Geoff
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Posts posted by Geoff
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1 minute ago, TSR101 said:
I find comments about this forum like this so odd - of all the places in the world, internet forums are literally the place for speculation lol - oh well!
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.-
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4 minutes ago, Fonty said:
Yes, I found the increased focus on Benno rather odd.
Those familiar with Liam Scarlett’s life might hazard an explanation - but this is not the place for such speculations.-
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8 minutes ago, RobR said:
Well, that’s a perspective but I have to say that I positively prefer the Scarlett production.
I have never missed the tutor dancing with the children, Siegfried’s friends getting ‘tiddly’, the six dancing princesses …. Oh, I could go on but …..
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 …)
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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.
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6 hours ago, Paco said:
Act 2 was to refresh some classic productions, which he initiated with the new Swan Lake
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.
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5 hours ago, jmhopton said:
No need these days to hire well known dancers from other countries to supplement our own principals.
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?-
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58 minutes ago, Roberta said:
They have been danced, though unscheduled, by Cesar Corrales.
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.
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2 hours ago, Sim said:
Yes, although he still manages to get in his usual dig at the Royal Ballet!
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.
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20 hours ago, Sim said:
Macaulay seems to criticise British companies and productions most of the time, so I wouldn't pay much heed, Dawnstar.
Here is his (broadly positive) review of last night:https://slippedisc.com/2024/01/alastair-macaulay-why-does-giselle-think-shes-english/
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2 hours ago, lollylamb1 said:
However, one thing I did notice recently that really shocked me was how ROH is now re-posting/sharing stories on their official Instagram from the public, not from influencers or anyone in the public eye in particular, but those who've tagged ROH in their story. The story I saw the other night, showcased an 'evening out to The Nutcracker' with a really explicit backing track. I first watched it with the sound off + then turned it on + I didn't really know what to think at that point! I'm all for new music + new audiences enjoying ROH for the first time, but I definitely felt this was a low blow + wasn't sure if the person handling ROH social media had listened to the track before they pressed share!
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? -
13 hours ago, MAX said:
It seems that it will be impossible for this series of performances to match the quality of the cast with Alina Cojocaru a few years ago (with Cesar Corrales in the Peasant pas de deux). A great ENB era.
Rather odd that you single out Corrales as a Peasant when he has danced Albrecht in this production: -
11 hours ago, Peanut68 said:
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.
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?
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10 hours ago, Blossom said:
I had the pleasure many years ago of going to an event at Ivy House and walk through the grounds and some of the building. It would have been a fabulous home. The downstairs used to be a dance studio and I think a dance school used the space. Now it’s been turned into a prep school and every time I drive past I wonder whether there is any remnant of Pavlova’s time there.
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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1 hour ago, Candleque said:
Bravo to this. An action I will emulate.
Like many people at the top, I suspect Mr. O'Hare is somewhat insulated from grassroots criticism. His staff is more likely to show him those press clippings from Toronto imo, than a report quoting the frustrated balletomanes here.
Thank you Blossom, thank you Candleque. I would urge as many as possible to write in, but remember not just to write to KevinOH but copy his bosses (Alex B and the board), who may be of the view that KOH is an impresario of genius and that all is well.Middle-aged arts administrators have a depressing habit of assuming their tired enthusiasm for last century’s avant garde is still exciting. There is so much astonishing creativity in the world today (I recommend Instagram Reels as sources of inspiration to aspiring choreographers) that it is miserable we have to be fed so much McGregor at Covent Garden.
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As we go into Russian Christmas, here is a gosh-well-really variation (from, I understand, the young Sizova’s graduation performance):-
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On 23/12/2023 at 18:11, Geoff said:
At the time the programme was transmitted I - in a different thread - offered some other examples as food for thought. Perhaps it’s ok to repeat them here in case this could be useful:
And as a PS, what about bullfighting? -
May I ask a point of information? The RBS website says:
>>Christopher returned to The Royal Ballet School and took up the post of Artistic Director in September 2014. In 2022 he was made Artistic Director & CEO.
So the “decade” in post has been as AD but he has only been CEO for a year. What are the distinct functions of the CEO role at the RBS and what is it about them that might make someone not want to continue after such a short time?
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A lovely backstage moment from Swan Lake has just been put on Instagram by David Hallberg:
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With regard to episode 1, the distinguished writer and critic Graham Watts OBE has tweeted (or whatever one says in X world now) the following comment:
>>Nureyev partnering Lynn Seymour in the Sleeping Beauty grand pas de deux, which was fascinating if not only for the sheer speed of it - I’m guessing it was 30 seconds faster than the norm now
Given the number of discussions on this Forum about the Royal Ballet slowing down over the decades, perhaps this is another reason to watch this fascinating series.
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Given that it’s Christmas, here is a funny Nutcracker moment:
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8 hours ago, LinMM said:
We do want excellence in the Arts but not at any cost.
At the time the programme was transmitted I - in a different thread - offered some other examples as food for thought. Perhaps it’s ok to repeat them here in case this could be useful:
Tenure of Artistic Director of the Royal Ballet
in Performances seen & general discussions
Posted
Thank you. To repeat, I know the law of defamation. And also to repeat, I am not going to say any more.