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Everything posted by bridiem

  1. Yes, it is; in that it is about the growth of love, trust, maturity, humility, understanding, acceptance, joy, social cohesion, reconciliation, etc etc. And all done with a joyous sense of fun and humour. Qualities which often seem to be in short supply currently.
  2. They could borrow the costumes from the Mayerling tavern scene.
  3. A very small audience at the Ritzy in Brixton. If only people knew what they were missing... What a brilliant performance. Nunez was incredible, technically magnificent and so funny and believable; Muntagirov sensational in all he was asked to do. Just wow. Yes, the first act was much too dark, which was a shame. But nothing could mar the excellence of the performance. I also loved Annette Buvoli's Prayer - such beauty and grace! I immediately wanted to see her as Odette/Odile. And lovely interviews etc as usual. I thought it was so sweet at the end when Darcey Bussell said she felt so proud of the company; that shows that she still feels part of it, and quite right too.
  4. I imagine that people going to this in the cinema will mainly be people who already like ballet and so are not really (presumably) the target audience. What will be interesting will be the reaction of those who watch it on TV on New Year's Day, except that we probably won't know their reaction! I understand what Lindsay is saying in her post - ballet isn't a natural art, and it smacks slightly of a lack of confidence in it to try and make it more so. But I'm looking forward to watching it on TV anyway.
  5. Oh dear. A small part of me thinks those costumes are so ridiculous as to be funny. A larger part of me is angry that grown adults would produce (and be allowed to proceed with) such a thing (especially on a major stage, for major artists). What a terrible waste of time, money and resources, and what an insult to the dancers.
  6. No idea what 'finagle' means, but great work by Holmes and Watson! 😊
  7. Well that sounds like a barrel of laughs. I would actually like to see this in theory, since I love some Pina Bausch; but I've also hated some of her work, and I suspect this might fall into the latter category (though who knows). So in practice I won't be booking for it. It makes Mayerling sound like a Mills and Boon romance.
  8. I only started watching it when Darcey Bussell became a judge, just out of curiosity, and then I found myself continuing because of her. But now she's no longer there there's nothing of interest for me and a lot to annoy me! (It's all so hysterically overblown in every way, and there are such obvious inconsistencies about the judging by both judges and public. And if the public really can't see that Acosta is in a completely different league to the other dancers, that just confirms my alienation!).
  9. Thanks for posting this, Odyssey - I've 'given up' Strictly this year so I didn't watch, but I'm very glad to have seen it and I think he did what was required of him brilliantly. Talented though the other dancers are (and they are talented), he is clearly in a class of his own from the very first moment.
  10. I have no objection to the reception and dinner, of course - the more people able/willing to support something like this the better. It's the extra tickets for an allegedly sold out production to which I do object (especially given lack of 'clarity' in respect of previous information given out). (And the fact that they've unwittingly sent this to you, penelopesimpson, is really quite funny!!).
  11. Completely agree that 'creatives' need no protection from audience views - they've created something FOR an audience (one hopes) and need to be robust about whether or not it's worked. But I'm with capybara about not expressing very negative views loudly, especially if everyone else appears to be really enjoying it. I have to say that occasionally I have done this if I think something is so bad that I'm actually incensed about it, but I do then feel guilty; I don't want to risk spoiling the enjoyment of the people around me, which would be mean and would serve no purpose. (And now, of course, if it's a ballet I can let off steam afterwards on this forum if necessary!! Which DOES serve a purpose.)
  12. 'Lilac' makes her sound like a dodgy character in a James Bond film. (Especially if she has something hidden in her wand...).
  13. Well nowadays there is no casting in the Friends mag - it comes out nearer the booking dates (and I think then includes début asterisks). In fact I'm just as likely to get first casting info from this Forum as from the ROH.
  14. I would have thought that she's contractually bound to do all this publicity so I'm not sure she'd have a choice if they want her.
  15. It is a very strange list, I think. I'm not sure if they mean (for example) that every performance Monica Mason danced is online and there are more than 1,000 of them, or just that there are more than 1,000 of her performances online and they've chosen to highlight her name as a link. If the former, why would they single out MM to be prioritised (much as I love her)? Perhaps she was director when the database was set up? Which would seem a peculiarly daft criterion. And why MacMillan and not Ashton? Why Nureyev and not Fonteyn? etc.
  16. Well if you look at the right of their home page here http://www.rohcollections.org.uk/performances.aspx it lists what is now on there, i.e. the things to which they have been giving priority. Which does result in certain anomalies.
  17. Of course she may yet be on Jonathan Ross, come to think of it - nearer the time of the opening here.
  18. Not sure about that. I provided evidence of an error in the database some years ago, but it wasn't corrected. And they have had a programme for adding performances according to certain criteria, so I don't think that they are unaware of missing performances.
  19. James Hay has tweeted this: 'Sometimes things just don’t turn out the way you had planned. Absolutely devastated to have had to pull out of The Sleeping Beauty yesterday. I had been fighting a throat infection all week which developed into a flu-like virus and it became apparent that it would have been unsafe to perform. The last thing I would want is to jeopardise someone’s performance (especially someone’s debut) so I made the painful decision to withdraw, knowing that Anna-Rose, who is wonderfully quick, smart and talented, would cope with a new partner at the last minute. I’m so glad to hear Anna-Rose and Matthew did so well at such short notice. It was a really tough decision to make but I’m determined to make our next performance together. #ROHbeauty' So let's hope he is indeed back next week.
  20. And she posted on her Instagram account an image of a TRULY GINORMOUS billboard in LA with herself on it. She really must feel like (is) a film star now!
  21. And what an amusing, enjoyable interview - credit to both interviewee and interviewer, especially given the limited time. Unlike the last time I saw a dancer on a chat show - Carlos Acosta was on Jonathan Ross earlier this year (I only watched because he was on) and it was cringeworthily awful, with JR (who is actually perfectly intelligent but for some reason pretends not to be) acting like an ignorant, crude idiot and reducing the idea of ballet to something weird and bizarre. (Well I know it is rather weird and bizarre, but that's not the point...). Poor Carlos Acosta was of course the epitome of style, talent and grace in the face of the stupidity.
  22. I did get a sense that having in a sense to 'scale back' was a real effort for some of the dancers, both male and female. Huge extensions and jumps with everything done to the maximum (rather than to a defined scale) have become so much the norm that it must be very difficult for their bodies to adjust. But when they do, the rewards are enormous.
  23. Terrific début from O'Sullivan - technically extremely secure (and very lovely), and showing real guts in the circumstances. I did feel that her natural expressiveness and exuberance were slightly more muted than usual, but entirely understandably so and I'm sure they'll break through more in future performances. Matthew Ball was very supportive, and Itziar Mendizabal a positively terrifying Carabosse (she was literally shaking with evil laughter as she went down the trapdoor). I was rather disappointed with Gina Storm-Jensen's Lilac Fairy - it's just as well she had Good on her side, otherwise Evil would have triumphed all too easily. She looked the part, but there was no real authority or individuality in her portrayal. I particularly enjoyed Isabella Gasparini and Leticia Dias amongst the fairies (and Romany Pajdak, again). The Pause before Act III was once more marred by deafening audience noise once the orchestra had started playing again. Why on earth do they not take down the curtain lights at that point, so that the audience realises that the performance is starting again?? There have been more than enough instances of this happening for them to realise that there's a problem.
  24. Kevin O'Hare came on to say that he'd been taken ill today and advised not to dance, and Matthew Ball had agreed to take over at 2 hours' notice. Really sorry not to see James Hay. And poor Anna Rose O'Sullivan. As if an Aurora debut isn't stressful enough even with the partner with whom you've rehearsed! P.s. lots of cross-posting! Sorry for the repetition
  25. I never did manage to access Mark Monahan's review of Osipova's first performance, but I gathered enough to approach last night's Rose Adagio with some trepidation. But the balances were excellent (and you could see the joy and relief in her face afterwards, which was priceless!) and the whole was danced with such verve and aplomb that it was positively thrilling. Unorthodox use of the hands (throughout the performance), and a kind of physical and emotional extremity that doesn't sit easily with pure classicism; but gripping nonetheless. There is sometimes a danger of Osipova becoming almost a caricature of herself, but I think she just (only just, sometimes) manages to stay this side of that line, and what she delivers is a passionate, driven Aurora who is in as much need of being rescued by her prince as the prince is in need of finding his true love. The Vision Scene in particular was astonishing - her eyes seemed to be half closed most of the time, so you really knew this was a vision of a sleeping princess desperate to be awakened, yearning for her prince to come. And when she is finally woken by a kiss, her joy, relief and delight are palpable from the furthest reaches of the Amphitheatre. Technically she is getting more and more idiosyncratic, especially in the use of her hands and arms, which doesn't make for harmony with all the dancers around her (including Hallberg). But her turns and jumps were brilliant and her intensity completely memorable. Hallberg remains a conundrum. I do find much of his solo dancing breathtakingly beautiful; and he seems to be reliable in terms of some partnering e.g. supported pirouettes. But clearly there are problems with lifts, and in the more virtuoso parts of his solos he does sometimes falter. The technique of the fish dives was I think very slightly adapted, but worked well and they were fast and exciting. And he was an entirely convincing aristocratic prince with the creamiest lines and noblest bearing. His melancholy in Act II (until seeing Aurora) was positively tragic; and his wonder at the beauty of Aurora and, finally, at his realisation that a kiss would bring her to him, were a joy to behold. Bennet Gartside was a slightly sulky but effective King, with Kristen McNally as a more than usually imperious Queen. Fumi Kaneko was once more a superbly gracious Lilac Fairy (though I still dread that Prologue solo - even when done well it looks pretty horrible). I always find it quite amusing that even though she's a fairy with supernatural powers, when she wants to offer her blessings on the baby from above, she still has to be hoisted up there by two chunky attendants (and then when they put her down again, she thanks them graciously for their trouble. Brilliant!). Christina Arestis was a suitably wicked Carabosse; I got the impression this Carabosse was actually pretty pleased she hadn't been invited to the Christening, since it gave her an opportunity to unleash her evil. (And on the subject of the Christening - could a 'baby' not be found that looks like a baby rather than a doll??! In these days of Call the Midwife, surely a more realistic baby could be procured. I know this is a fairy tale and everything, but still...).
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