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  1. I was 'only' at the rehearsal so know I shouldn't comment but what a treat for £4 to see Muntagirov, Nunez and Osipiva - and all the others too numerous to mention - at the top of their game. Luxury casting indeed. Despite sitting quite high in the amphi, I don't think I will forget in quite a while some of the looks Natalia gave Marienela. Her 'for goodness sake get on with it' during the dance with the basket of flowers was priceless, as was her nod to Muntagirov as they went off at the end of that scene as though to say 'good boy, you're doing the right thing being with me'. It will be SO
  2. I suppose as well as trying to keep all his talented dancers happy, KOH is on a bit of a hiding to nothing trying to keep audiences happy too! I think he has done an excellent job of giving people opportunities and roles but, just occasionally, I go into 'furrowed brow' mode and think his generosity might be spread just slightly more widely - Ball with 6 Romeos and Campbell none, and Bennett Gartside with Winter's Tale are a couple of examples of this for me. But I appreciate casting decisions must be a total nightmare - I also have no idea about any economic aspects of rehearsal times with
  3. That was one of the many reasons Irek was so wonderful! You could watch all the flinging and throwing in the knowledge that the ballerinas were totally safe. A bit of stage danger without real danger so to speak!
  4. Well, two very contrasting evenings at the ballet on Friday and Saturday. Much as I'm a fan of a lot of the dancers who get most of the attention on this site, it's one of the pleasures of ballet going when one of the less starry gets their chance and really seizes it. So, I was genuinely hoping that Hirano was going to do that - as he did in Winter's Tale where the emotion was displayed forcefully in the unforgiving close-ups of the cinema. But, like many above, I felt Rudolf - so far at least - just wasn't for him. But what was most odd, I found, was that his Act 3 really was excellent - but
  5. Agree it was very interesting but just wanted to post my slight discomfiture about comparing interviewers etc. We're all obviously entitled to our opinions but assuming I'm right in thinking both BA and LBC are 'staffed' totally by volunteers (and happy to be corrected if I'm wrong) I'd instead to thank all concerned for putting on many a happy evening and say how much I enjoy the programmes of both organisations.
  6. Ticket: Amphi, D37, £15 - would have to post as 'hard' ticket. Pls let me know if interested.
  7. I think the Trocks should be available on the NHS - I would defy anyone not to feel better after watching them. What I love about them is that they never overdo the humour so you get that wonderful mix of watching some quite wonderful dancing and then suddenly bursting into laughter, either at the more slapstick moments or their more subtle send-ups of ballet mannerisms, like the 'girls' in the Bournonville holding their skirts and standing at the sides, gesturing to the dancers who are doing their solos. I thoroughly enjoyed all of the matinee performance yesterday but was particularly taken
  8. Only four of us in my local cinema - such a pity as it was very enjoyable. Lovely dancing, wonderful costumes, loads of colour and the well known music. Plus it was very short which left me wanting more rather than out staying welcome. It's such a long time since I have seen the Australian Ballet - do wish we got to see them more. The four main roles were: Hanna: Amber Scott Danilo: Adam Bull Valencienne: Leanne Stojmenov Camille: Andrew Killian Always a particular pleasure I find to go and see dancers you don't know at all, therefore have no
  9. On the subject of relaxed performances, I inadvertently booked for one recently - to see a romantic musical comedy at the Sam Wanamaker Theatre at the Globe. As someone who likes to sit quietly, gets incredibly irritated by mobile phone lights etc, I didn't know what to expect but it turned out to be one of the loveliest afternoons I have ever had at the theatre. One of the actors came on stage at the beginning and mentioned in a very low key way that the audience could react however they would like to, including going in and out during the performance. That didn't happen so much, except for
  10. Well, like so many others, I found this to be a bit of a so-so event. As an Osipova fan, I am always happy to see her dance and it was lovely to see David Hallberg at last, although I wish I had got to see him pre-injury. He does have a very classy stage presence though and they were wonderful together in Valse Triste. I also enjoyed The Leaves are Fading and, I suspect against my better judgement, Ave Maria. It does make you realise, once again, how difficult it is to get these things right. I was thinking back to the equivalents I have seen over the years with, for example, Acost
  11. Natalya in Month in the Country - would love to waft around in those beautiful white dresses and bourree across the stage in the arms of a handsome tutor!! Would also love to experience the beautiful lift at the end of the Rhapsody pas de deux but suspect I would need a prop forward from the All Blacks rugby team to be my partner! Fantasies over now - back to reality!
  12. I would cull (while noting this is in my ideal world where economic considerations aren't important!): - Romeo & Juliet, for 5-10 years (and not only the RB production but a worldwide moratorium on all productions, it seems to have been done to death) - Nutcracker, for a couple of years, not least to give the dancers who perform the same roles time after time a bit of a break - Tales of Beatrix Potter - for ever! Sets my teeth on edge! - The Acosta Carmen (which I assume has been quietly killed off as just a mistake) and, if it's still on the rep list, the Mats E
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