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loveclassics

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  1. I'm not sre how to embed video but here's the link to the mambo in Damn Yankees: Bob Fosse and Gwen Verdon in Damn Yankees - Who's Got the Pain Puts a grin on my face every time! Linda
  2. I saw this and found it completely absorbing, admittedly I'm a fan of US musicals and I've always loved watching both of them in their rare screen appearances. Fosse was amazing in Kiss Me Kate (1953) when he partnered Carol Haney in the last section of 'From this moment on" which he also choreographed. (just that section, Hermes Pan did the rest) And there's a rare number that Fosse & Verdon danced together in Damn Yankees: 'Who's got the pain when they do the mambo? This was shown in the TV series. Fosse also appeared in 'My Sister Eileen' & 'The Little Prince". Neither turn up on TV very often but they're available on DVD. And there are books too especially about him and Ethan Mordden's excellent series on the Broadway musical through the decades is full of interesting details. For those who missed it, all episodes were on iPlayer and you can still view or download every one. Linda Oh & Gwen Verdon was in a dramatic role in 'Cocoon' and it's sequel. Although not a musical there was a lovely moment when she took to the floor with Don Ameche.
  3. Deborah Bull can be seen in the MacMillan 'Prince of the Pagodas' DVD. She has a soloist role as a Cloud but also danced the role of Epine during that season. Linda
  4. Re Kobborg's exit, I believe he had been retained by the ROH management to choregraph a new opera production. Then, rather abruptly, a different choreographer was taken on for the opera and Kobborg was no longer mentioned in connection with it. No public explanation was given and his departure from the RB followed shortly afterwards. Linda
  5. I remember the Stretton year quite well and it featured strongly on the old forum. I'm carefully choosing my words but as far as I can remember, at lot of the ballet.co members were not very happy with his choice of repertoire: Bayley's Beyond Bach, Tudor's The Leaves are Falling and a rather threadbare version of DQ (maybe the Nureyev version?) were not very popular. A lot of people took issue with his casting choices too: as mentioned before, Cojocaru was first cast in practically everything and Sarah Wildor was ignored despite being one of the best interpreters of Ashton at that time. In a public masterclass, Kobborg bluntly stated that the company either needed to hire more dancers or reduce the number of different styles of choreography that was expected of them. The regular dance critics were equally unhappy with what they saw onstage. In the end he was taken out to lunch, never to return. It was, IMHO, an undeserved exit when the fault really lay with the ROH selection committee who simply chose an unsuitable person for the job, leaving him in an untenable position. Tragically he died of cancer a few years later and I wonder if the stress of working for the ROH contributed to his early death. Linda
  6. Thank you Jan. I switched to Safari and up came the photos. Lovely shots and they helped me sort out who was who! Linda
  7. I've tried but it makes no difference. I'm using Firefox on a MacBook Pro - should I be using a different browser? Linda
  8. Does the site give the option to download the data as a .csv file? That type of file is quite easy to open within Excel and format the columns and rows the way you want them. But somehow I doubt that the ROH website provides something so useful. Linda
  9. Having lived and worked in Italy during the summer, I feel very sorry for the dancers. It's one thing to sit in an arena on a hot summer's evening, enjoying the experience but it's quite another to dance a demanding role in a full-length ballet. It may be hot under the lights and in period costume but at least most opera houses have air conditioning. Linda
  10. I don't understand this culture of secrecy - do TPTB think that knowing who is dancing Coppelia is so important that they have to suppress it? After all it's hardly going to affect the world situation. Why not release the information as soon as it's been arranged with the dancer(s) concerned. It's not easy for ballet enthusiasts having to plan so far ahead, why make it more difficult? Linda
  11. It's a rehearsal of Birthday Offering and well worth watching as are many other film clips posted by the same person. I don't think I'm violating any of this forum's rules but if I am, I apologise to the moderators. Linda
  12. I wish I'd remembered this in time to book a ticket, it sounds like a wonderful evening. I was surprised though, by the number of negative comments about the music for Ondine. I saw Fonteyn in this when I was about 12 and loved the music. I was searching on the web for the film of a performance (with Firebird) and came across this link:
  13. Jonny Cope should have danced in The Firebird in February 2006 but was injured in a traffic accident just after the New Year so he made his official final appearance on the Covent Garden stage on crutches to a warmly appreciative audience. The entire company joined him onstage after the performance, even those who weren't dancing that evening - I remember Carlos Acosta wrapped up in a thick overcoat so it must have been a cold night! But he did dance with Leanne Benjamin in the Firebird at a gala at Hanover (or was it Frankfurt, I can't remember?) a few years later. The RB were on tour in Cuba that summer and he flew there afterwards, presumably to resume his role as a repetiteur, only to find that Rupert Pennefather had injured his back and Zenaida Yanowsky needed a partner for Month in the Country, so I guess that was his real last performance. It's all in the Ballet Boyz' highly entertaining documentary. Linda
  14. There are a few interesting reader comments on the article. I noticed that she claims to have increased the ROH's income by £2 million but one mathematically minded reader points out that with such a huge team it works out to about £33K+ per head. Hardly covers the salaries/consultancy fees surely, (don't forget the employer's NI at 11% on top) not to mention the high cost of buying airtime, ads etc. Plus extra catering costs of running the bars for longer periods which have to be paid even though many visitors will bring in their own refreshments now they can. No-one has factored in the negative cost of alienating a large group of regular customers either. I'd love to see a cost/benefit analysis, assuming that the accountants have actually produced one. Linda
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