Blossom

Links, Sunday 14 April 2024

Review - Aakash Odedra & Aditi Mangaldas, Mehek, Sadlers Wells, London:

Teresa Guerreiro, Culture Whisper

Bruce Marriott, Lifted Leg

Review - KVN Dance Company, Coppelia, Chesham: Bruce Marriott, Lifted Leg

Review – Dance Theatre of Harlem, Nyman String Quartet No. 2/Take Me with You/Balanchine Pas de Six/Blake Works IV: The Barre Project: Kasey Broekema, Ballet Herald

Review – American Ballet Theatre, Woolf Works, New York: Jillian Verzwyvelt, Ballet Herald

Review – Philadanco, Roots & Reflections (Director’s Choice), Philadelphia: Ellen Dunkell, Philadelphia Inquirer

Review – West Australian Ballet, La Bayadere, Perth: Rita Clarke, Limelight

Preview – Carlos Acosta, On Before, Sarasota: Carrie Seidman, Sarasota Herald Tribune

Feature - The Youth America Grand Prix: ‘It was amazing to be on the stage’: Magee Hickey, WPIX NYC via MSN

News - Benesh Movement Notation to train young dancers in Frederick Ashton’s repertoire: Graham Spicer, Gramilano

5 hours ago, Richard LH said:

Yes I recall starting to watch the dvd but it  made me feel rather ill, and I never got to the end...I suppose I could try again but unfortunately this may well be one I have to miss.....

It's the music.

Joby Talbot did the music for the Wonka movie which was quite pleasant and.... musical vs what he creates for Wheeldon. I am guessing that therefore the style is as directed by Wheeldon.

Schools’ matinees are confirmed for next year - having just been emailed about a Friends’ new season event I decided to check…

Alice - high on my list to try to convince my son to come

Cinderella - we knew this already 

R&J

A nice taster of what’s to come!

https://www.roh.org.uk/schools/school-matinees

3 hours ago, LinMM said:

Don’t know which side of the Balcony you were on Blossom but I was sitting in row A just below the loose tall seats on the right hand side. I was looking at them in the interval to see whether I could sit in them and probably could in the back row as don’t feel you’re being  launched out into auditorium. 
Im pretty sure I saw Ed Watson go to a seat at the back of the Dress Circle just before Different Drummer started. 

I was on the left hand side if facing the stage, entry via door 3B.

The loose tall seats are incredible value and feel quite snug and secure if you don't like being exposed. There can also be some obstructions depending on the kindness of the row infront (last night 2  people pulled their chairs together and further forward, somewhat obstructing the view of the young man sitting next to me) . The row B loose seats however are on a raised platform vs row A, so you're not sitting as snugly behind others (but this has benefits in terms of the view). 

Had a particularly lovely night at ROH last night for my 3rd and final viewing of the triple bill, sitting in the balcony on the loose tall stools. Really enjoyed seeing the alternate cast of Danses Concertantes, realised I was watching Marco Masciari and of course Giacomo Rovero who was lovely to see in a lead role, but due to the funny headdresses I didn't quite realise another favourite, Liam Boswell was dancing so looking forward to the recording hopefully making it onto the ROH stream next year (crossing fingers, toes...).  I relish the opportunity to see Valentino Zuchetti back on stage after so long off, plus got me thinking about whether this piece has been any inspiration for him in terms of his own creations. Ashley Dean really stood out among the new cast - there seemed to be an excellent personality fit with the piece, she had the right spark for the role. Isabella Gasparini has got better and better in the role over the run and have really enjoyed seeing her lead.

Having had a chance to see both casts of Different Drummer, it was great to revist what I have to admit is my favourite, which is interesting as I don't always feel that way about a first cast. I think the choreography particularly suits Marcelino Sambe's more compact frame, but in particular, found that every muscle of his body conveyed the progressing emotional depression of Woyzek as the ballet ensued. Bumped into (hopefully he didn't feel accosted) Edward Watson on my way up Floral Street and confirmed that he had indeed coached both Sambe and Clarke as found the physicality of their interpretations so different.

Requiem continues to deeply move me. I much preferred the view from the balcony which not only allowed me to see the shapes of movement on the stage better and a more interesting view of Sarah Lamb rising from among the dancers, but also provided a different perspective on some of those really difficult lifts where the women were carried, in horizontal pose, across the stage. Viewing from above strangely made the lifts look even more of an impossibility than viewing at a similar level from SCS.  I wasn't sure how Matthew Ball's lyricism could be matched by another dancer, but William Bracewell was different, yet equally mesmerising to watch. As with Gasparini in DC, I've enjoyed being able to see more from Melissa Hamilton that ever before, she really is a beautiful dancer.

The night was even better having bumped into Xander Parrish in the new foyer, he is here to dance in International Draft Works over the next few days (also always lovely to bump into @Balletbloke).

Links, Tuesday 9  April, 2024

Review - Scottish Ballet, Swan Lake, Glasgow

Bruce Marriott, Lifted Leg 

Vivien Devlin, Edinburgh Guide 

Review - Ballet Am Rhein, Mixed Bill, Dusseldorf: Vikki Jane Vile, Bachtrack

Review - NDT, Mixed Bill, New York:

Erin Bomboy, Bachtrack

Nadia Vostrikov, Ballet Herald

Review – Dutch National Ballet, Dancing Dutch, Amsterdam: Vikki Jane Vile, Bachtrack

Review - Milwaukee Ballet, Cinderella: John Schneider, Shepherd Express

Preview – American Ballet Theatre, Woolf Works, New York:

Kyra Laubacher, Pointe Magazine

Graham Spicer, Gramilano

Preview – State Ballet of Georgia, Swan Lake, London: Staff, Martin CID

Preview - Korean National Ballet, Season:Spring, London Hwang Dong-hee, Korean Herald

Feature – Gabriela Hearst debuts sustainable costumes for San Francisco Ballet’s ‘Carmen’: Jennifer Braun, Fashion Network

Feature - Love is in the air at the Royal Ballet: Meet the four ballerinas preparing to waltz down the aisle this summer: Astrid Joss, Tatler

Article - Francesca Hayward becomes lead ambassador of the Royal Ballet School's affiliate training and assessment programme: Staff, London Post

If there are any horror film fans out there…

Film review - ABIGAIL trailer: Don't let the tutu fool you: Shelagh Rowan Legg, Screen Anarchy

Ticket sourced - with thanks to BCF!

Links, Monday 8 April, 2024

Review – Royal Ballet, Swan Lake/Macmillan Celebrated: Sarah Crompton, Observer

Review – balletLORENT, The Velveteen Rabbit, Lilian Baylis Studio, Sadlers Wells: Lyndsey Winship, Guardian

Review – Kidd Pivot, Assembly Hall, Sadlers Wells: Grace Times, Yahoo Finance

Review – Scottish Ballet, Swan Lake, Glasgow: Mark Brown, The National

Review - Chou Kuan-Jou,  Tomato, Taipei: Helen Davidson, Guardian

Review – San Francisco Ballet, Dos Mujeres, San Francisco:

Jim Munson, Broadway World

Toba Singer, Culture Vulture

Review – National Ballet of Canada, Alice in Wonderland, Toronto: Denise Sum, Danceview Times

Review - Taiwan Aboriginal Culture Foundation & Neo-Classic Performing Arts Foundation, Palamal: Fire Festival,Taiwan Traditional Theatre Center, Taipei, David Mead, Seeing Dance

Preview - Lone Star Ballet concludes season with Shakespearian comedy: Brianna Maestas, Amarillo Globe News via AOL

Preview - Colorado Ballet's jazzy work about mountain climbing: Marc Shulgold, Denver Gazette

Feature - Young Nigerian lives dream of being a ballet dancer: Staff, Malay Mail

Feature - Metamorphosis celebrates 30 years of dance: Staff, Trinidad and Tobago Newsday

New season announcement - Ballet Arizona in Phoenix announces 2024-25 season lineup: Staff, Daily Independent

New season announcement - Sarasota Ballet plans two world premieres and three company debuts in new season: Jay Handelman, San Francisco Herald Tribune

Is anyone else seeing ads on Facebook and Instagram for ROH productions specifically encouraging Stalls bookings?

https://www.facebook.com/share/zFVEZiiSRZxYQUZq/?mibextid=WC7FNe

I have also seen for Winter’s Tale. 

Links, Sunday 7 April, 2024

Review – Royal Ballet, Macmillan Celebrated, Royal Opera House, London: Jenny Gilbert, The Arts Desk

Review - Choreographers! Enough with the reworkings of Carmen and Frankenstein: Rupert Christiansen, Spectator

Mark Bruce, Frankenstein, The Place, London

English National Ballet, Carmen, Sadlers Wells, London

Review – balletLORENT, The Velveteen Rabbit, Lilian Baylis Studio, Sadlers Wells: Nicola Claire, Seeing Dance

Review – Les Ballets Trockadero de Monte Carlo, Classical Programme, Kennedy Center Opera House, Washington DC: Emily Berger, Broadway World

Review – Ballet Kelowna, Macbeth, Kelowna Daily Courier

Feature - How to Integrate Acting Skills Into Dance: Sophie Bress, Dance Magazine

Feature - Justin Peck on ‘Illinoise,’ Spielberg, Dance, and His Movie Directing Debut: Tim Teeman, The Daily Beast

Obituary - Eleanor Fazan: choreographer who played key role in Beyond the Fringe: Alasdair Steven, The Herald

News- Tickets for National Ballet of Cuba sold out in Spain: Staff, Prensa Latina English Edition

News - San Francisco Ballet Names Associate Artistic Director and Director of Artist Development: Courtesy of SF Ballet, En Face

And finally, covering the continued debate on ticket prices:-

Feature - Brian Cox: ‘I can’t afford $110 each for one night at the theatre’: Charlotte O’Sullivan, Independent

Ideally looking for 1 or 2 tickets in

Central SCS (D14-D41)/Central Balcony Standing (D30-33)/Balcony loose seats - row B or C

2 hours ago, Emeralds said:

Really looking forward to this in late May after reading all these reviews.  😀

Me too! Really looking forward to seeing a version post MacMillan and excited that people find it even more engaging.

22 hours ago, Emeralds said:

I must admit I've seen the laptop folk as well, LinMM- there seem to be a lot particularly at Barbican Centre who use the refreshment tables to do this, although they do seem to have enough tables for people who want to consume refreshments. I saw a few at ROH (not all at the same time) with a laptop who were very careful to use just one tray space (ie not encroaching into another diner's space) and they did have a hot drink in an ROH cup and saucer so I guess that's just about OK! The people with trailing cables must have left by the time I got there. 

I usually head over to ROH from my office for 5.30/6 and tend to work while I have a bite to eat and a coffee. I am always careful not to over spread, plus as I usually spend a good £15-20 I see no issue in taking the opportunity to finish off a few bits and pieces if I am alone for a performance. Staff do tend to remove empty cups and plates quite swiftly so I don’t think it’s always fair to make judgement and assume that people haven’t consumed something. 

2 hours ago, Dawnstar said:

The ROH website managed yet again to stress me by the rush tickets not appearing until a couple of minutes after 1pm. I don't know why this happens so often.

I only logged on at 2 and managed to secure some balcony standing for my house guest/sitter for Easter Monday's matinee with plenty of options - and no wait to get in. 

Really enjoyed the performance last night back in SCS with a view of the stage and the scenery from a lovely central position which I had forfeited on opening night in order to see which ballet VIPs were present from a side SCS seat.

Isabella Gasparini was lovely on opening night but she has definitely benefitted from a little bit more time to hone her performance and Danses Concertantes was overall more slick. Again loved the journey back in time and the playful nature of the ballet.

I have to admit that I much preferred the first cast for Different Drummer. Osipova played Marie rather differently to Hayward, she is also a much physically stronger dancer which I didn't think suited the role as well. Reece Clarke was gorgeous to watch but he is a very different physique to Marcelino Sambe who I had watched being coached in the studio insight and then on first night and the choreography just seemed to sit better on his frame. There was also a lot more physicality of emotion in Sambe's portrayal.  Having said that, I have someone staying from NY who went with a friend and she simply adored Clarke who was her favourite of the night.

Requiem was equally powerful and love the choral music - and notably, much more so than opera. Loved having another chance to see Matthew Ball who I didn't realise I would be seeing again - bonus.

I spotted the table of Forum people in the bar, most of whom I don't know, but was with a friend so unable to come and say hello last night. Looking forward to 9 April.

36 minutes ago, LinMM said:

By the time I booked (finished about 10 mins ago) only slips left for RBS show so no good for me unfortunately. 

I can never get tickets for the RBS show - sometimes a date issue but often just booked out. Another great chance to see some of the same content - and closer up - is at their Next Gen performances at the Linbury and there are plenty of tickets available.

Links, Tuesday 26 March, 2024

Review – Kidd Pivot, Assembly Hall: Stuart Sweeney, Critical Dance

Review – Synchopation, Bridewell Theatre, London: Nicola Clare, Seeing Dance

Review – Hong Kong Ballet, Rule Breakers: Kevin Ng, Seeing Dance

Review – Shanghai Ballet, A Sigh of Love: Natasha Rogai, South China Morning Post

Review – Australasian Dance Collective, Three, Denise Richardson, Dance Australia

Preview – Dance at Norfolk and Norwich Festival, Vera Liber, British Theatre Guide

Preview - Boston Ballet Brings 4 Magical Experiences To Spring Set List: Ameera Hammouda, Boston Uncovered

Preview - American Ballet Theatre to Present 2024 Spring Gala: Ballet Brilliance in May: Chloe Rabinowitz, Broadway World

Preview - 5 dance performances to see in San Diego this spring: Julia Dixon Evans, KPBS

Preview - Jacobs School’s ‘Star on the Rise: La Bayadère ... Reimagined!’ replaces caricature with character: Julia Hodson, News at Indiana University

Feature/Video – Watch the solo of ‘Solitude’: Gia Kourlas & Stephan Alessi, New York Times

Feature - A Second Act for Ballet in Iran: Brian Seibert, New York Times

Feature - Backhausdance Does Orange County Proud: Victoria Looseleaf, Classical Voice

Article - How Swan Lake became a cultural phenomenon: Zuzana Lachendro, New Statesman

Article - Passing the torch: Three Sacramento arts organizations navigate leadership transitions: Jessica Laskey, Capradio via Solving Sacramento

News - Jersey's national dance company Ballet d'Jèrri celebrate first birthday: Katya Fowler, ITVX

Article – Contemporary dance is aging well but it’s ready for new ideas: Grace Times, Yahoo via City AM

Article - Misty Copeland Reflects On The ‘Generational Trauma’ Felt by Black Ballet Dancers: Matt Marshall, San Diego Voice & Viewpoint via CNN

Noooo completely missed them going on sale- checked this morning and lunchtime  for 9 May but was in meetings from 2 and obviously missed out again. 

6 hours ago, alison said:

There are currently (allegedly) a few cheap-ish tickets available for many of the May dates of the Spring run, in case anyone's interested.

At DNB they sell signed, used pointe shoes from dancers at various levels to raise money for a really reasonable price (no more than a pair of brand new shoes). 
There is a nice opportunity to invest in dancers lower down the ranks on whom you might be placing your bets for success.

Links, Sunday 24 March, 2024

Review – Yorke Dance Project, California Connections, Linbury Theatre, London: Teresa Guerreiro, Culture Whisper

Review – Marc Brew, Accident, a Life, Tramway, Glasgow: Mark Brown, Telegraph

Review, Alvin Ailey Dance Theatre, Program B: Century, Dancing Spirit, Revelations, Jillian Verzwyvelt, Ballet Herald

Review – American Contemporary Ballet, Jazz, Los Angeles, Victoria Looseleaf, Fjord Review

Review – Alberta Ballet, Hansel and Gretel, Northern Alberta Jubilee Auditorium: Angela Johnston, Edmonton Journal

Preview – Why we’re all dancing to Carmen’s tune, Debra Craine, The Times

Preview - How Do You Solve a Problem Like ‘Bayadère’? Send In the Cowboys: Marina Harss, New York Times (paywall)

Preview - It's ladies' night at Avant Chamber Ballet's Women's Choreography Project: Kimberly Richard, NBC DFW

Film Preview - ‘Madu’ captures dizzying journey of viral dance star, Stephen Shaefer, Boston Herald

Book Review - Osiel Gouneo, Black Romeo, a biography, Jeanette Andersen, Seeing Dance

Article - Misty Copeland reflects on the ‘generational trauma’ felt by Black ballet dancers, Matt Marshall, CNN

Article – The Dance Data Project, Judy Carmack Bross, Classic Chicago Magazine

Article - What it takes to go from tin shed dance classes to performing for 3000 people, Chantal Nguyen, Brisbane Times

And finally…

Article - The truth about ticket prices — is greed killing the West End? Dominic Maxwell, The Times (paywall)

4 hours ago, TSR101 said:

Hmm a far less attractive programme than POB from my perspective and I am also not sure that this really makes the most of the dancers that this company currently has at its disposal. 

Agreed, but makes it easier to decide where to take a trip!

Oooh i think a trip for Paquita may be on the cards. If I could swing a second trip I would also see Onegin.

3 minutes ago, Scheherezade said:

 

I think the muted reactions to Dances Concertantes show how much we need to familiarise ourselves with this type of what would now be grouped under the less than helpful umbrella of ‘heritage works’. There was much to admire but we are just not used to seeing works like this any more and they should not be allowed to fade from the repertoire. And I also liked the costumes and backdrop. 

Completely in agreement with this. For me, stepping into the past is such a positive - it was a true window into the early days of MacMillan and the very beginnings of his creative relationship with Giorgiadis. I prefer this to a lot of the over-intellectualised new works we see from modern choreographers who lack the diversity of dance styles MacMillan was capable of.

I really don't know how I am going to manage the wait til next Wednesday for next viewing.

Musings from this evening as it was just fabulous and I wasn’t completely convinced I would love it all for various reasons but delighted I have 2 more viewings. 

Danses Concertantes - thrilled to see Isabella Gasparini leading. The funny hats made it quite difficult to see who was who despite knowing who was cast. Didn’t help that I had mixed up casts in my head and was wondering where Giacomo Rovero was for the first 10 mins.

Loved the quirky style and the elements of golden age of movie musicals tap and jazz influences. Gorgeous Georgiadis set and quirky costumes to match the choreo. Amazing to think this was their first partnership and MacMillan’s first piece. Left the auditorium feeling enriched by ballet heritage and had an opportunity to enthuse to Lady MacMillan on my way back to my seat. 
 

Different Drummer was unbelievably ahead of the times (and the same could be said about Requiem). The narrative was quite absorbing because of Sambe’s characterisation. His whole body appeared to shrink and shrug in submission and it was hard to distinguish what was ‘the truth’ and what he was simply imagining. Thomas Whitehead’s character of the Captain was a brilliant caricature in terms of make up and mime. Francesca Hayward’s red hair for the piece seemed to be channeling Diane Buswell from Strictly which was a little distracting… Continued to see what a good fit she is for MacMillan, especially in the complex lifts. A bit confused by the Jesus character so looking forward to a second viewing. Loved some of the use of the soldier corps, there was one section where they seemed to be in rewind as they moved off the stage. This was my daughter and her friend’s favourite piece in terms of the narrative, structure and dancing which I found interesting.

Requiem was quite emotionally overwhelming. I didn’t expect it to be so completely reeled in and equally engaged with the music as the dancing. Some of the lifts for the corps looked like they should be an impossibility, as did the much pictured lift where Lauren Cuthbertson was passed around a tight group of raised hands. Despite the connection with grief, the piece felt incredibly gentle and soothing and I just wanted it to keep going. I didn’t want it to end.
 

Lead were gorgeous to watch- Melissa Hamilton, Lauren Cuthbertson, Joseph Sissens, Matthew Ball and Lukas Braendsrod.  Ball, as well as his dancing, was a striking Adonis!  
 

Counting down the days till next Wednesday.