VickyPage

I was laughing too, by the end! I'd almost say it was worth the ticket price just for the pure joy of mocking it. (Although the humour is starting to wear off and an underlying disappointment is setting in.)

It's hard to sum up quite how bad it was. I know Osipova's Sadlers Wells program was a bit of a marmite piece, but Polunin's offering really made it look like Swan Lake in comparison. The opening piece, Icarus, was terribly classically Soviet, filled with a lot of melodramatic and rather comical emoting from Polunin, combined with some awkward lifts and a lot of flashy leaping about. Reminiscent of the worst parts of Spartacus. It ended rather abruptly to be followed by curtain calls that lasted nearly as long as the piece itself. This was followed by a short break and then the dreaded Tea or Coffee. I confess when I looked at the program and saw neither Osipova nor Polunin was in it, my heart sank a little (what's the point of these vanity projects if you're not in them?), but even my expectations were too high for the piece itself. Dull, derivative modern dancing combined with a whiny, grating modern score. I can't even put in to words how awful it was. In a hotly contested field, that may have been one of the worst things I've ever seen. After all of that, I really did not have much hope for Narcissus. And I was right. The set looked like a low budget science fiction movie from the 50s and the costumes were a cross between the sparkly cover of a naff little girl's novel and a fantasy themed lingerie collection from Victoria Secret. I'm sure the - erm - sparkly codpiece has already been commented on, but it was certainly - er - eyecatching. Ignoring that, the choreography was again very dull, lots of leg waving, head tossing etc. Sergei quickly stopped dancing and draped himself over one of the glowing science fiction planets. I understand that dancers don't have unlimited stamina, but he did seem to be going rather easy on himself, having spent most of the performance either backstage or fake napping. Osipova came on in some spangly outfit which started shedding like Ginger Rogers' dress in Top Hat's famous dance number and proceeded to wave her legs around and toss her head back a lot, joined by some more tackily dressed fairy/nymphs (this was dubbed Echo and the Echoettes by my friend). She managed to lend the piece some emotional poignancy in her pas de deux with Polunin and the subsequent bereavement sequence after his descent into the pool (in fact a hole with smoke pouring out if it...) but even Osipova was struggling with the set, costumes and choreography available to her. The piece ended with some people coming in with what looked like clocks on their heads, but by that point I may have been so depressed that I was hallucinating. Despite the 'Polunin selfie sequence' (I think, this was meant to express Narcissus' love for his reflection??) it certainly seems to have lost its way rather with the original plot (although I'm a little amused, I confess, by the fact that Polunin seems to have chosen Narcissus as a subject completely unironically). What this proves is that being a fantastic dancer does not mean having good taste in productions, choreography or costuming. I hope Sergei remembers not to try his hand at this again, because if this was his big come back it fell extremely short of the mark.

Just want to apologise if I offended anyone with the 'hoi polloi' comment. Being a classicist, I meant it literally as 'the many', rather than as a class based reference. Since I am very frank about the fact that I can only afford the cheap seats for ballet performances, I am definitely not one to judge in terms of class or education of ballet goers.

You raise a good point, Lindsay, although on a trivial note, the average age for a Sleeping Beauty and Nutcracker audience is liable to be much younger because of all the young children who would drag the average down. Averages aren't very useful because of stuff like that. Anyway, you're right that ballet isn't in the mainstream for young people. But I think that raises the wider question: why does it have to be? I mean, that's clearly what Sergei is worried about, and I understand that for the art to survive, at least some of this generation needs to be interested in it, but I think enough are (particularly thanks to modern things like YouTube and dancers' Instagram accounts) to keep it going for a bit longer. Has ballet ever been 'in the mainstream'? There have certainly been individual personalities who have brought it more into the public eye on occasion, but I'm not sure I'd say that for it to be great or to even just to continue we need it to be popular with the hoi polloi.

I've got to say, particularly as a younger ballet fan, that the thing I really struggle to forgive Sergei for is not walking out on the Royal Ballet (which does not need to be rehashed in every interview, reporters!) but the way he talks about ballet in general. I appreciate that his notoriety outside of the ballet world has helped draw people in, but it really angers and even hurts me the way he frequently talks about ballet like it's this 'uncool', ancient artform that should have been left behind years ago. The basic assumption seems to be that young people are not interested in ballet, particularly classical ballet, and the only way to get them interested is for him to perform modern works (see the Sadlers Wells escapade) or get involved in things like Diesel commercials and Hollywood movies. And as he is not 'a team player', he assumes other dancers will not be either. and pushes this whole 'reformation of the ballet company' into nearly every interview, even though some dancers actually seem to enjoy being in the company system (I remember reading an interview with Marianela Nunez where she said that she didn't like last minute guesting with other companies because it meant she didn't feel in sync with the rest of the company like she does at the RB). Anyway rant over. I think Polunin is a fantastic dancer (although I have a theory that his technique is slipping a bit) and I've greatly enjoyed myself when I've been lucky enough to see him live. I just struggle with him on a personal level sometimes, even if I understand some of why he is the way he is.

bridiem, I'm so glad that you didn't have any difficulties with talking in your part of the auditorium. I don't know where you were sitting but I was in the Stalls Circle standing and I'm afraid there were still a lot of people chatting away to each other. My initial shush was mostly successful, but after 30 seconds everyone in the area went back to talking and any subsequent shushing proved ineffectual. Some people were still talking (and did not cease for a while) when the curtains opened.

I agree wholeheartedly with Sim on the subject of Yasmine's promotion!! I'm so glad I got to go this Saturday as well. She was just as stunning as last week, dancing with an infectious joy that the audience couldn't help but share. I thought Matthew had improved a bit, particularly in the Act 2 solo, where I think he was starting to have a stronger grasp of characterisation. He told me at the stage door that he enjoyed this afternoon more thanks to the 'practice' of another performance on Wednesday. Leticia Stock managed another beautiful fairy variation and the nasty part of a Florestan sister gorgeously. I also loved Meaghan Grace Hinkis' Florine, although probably not quite as much as Anna Rose O'Sullivan's last Saturday. Poor Gina Storm-Jensen was lovely at every point except those difficult pirouettes in the Lilac solo. I think, since she fluffed them a bit last Saturday too, that she might now be approaching that section of choreography so nervously that it makes things even worse. Anyway, I'm sure I'm not the only one who got a tear in their eye watching Yasmine and Matthew again!

I'd like it, please! Have messaged you.

It does seem to be a common problem. Exactly the same thing happened at the matinee on Saturday (on the same subject: to the lady in the front row of the amphi, playing games on her phone during the performance - we could all see you), even though, as BBB points out, they definitely didn't raise the lights. And I got such shocked looks when I shushed people, as though it was completely acceptable to talk over the orchestra. Considering the huge amount of applause the orchestra always get at the end, I would have thought people would be more respectful.

Really, at this late stage, there is absolutely nothing I can say that won't repeat another forumer's intelligent comments on the Naghdi/Ball matinee. But I would like to add my voice to the many praising their performances yesterday afternoon. I may or may not be feeling rather self-pitying as I contemplate the fact that I didn't book tickets for either tomorrow's Hayward/Campbell or Saturday's Naghdi/Ball when I had the chance, because a re-viewing would be heaven.

I felt a slow wave of horror crawl over me this afternoon during the transition between Act 2 and Act 3 of Sleeping Beauty as the entire audience unanimously decided that this was, in fact, a miniature interval and that it was absolutely fine to loudly converse with each other over the top of Tchaikovsky's score. I'm wracking my brains to try and remember if this happened the last time I was at Sleeping Beauty but I've drawn a blank. Is this common and I just somehow fell into an awed stupor last time and didn't notice it? Or are matinee audiences particularly horrific (I avoid them if I can anyway for practical timetabling reasons)? I'm afraid I also felt some loathing towards the Russians on my left. They had a little boy who sat on his mother's lap for a large portion of the performance, which might not have been too offensive if it wasn't for the fact that I was sitting in the Upper Slips, so the boy's head, feet and arms kept intruding on my view of the stage. Other people behind me had a similar problem and the family received various complaints, but the boy was once again on his mum's lap, kicking his feet into my eye line (he was only obscuring the Wolf and Red Riding Hood, thank goodness).

I'm not sure how much I can add to this praise of Hayward and Campbell other than to agree wholeheartedly. Particularly with bridiem's comments about Alex's interpretation of the role of the prince. In my opinion, the prince is a nasty part because it's very hard to characterise him well in the amount of stage time he receives, but Alex managed it perfectly. You could feel from the second he entered that this was someone who was frustrated with his society and the people around him and confused about who he was and who he might become. For the first time watching SB, I felt like Aurora saved the prince emotionally as much as he saved her physically. Hayward deserves all the applause she received and more. She made wonderful transitions from a bright, joyous girl, fascinated with everything around her, to a trapped but hopeful dreamer to ultimately an adult, nearly a queen, in charge of her own court. She mentioned at the stage door afterwards that she wasn't feeling a hundred percent well, so if that is her ability when sick, I must repeat that I enthusiastically look forward to all she does in the future. My train to London was delayed by an hour, so I ended up rushing through the tube and eventually running from Leicester Square (to get in the door at precisely 1:30 yikes!), but it was worth every step to see them!

BMC - You don't need to apologise! Sleeping Beauty is a perfect example of a ballet I too have struggled with in the past, although it has some great moments. I wasn't trying to call anyone out on whether or not they were cynical. I do think it can be harder to find magic in ballet when you have seen more of it, but that's just the 'first time' principle. I guess it is an interesting idea though: how does our love of something change over the years? Sim - I am reassured! And I agree with all you say.

I must say, as a young ballet fan, this topic is both enlightening and depressing. I'm afraid I'm green enough to still enjoy the most overperformed classics imaginable, to want to re-view every ballet, even the ones that didn't make a great first impression. I find all of this back and forth completely incomprehensible. There have certainly been ballets I've seen (90% modern ones) that have failed to impress me, but I'd probably still give them multiple chances with multiple different casts, if I had the time or money to do so.

I wasn't solely talking about the ROH, nor am I doubting your expertise (which is certainly greater than mine; I'm not the biggest opera fan), but I did notice a fair amount of people standing for the curtain calls of Rosenkavalier last month at the ROH, and in the slightly more distant past, the Ring Cycle was notable for getting quite a few people on their feet. In terms of the continent, not only was the audience on their feet for Parsifal at the Vienna Staatsoper a few years back, the people in the stalls rushed down the aisle to the edge of the orchestra pit to get closer to the singers.

Maybe this is completely mistaken, but I always thought the lack of British ballet booing (that's great fun to say!) is partly connected to the lack of British (particularly ROH) standing ovations. The audiences aren't apathetic, but they're not particularly keen to rouse themselves to show enjoyment, or lack thereof. I think we're just a dour, crusty lot. Whereas opera audiences consistently stand during the curtain calls and have been known to boo replacements (I have a sad memory of Emily Magee being booed at the Bayerische Staatsoper) as well as awful new productions. They just seem to have more openly emotional reactions.

I would just congratulate you on your luck in getting them! I think if you can afford to get expensive tickets for multiple nights, you should go for it. It's not as though you weren't sure you were going to attend, but bought the tickets anyway, or didn't like ballet and intended to yawn your way through the performance. I, like Saodan, would be fascinated to see some statistics on the ROH audience, as I so often get the impression that a large portion of the audience (particularly for the big classics) is not particularly interested in what they're watching. And yet, I recently went to a Friends Rehearsal, fully expecting to be annoyed by a bunch of businessmen/woman with free tickets, but instead, I found a really dedicated, intelligent audience. Why was it such a different experience to going on opening night, for example?

I hate to say it but my parents were forever being complimented on mine and my sister's behaviour in restaurants, museums, theatres etc when we were children. I don't remember finding it particularly difficult not to run around the room shouting, but I think on trips to the ROH and the Coli I was always told quite sternly to be extra careful and quiet. I always had a very strong sense that I was upholding some kind of 'children aren't that bad' banner and the closest I ever came to breaking with that tradition was dancing up and down the area outside the ground floor toilets in the ROH after a performance of Swan Lake. But I stopped every time I thought someone noticed!

I was only intending to book one Mayerling before rushing on to the opera bookings, but I found the student booking on Monday to be nearly as awful as general booking normally is. My favourite thing about early booking is that you can do it calmly, slowly, making sure you're happy with the seat, rather than being constantly forced to hurry and feeling afraid and getting stuck in queues etc. but I did not have that experience at all. I was instantly placed in a queue and when I got out of it, I was told that nearly all the tickets were gone. I hadn't realised Mayerling was so popular among my age group! I'm starting to feel like some of the priority booking opportunities are being exploited....

I've got exams in June so I was hoping to limit myself to only one night for this triple bill, but I can see that I'll definitely want to see more than one cast now. For those who are hoping that Polunin is returning for The Dream, I should point out that there's also a possibility that he will be in M&A with Osipova instead, since she has undoubtedly been a huge part of his much-heralded potential return to the ROH.

I know this is slightly off topic, but I'd be really interested to hear people's reasoning for the 'Polunin slump' theory. I've heard so many people say before that when he was at the RB he was at his best, and that he is going to struggle to be that good again (which I mostly agree with). Now, I never saw him live when he was at the RB (personal financial reasons barred me from going to see very much live ballet before 2015). I've only got DVDs from that period with him in (2 + the 2013 Marguerite and Armand to be exact), so I know I'm not as expert in determining his abilities. I think that from a British balletgoers point of view, everything that he did in between 2012 and 2016 would mostly only be available through the venue of YouTube rather than through live performance, because of his lack of interest in English ballet. So if we assume that live performance is the epitome of a dancer's performing ability (which obviously is quite an assumption) then can we fully interpret his abilities in the present day (particularly in classical ballet, which made up a large portion of his RB repertoire, if I recall correctly) without regularly travelling to Russia to watch him perform?

Dare I say that the involvement of Valentino Zuchetti and Nehemiah Kish on the creative side probably indicates that they will likely be dancing as well?

With the Bolshoi, they didn't reveal which cast would be on which date until the day booking opened, so it's likely that we won't know till 28th March with the Mariinsky. But Oksana will certainly be doing Swan Lake and Bayadere (I'll be booking at least one night with her!).

Do they not come out with a microphone before curtain up anymore and explain what the changes are (if they are sudden enough to deserve slips rather than proper printing)? I remember they did that at least one night in the Bolshoi tour this summer, so it can't be a completely outdated method of explanation.

The guests at the ENB's Giselle (Michaela de Prince/Xander Parish) Hayward/Campbell and Naghdi/Ball Sleeping Beautys The new Mayerling casts at the RB (all of the Mary Vetseras look fantastic) The Ashton triple bill at the RB (particularly Marguerite and Armand!) The Mariinsky tour in the summer (particularly La Bayadere)