Blossom

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I think Premium Friends had mentioned this previously. Secretly hoping this means a change in date (and day of week).

The tabs aren't ROH recommended, just the logging in, but the tabs were all inactive and only used one by one, so not sure how this could clog anything up... Either way, very smooth running and no waiting times.

The idea is that it doesn't clog up booking or lead to long waits vs people logging in on multiple devices and with multiple tabs ready and waiting.

I followed the Friends Newsletter instructions to the letter this morning and had a dream booking session. I didn't log in before 8.50am as specified, but had a tab open for each production ready to book. At 9am, I managed to get straight into my first production with no wait. By 9.12am I was done - first choice tickets for everything except for Next Generation and had to get some side stalls for one of the Sarasota Ballet performances. As a number of the dates are not an option for me, I was incredibly relieved that it was so easy. Last night I was in a seat in the balcony and used the opportunity during the interval to test out a few other spots - standing and seated so that I had a back up plan but I didn't need it! For Ashton fans, there are still a good number of seats for Sarasota Ballet across each performance at varying values.

When Kevin O'Hare came out in front of the curtain before the performance last night, I have to say, my heart sank a little, having specifically wanted to see this cast, so it was quite a relief that this special evening was made even more special, hearing that Dame Antoinette Sibley was in the audience, although, as luck would have it, directly underneath me... By the end of the performance, I was feeling the usual emotional impact of the final scenes and when Antoinette Sibley came out on stage with Joseph Sissens, I have to say, I got a little misty eyed. This was a special performance all round - I was keen to see this season's debuts, if not their first performances - and particularly keen to see Fumi as Manon. As others have shared from their first performance, I did find Fumi and Vadim's connection take a little time to build, I loved their dancing in act 1, but didn't neccessarily feel the electricity of their connection and there also seemed to be a couple of moments in their pdds which were perhaps not as well oiled as some of the other partnerships I've seen, or it may have been my off-centre balcony vantage point... All was well though from the beginning of act 2, with the step change in Manon from girl to knowing woman. Her solos and the dance where she is passed around almost as an object from man to man were absolutely spellbinding and you could feel the tension and the hurt in her pas de deux with de Grieux and the absolute connection in the second bedroom pas de deux. Act 3 was heart wrenching and the final pas de deux was one of the most dramatic and emotive I have seen. Every ballet step Vadim takes is perfect, regardless of the level of drama. He dances with such respect for classicism and MacMillan's choreography, every solo made my heart soar. I also really enjoyed his partnership with Fumi overall and look forward to seeing them dance together again. Joseph Sissens was another reason why I was so much looking forward to seeing this cast and he is another dancer whose every step seems perfect. Back in the insight, this meant that he'd struggled to play drunk, so I really enjoyed seeing his character development there., He delivered a brilliant death scene, it felt more real and more shocking as the curtain came down. I also enjoyed seeing Leticia Dias as his mistress, a role I look forward to seeing her develop further in future runs. Her pdd with the drunk Lescaut got the customary laughs and I can imagine it's not easy going against everything you've learnt in terms of placement and centre of balance to create the desired effect. As always, the music was entirely absorbing, the 'sub plots' in the background were well delivered by a cast who really know how to act as well as dance, which is what makes this company so special for me. Unfortunately my last Manon of this run, but the sumptuous score is still running through my head and I will at least have a spring in my step on my dog walk this morning!

I'm organising a group of non-ballet goers to see this at Sadlers Wells. Really looking forward (except for having to babysit a group).

Links, Tuesday 27 February, 2024 Review – Birmingham Royal Ballet, Sleeping Beauty, Birmingham: Jonathan Gray, Gramilano Review – Birmingham Royal Ballet*, Sleeping Beauty Dreams, Birmingham: Aislin Slater, Redbrick *with amateur dancers Review - Jamiel Lawrence Ballet Nights, Ballet Nights 004, Lanterns Studio Theatre, London: Maggie Foyer, Seeing Dance Lucy Carter, Everything Theatre Stuart Sweeney, Critcal Dance Review – National Ballet of Canada, Angels Atlas/Emma Bovary, Ottowa: Sheenagh Pietrobruno, Critical Dance Review – San Francisco Ballet, Swan Lake: Saul Sugarman, Medium Review – Kansas City Ballet, Peter Pan: Gabriel Flynn, The Pitch Review – Grand Rapids Ballet, Sleeping Beauty, Michigan: Marin Heinritz, Revue Review – Complexions Contemporary Ballet, Mixed Programme, New York: Makayla Morrison, The Review Review – Australian Ballet, Alice in Wonderland, Sydney: Geraldine Higginson, Dance Australia Review – Latitude 37, Transfigured, Melbourne: Elizabeth Quinn, Limelight Review – Lewis Major, Maliphant x Major and others: Melbourne: Lisa Lanzi, Dance Australia Preview – Matthew Bourne, Edward Scissorhands, Nottingham: Marta Tavares, Newark Advertiser Preview – National Ballet of Canada, Alice in Wonderland, Canada: AA Cristi, Broadway World Preview – Joffrey Ballet, Anna Karenina, Chicago: Lou Fancher, 48 Hills Preview – American Repertory Ballet, Swan Lake Act 2/Sleeping Beauty Act 3, New Jersey: Staff, New Jersey Stage Preview – Ballet Tech, Kids Dance 30th Anniversary, Philadelphia: Chloe Rabinowitz, Broadway World Preview – Les Ballets de Monte Carlo, Lac (Swan Lake), Chloe Rabinowitz, Broadway World Preview/Article - The Liceu launches the dance season: Staff, Gran Teatre del Liceu Film Preview – Stephen McCrae is a Resilient Man: Staff, Dance Australia Essay – Poussin and the dance (to the music of time): Alastair McCauley, alastairmccauley.com Article – Campbell brings new vigour to RAD: Tamsin Flower, British Theatre Guide Article – Once banned by communists, Poland's stately 18th century dance garners UNESCO honors: Monika Scislowska and Rafal Niedzielski, AP via AOL Article – Poland, UK join forces for new take on Szymanowski’s ballet 'Harnasie': Staff, Polskie Radio Article – Two things you wouldn’t expect to find together: The National Ballet’s new season and a dog-feces incident: Marsha Lederman, The Globe and Mail Article – Photographer Jason Capobianco and VML bring the 2024 West Australian Ballet theme ‘The Discovery’ to life in new campaign: Lynchy, Campaign Brief News - BalletCollective Announces Open Application Call For 2025 Commission For Developing Choreographers: AA Cristi, Broadway World Obituary – Steve Paxton, Alastair McCauley, alastairmccauley.com

Completely agree with this

I meant alongside the like (heart) and thanks button to save quoting and adding an emoji! But this will do otherwise!

We need a ‘shocked’ response button/emoji. Somewhat dreading Wednesday morning as I only have very specific dates I am able to do in June…

Links, Monday 26 February, 2024 Review – Royal Ballet, Manon, ROH, London: Sarah Crompton, Guardian Review – Jamiel Lawrence Ballet Nights, Ballet Nights 004, Lanterns Studio Theatre, London: John O’Dwyer, Seen and Heard Review – Varna International Ballet, Swan Lake & Sleeping Beauty, Northampton: David Mead, Seeing Dance Review – La Scala Ballet, Memento, Teatro alla Scala, Milan: Graham Spicer, Gramilano Book Review – Ballet Confidential by David McAllister Geeta Pillai, BNN Kylie Knott, South China Morning Post Article - Ballet superstar Darcey Bussell helps bring Sleeping Beauty to Lowry: John Anson, Yahoo News Article - Misty Copeland to Illuminate the Madame Walker Legacy Center with Her Presence, Not Performance: Staff, BNN Article - Alex Campbell appointed RAD director: Staff, Dance Australia Article - Defying the Odds: The Artistic Journeys of Anya Nicole Alindada and Rubby Coyiuto: Waqas Arain, BNN Pat P Daza, The Philippine Star Article - Milwaukee Ko-Thi Dance Company; expression rooted in tradition: Aaron Maybin: Fox Local/AOL News News- The Royal New Zealand Ballet dances around the regions: John Pearson, The Press And finally, perhaps a forward facing solution to the funding crisis which could be mirrored in the UK… Article - “En Pointe” for Philanthropy: Jeunes Gouverneurs’ Night of Giving!: Staff, Mountain Lake PBS

It's possible there is a ticket limit though as with other events in the Linbury. This provides a fairer opportunity.

I was also at the 5pm performance today and really enjoyed the mix of choreographers. The programme opened with a piece from Rentaro Nakaaki which was fun once the music started and it was great to see Miguel Angel Maidana and Julia Conway up close. There were 2 presentations by Wayne McGregor Co, the first from Jordan James Bridge as intellectual study of movement and music as you’d expect from Wayne McGregor himself. I particularly enjoyed the work by Breanna Foad which was joyous and musical, aided by the connection Aitor Arrieta and Ashley Coupal had with each other. She mentioned that she mostly choreographs while listening to music on long flights to and from Australia which got me thinking about how hard it must be to sit relatively still for so long. I also really enjoyed Denilson Almeida’s piece, the clever use of props (chairs) to set the work and the relationship between 2 friends, one of whom was the brilliant Caspar Lench. There was also a beautiful neo classical piece from George Laing of Northern Ballet and a piece from Hannah Joseph of Wayne McGregor which was very accessible and felt quite street dance in style. Joseph danced in the piece herself and explained how different the process is to choreograph when in a piece vs choreographing on others. If this is an example of the sort of work which is shared in Draft Works I now feel like I have been missing out and need to better schedule my time in future!

But will it? Two Pigeons/Rhapsody didn’t sell out. The general public don’t really know who Ashton or MacMillan are and with rising prices vs so many West End deals I just can’t see the main stage selling out for the Royal Ballet without offers..

Links, Sunday, 25 February, 2024 Review – Ballet Nights, Lanterns Studio Theatre: Chris Omaweng, London Theatre 1 Matthew Paluch, Gramilano Review – ABT, Swan Lake, Kennedy Center, Washington DC: Michaela Dwyer, Broadway World Preview – Dance Theatre of Harlem, Spring Preview: Gia Kourlas, NY Times (paywall) Preview - Roxey Ballet, Spring Season Carmen, New Jersey: Aqsa Younas Rana, BNN Preview – World Ballet Series, Swan Lake, Iowa: Ronna Faaborg, Ames Tribune Feature - Royal New Zealand Ballet’s new artistic director’s spiritual homecoming: Tyson Beckett, The New Zealand Post Feature – Magic Behind Curtains: Kazakhstan’s Theater Guide Offers Insightful Backstage Tours: Abarshyn Akhmetali, Astana Times Article – Darcey Bussell: From a Security Scare to Sharing Stage Secrets of Sleeping Beauty: Safak Costu, BNN Article – Nikisha Fogo Shines in a Stellar Debut as Swan Queen with the San Francisco Ballet: Nitish Verma, BNN Article - 2 yrs on, Ukraine evacuees dance in Japan for peace in motherland: Ko Hirano, Kyodo News News - Sara Mearns and Jamar Roberts to Be Resident Artists at Vail: Roslyn Slucas, NY Times (paywall) News - Penfold Theatre Company will have its first permanent venue in Round Rock: Fernanda Figueroa, Austin-American Statesman (via AOL) News – Paris Opera Ballet Concludes it’s tour In Shanghai: Zhang Kun, China Daily News – Julian Pellicano, Renowned Conductor, Sets the Stage for a New Era with the National Ballet of Canada: Staff, BNN News - Raleigh-based NC Theatre declares bankruptcy and cancels the rest of its season: Richard Stradling, The News & Observer (via AOL) News - Join Elisa Carrillo’s massive dance class in CDMX’s Zócalo: News Team, Alaska Commons Book Review – The Sleeping Beauties by Lucie Ashe: Natalie Xenos, Culture Fly

Any feedback on Summer booking from premium friends?

Mine too - I looked it up after the announcement United Kingdom | Gerard Charles (royalacademyofdance.org)

Perhaps McRae might be back? With Corrales as a potential no, this leaves Ball/Sambe/Bracewell/Clarke/Muntagirov and assuming would have different principals for each piece so this is potentially quite a heavy load. For the ladies assuming Takada is out still? Hayward/Naghdi/O'Sullivan/Kaneko/Osipova/Nunez/Lamb/Cuthbertson/Magri Potentially easier to work with but can imagine still might need a couple of additions. Would the owners allow first soloists to take any of the principal roles or is this perhaps where the delayis coming from?

I asked a dancer about this and apparently not, unless they are planning around recent returnees. Could there be any challenges in terms of casting with the ballet owners? There are of course still plenty of principals and first soloists, some of whom haven't had much - if any -stage time since Nutcracker, so I can't imagine what else could be the driver.

Such brilliant news for him, for the RAD and a generation of new dancers. Truly delighted - he obviously has a commitment to dance teaching through his other project with a ballet school, plus it's only a few years before he will be re-entering the ballet schooling system as a parent! I am very interested to see what this means for the syllabus in terms of learning a craft as well as ballet for enjoyment and music appreciation. Is there a place where the public can access information on artistic vision (I'd love to look back at previous changes to the syllabus, music etc as well)? I do find it hard to believe though that this is recent news for KOH/RB and therefore disappointed that Alex's last performances are so soon, with little chance of getting tickets - unless KOH has been incredibly flexible on his notice period. I don't feel there has been enough opportunity to see him dance of late - glad to have seen him in this run of Manon, but a shame that the large number of principals means fewer performances for each one. I wonder if this will be considered to free up a principal slot or not.

There's a write up from Debra Craine in The Times this morning - see links.

Links, Tuesday, 20 February 2024 Review – Royal Ballet, Festival of New Choreography, ROH London, Deborah Weiss, Bachtrack Review – Carlos Acosta, On Before, Edinburgh: Kathy Elgin, Bachtrack Review – Ivan Putrov Productions, Dance for Ukraine, London Palladium, Debra Craine, The Times (share token) Review – Staatsballet, Forsythe mixed programme, Berlin: Katja Vaghi, Bachtrack Review – Joffrey Ballet, Studies in Blue, Chicago, Hedy Weiss, WTTW News Review – Kansas City Ballet, Peter Pan, Kansas City: Hilary Stroh, Bachtrack Review – Cincinnati Ballet, Don Quixote, Cincinnati, David Lyman, Cincinnati.com Preview – Jamiel Devernay-Laurence, Ballet Nights, Lanterns Studio Theatre, Canary Wharf: Teresa Guerrero, Culture Whisper Preview- Grand Kyiv Ballet, GISELLE 60 date US Tour, Boston, Chloe Rabinowitz, BNN Preview/Feature – Boston Ballet, Raymonda, Boston: Jennifer Heimlich, Pointe Magazine Preview – Houston Ballet, Cinderella, Texas: Margaret Downing, Houston Press Preview - Grand Rapids Ballet, Sleeping Beauty, Michigan, Staff, Grand Rapids Magazine Preview – Ballet Ariel, Spring triple bill, Colorado, Stephi Wild, Broadway World Preview – Co3. West Australia, STATE, Carnivale 6, Strut, State Theatre of West Australia: State of Wests Australia theatre, Dance Australia Preview - Lenende Ballet, Kazka: A fairytale of love, los and a mysterious blue fox, Victoria and NSW, Australia: Gabi Berman, Aussie Theatre Preview - Ballet Manilla, 2024 season, Staff, Malayan Business Insight Feature - A Guide to Manon – MacMillan’s biographer, Jann Parry, observes Natalia Osipova as Manon, with Reece Clarke :Jann Parry, Gramilano News - Twirling like Ivy: Columbia Ballet Collaborative’s ‘Ivy Ballet Exchange’ weaves three institutions together, Joyce Zheng, Columbia Spectator News - The Joffrey Ballet Welcomes New Member To Its Board Of Directors And Appoints Two New Life Directors, Chloe Rabinowitz, Broadway World News - Joffrey Ballet to make Sun Valley debut in June: Chloe Rabinowitz, Broadway World News- New nonprofit Dance Tampa Bay on mission to cultivate vibrant dance community in Bay Area: Christopher Curry, 83 degrees Feature – Meet Linda Ridgeway-Gamblin: Staff, Dance Australia News – PA Staff en pointe with rehab ballet programme: Staff, Metro South Herald News – Opportunities galore for ballet teachers, Anna Mametja, The Citizen And finally, a story about an Australian rugby player turning to ballet to stay injury free:- News - Tommy Tutu: How ballet exercises are keeping Trbojevic injury-free: Christian Nicolussi, Sydney Morning Herald

The ticket is now taken.

I think it's unfair to say this when there's more than what we see on the surface to consider - and noting that ASW hasn't been granted a massive cash injection as has been seen in San Francisco. It's clear that this year's programme is very much about saying 'I hear you' to ENB supporters. It involves some new programming, a much needed refresh and is fulfilling a Giselle tour to the North. A new Nutcracker is much needed and no doubt will sap a lot of the cash for 2024/25, so even more of a need to ensure 'bums on seats' to maximise profits. This season, I've noticed some more interesting casting choices and more opportunity given to certain individuals than under Rojo's tenure, specifically in the mixed bill, plus much better arrangement of corps de ballet to ensure that a diverse cast of dancers looks carefully balanced on stage. Technique is also looking sharper - this really came through in the Balanchine at the start of the season. It seems that ASW has an eye for detail. The dancers he has brought into the company are also brilliant acquisitions. Sanguen Lee in particular really is a cut above. In terms of the digital 75th anniversary, to me, (to quote Marshall McLuhan) the medium (or media) is the message. If ENB's content and marketing teams invest wisely, there is the opportunity to do something truly brilliant, national and broad reaching - however this assumes on my part that the budget which could have been consumed on a night or 2 at the Coliseum is still invested, just very differently. I don't like everything about next season, equally I don't like everything about this season, but I can definitely see the potential.