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Unbelievable!!!

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.

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?

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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.

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!! ☺️

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?

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.

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.

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?!).

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.

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.

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Yes! I can also already see her as Giselle. I know there will be a lot of potential Juliets and Giselles; but there should also be a lot of performances, and people should be cast according to their suitability for each role. She is a wonderful actress and the epitome of a Romantic ballerina.

I have visions of bubbles of washing-up liquid foaming out of people's glasses all over the auditorium!! 🤣

Have just seen The Arts Desk review of this bill (by Jenny Gilbert) which will no doubt be in the Links tomorrow. It includes such a funny line about Osipova in Tchaikovsky pdd: 'Osipova is the kind of woman who could make toast just by looking at a slice of bread'. 😆

I'm sure Dave's comment was aimed at those who cough loudly on principle, rather than anyone who does actually need to cough!! I know how agonising it can be to stifle a cough - does it help if you have some water with you? Or sucking sweets? Anyway I'm sure you will have a wonderful time on Sunday - I envy you!

I really wouldn't worry too much about this, LinMM - as long as you're wearing some sort of mask that's all that matters. I don't think glasses steam up when you're just sitting down and not moving about (well mine don't), and it doesn't matter if there's no wire in your mask (as long as the mask isn't excessively loose). (I have a couple of wired masks, but my nose/face are clearly peculiar since I can't get the wire to sit properly on my nose anyway! So I just do my best. And I've worn the masks in medical settings and no-one has ever objected.)

Wonderful photots! Thank you, bbb.

I last saw it in 2007 - Acosta, Bussell, Galeazzi, Nunez - though I can't say definitively if it has been done since then. I just hope that it will be scheduled again soon, since it has only been given before a reduced audience this time.

Fantastic photos, Rob S! Thank you so much for posting them. I won't be able to see this bill live but these photos make me feel as if I was there!

I am SO sad about this! I feel that she had so much more to give and was really looking forward to seeing her tackle more principal roles very soon. Her dancing is so expressive and interesting and she really fills the stage with her personality. I'm sure she will succeed in whatever she gives her attention to since she's clearly a remarkable person, and I wish her all the best at Stanford. But I will miss her so much!

Strange how rarely contemporary pieces want to express any mood but gloomy. Does joy not exist in the contemporary world? (Mark Morris an obvious and honourable exception.)

I completely agree about Cinderella, but if/when it comes back I wouldn't want it seen only as a 'Christmas' ballet, any more than Sleeping Beauty is. And I absolutely can't wait to see Nutcracker, this Christmas and every Christmas. I went quite a few years without seeing it at one stage, and when I went back I was stunned all over again at what I'd been missing. Now, the music, the tree, the snowflakes, the sets and costumes, the love, the dancing, the sheer beauty of it all fill me with joyful anticipation that is never disappointed. I did see a Covid Nutcracker last year, but although I was delighted to be there I was aware of the compromises. So I very much hope that this year's production will be the real deal.

I think it's just fashionable now; wearing black, seeing black. All part of not wanting to be seen as anything approaching (dread word) 'entertainment'.