ToThePointe

I would like to see his Albrecht then!!

Ed Watson is a Principal and he isn't really a danseur noble, even though he is tall. I don't think he has done Albrecht or Siegfried. McCrae doesn't really have the physique yet he shines in the princely roles. I actually assumed you had to be tall and of a certain build to do the danseur noble roles but McRae certainly threw that assumption out of the window!

It would be tragic to see Morera retire at any point soon...she's got years left in her! I think Galeazzi could have gone on for much longer too...

I'm only comparing these two because of their similar height and frame, but I would much rather see Valentino Zucchetti be promoted to Principal than Campbell. I think he's stronger technically and has proven that he can act (his Mercutio death scene was pretty haunting!) so for me he should at least have more opportunities to dance Principal roles, even if it means without the promotion. Such a shame he will miss Fille. I also think James Hay would be wonderful in bigger roles. Has he ever done Mercutio? I could seem him as Colas too...

Thanks for all the kind words and please keep reading!

Follow the link below for more of my thoughts on the Shechter... http://tothepointemagazine.wix.com/tothepointemagazine

Well when some are prepared to argue that the RB should only be presenting 'ballet' works, it actually becomes quite an important question. Where can we draw the line? (I have no answer either which is why I have zero problem in the RB experimenting with different forms of dance!!!)

I hardly think it is "wasteful" for the company to spend time on works which encourage a different style. As I said previously, I'm sure that these opportunities are what make them thrive and inspired and I can't imagine many in the company thinking it a waste of time. I find it interesting how some take the view that the company should stick to a balletic style. Sorry to get all philosophical but what even constitutes ballet? The Rite of Spring is certainly contemporary and that's in the RB's rep, and much of Balanchine, for me, owns itself more to the contemporary style than a traditionally balletic one...

Perhaps this is why he found the workshop approach so useful, as he would be able to see who could interpret his choreography in the best way.

I think that it said somewhere in the programme that Kevin could only give him a certain number of dancers because many had prior commitments (maybe with the new McGregor?) so Shechter then put the remaining dancers through a series of workshops and hand-picked those he wanted to use. I might be mistaken though with that... ...however, I loved seeing those who aren't Principals being given the chance to dance in a new work. Even those such as Thomas Whitehead, who has been with the company for years, had the opportunity to do something a bit different! But I agree with LinMM that any dancer at the Royal whether Principal or Artist would be capable of adapting to Shechter's style.

Just to add that I was watching a YouTube clip of Darcey Bussell's Farewell interview and she says that being involved with new works every year is what kept her going... ...and that it would have been awful just to do the 'things that sell'

To me, it seems a shame that we must limit a company such as the Royal Ballet to such absolute terms. Yes they are a ballet company, but why must that limit them to just perform the classics. We are so fortunate to live in a city with one of the greatest ballet companies in the world, but they are also exceptional dancers who are capable of different styles of dance and I think it is such a treat to get to see a rare example of this. Choreographers such as McGregor or Shechter are perhaps too contemporary for some, but I strongly believe that it's important to welcome such creative people into this company to keep the art form moving forward and current. I also fully support any work that's bringing in a younger audience into the Opera House as I think it's time that a younger generation realise that ballet isn't elitist and can cater for all. Many have been saying that it's a shame that Shechter hasn't used the dancer's abilities because the choreography isn't particularly interesting. When I read Beatriz Stix-Brunell's blog piece about what it's like to work with Shechter I think she proves that this isn't the case. As she says, it has taken months for their bodies to adapt to his choreography as he demands for the upper body to be much more curved and relaxed- something which would be very difficult for a classically trained dancer. I think that even if it doesn't look like he's used the company, the fact that he's been able to manipulate their bodies to fit his style is a pretty great feat. I also think it's unfair to brand Kevin O'Hare's decision as a bit of a sham just so that he can be called 'innovative'. I think he's right to be commissioning new work by interesting choreographers and staging them alongside classics as he's proving that this is a company who can perform Swan Lake on one night and a Shechter on the next. But I suppose no matter what he does, he will always be criticized! Part of the job! I just know that I felt such a strong energy from the dancers which to me seemed to signal their relief that they have the opportunity to engage with this type of choreography as well as 'normal' ballet. After all, it is the Royal Ballet's incredible repertoire which makes them so in demand. We forget sometimes that dance and ballet is an art form and is therefore subjective. There are things we will like and things that we won't, however, surely it's important to be faced with an array of work. I think that witnessing dance that you might dislike strongly is just as important as it broadens the mind and widens your experiences. Surely that is what art is all about?

I really hope something changes with the way the Orchestra is being conducted. Last night the timings seemed a bit odd and that mirror pdd needs to build up and for me, it didn't. This was no fault of the dancers and I blame the tempo of the music. It's one of my favourite pieces of music because it reflects that innocent idealism and what it feels like to fall in love. Everything should be reaching an exciting climatic ending but last night this didn't happen. Such a shame because, contrary to what many are saying, I actually love the score for this ballet! Just a pity it wasn't on point (pointe ha!) last night!

This is true maybe a partnership between the two is forming. I too would like to see her with Muntagirov but I fear you are right about O'Hare. I also wonder how they would be though, for me, Osipova is quite classical and old fashioned with her acting (not a criticism) where as I find Muntagirov very naturalistic and real (after seeing him in Manon)...I would be interested to see if the two meshed well together purely on an acting level. In terms of technique, both are wonderful of course. (Very excited to see his Lensky!!)

I've yet to see Golding in the role but I loved him in Manon and I'm sure he will do very well. I wonder if a partnership is beginning to form with him and Osipova or whether O'Hare is testing the waters. I like her partnered with Acosta but once he retires I wonder if she will form something special with someone else.

Lamb isn't a dancer I see that often, however, after seeing her as Manon I think she proved to everyone how good an actress and dancer she is! Would love to see her Tatiana but not sure about Hristov in the role as Onegin. He isn't broody enough for me! On a different note, does anyone know why Marquez isn't dancing Tatiana in this run? Is she injured? Or is it not in her repertoire?

I'm so pleased LinMM! He brings something else to the role so I really hope you are able to see him next time around!

http://tothepointemagazine.wix.com/tothepointemagazine Hopefully that has worked!

Sorry I am trying to sort out the correct link!

Hi there everyone!! Julia here!! Thank you so so much for all of your feedback. It has been beyond helpful having everyone pitch in to give me their ideas for my blog. I have tried to take everything on board and although there is still a lot to work on, I have changed a few things to make it look a bit more professional so please click the link below for the latest update. Although I'm 23 and I want to try to engage a younger audience (i.e 20s-30s) I also don't want to disregard anyone else outside of this age group! My aim is to get people who wouldn't necessarily go to the ballet reading my blog, but to also have those of you who go all the time and understand it to read what I have to say. I want to keep everything young and fresh but also professional and informative and all of your words of encouragement have made me feel that I'm hopefully on the right track!! Please keep posting your thoughts and feedback! http://tothepointemagazine.wix.com/tothepointemagazine