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Geoff

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  1. Geoff
    If you scroll up MAB you will see that I asked a similar question. Apparently this statement came about as a result of “observation” (so a deduction? a guess?)
  2. Geoff
    That’s sad to hear. Can you say more?
  3. Geoff
    I hope they make something out of the apparent contradiction of tap (with its deep relationship to the ground) and Icarus (rather the opposite). Anyone seen this?
  4. Geoff
    ‘Twas ever thus. I have seen a Soviet cartoon from the early 1920s, showing the box office of the ballet - with a long queue for the window for classical work, and no one queuing for the alternative modern revolutionary offering.
  5. Geoff
    True story. This question came up at an Insight event and Monica Mason (a panellist) said that one reason is because the stage is now so much larger. I will leave others to judge the validity of this.
  6. Geoff
    Prejudicial? No one has been charged, so how can anything be prejudicial at this stage? The relevant IPSO guide sums things up nicely: >> There are also rules about what a newspaper (or any member of the public) can publish which might be in contempt of court. Once somebody has been arrested or civil proceedings have started, they are protected by law from the publication of information which might mean that their trial cannot take place fairly. The rules of this Forum are in part, as Sim said earlier, to manage these issues. But of course the Forum, as it has its own rules in addition to English law, can make more restrictive decisions if it deems this necessary. So yes, it’s right to be careful.
  7. Geoff
    My memory of seeing her dance Giselle twice in the 2017 run is that she was wonderful (in fact I discussed this with Tamara Rojo). But if you say she chose not to use "many" "unique" "elements" it would be most interesting to know more, can you remember some specific examples?
  8. Geoff
    There is a phone box (remember them?) opposite the Houses of Parliament, towards Whitehall, and I have often seen entire bus loads of tourists queuing up for the chance each to have their own individual selfie with phone box and Big Ben in the background. I now try and avoid that section of the square if I can, not because I don’t want to help (it is a well-organised activity, they don’t need help) but because it can be hard to get past.
  9. Geoff
    I agree LimMM and apologise for drifting from the topic. One Swan Lake issue is relevant: the extent to which this production is - or is not - evidence supporting what one hears occasionally, ie that KOH, for all his self-evident strengths, is less interested in / fearful of / feels himself not competent in making judgements in detail on choreography and new productions.
  10. Geoff
    Thank you. To repeat, I know the law of defamation. And also to repeat, I am not going to say any more.
  11. Geoff
    Apologies. But I am familiar both with the law of defamation and the rules of this Forum so wish to say no more on the subject.
  12. Geoff
    Those familiar with Liam Scarlett’s life might hazard an explanation - but this is not the place for such speculations.
  13. Geoff
    Indeed RobR. I made no comment on any past RB productions, just hope that one day someone will stage a production worthy of the new tremendous sets (which have gone a long way to distract from other things: the clumsy magic, the odd new narrative, the dull new ensembles, Benno’s deeply uninteresting - and distracting - “character development”, the faux pdd, Oh, I could go on, but …)
  14. Geoff
    Many thanks Jan. That’s a useful clip in other ways as well. At least he (just about) taps in time, which some recent widows did not manage. That throws off the main idea of the piece, the clog beats being part of the music. But, goodness, the mugging and the uncontrolled flapping about in his “comedic” performance. This seems sadly to be the modern style (like many sisters in Cinderella). Perhaps today’s performers have little experience of how carefully husbanded economy of gesture, pointing and timing can get real laughs. Ashton, who of course knew the music hall with its famously tough audiences, was a brilliantly delicate performer and filled this number with a generous helping of “bits”, all of which need to be set up and delivered exactly if they are to work as he intended. Panicky gurning and hasty uncontrolled gestures are what a performer resorts to when they don’t know how to get laughs any other way. i was once present at a rehearsal when Sir Fred, by then an older gentleman, demonstrated a section of this dance. No unnecessary movements and brilliantly funny.
  15. Geoff
    Refresh? The new Swan Lake sets are stupendous. But the sooner this awful production gets - what’s the polite word in the circumstances - reviewed, the better for ballet. I went to nearly every performance in the first run (those were the days when such commitment was affordable) and ended up hating just about every one of its dull innovations. Just because the man responsible subsequently died tragically is surely no reason to hold on to what doesn’t work. People will always book for Swan Lake but that’s no reason to be complacent.
  16. Geoff
    Thank you for an interesting post. Just on this point though, am I the only person who misses the preBrexit time when it was easier (and cheaper) to bring in occasional stars from overseas?
  17. Geoff
    And now, en pointe on a tightrope: https://www.instagram.com/reel/C10VbthC9MK/
  18. Geoff
    Wonderful posts Roberta, thank you. Here is what I wrote about Corrales in 2017:- Those entrechats: of course there is the question of authenticity, if only to the intentions of this production. But if you do them as well as Corrales delivered last night, I found that they actually make some kind of narrative sense (ie not showing off but somehow expressive of the dance-till-you-die, what-am-I-going-to-do-I-love-her-but-shes-dead, they-all-want-to-kill-me crisis Albrecht is in at the end) Never felt that before, so perhaps this is an example of the power of dance. Imho.
  19. Geoff
    Well, first, this may be his sincerely held opinion (rather than just bias) and, just possibly, he could also be objectively right in what he writes. Not all that the RB does with the classics these days is as good as it could be. And if critics do not point out what they observe to be wrong, this risks contributing to standards slipping further. Then again he could just be prejudiced.
  20. Geoff
    Here is his (broadly positive) review of last night: https://slippedisc.com/2024/01/alastair-macaulay-why-does-giselle-think-shes-english/
  21. Geoff
    This is interesting. Can you give some more clues? I’ve tried to find the post you describe, on Instagram and Instagram stories, also Twitter/X, but don’t see it, Have they taken it down or am I looking in the wrong place?
  22. Geoff
    Rather odd that you single out Corrales as a Peasant when he has danced Albrecht in this production: https://www.balletcoforum.com/topic/14339-english-national-ballet-mary-skeapings-giselle-london-coliseum-2017/page/6/#comment-198120
  23. Geoff
    In the ‘disappeared’ thread about the recent person who has just announced they are stepping down from this post, there was some discussion about his twin role. For some ten years he has been the RBS AD but for the last year or so he has also held the title of CEO. It will be interesting to see the job description when it is advertised. Will the board retain this twin function as the job they seek to fill, or will they make more than one appointment?
  24. Geoff
    Um, a film star tap dancing en pointe: https://www.instagram.com/reel/C12OmRoJS5p/
  25. Geoff
    For many years the house was run as the London Jewish Cultural Centre (LJCC), which often mounted dance related events. A few years ago the LJCC - somewhat controversially - moved to a purpose built complex on the Finchley Road, no idea if ballet still features among their events. Since then, as you say, the house and grounds have been in the hands of a company providing private primary education.
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