Peanut68

I’d really like to go but I’m usually a last minute booker (last year booked Tiler Peck at 3.30pm for 7pm show…. With an over a 3 hour drive to get there!!) as has to fit in with family commitments…

I couldn’t make it to join the LBC zoom… is the recording on the members sure?

Looks like you can view recording too!

Wow - what a woman!! in awe & at the same time she’s so graciously humble like she could be your personal friend too! amazing insights into her life & the world of ballet Thank you to her & the telegraph for such a great hour!

https://extra.telegraph.co.uk/events/ballet-alina-cojocaru-live-stream-67bhs887ajafs3 talk on now!!!

Are tickets to see Sarasota at ROH on sale yet to general public? Very keen to go see some performances

Interesting read from the link shared above. Honest, brutal but also - I felt - a little one sided. The suggestion was pretty much that those failing to successfully gain a dance career were most likely those who were never going to succeed anyhow & should've much sooner left the training path anyhow. That may well be the reality in lots of cases, & yes, perhaps it is right to shine a light on the number of training places & schools versus the actual number of jobs in the sector. But please let's not assume that 'failure' is there from the start for certain pupils. This takes away any accountability to the schools/teachers. Lets face it, some may well 'fail' or leave their path to a potential dance career due to bad teaching not helping them fulfill their talent or could lead to a career limiting injury, eating disorders (we all know that often these are begun in a desire to please a teacher/s by becoming the 'shape' they want) &/or mental health issues.Poor pastoral care (from institutions & also from us parents) can similarly lead to these same problems. Yes, many train to high standard in many areas (music/sports/dance/science) all with early dreams of top careers/winning/stardom/discovering a cure for cancer etc etc. And yes, if only ever the very top percentage get an opportunity to progress through training paths many would be saved heartbreak, many families would save £1000's & many would maybe find a happier or more achievable goal sooner. But we'd potentially miss out on those maverick stories where someone succeeds against all the odds! And worse, the current 'norm' would be ever perpetuated in the ballet world. so absolutely Groundhog Day. We cannot protect our offspring from failure, we cannot protect them from harsh realities of selection. Yes, we (both parents & the industry) can be kind & realistic & not just keep on paying/taking the money etc. But we shouldn't see it as all about that money either. We do owe it to young folk to provide opportunities where we can & for those taken up to be safe & offer what is promised & be value for money. Maybe the dialogue should not just be 'reduce the numbers training' to 'increase the number of jobs' & that is down to all of us....how many send their kids to those early weekly dance classes? Yet how many then regularly go (& also take those same kids) to watch live dance performances? It's not about watching those Instagram 'stars' its about sharing the moment as it happens, being moved by the music & artistry of the performers. Feeling the magic & returning! This in turn will grow demand & thus prices can reduce....etc etc etc....

Hmmm....sometimes I fear that is exactly part of the problem in certain institutions - especially where a year group may have just one teacher for their daily grass roots ballet class. If you do not work well with that teacher, you may well not have the same experience as another. And this could hugely affect futures. And similarly, bad practice by a teacher may be missed if the AD is not a present & approachable person to both pupils & staff.

Ruby Foo - You absolutely sum up the formula for any good management/leadership - be it of any small or large school, a small family business or a giant global corporation. (And as for those governing countries.....that gave an ironic smile as we can only dream of having wise experienced & empathetic leaders of the worlds nations!) Any good leader of any industry needs to be on the 'factory floor' for significant amounts of time so as boardroom decisions can be made from a position of knowledge & understanding as to what will best aid the overall business aim. Perhaps this latter point - the aim - is another element that needs looking at within the wider remit of RBS. A time with change of leadership will surely be an ideal time to give the opportunity for a root & branch analysis of the state of the health of this beautiful part of the ecosystem of ballet! And I feel this needs looking beyond just RBS but at that whole global ecosystem. From early years recreational dancing through to vocational training & right to companies & - dare I suggest? - the audiences of dance performances who I feel so often are far removed from the thoughts of decision makers yet they are the ones ultimately paying to fund this artform (along with in UK taxpayers....although I can't but help think, if some decisions began with looking at what audiences wanted, then revenues would increase with less reliance on subsidies required. Possible win win? And before folks say what about diversity or how will anything new ever be allowed to be made - please, give audiences the courtesy of asking them what they want. I think we'd find there was an appetite for new & experimental & diverse dance....just at the right time/place/price point to start off - let it grow organically from there as it surely will if it is what audiences then find they enjoy & will pay for. It is so wrong when people say we'd only ever get endless Swan Lakes & Sleeping Beauties - though isn't that too much the case already???) I feel we have too much trusted classics with then a huge void passing over & missing out many decades & many styles of dance & many choreographers work to then an over-emphasis on creating very 'cutting edge' 'worthy' new works.....we need a better balance! Sorry to digress away from the topic in hand & - back to what Ruby says, and i quote, "When the heads of institutions remain distant and aloof from reality then trouble sets in" I personally feel this is the case currently not just at RBS but at the RB too! all my own personal humble opinion.

So clogs en pointe in La Fille not such a one off!! (Am I right about tapping en pointe in clogs btw or have I been hallucinating??)

We stayed at Chelsea Hilton Doubletree a couple of times for ENBS courses…. If not already a member, join Hilton Honors (the loyalty programme) & you get cheaper rates & added benefits. They have rooms that specifically sleep 3 (I’ve stayed as one adult & 2 under 16’s before). Rates may be a lot more now as it’s been several years… Good luck!

I think that the roles in all vocational dance schools - especially those with boarding - need more clear delineation as to who heads up what. From experience most seem to have a ‘Head’ who is the figure head & certainly takes lead on academics & the ‘business’ side of school but often are not particularly involved (or even understand) the artistic side of schools. Re: RBS I do think that the lower & upper schools should have separate AD’s as they are very different institutions & not in same site.

Tgif Is this perhaps the most telling phrase???

Honest enlightening post Birdy - thank you

Finding things that are being discussed here really interesting - thanks all!

This is another thing I find intriguing…. It seems - culturally - there are few professional paid Ballet contract opportunities in certain regions (Asia I believe one) yet there seems such a huge appetite for many if these countries to produce immensely talented & highly trained dancers - these tending to seek necessarily older years training & employment overseas. And then these same countries often rely on touring companies & galas full of international stars to satisfy their audience desire to see great ballet. Well why don’t these countries see this huge opportunity to create their own companies & schools that can a) provide the training & opportunities to their own talents & b) provide employment rather than lose these dancers overseas & c) grow wonderful ballet for their massive potential audience plus become part of the global ballet world! This is a very basic reflection on this…. By example, I have mentioned elsewhere on forum hue surely it was absurd that a major Japanese corporation sighed a very high monetary value sponsorship (?) deal with the RBS to support Japanese students to attend…..surely their nation would far better benefit from investing that money to create Japan’s own Imperial Ballet Company & associated school/academy. And wow - wouldn’t the world benefit from the establishment of another top level ballet nation? And that’s just one country….

Reading this got me to thinking how things have changed in recent years…..Witt emphasis no longer on open auditions but rather pre-selection by application to usually include video footage. This is another area causing some difficulties as done want very specific studio work, some classical repertoire solos, some a selection of stuff, some a more ‘candidates own choice’ showreel of a variety if footage. So I guess a comp is that platform for a) getting those solos to good performance standard plus getting that much needed footage as must seem to be filmed - and probs better version as it’s an actual performance on a well lit stage with good music reproduction in costume too - so probs better than something cobbled together in a studio. Also gives added value I guess to the costs of preparing & entering a comp as it gives a longer term benefit offering greater potential ROI than merely being offered something at the comp itself! Really wish I’d had my eyes opened to this stuff years ago now… honestly I see less need these days for that vocational UK school year 7-14 (ages 11-20) training & think better routes to a rounded regular education mixed with high level coaching supplemented with competitions - more mirroring high level tennis coaching fur instance? I do worry though about the lack of team playing (so decrease of experience & suitable attitude to being part of day a corps de ballet) I do often wonder for instance how happily that violinist who can play at concert soloist standard & has awards & prizes acknowledging this then settles to working through the ranks starting back row of the third violins….knowing very very few will progress from there to soloist…. Are we creating too many could be stars & not enough for the supporting ‘chorus line’?

Emeralds -as ever, an excellent & informative post….thank you

I think the comp circuit is more about building a profile & getting to be a familiar ‘face’….I think mostly it’s places on offer to attend intensives or to join a course for a week or two (which in turn can be like a trial/audition to see if they like you/you them/wetter funding will be offered etc for offer to join course full time). I’d thought it was for older dancers but realise (especially overseas) it starts much much younger & people build their cv’s on their competition wins/attendances…. I do slightly question the integrity of tax payer funded UK school directors attending, judging & offering places at schools - full or part time. Presumably these places are within the ‘business plan’ & are not taking tax payers money to give freebies to overseas students - who by very nature of being on the comp circuit - can probs well afford to attend regular auditions & pay their way to attend courses. It becomes a bit like badges to wear…. And s bit like the whole bragging thing I recall (that seems to have died didn’t a bit now??) whereby it was not about just being offered a place at a vocational school but about being offered MDS at X, Y & Z schools! Ah the bragging rights this gave (sigh) I used to laugh when someone’s social media said ‘offered a full MDS scholarship to attend x school’ Well, all they really are oversharing is that household income at the very lower levels to justify the maximum tax payer support (quite right if that’s the case) And quite right that government funding vis MDS /DaDa is means tested & a sliding scale of support based in income should make things fairer. Unless this money or bursary funds is then also slung out to comp circuit kids who can well afford to pay…. But, with increasing number of comps & this prizes, I actually can see this route may be a sound investment in the long run as may mean free trials help select right school to then attend…. What a minefield though to navigate where to go, what to dance, who to train with to get comp ready…..I thought you’d who vocational school audition rounds in UK was the maximum stress/time/expense a dance parent had to go through….. add the comp circuit research/investment….. woah….I’m off!!!

But have to bear in mind the likely huge expenses both in terms of entry fees/travel/accommodation… not to me too private coaching (unless a school favourite & so coached ‘in house’) and even I’ve heard that parents pay the travel, hotel & subsistence costs for teacher to travel & attend alongside pupil! Further adds to the elitist feel sadly coming ever back into ballet training…. There never was an even playing field (just like in most high level sports training I guess) but it’s sadly limiting just who makes it….& again engendering very similar styles of dancers to comp winner virtuoso types as opposed to well rounded artist…. My personal opinion & indeed by no means sweeps across board but the do feel in too schools too much same old same old of the super bendy, super turners, super jumpers etc etc but rarely see heart wrenching story telling that can send me to another world & elicit emotions….again all just personal opinion

I remember little small rectangular boxes of chocolate like smarties & revels… they only seemed to be on sale in cinemas & theatres (thinking family performances like pantomimes) They definitely held less than these big ‘grab bags’ now sold so probs were finished pre-show or during interval so much less distracting…. Rather miss them!

She’s an absolute joy & so natural! Did she get to do more TV work? It’s also so well researched & written with perfect blend of information & entertainment! Reminding me why I fell in love with ballet as sadly there’s too much about the who’d ballet world now making me lose some of the joy…not all though 🙂

Nuts that regular supporters of The Royal Ballet it seems do have to go halfway round world to see what should be their ‘birthright’ to see RB founder choreographer on home stage ROH…hmmmm

Oh I almost wish just one episode was shown at a time as I so enjoyed first one shown this evening I want time to just bask in it!

You have indeed set the bar very high! To be fair to my own partner… I did get to book tickets to see Nunez/Bolle in Manon for my Xmas present 🥰