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Dear Floss, This is my concern, if the Ashton works are not revived, than the Ashton style will be lost - it is part of the signature style of the RB, together with their classical and dramatic heritage. Leave it too long, and those dancers who were coached personally by Ashton, will no longer be around to pass on the essence of Ashton to today's generation of dancers. It is essential that this style is not lost and would also stretch the dancers technically. It is a very exacting technique with fast and fleet footwork. Sadly, this is being eroded. For example, the beautiful Ashton solo in the peasant pas de deux from Giselle has now been dropped. It is very demanding and I am sure given the right coaching there are dancers in the company who could rise to the challenge. Unfortunately, I heard from a reliable source that it has been dropped because it is too difficult - this is not "on" !!! If the dancers can stretch themselves for contemporary work, then they should be equally stretched to take on the Ashton technique. Amanda

Dear Floss, So totally agree with all that you say here. I do believe that the RB is essentially a classical company with an unequalled wealth of wonderful ballets in their repertoire, most of which were created by the founding choreogrpahers, namely De Valois, MacMillan and Ashton. I am concerned, as you are, that the rep is leaning too heavily on new works, many of which appear for one season and are never performed again as they are not worthy of being revived. I fully appreciate that one cannot live in the past and must move forward, and I do sincerely hope that the new improved Linbury could be used for more experimental contemporary works, and that the RB on the main stage could serve up some of the seminal works that made the RB so unique. It is a shame that the Fonteyn centenary seems to be bypassed - as you say, Floss, this would be an ideal opportunity to revive some wonderful Ashton works. My concern is that if the Ashton works are not danced, the Ashton style will be lost. This was my concern with the RBS matinee this year (and in the last few years) - too much reliance on new modern works and not enough heritage works. These works need to be taught to the students as part of their training. Leave it too long, and there will not be the "old" Ashtonian dancers left to pass on the style. I do appreciate that it is a difficult balance - heritage/contemporary, but the balance currently seems to weigh too heavily on the contemporary. I do so hope that this may be addressed going forward - there are some lovely "jewels" in the rep which do need to be passed on to today's generation of dancers.

I believe there is the Frederick Ashton Foundation here in London. In New York, there is the Balanchine Trust.

As always, a joy to see the RBS students, but once again, disappointed by the programming. Great start with Aurora's Wedding and fantastic finish with the Grand Defile, but poor programming in between. 5 nondescript "modern" mode pieces - all very much of a muchness, so to speak, and to be honest rather "boring". This does not give us a chance to see the RBS at their classical best - it is a "classical ballet" school and the programme gave no acknowledgement to their heritage. One "modern" piece would be great and impressive but 5 in a row does not work. Yet again, we see no drama - dramatic works are an integral part of the RB repertoire - it is essential that the students are trained and groomed in this vein. There is boundless talent and this really shone through in the opening and closing pieces (both classical!), although a shame that the Three Ivans was chosen rather than Aurora and her Prince perform the final coda to their pas de deux - am sure they were capable of dancing this. My dream programme would be Lower School in their traditional Irish, Scottish and English dances, a short Macmillan, Ashton or de Valois work, followed by Two Pigeons, Giselle or Fille. This has been done in the past. I know one must move forward but it is to the detriment of what the School should be achieving. In no way does this reflect any negativity on the students themselves who obviously gave their all and may I wish them every success for their future careers.

Please advise if you have spare tickets (ideally 2) for next Monday's Swan Lake at 7.30 pm. Many thanks Amanda

Lynette, apologies, I have misquoted phone number for Grosvenor - it is 020 7408 0988 - Best, Amanda

Hi Lynette, I think this is part of Summer in the Square events which are organised by Grosvenor (only know as I worked there for a number of years). I think you are best to contact Grosvenor direct - perhaps their Marketing Department - to see if they have further details, which I believe they must as they own the Square and would be responsible for any activities held there. Their switchboard number is 020 7629 8171. Hope they are able to throw more light on this. Best Amanda

Without any shadow of a doubt, Prince Siegfried should be able to partner his ballerina strongly and impeccably. However, his function is not based on that alone. In order to give the ballet dramatic integrity and balance, it is essential that he should convince us all through strong and convincing acting and dancing. I regret to say that at Monday's matinee, the balance between Naghdi and Kish was one-sided - it should not have been!!!! Naghdi's performance was a dazzling and moving interpretation, but sadly, Kish was no more than a cypher figure. I do not want to criticise unduly, but judging by Monday's show, he was miscast as he showed us no emotion at all. Yes, he was very supportive of Naghdi, but his own acting and dancing was not of a standard one would expect from a Royal Ballet principal. As has been said countless times o the Forum, what a pity the lovely Naghdi was not partnered by Ball. It is so surprising and perplexing as they have debuted together in R&J, Beauty and Giselle - why, oh why, not for Swan Lake?!!! Mr KOH, please think again !!!

Dear Myddle, I could not agree more. My first viewing of the new production yesterday afternoon. Thrilled by the wonderfully talented Yasmine Naghdi, but totally disappointed by the production, for many of the reasons you cite. I will be writing a more lengthy insight into my thoughts on this production.

I would recommend MAC - it is the preferred make-up brand for the Royal Ballet company - therefore, assume it does the right job!

I will message you - I do know someone who may be able to give you information - Best, Amanda

Good morning balletomanes If anyone is interested, I have 1 ticket for this Thursday's matinee (Hamilton/Kish) - it is Stalls Circle A97 and is priced at £49.00, but will take lower offers. Many thanks Best Amanda

Can you tell me price and if ok, am willing to buy both sets. Many thanks Amanda

Looking for 1 ticket for RBS matinee - any spare, please private message me. Many thanks Amanda

I would certainly agree that Sleeping Beauty should be revived. Ondine also. As Fonteyn was Ashton's "muse", it would possibly be very much a Fonteyn/Ashton celebration. The RB's repertoire is so rich and it is time to revive gems such as Facade, A Wedding Bouquet, Symphonic Variations, Scenes de Ballet. Even more so, whilst they are dancers who were actually coached by Ashton and who were in the company whilst Fonteyn was there. The legacy needs to be handed down "personally" by dancers who understand the essence of the English style. I am aware that one must look forward and nurture new works, but the RB has a wonderful legacy of superb works, and these must not get "lost". And as a "party piece", how about Birthday Offering, aptly named, and whow, they could showcase all the fantastic burgeoning talent they have in the company!!!!

I think Nutcracker is a guaranteed "crowd pleaser" and it does bring in new young audiences. Considering it is Petipa's bi-centenary, it may have been good to revive The Sleeping Beauty rather than Nutcracker over the Xmas period (another "crowd pleaser"). On the Petipa/Tchaikovsky theme, after spending a huge budget on the new Swan Lake, am surprised that it gets no performances for the 2018/19 season. Admittedly, is scheduled for many performances this summer, but a big new piece like this usually has a further run the following season.

From personal experience, I would recommend Freeds, Emma Amanda

Totally agree that it should be somebody from the RB cradle - may I suggest Bruce Sansom or Adam Cooper?

Hi Sim, that is strange, as when the seat issue came up a few weeks ago, I phoned the Box Office and they told me that my seat was the same and just to go to the Box Office on the day. Particularly bemused as we are sitting next to each other??!!

I have a mobile, no printer, and call me "old fashioned" much prefer to have the old style tickets!! I sometimes send e tickets to work email and print off there, but I dont really want an A4 piece of paper as my ticket!!! There can be problems when showing ticket booking on phone as on a couple of occasions have been at venues, where there is no reception and one is unable to show the booking on phone! Progress is not always for the better !!!!

Fascinating interview dear Amelia - thanks so much for sharing. Amanda

I believe that both the design for costumes and settings are an integral part of all ballet productions. I remember from my childhood ballet days reading the following:- Dance + Art + Music = Ballet This is a quote from my first ballet book which was included in a brilliant introduction by Dame Beryl Grey. This "equation" has stayed with me ever since and I do believe it is totally true - one needs all these components to work in synergy to produce a truly satisfying end product. Mr Diaghilev definitely got the ingredients beautifully balanced when he commissioned works for his company - one only has to think of ballets such as The Firebird, Petrushka, L'Apres Midi d'un Faune, Parade, etc etc, which all used an innovative collaboration between choreographer, designer and composer. I must disagree with those who think that some older ballets, such as those by Ashton, would be improved by new designs - this would be going against the original concept of the ballet as a whole as seen by the choreographer who would have worked closely with his designer in formulating the total concept of the ballet. One only has to think of the revised designs (and when I mention designs, I am covering both costumes and sets) for Ashton's Rhapsody and Les Rendezvous, to see how the "new" concepts did not work. One may think the original designs "old fashioned" but they form an integral part of Ashton's vision when he created the ballet. Likewise, new design attempts for MacMillan's Danses Concertantes have also proved unsuccessful - the spiky/jazzy style of choreography for this ballet working in tandem with Stravinksy's equally spiky/jazzy score, were reflected in Georgiadis' original designs - further revisions did not work. I do not think designs for the ballet are just "decoration", they form an integral part of this totally visual art form. However, some choreographers, notably Balanchine, decided not to use designs but to present his dancers in practice clothes on a bare stage - here, his concept was to focus entirely on the choreography and music, with obviously lighting playing a large and important factor in enhancing the choreography. This also emphasises that it is the choreographer's decision when creating works as to the inclusion or otherwise of design, and if included, what is required to complement the choreography.

Lizbie1, am totally on your wavelength. Saw Winter's Tale first time around, and was very disappointed - particularly the 2nd act which I felt was just "padding". Given that many of my ballet friends did rather take to it, I have given it a second and even a third chance, and I have now concluded, not again! As such, I have not booked up for the forthcoming run - you are not alone.

Many thanks Alison

Thanks Ian, much appreciated. I am sorry if I raised this today but I dont always have the time or opportunity to log in on a daily basis and sometimes miss postings.