Balletfanp

Now I find the opposite. I generally find Vadim very moving as his portrayals really seem to come from within and from the heart - whereas I tend to find Bracewell leaves me a bit cold and he has a tendency to pull some odd faces when partnering. The good thing about this forum is seeing all the varying opinions. I suppose we all see different things in different people!

My favourite bit!

Everything that everyone else has said above, but with Ashton ballets that appear light hearted there is often a surprise moving climax - and in Fille, after all the comedy, there comes the wedding pas de deux, with its gorgeous music and beautiful tenderness, that gives me a big lump in my throat every time.

A nice reel posted by BRB about Vadim guesting in Plymouth. https://www.instagram.com/reel/CqtDz07u1Dm/?igshid=ZjE2NGZiNDQ=

I’m pretty sure Vadim only escapes Monahan’s major criticism because he is male (although I’m not quite sure what “grit” he expects from Prince Charming - he’s not an action hero! 😂). Even then, you get the feeling that he probably secretly thinks Frankie could do a better job of the Prince too….! Absolutely no disrespect to Frankie, of course!

Thanks, but the Telegraph link still doesn’t work….

Wish I’d known, I would have said hello!

Who knew there were so many Forum connections down here? 😂

I must have seen you there after the show, then, @li tai po! I did see a man talking to Vadim - was that you? And I’m glad you saw something of Plymouth - it’s at its best in the sunshine, not so much much in the pouring rain with a gale blowing!

Thanks @Odyssey - I didn’t know you were from my area! Yes, it was an unexpected pleasure to see Vadim in the class, chatting with the dancers and I noticed one of the dancers taking a photo of him and Carlos together whilst they were taking a breather 🙂. And it’s always a delight to meet him in person, he is one of the nicest people I’ve ever met, I think. It will be interesting to see what Darcey brings to the table for the Theatre Royal….

Mods - not sure why the font is so big compared with other posts, can it be corrected?

Spoiler alert: very long review ahead so don’t start reading if you are a) short of time or b) don’t like long reviews! My first time seeing BRB’s production of Swan Lake and a huge privilege to have Vadim here in Plymouth - for once, no travelling or hotels to deal with, an unaccustomed luxury for me! I found a great deal to enjoy in this production. Beautiful costumes and sets and some fine choreography courtesy of Peter Wright. Great effects - surprise pyrotechnics (if you haven’t seen it before!) in Act 3 as Siegfried attempts to pursue Rothbart and Odile that made the audience jump in a very satisfactory manner! 😂 And the beginning of Act 4 is really beautiful - the curtain rises on a thick layer of mist accompanied by the lovely opening music. That in itself elicited gasps from an appreciative audience, but when the swans suddenly rise up, all unsuspected, from the mist, it’s an absolutely gorgeous effect and the audience spontaneously applauded (along with more gasps) - which broke the spell a little, but in this case was understandable. The audience enjoyed the dagger looks given by the princesses in Act 3 to each other when they have to line up together! I love the RB production, but for me, Act 4 always feels like a bit of an anticlimax after the splendour and fireworks of Act 3. The RB’s Siegfried always feels like a bit of a wimp in Act 4 - he isn’t given much to do apart from partner Odette and waft around looking despairing. He doesn’t seem to make any serious efforts to take on Rothbart, and I always feel vaguely that he gets what he deserves for not making more effort! And don’t start me on the ending, which I have never liked…. BRB’s Act 4 is much more satisfying - more actual dancing from Siegfried and a proper full-on struggle with Rothbart that has you rooting for Siegfried rather than thinking “Well, do something!! 😂 And it’s the tragic ending (my favourite!) with that heartbreaking music bringing a lump to the throat. And I liked the twist of Benno (arriving to help just too late) retrieving Siegfried’s body from the lake and walking forward with it as the curtain comes down. Very moving. As to performances - a lot of good ones - a couple of standouts for me were the Hungarian Princess’s solo, danced by Lucy Waine (she also caught my eye during class on stage on Saturday morning). Also Riku Ito as a vibrant Benno - Act 1 is his chance to shine, and shine he did with a powerful solo and a winning personality. I liked Celine Gittens very much as Odette/Odile. She was a beautiful, vulnerable, fluttering Odette in Acts 2 and 4, with lovely technique and lines. Her Odile was very good, my only criticism might be that she lacked a feel of any real malevolent intent, although she was seductive and playful. Technically very sound, with clean and confident fouettés. She was very touching in Act 4. And she and Vadim looked and felt very good with each other, given that they must have had minimal rehearsal. I couldn’t quite believe Vadim was in Plymouth until I saw him appear onstage! But there he was. As Li Tai Po says, his acting and characterisation throughout has grown and deepened, and his anguish and despair in Act 4 was gripping. But likewise, his depression and melancholy in Act 1, and he just seemed to soar with joy in his Act 3 solo and coda. I was glad to see that this production contained the soliloquy in Act 1, and it was a thing of joy - meltingly beautiful lines and gorgeous arabesques, danced with effortless control and yearning by Vadim. I was there with three friends (two of whom had never seen a ballet before) and they were blown away by the whole thing. One of their comments at the end of Act 1 was “Well, he’s in a league of his own, isn’t he?” I liked the fact that in Act 3 the Princesses’ solos were interspersed between the national dances, which gave a bit of variety. A special mention for the Neopolitan dance team (Olivia Chang Clarke, Rachele Pizzillo, Enrique Bejarano Vidal and Gus Payne), who danced it with infectious verve and actually managed to bang the tambourines in the time with the music (that always grates when they are out of time!). Vadim’s dancing in Act 3 was spectacular. Leaps that hung suspended and landed almost soundlessly (an achievement given that it seemed generally a very noisy stage), pristine pirouettes and spins, all danced effortlessly and with a carefree and infectious joy (that smile!). And he has really got those double double tours down to a fine art now, they were immaculate and hugely impressive. The audience evidently appreciated them! A fantastic and well deserved reception from the audience at the end, with a standing ovation. At the stage door, the dancers were piling out with their suitcases to get straight on a coach - it’s a tough life! Celine came out and had a polite and patient queue for photos and autographs. They all stayed to wait for Vadim. It was lovely to see a lot of children and teenagers there (including a boy from Elmhurst). I always like to see that at the ROH, but in this case it was particularly touching because, talking to them, Vadim was one of their idols and they had thought they would never get the chance to see him dance, let alone meet him afterwards. He was as lovely as ever, and despite the fact that he had a car waiting to take him home (about a four hour journey from the depths of Devon!), took plenty of time for selfies and autographs and spent a long time talking patiently with a group of voluble starstruck teenage girls with lots to say and lots of questions, who eventually went home very happily on cloud nine! On another note, I have to say the audience was very well-behaved despite drinks being brought in. Quiet, respectful, discreet drinking and not a mobile phone being scrolled in sight! Just goes to show that it can be done if people know how to behave. The one fly in the ointment was a woman nearby who coughed incessantly throughout the White Swan pas de deux - but as she probably couldn’t help it (and I have been there myself!) I can let her off for that! I very much enjoyed class on stage taken by Dominic Antonucci and it was very nice to see Carlos taking part. Rather to my surprise, Vadim was also there (I had thought he wouldn’t attend having performed the night before - Celine wasn’t there). An enjoyable and relaxing (for the audience, anyway!) event for a Saturday morning! And finally - I have to say that we in Plymouth are extremely lucky to have a theatre like the Theatre Royal. It’s apparently the most successful provincial theatre in the country and I can see why. It was purpose built in the early 1980s and has had at least two major refurbishments since. It has also benefitted from a long term previous Director who has recently retired, but had the vision and ambition to make the Theatre Royal one of the foremost theatres in the country. The new Director seems very similar, and with Darcey now Chair of the Board I have high hopes for ballet and dance here in Plymouth! There must be very few seats in the auditorium where there isn’t a cracking view. I’ve sat in various areas over the years and have never had a bad one. We were sitting in the back row of the stalls, and had a perfect grandstand view of the stage. The seats are raked sufficiently throughout to enable a clear view without heads in the way (more than I can say for areas of the ROH!). And it didn’t even seem too far from the stage because the orchestra pit is almost entirely under the stage, unlike the ROH where it makes for a big gap between the stage and even the front row of the stalls. I’m very glad I saw this production and even more glad that Vadim made it into the depths of the west country!

I too saw the production in Plymouth and really enjoyed it. Still getting over the joy of seeing Vadim dance onstage in Plymouth! I will write a full review once I have marshalled my thoughts and impressions.

Lovely news!

Kristen McNally is a tiny person but her personality fills the whole auditorium. She is deliciously spiteful as Carabosse!

Once again last night, an usher popped forward to ask people to switch off their phones just before the performance started. An audience member had already asked them to do so but they ignored her. However, the usher intervention seemed to do the trick and they didn’t offend again. It just goes to show that if more ushers were proactive about this it could make a big difference.

My sister confidently assured me that Tom Rogers was dancing Basilio. I told her I doubted it! But she assured me that’s what it said in the Radio Times - I have no idea if that was true as I didn’t have a copy to check!

They all look a bit like cheap costumes you might hire from a fancy dress shop!

Wow….. thanks @Sophoife! I see what he means, although almost disappointingly they aren’t quite as bad as I envisaged…. 🤣 but that Aurora tutu is awful, especially the sleeves!

Oh dear….! 🤣 “Princely Traffic Jam” - I’ve read a lot of reviews but not many that make me laugh out loud like that one - thanks for posting! I’d give a lot for a glimpse of those costumes that he so comprehensively and hilariously trashed….

She was definitely the one who had the genuine talent.

Last night…. well, what a cast and what a sublime performance! Marianela was possibly the best I’ve seen her in this role. It’s hard to believe she is now 40. She made the Rose Adage look like a walk in the park, all whilst portraying a 16 year old princess at her party. In the vision scene she was ethereal and other-worldly and in Act 3 she simply conquered. Vadim was incredible. In his opening scenes with the hunting party there was no doubt that it was the Prince making his entrance. He appeared to be taking part somewhat in the fun and games but you could tell his heart wasn’t in it. That soliloquy…. Vadim has such an expressive body, quite apart from anything, and every line portrayed his melancholy. In Act 3 the audience became wildly enthusiastic halfway through his beautiful variation and his gorgeous barrel jumps and grand jetés started the applause ending in a positive eruption at the end! Quite right too, it was spectacular. But both of them create these exquisite performances without ever forgetting the characterisation. Last night Marianela was very convincing as a 16 year old (more so that I have thought her previously) and her initial effervescence changed to remoteness in the vision scene and finally, maturity and dignity mingled with a bride’s happiness in Act 3. With Vadim, less is very much more - minute changes of expression, a gesture, his posture, all tell a tale. This came out very strongly in his Rudolf. I know that some (myself included) would like to see them both paired with others sometimes, but it still has to be said that they are wonderful together - the way they exchange glances and smiles whilst looking each other in the eye with what seems like perfect understanding. They know each other so well now and it’s obvious that they are just so comfortable with each other that they can probably read each other very well - and it makes for a sublime performance in the classics. Both Marianela and Vadim posted a lovely photo today on their Instagram accounts taken backstage last night, that really seemed to show their affection and ease with each other. Having said that (and having seen clips of them dancing together online), how I would love to see Fumi and Vadim paired together more often. Fumi’s Lilac Fairy was beautiful to behold in every way and she took that Prologue variation and showed it who was in charge. Lovely, controlled and flowing. She had a beautiful, smiling benignity and her and Vadim’s interactions in Act 2 were charming. Having witnessed them in Mayerling in something completely different, they plainly work together really well and I’d like to see them more often. There has been a lot of discussion about the fairies and I would say that in my opinion, last night they all performed very well without being outstandingly good, with two exceptions. I loved Sophie Allnatt’s wonderfully fluttery Songbird Fairy and Yuhui’s Fairy of the Golden Vine was as good as you would expect from an experienced and high-calibre performer like her. Some other standouts. Others have praised Joseph Sissens and Isabella Gasperini’s Bluebird pas de deux and I agree wholeheartedly. Both were splendid. Sissens is surely due to become a Principal one day. I have always liked Isabella and her brilliant smile, but now she is being given bigger roles the quality of her dancing and acting is really emerging. They had a great reception from the audience, deservedly. Thank you, whoever it was ( I can’t remember!) for identifying the Wolf as David Donnelly! The Red Riding Hood divertissement is usually my least favourite part of the ballet and I count it as a blessing that it’s so short! However, the audience (me too) were behind it from the moment the Wolf strutted onstage (never seen a Wolf entrance quite like that before! 😁) and his subsequent acting up made everyone giggle and actually gained very good applause (the audience is usually a bit muted there!). It was mentioned that Donnelly’s Mouse King was very similar and I do recall seeing a recent Mouse King either live or at the cinema who died very melodramatically and made me laugh - I now suspect Donnelly! Talking of which, one of the rats caught my eye last night as he seemed to have got very rat-like scuttling and scurrying down to a fine art! On a final note, phone haters will be very happy to know that an usher took action last night. I was right at the stage end of my Stalls Circle row and a chap in the front row (too far to my left to enable me to tap him on the shoulder) started looking at his phone during the orchestral break between Acts 2 and 3 - and then didn’t bother to stop 😠. Very distracting. However, an usher suddenly appeared next to me, apologised for leaning across me, and requested him politely, but in a way that didn’t invite argument, to desist. He did 😁.

Just incidentally, who was dancing the Wolf tonight? I didn’t manage to see a cast list. Whoever it was introduced some quirks into the performance that I’d never seen before that were very amusing and got lots of laughs from the audience!

Weren’t they just! Marianela was as good as I’ve ever seen her - exquisite. As for Vadim - the audience began to applaud enthusiastically halfway through his Act 3 solo, starting at the barrel jumps and hit louder and louder until the end when it became a roar!! More tomorrow - a great performance all round.

I remember seeing a video somewhere of Beryl Grey dancing the Lilac Fairy and noting how much faster the tempo was - and indeed, how much easier it must have been to dance that very difficult variation like that. I don’t think the slow tempi these days do anyone any favours and I have seen even very technically experienced dancers struggle with that solo and I’m pretty sure it’s largely down to how slowly it seems to be played these days. Likewise elsewhere - I find myself gritting my teeth when I see a dancer having to slow themselves down to a dragging speed and often struggling - after all, there is only so long even the highest leaper can stay in the air when the music is played very slowly! I thought the conductor was supposed to watch he dancer(s) and adapt the tempo to them, not the other way round.