BMC

I too am reading all these comments with a heavy heart. Have just come back from seeing the Dancer film, which I enjoyed very much but just made me really sad. I really hoped this SW week was going to be a turning point - and I am beginning to slightly dread my forthcoming visit on Saturday. Desperately trying to retain an open mind!!

On a related note, when visiting the Freed factory last year, there was genuine concern about Brexit - both in terms of skilled workers (many of the staff are from overseas) and the export market for the shoes themselves with regards to tariffs etc.

That's what I love about this forum - so many interesting and contrasting views. Many posters have commented so eloquently about Osipova's performance (for and against) that their words rang in my head when I saw her on Saturday night. All I can say is that, having seen goodness knows how many Sleeping Beauties over the years, Osipiva gave me some firsts. It was the first time I genuinely thought her legs might literally buckle under her when she had pricked the needle; it was the first time I believed that Aurora had woken from a deep slumber (as opposed to a light nap) and it was the first time I had thought of her as a person and wondered what happened next. I think if I was Florimund I might be a bit nervous about meeting the expectations of my obviously ecstatic bride and I had visions of him in later life occasionally (only very occasionally) rueing the day he met the Lilac Fairy! And, totally ridiculously, I found myself hoping that Aurora would have a good many years before she turned into her mother and had to sit straight-backed on a bench smiling graciously at everybody. Still I recall my Ladybrid book saying they all lived happily ever after! Seriously, though, in my humble opinion. in a run of 26 performances I think there is room for something a bit different, whether 'correct' or not. I personally love watching Osipova and seeing what she is going to do with her roles - but fully appreciate that a lot disagree!

I get myself in a terrible tangle of emotions with Polunin. When he first left the RB, I felt very sorry for him - that line about never having had the chance to play football with the lads struck me as being really sad. Then, when he continued to be so harsh about the RB and made some quite personal comments, I rather lost patience and decided I would rather much watch a slightly less talented dancer, but one who is loyal and committed to the company. I then saw him at the Osipova programme at Sadlers Wells, and despite not particularly enjoying the evening, it was just fantastic to see him dancing again. I had somehow blotted out just what a beautiful dancer he is and it was so lovely to be reminded. Really looking forward to the forthcoming Polunin programme and excited about the possibility of a return to the RB. On the other hand, I know that I will feel slightly resentful at what I am sure will be an ecstatic reception - being mindful of those other dancers who work so hard and get much less attention. I suppose what I am struggling with is does talent trump all? Or is a combination of (less spectacular) talent and loyalty equally important? Is ballet a 'team sport' (for want of a better expression) or should it revolve around the star talent? I don't know!

Lizbie1 - those two incidents you mention certainly put things in perspective. And you only have to switch on the news and look at Syria, Sudan and goodness knows where-else to realise that in the great scheme of things we're not doing too badly! Having said that, it would be good if we could stop a bit of the rot on the eating, texting front - just a tad...

I wasn't sure whether to post on the Sleeping Beauty thread - but have gone for this discussion as the current run has really brought it home for me (not that I didn't know already!) how the audience can really make or break a performance. While agreeing totally with all the enthusiastic comments regarding Francesca's debut, I am sorry to say that I wasn't able to enjoy that matinee at all - it's a huge shame when such a lovely occasion and important debut can be ruined, but ruined it was - with endless loud unwrapping of sweets (continuous), children being hauled onto laps (distracting), and another being taken to the bathroom, meaning the whole row had to stand up, during the grand pas de deux! And this without mentioning the noisy conversations (covered above) during the Act 2 and 3 break. If anyone has any tips for not getting wound up and letting the audience 'get to you', I'd be really grateful! Meanwhile, as many others have commented, last Saturday's matinee was completely different (at least where I was sitting) - it was so lovely to sit back and enjoy the wonderful performances without blood pressure going through the roof! I overheard a woman in the ladies saying to a little girl 'go now as you have to sit for a whole hour' - so good to hear it being explained that just getting up from your seat when you felt like it was not an option. Even the dreaded conversation through the music was very muted and there was some applause for the orchestra. And last night at the cinema the audience was totally rapt - which has been my experience at every screening, even given the different, more relaxed, atmosphere of the cinema as opposed to the ROH. I wonder what makes it so - I for one love the fact that we can sit back and enjoy the show with our coffee but everyone seems so much more respectful of each other in the cinema. I can't work why that should be but it definitely seems that way. Such a shame that this increasing lack of respect is impacting so hugely on enjoyment. I once sat next to a very long time ballet goer in a performance of Romeo in the narrow part of the horseshoe in the amphi. I did a bit of chuntering about the people in front as they were leaning forward and blocking my view. She replied that she never minded about this as she would be seeing lots of performances and it might be their first time. Have to say that this brought me up a bit short and made me think that I should try and be equally generous, but it is easier to be so if the reason for the disruption is that someone is really caught up with the action on stage and just wants to see what is going on. The people just chatting and checking their mobiles don't appear interested and just prevent others from having a good time. Just read in the Times that Imelda Staunton has asked that no food be allowed into forthcoming performances of Who's afraid of Virginia Woolf? (what have we come to?). On the other hand, Kit Hartington said that theatre would die if these sorts of rules prevented young people from coming - so do we just have to accept that genies can't be put back in bottles?

As a newbie poster to this site, I think I may have got off to an unduly negative start asking about ballet bugbears! So, how about the opposite: not our absolute favourites or the ballets we love, but those particular moments that clutch at the heart (for want of a better expression) every time, regardless of dancer, theatre etc. Here are a few of mine - with advance apologies for my lack of technical knowledge or descriptive powers. Some are related to the narrative/music, others because I just love the physical shape they produce. Hope you will recognise which ones I mean - Rhapsody - the big lift in the pas de deux when the ballerina does the 'shaking raindrops' movements with her hands Symphonic Variations - when the six dancers hold hands and run in a circle; so simple but just utterly beautiful Cinderella - when the Prince just stands still and she bourrees around him / and when they just walk together, Cinderella en pointe (sigh...) Giselle - when she cradles Albrecht in her arms when he has been saved Symphony in C - in the second movement when the ballerina just sinks back into the arms of her partner Romeo - the moment in the balcony pas de deux when he is kneeling and clutches her dress / and the moment Juliet wakes up in the tomb Fille - the 3 lifts in the final pas de deux that get higher and higher Manon - the scissor movements in the bedroom pas de deux / the baton twist throws at the end Two Pigeons - reconciliation pas de deux when the girl is leaning against the boy and brings down her leg in a sort of trembling motion Swan Lake - when Siegfried rushes in to beg for forgiveness; and in the second act pas de deux when she does a trembling (I do like a bit of trembling!!) movement with her foot at the end of the second act pas de deux (ditto Nutcracker) And my favourite: Natalya bourree-ing from side to side across the stage in a Month in the Country. Would love to hear others' moments that get them every time.

I'm not articulate enough to put into words how the love changes - all I can say is that the more I see, the more I want to see (Firebird notwithstanding!!).

Vicky - when starting this thread, I only intended it to be a bit of fun. I have been a ballet lover for over 40 years, going week in, week out. My personal dislike of Firebird (my own bugbear) doesn't mean I want to see it replaced in any company's rep or disappear. Indeed if it comes back to the Royal Ballet, I know I will give it yet another 'go'. I agree totally to keep trying - it's amazing how sometimes you suddenly click with something. Another personal one for me was The Dream - on I think my third viewing I suddenly fell in love with it and it's been one of my favourites ever since. As we are all huge ballet fans on this site, I was just genuinely interested to see what other people's equivalents of the blind spot is. And with a run of 5 Sleeping Beauties to come, I find it veer reassuring I M not alien in wanting to do a bit of fast forwarding!! So apologies if I have appeared cynical or jaded - ballet to me is magical. Now just off to see Woolf Works which I loved at the cinema and last night!!

Thanks for all your fascinating replies - you've encouraged me to be more honest now and own up to the fact that I can't stand the mad scene in Giselle. Obviously it's pivotal, and the whole of the second act would rank as one of my 'desert island ballets' but, and this applies to whoever is dancing, my reaction is either: for goodness sake have a cup of tea and a chocolate digestive, you'll soon feel better - or, get on with it so we can move onto the second act ASAP. I feel the same about Ophelia too... Just in case you think I have no heart I am invariably in tears at the end of Giselle!

Reading the Woolf Works thread, there were a couple of comments about ballets people just 'don't get' - it made me wonder what other bugbears might be out there. My own particular one is Firebird - yes I know the music and sets are wonderful but its masterpiece status totally eludes me. Once we've been dazzled by the Firebird at the beginning she seems to disappear for what seems like ages while we have to endure all that girlie apple throwing and other monotonous (to me at least) goings-on. I've tried over many years, many performances and various ballet companies but have failed ever to enjoy it. And sacrilegious as it is to say it, and like everyone else I am looking forward to the various upcoming Sleeping Beauty debuts, I could quite happily never see another Puss in Boots or Red Riding Hood again (and to be totally honest that goes for the Bluebirds too). Any others that drive people up the wall?

Sadly only about 20 or so of us at Shepherd's Bush - but everyone absolutely riveted and no-one moved until after all the curtain calls. For various reasons hadn't been able to see this live and now can't wait to go and see both casts on Monday and Tuesday next week. As someone who finds MacGregor a bit 'diminishing returns' (loved Chroma and Infra and then found myself asking: is that the one with the light bulbs? Is that the one in Afghanistan etc?) I really didn't expect to be completely carried away by Woolf Works and, like the posters above, moved to tears (even if I didn't always know what was going on!) All the dancers were fantastic and Alessandra Ferri just wonderful. So wonderful to see her back with the Royal Ballet. One of my favourite screenings so far.

There was a short but interesting item on Michaela DePrince on the Today programme this morning (around 8.45). Very heartwarming.