s sort of what she’s all about. I don’t think comedy comes as easily to Ball as it might do to others like Campbell. For me he is a natural prince, a dark and brooding artist perfect for meaty roles like Rudolf or Onegin. I think the ‘lighter’ pieces aren’t quite as a natural fit but I think he did well and that this is perhaps something that will develop as time goes on. Unfortunately I didn’t think there was much chemistry between him and Cuthbertson, unlike with Takada and Campbell who perfectly balanced petty jealousy, flirtation and humour with a real deep and loving connection. Ball is incredibly tender and affectionate on stage – we saw this with his Romeo - but I don’t think that style matched very well to Cuthbertson’s more exuberant characterisation of Kitri. I’m not seeing them dance together in Romeo and Juliet but will be interested to read everyone’s views on it.
  9. Thanks everyone! Great to know! I somehow can’t picture Lynn Seymour in this role, maybe because I always associate her with dark MacMillan roles!
  10. I’m having a lovely Monday morning at work listening to the score from Two Pigeons (FYI the album is on Spotify) and I’m wondering if someone could tell me who Ashton created the roles of the girl, boy and gypsy girl on?
  11. I think Stanislaw has a real presence on the stage. It helps that he’s tall dark and handsome, but he screams ‘prince’ to me so I really hope there’s a big future there. I first noticed him in the background in Swan Lake last season wearing the military uniform in the opening act and thought to myself “whoever that is, we’ll be seeing more from him soon”....great to see his little guitar cameo in Don Q at the moment!
  12. Hi Anna please can I take both tickets for this Thursday eve (1st)? X
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