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Everything posted by bridiem

  1. I've never used packages before, and I don't quite understand what I can see at the moment about the total ballet Amphi package, which is supposed to offer a 10% discount. If I check the seats/prices for the seats I would normally aim to buy, I can see a potential discount of about 10% for R&J (£43 down to £38.75) as part of such a package, a discount of about 5% on Nutcracker, and no discount on Giselle or Dante Project for the same seats. Do packages vary as to which seats get included for which productions? Sorry if this info is on the website but my head is now spinning about all this. And if you have to book more expensive seats for some of the productions in order to make use of the package, it would just make it all more not less expensive! Or is the seating plan maybe not up to date yet?
  2. I agree. Otherwise they become more of a way of getting into the final 'pose' rather than the whole move/movement mattering.
  3. Fascinating! Fonteyn and Blair are so exciting - fast, light, flowing, musical, and with an air of otherworldliness that tells us this is a fairy tale, a fantasy; almost as if they're oblivious of the audience and dancing purely in their world. All their dancing is a means to an end not an end in itself. Terrific.
  4. Well I loved Akram Khan's Giselle, as one example; if reimaginings are done well they can be thrilling. And it would very sad if no new ballet scores were ever commissioned. But I do now tend to hear these phrases with a high degree of wariness, I'm afraid.
  5. I didn't know whether to laugh or cry when reading your post, Rina. Funny, clever and all too horribly plausible.
  6. But I would have thought that raising ticket prices so that they're (even more) unaffordable for a lot of people would be a funding no-no too. (And if it isn't already, it should be.)
  7. bridiem

    Room 101

    Well to borrow the sentiment of the late, great Bill Shankly: ''Some people believe football is a matter of life and death. I am very disappointed with that attitude. I can assure you it is much, much more important than that.' I know he was exaggerating for effect (or was he?!) but for millions of people football is not just sport. Of course that doesn't justify hooliganism, but it explains why the whole range of human behaviour is evident within the context of football. And why I find last night's defeat unbearable and will happily consign it to Room 101.
  8. Well she looks fine in the Nutcracker wig, which reflects the idea of the glittering light of the Kingdom of Sweets. And the source material for these works is after all the product of European imagination. I personally have no problem with seeing dancers of any colour in light-coloured wigs if it suits the story/ballet. I associate them with the character being portrayed, not the real life dancer wearing them.
  9. Actually I'm not sorry. And I'm not disgruntled, I'm angry. If the Royal Ballet management doesn't believe in ballet and doesn't believe it can sell it to the public, we might as well all go home. I love some contemporary dance but if I want to watch contemporary dance I go to Sadler's Wells or wherever and watch it performed by contemporary-trained dancers. I have no interest in hip hop at any venue. There's a very good article by Gerald Dowler in this month's Dancing Times, in which he says that he fears for the future of ballet. So do I, now.
  10. A hip hop choreographer being mentored by a contemporary choreographer at the Royal Ballet. I suppose it was too much to hope that the Royal Ballet's emerging choreographer would be a ballet choreographer. Silly me. Maybe the name should be changed to the Royal Dance Company and contemporary and hip hop dancers should be recruited to the ranks. Sorry. Feeling disgrunted.
  11. Unbelievable!!!
  12. I think it's pretty precise, in fact - where a ballet has been notated it's not unlike a music score. But others will know much more about this than I do.
  13. In a way I think this thread links in with discussions on several other recent threads on this forum on what classical ballet actually is. Ashton is indisputably a great classical ballet choreographer (one of very few, really). Many other choreographers use classically trained dancers to make dance or movement, usually to music. That's doesn't make it ballet. The Royal Ballet should surely be showcasing the range of Ashton's works as its own unique and supreme treasure of classical ballet, of which it is supposed to be a world leading company. If today's audiences don't see much of his output, how can they really judge or understand the Royal Ballet, or British ballet, or 20th-century ballet, or ballet as a living art form?
  14. This is so true, and must put extra pressure on the dancers when they do finally get to perform. And it must be pretty frustrating getting so few chances to perform works where a) a huge amount of time and effort has gone into learning them, and b) there are great interpretative riches to be mined which cannot possibly be achieved in a couple of performances. Perhaps there are guesting opportunities for many of the principals? But that should be additional to rather than instead of getting a reasonable number of performances with their home company.
  15. I couldn't help crowing with delight when I saw this in Joy Sable's review in the Jewish Chronicle (see today's Links) - she's referring to Dances at a Gathering: 'Alexander Campbell always commands respect – in him we find masculinity, grace and power in one delicious bundle.' Couldn't have put it better myself!! ☺️
  16. What is really disturbing about this is how 'relevant' is defined. i.e. are only certain topics/outlooks considered to be 'relevant', i.e. acceptable? Is this actually morphing into a form of censorship?
  17. You're right - ballet has always had these types of works and choreographers. And no, I don't think it's a British problem of ignoring them, since most of the choreographers you mention are effectively part of main stream British ballet/dance.
  18. Ballet is a stylised art form that I don't think lends itself easily to very direct or literal expression of contemporary life. That's not to say it can't be relevant to contemporary life - it's most powerful role is to express universal themes that are relevant to all ages. That's what the best works of any era do no matter what their approach or subject matter.
  19. A few immediate reactions: Kaneko/Bracewell R&J - very exciting prospect. Thrilled that Campbell is finally doing Romeo (at the ROH). Thrilled that Sambé is doing Albrecht, and with Sarah Lamb! Intriguing casting. Too many difficult choices to make... It seems to me that Clarke is doing the work and carrying the responsibility of a principal without having been promoted - not very fair. (And will Osipova now dance with no-one else?!).
  20. I find it very galling that seats in my usual seat area (in the Amphi) for Dante Project are £19 and the same seats for R&J are £43. Does the RB really have so little confidence in its new/contemporary works? Is DP really worth well under half what R&J is worth? Is it really going to be so difficult to sell tickets for DP? (In which case, why stage it?). I also see seats for (e.g.) R&J inching towards £50 with horror. Clearly my days of going to multiple casts of great works are numbered.
  21. Just to say that Anna Rose O'Sullivan and James Hay dancing together was my highlight of watching the livestream. So well matched and a complete joy.
  22. See Nominate someone for an honour or award - GOV.UK (www.gov.uk)
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