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mauriceC

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  1. The Mill,Banbury is a small welcoming venue with a space rather than an actual stage. I agree wholeheartedly with Sheila's initial report that this is an excellent group of dancers who presented four varied pieces with total professionalism and aplomb. The running order was changed to put "Playground" as the central piece;I recall it as being pretty dislikeable thirty years ago but this smaller scale version(the orIginal must have been 10/15 mins longer?)was harrowing. It was also so good to see a piece of Cohen after so long........happy memories of London Contemporary Dance Theatre.......... Deservedly sold out at the Linbury,I reckon and I look forward to catching them again soon.
  2. ""Playground" was performed on the Spring 1980 SWRB tour;I saw it in Stratford and Birmingham . "Dance and Dancers" listings show it also in Liverpool,Sunderland,Norwich.Bristol as well as Sadler's Wells and ROH.It was programmed between either Concerto and The Grand Tour or Concerto and Elite Syncopations except at ROH (Grosse Fugue and Paquita). I look forward to seeing the Yorke Dance programme in Banbury on Thursday.
  3. The Macmillan Conference a few years ago ended with Lynn giving a masterclass on the R & J..I think Bedroom pas de deux. She urged the dancers to" make it more dangerous"......something i now always look for whether it is ballet or play.
  4. In an early review of "Dances At A Gathering".Richard Buckle said"Seymour was such a miracle of Mozartian comedy,I was sure she had sprung it on them.I was right.Next day Robbins said"We didn't know she was going to do that".She had surprised the most Mozartian of choreographers." I was lucky enough to interview her for BRB Friends when she was coaching the Ashton Isadora Waltzes.She talked a lot about Sir Fred being so lovely to her when creating "Two Pigeons" and how she had no fear of him;the devastation of not doing the opening "Romeo" and working with Nureyev(no dancer ever worked so hard). Some years earlier,i had interviewed Christopher Gable( rehearsing "Peter & The Wolf" for SWRB) and he spoke much about dancing with Lynn;he recounted a tour to a Festival in the South of France,run by ,pianist,Moura Lympany;Gable said they had been there less than half an hour when the "director" approached him,throwing his hands up in the air saying"Miss Seymour is eem possibeel!". "
  5. Is this an expanded version of the 1973 ballet? My memory is that it was one part of a triple so about 45mins at most??
  6. An excellent interview from Celine .Pity there was not time to point out that during the run,she like the others will be dancing several other roles,making it even more hard work that the the interviewer thought.
  7. I remember interviewing Graham for SWRB Friends at the Hippodrome.A very nice chap!
  8. I did have to look up the year;the dancers were a certain Margaret Barbieri with Hendrik Davel. For the record,the rest of the programme(S Wells) was Solitaire,Monotones 2 and The Grand Tour.
  9. My visits to dear old ROH are infrequent these days but for a few years now I have wondered whether I am entering a bar/restaurant or a theatre. At "Bayadere" recently, not for the first time the place reeked of fish.........I like fish but..........and I was trying to think of works it might have been appropriate for??? Napoli Act 1?? Peter Grimes?? Why anyone wants to go and gobble down a course between acts has always been beyond me but it must say something about why they are really there. I see the new triple has nearly an hours worth of interval......expect Infra is to blame.....but lots more time to sell more booze....... Is this the same in other Opera houses?? Certainly not when i have been in Paris or New York...... Many years ago a friend commented to me how much the children present enjoyed the intervals......it seems to have spread....... MauriceC
  10. This week's newsletter from travelzoo has discounts for many of the Hippodrome performances.
  11. I have just looked at ROH website under the heading What's On where the works are listed individually ,curious as to the casting. If anyone can work out who is dancing what,then congratulations. It just seems that a few random names have been pulled out of a hat in no particular order.
  12. Many thanks for the article,Duck;yes that is most definitely the work;I saw little of Haydee but recall her tremendous dramatic presence.........regret also never seeing her and Cragun in "Shrew"
  13. Having followed this company since the early 60s,I share the concerns of the last two posts. We can if and but for ever.......but......if a choreographer is appointed,there will be little opportunity for the first three years as the Company will still be tied to its "new" Choreographic initiative.Unlikely that they will rely on revivals of the retired Director......as it must be new new new.......which means money money money. I hope at least some heritage will be preserved......ROH is now getting better but for many years DB was my only hope of maintaining that. Some one I think is going to have a very tough job of rebuilding the audience........remember the full length "Arthur"(2000 ish).....never revived but had sold out even before the first night......... The triples of late have often seemed desperately empty and some London audiences disappointing. The 2 week Feb season,now down to one ballet is always preceeded by a week of Matthew Bourne which sells out.(no disrespect to Mr B).....there is then a huge gap of nearly 4 months when people are more likely to be going on holiday. This is presently a company of very fine dancers and teachers who deserve the best. (Glad I do not have to make the decision)
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