bridiem

I think it's not just speed, it's continuity; dancing, not doing a series of steps or making a series of images. Flow (physical and musical). So you're not admiring the technique, it's disguised so that what you experience is simply dancing, music, story. But yes, also speed.

Not the only tricky balance involved in Sleeping Beauty 😊 (Sorry, couldn't resist it.)

I assume that since it's described as a 'drop-in' performance announced only on the previous day (and it seems only on Twitter) that it's really aimed at people who happen to be passing rather than at people who normally frequent the ROH. I have a vague memory of seeing the above item on Twitter but since I wouldn't go into town for a short ad hoc item (and presumably no seating! I have a bad back) I didn't pay it any attention. But it would be interesting to know who/what was involved.

I know this sort of thing has been discussed before, but I can't remember the outcome: does 'sold out' for an Insight actually mean no more tickets ever (unless there are returns), or just no more available now? i.e. are any tickets held back for later stages of booking?

I'm tall, and this is a big problem for me too in the upper circle (also not sure how far back it starts). Staggering really... 😏

I think the RB may have performed R&J at the O2 - quite a few years ago now. (I didn't go so can't be sure, but they definitely performed there.)

What a beautiful tribute to your mother, jmb. And what a beautiful legacy she has left you. My sincere condolences on your loss.

In the light of our previous discussion, maybe it should have been the 'Anyakova'...

I think that in general nowadays, it's no longer the case that only certain types of names are appropriate for ballet. (As was mentioned above, Darcey Bussell changed her name for different reasons.) I've just looked up Meredith Daneman's biography of Fonteyn - she says that the name change evolved over discussions between Peggy, her mother and de Valois. Interestingly, she quotes de Valois as saying 'We have at last found and created a British ballerina. For heaven's sake, don't let her sound Spanish.' I'm not sure that Fonteyn sounds particularly British, but it was evidently considered more so than some of the possible alternatives.

Very interesting question! I remember she said in her autobiography that it was when she was at the height of her stardom that she felt least 'herself' (or words to that effect - it's a long time since I read it). Perhaps changing her name was part of that sense of having moved away from who she was. (Come to think of it, I saw a TV programme about Cary Grant quite recently that described how his new name was part of the reason that he had no sense of identity and was always 'trying on' new persona.) But I can't remember what Fonteyn said about her name change and whether she had any sense of it having affected her or her dancing. Perhaps if she'd kept her name (been allowed to keep it), and if Markova had kept hers, British ballet would have had a slightly different flavour from the start since it would have sounded less foreign/exotic/glamorous etc. (Or perhaps it wouldn't have developed at all without that very sense that attracted audiences?). But would Ashton have choreographed any differently for Fonteyn if she's stayed as Peggy Hookham?! Who knows. There's also the question of whether people who kept their names may have suffered for doing so. I remember Deborah Bull saying that de Valois told her she should change her name because Bull was no name for a dancer; but she declined to do so. But I think/hope that by her time, it made no real difference.

If all journalists who said stupid things apologised afterwards, our screens would be one long mea culpa. I just hope the audience who laughed, and all those who laughed with them, will also have thought again. This isn't about Lara Spencer, it's about the public perception of boys/men in ballet. And this episode might actually have brought about some good in the end.

I had assumed that money is involved somewhere along the line.

Unfortunately, the audience laughed when she first mentioned ballet too. An audience here might well do the same - who knows? You do wonder how far we have come if this is still the reaction. I notice that 'religious studies' was initially considered worthy of smirky giggles, so by the time ballet was mentioned the audience was well away. Very depressing.

Actually I do now remember that interview - it must have lodged in my subconscious! (And Osipova is clearly in preparation mode in her curtain calls. )

There do seem to be differences though. Osipova generally shoots her right arm up straight, a bit like Mary Poppins sans umbrella (bet that's the first time they've figured in the same sentence!). As if the energy still seeping through her won't allow for a softer movement. Others are more rounded and/or serene. Even subtle differences in the bows can be reflective of the different performers' personalities.