bridiem

I was going to 'Like' this post and then I thought maybe it could be taken the wrong way!!

Why not allocate the lower parts of the house instead of the amphi?? (Well I know why not, really. But it would be more truly egalitarian.)

Perhaps because men are still seen as the stronger sex (not just physically) and so can 'carry' a work on their own in a way that women perhaps can't? (Not saying I agree with that - just that it may be the case, either consciously or subsconsciously.) And of course most choreographers are (still) men, which may be a factor. I also personally prefer mixed gender works, but it's an interesting question to ask.

I read FLOSS's comment very much as a compliment to Muntagirov, not as a criticism - i.e. he's so good it all looks effortless, which is a hard act to follow!

I don't honestly see any rivalry at all, JohnS - as far as I can see (read), everyone admires both dancers tremendously and the only comments have related to the greater publicity being received at the moment by FH, i.e. hoping that YN will also receive the public acclaim that she deserves. Which I'm sure she will.

No, but that really made me laugh! Probably a first for Margot Fonteyn and Ray Winstone to be mentioned in the same sentence!!

And like others I should have added Stina Quagebeur to my 'Best' list for her tremendous Myrthe in Akram Khan's Giselle. For practical and financial reasons, I currently only see performances in London. And for the same reasons, even in London I don't go as often or to as wide a variety of performances as I would like. But I am grateful that I can currently see even what I do see, since who knows what the future holds.

Best Until the Lions – Akram Khan Giselle – Akram Khan (ENB) Rojo/Streeter in Giselle (Akram Khan) (ENB) Sarah Lamb as Giselle (RB) Akane Takada as Giselle (RB) Nunez/Muntagirov in Giselle (RB) Tierney Heap as Myrthe (RB) The Two Pigeons revival (RB) Fille mal gardée, especially Hayward/Sambé and Marquez’s farewell (RB) Zenaida Yanowsky in Elizabeth (RB/Linbury) Gary Avis in The Nutcracker (RB) Hayward/Campbell and Calvert/Clarke in The Nutcracker (RB) The Moor’s Pavane (BRB) Worst Multiverse (RB) Osipova bill at Sadler’s Wells Anastasia (RB) (in spite of Act III)

Another excellent performance this afternoon, including Claire Calvert and Reece Clarke as SPF and Prince - I thought they were wonderful. Calvert has a quiet gravity and grandeur that I like very much, and Clarke is very dashing and elegant. I thought they made a very handsome couple and they danced beautifully. I also very much enjoyed Isabella Gasparini's Clara - sweet, happy and lyrical - and Benjamin Ella's Hans-Peter - sparky and fun. And Itziar Mendizabal was a spectacular Rose Fairy, with her long limbs, grace and palpable connection with the audience. The whole company on fine form.

This thought has occurred to me; but I spent ages earlier this year doing a nomination for someone I know - it's quite a long form and you need back-up material etc - and it was surprisingly difficult to get even the two supporting letters that have to go with it (not because people didn't want to support the nomination - just because people in general seem to be hesitant (or feeble!) about actually writing a letter nowadays). (And I was also disappointed that he's not in the NYH either! Maybe he'll get into the next Birthday Honours. Apparently it can take 1-2 years post nomination even if they do get an honour.) But Bintley is such an obvious candidate that he must surely be in the sightlines of those who decide on the honours - for some reason he just hasn't reached the top yet, so I'm not sure that being nominated would make a difference. It's not as if they don't know who he is, which I assume is the case with most nominations from the public. BUT P.S. I would happily do a letter supporting a Bintley nomination if wanted! (I would fully support a Tait nomination too.)

But Bintley does already have a CBE (I think) so I wouldn't have thought he would refuse a higher honour.

Yes, I'm actually beginning to get very fed up about this. Especially in this year of BRB anniversaries it would have the obvious time to give David Bintley a knighthood. I just hope it happens soon.

Probably a silly question, but are you definitely signed in to the Forum when this happens? When I access the Forum without signing in (e.g. if I click on a link in an email rather than going to my Forum shortcut) all the threads are greyed out because it doesn't recognise me as a member. Then when I sign in the unread ones are highlighted.

That must have been awful LinMM, but I'm glad you got assistance and I hope your breathing doesn't give you more trouble. What it did also bring to mind, not for the first time, is the danger of those incredibly long rows of seats at SW, with no aisles - they're annoying enough even just from the point of view of getting everyone seated (standing up and down so many times, and people embarrassed at disturbing a lot of people to get to their seats etc) but also from a health and safety point of view. If someone did have to leave because of illness it would cause mayhem, and if the theatre had to be evacuated, it would be downright dangerous. I was amazed when the new theatre opened that it had been permissible to build it like that. (And with steps in the middle of the end-of-row gaps, so that every time you leave a row you have to be very careful not to trip up on the step. Crazy!). (I'm not sure if the whole theatre is so bad - I'm almost always in the Second Circle.)

If that's true of you, FLOSS, it's true of me - because your lists are spookily similar (in fact pretty well identical) to what mine would have been!

A modern classic, I suppose - not a Classic with a big C! Which is presumably what they meant.

She's actually SO much better when she's allowed to say what she wants - the problem she has is when she's reading cue cards etc. Why not just let her speak for herself more often?!

I don't think it's scheduled again; but I assume it will be on iplayer? I recorded it as well as watching it.

Yes, I thought it was brilliant - lots of wonderful archive footage including a lot I'd never seen before. Loved seeing Lynn Seymour in the TV class, and John Cranko choreographing, and Madgwick/Mukhamedov in the Birmingham Nutcracker, and Sibley and Dowell in the Awakening pas de deux - I'd love that to be restored! (Even if it makes Beauty even longer...). And I agree with PW about the cygnets - great dance, wrong context. I can see why it's so popular but I always find it slightly galling that it seems to get more applause than any other bit of that act! But there was so much in this documentary - as Janet says, worth seeing again.

I loved the Nutcracker documentary. It was a Christmas Day programme, i.e. programmed for the widest possible audience, and as such I think it did a very good job. I loved seeing all the behind-the-scenes preparation, the personal touches, the hard work and planning etc. I found the interviews with FH's grandparents, and her first dance teacher, very moving - the people who nurture children, allow them to develop, and then see them blossom so beautifully. And seeing Lesley Collier, both on the video and then teaching, was thrilling. It all made me realise afresh what a huge amount of effort goes into putting on the incredible performances I am so privileged to be able to watch.

I've never even noticed it before, and I live in London! Maybe I should keep an eye on it in future. Thanks for highlighting this programme, alison.

I'm not sure I've ever seen a 'perfect' performance of this variation, no matter how good the dancer. It does seem to be incredibly (almost gratuitously) difficult, and a lot of dancers only seem to get through it by various forms of adjustment that mean it rarely feels satisfying. I always feel sorry for the Lilac Fairy since she's supposed to be so authoritative etc but is then asked to do the impossible and so has to work very hard to make up lost ground!

I've just caught up with the Darcey programme - really enjoyable. I think I'd forgotten quite how wonderful she was in her way and this programme seemed to use footage of most of her best roles and not those to which she was less suited. Her amazing body and technique! But they were really supplemented only by her lovely, sunny personality - what MacMillan called her innocence and radiance. If more than that was wanted, it wasn't really there. Except, for some reason, in Song of the Earth, which she danced with such power, clarity, force and feeling that it absolutely took my breath away, both live and in this documentary. As if she knew, in this role alone, precisely what she was doing and why she was doing it. She clearly has an iron will to have achieved all she's achieved; and that came out in Song of the Earth. In too many other roles there was the frustration of seeing only the beautiful dancing. But she was so wise to stop when she did, and in her best role. It's a shame really that so much media attention was focused on her and so little on other excellent dancers. But she clearly did so much to bring ballet to the wider public, and continues to be a great 'advertisement' for it. More power to her elbow! (Or feet, I suppose.)

Completely agree, capybara! What a joyful performance. O'Sullivan was a terrific Clara and danced with such beauty, grace and musicality. I can't wait to see her in (even) bigger roles. And Hay matched her wonderfully - they seem to have a real chemistry between them. I hadn't seen Hayward and Campbell in this yet - what a treat! Hayward exuded delight as she welcomed Clara and Hans-Peter to her kingdom - as if she too was overcome with wonder at the beauty of her world. And Campbell was proud, confident and full of chivalric pleasure as he showed off his precious princess. They both danced superbly and glittered and shimmered as they created their magic. The national dances were performed with such strength, verve and artistry, and Claire Calvert was a lovely, gentle Rose Fairy. I found Thomas Whitehead a darker Drosselmeyer than Gary Avis's, but also very powerful and commanding. Lots of children in the audience (of course) and they seemed to be spellbound, and everyone got a great reception at the end. Brilliant.

Oh woe. I will miss her so much. She really is unique and the most tremendous talent. I hope she will remain involved with the company.