bridiem

I'm not sure that anything 'needs' to be reflected in ballet, though almost everything can be; all that can be asked is that choreographers create the works they are moved to create. And I agree very much about MacMillan in respect of the works you mention, and some others. But he does also have a dark, obsessive side that I simply find disturbing.

It works amazingly for me, and I always sit high up. But I do remember my first viewings of it (soon after the world première) and being confused about who was who, especially because the costumes for the women are so similar (and Rudolf's mother generally looks so young and glamorous). It took a lot of perusing of the programme and reviews and fierce concentration over a number of performances until I was comfortable with their identities. So on a single viewing, I can understand it could be quite baffling.

I thought he takes over in January.

I'm not sure, Duck, but the extract is great. I suppose Khan himself is such an amazing dancer that no-one else could be quite like him. But others in his company are/have been brilliant too, and these Stuttgart dancers look excellent too.

I didn't realise there was anything painted red in the auditorium - all looks grey to me. I must look more carefully next time. (Or maybe the red isn't visible from the Second Circle.) I am however the proud possessor of a large yellow plaque with the words (in blue) on it saying 'THE JOHN CRANKO STUDIO' and a big direction arrow pointing diagonally upwards. I bought it (quite cheaply!) in a memorabilia sale they had when the previous theatre closed. I've had it up in the hallway of whatever flat I've been living in since then, with the arrow pointing up into a notional ballet studio in the loft/sky. So a little bit of the previous theatre survives here too!

I can't imagine anyone other than Akram Khan dancing Kaash (and I didn't know anyone else had done so). Very interesting!

I wonder if this means Acosta will be dancing in every performance of Rooster? That would mean quite a lot of time away from Birmingham.

I personally never shorten it anyway (and have no affection for the new theatre!), but have often seen and heard it referred to as 'The Wells' in the past, and I do hold that name in great affection. Thanks for the very interesting post. I must try to remember the long history of the theatre when I'm there, instead of being annoyed by the new(ish) building.

Wow!! I assume the ROH has an overall figure/percentage of notional ticket income that they're prepared to 'lose' in packages/discounts. But there must be various different potential ways of 'packaging' this, and I think the current offers are overly complicated and I'm not sure who they're really aimed at. Newcomers aren't likely to book a package anyway, and regulars often don't find what they want in them.

As far as I can see the Amphi packages only cover centre B-F and sides B-E. And you have to book the same number of tickets for each performance. I wish they'd just offer a discount based on the number of tickets booked, in all areas of the house. It would be a lot easier for everyone, and a lot fairer.

Strewth!

I had assumed the dancers were finally going to get a break/some rest! Clearly not, at least for some of them. Sounds wonderful, but I hope they DO then get a break.

Yes! And I don't think I've ever laughed out loud so often during a ballet.

I was in the second circle, but for the special occasion I'd treated myself to row B (normally I'm in row O or similar!). I looked round to see if it was well attended, and it did look to be, but I couldn't see all the way back so it could just have been the front area that was full. So not sure!

It was so hot at 6pm today in London that after a few minutes walking to the tube (en route to Sadler's Wells) I literally felt as if I was getting sunburnt. Crazy. Thank God the forecast is for it to be cooler tomorrow. I can't wait for the autumn...

Yes, I must now add Hobson's Choice to my highlights! Such a beautiful, joyful ballet, with gorgeous music and designs, and brilliantly danced by BRB.

At the end of Hobson's Choice tonight, as well as the 'Mossop and Hobson' sign going onto the shop front, a bigger sign of the same design came down from the flies saying 'THANK YOU DAVID'. It was brilliant! Lovely speeches from Sir Peter Wright and from David Bintley himself (and, before the performance, from the Chairman of BRB). A really loving, affectionate, emotional farewell. AND it had been a wonderful performance, led by Samara Downs and Lachlan Monaghan. I'd forgotten what a superb ballet this is.

Well the trouble is, of course, that it's not possible to know in advance if a new work will be good, so it's a bit difficult to include specific new works/works not yet created in lists of favourite ballets or ones you'd be happy to see every year. But in general, yes, new works are absolutely 100% essential, every year. Though there would be many views about who should be commissioned, of course...

Thanks trog - sounds like fun!

Now that's a very good and pithy question... I haven't seen Victoria, for various reasons, but have been reading the reviews and discussions with interest.

I saw this bill at Sadler's Wells tonight. I really enjoyed Lyric Pieces. It struck me in a way as very old-fashioned (and I mean that as a compliment) - just lovely, lyrical (of course!) classical choreography to quietly beautiful music. Nothing extreme, no great emoting, nothing hugely technical, and with simple, clever design. Nothing saying 'look at me'; just dancing to music. And danced very well, too, with a very nice pas de deux at the end for Céline Gittens and Brandon Lawrence. A very peaceful, very lovely work. I mostly enjoyed Sense of Time too. I found the suitcase structure fascinating, and like Jan was concerned for the dancers' safety once it started coming apart! My friend said she thought that most of the cases would in fact have been secured, with only a selected few released to fall off. (I'd never have thought of that!). I wasn't at all sure what the piece was about (and I didn't buy a programme), but I gradually thought it might be about the precariousness and instability of modern life (or of all life, I suppose). The choreography became a bit repetitive after a while, and I began to lose patience when a dancer walked slowly across the stage with an open suitcase (with a light on inside it) over his head... but things looked up again after that and the ending was satisfying. I was completely bemused by Peter and the Wolf. I'm afraid I didn't like it anyway - the sets, the choreography, the costumes, the whole conception really - but above all I had no idea why this was on a bill otherwise clearly aimed at adults. It would be OK for a children's matinée, but why on earth was it on this bill? The music is fun, of course, but the piece just didn't work for me in any way. So it was a very disappointing end to the evening, and as Jan said a very unbalanced bill.

In spite of my (long!) list above, I do largely think you're right, jmhopton. (Though long as it is, my list still leaves out many of my favourite ballets.) If there was to be only one ballet that was scheduled every year, for me it would be Swan Lake (the production I mention above) because of the combined and transcendent power of the music, the choreography and the themes.

There is now a separate thread for this, sybarite2015@, in case you haven't seen it yet.

Fascinating review, Nogoat! I'd love to have seen this.

Yes, I surprised myself in that! I realised I don't feel the need to see any of the 3-acters every year, though I'm very happy to see them regularly. Whereas some of the one-acters are CRUCIAL!