loveclassics

I saw an Insight evening some years ago which featured the Mirlitons variation. In the RB version, Clara dances the contentious gargouillades and the soloist that night was having some difficulty with them. The coach (Chris Saunders, I think) advised her to think of them as a "shake your knickers off" movement which seemed to help. I still think of them as rather ugly but presumably more than just the SPF had to dance them originally. Or is the RB's version very far removed from the Ivanov original? Linda Just realised that my last 2 posts are about underwear but I promise I'm not a fetishist!

Talking of dancing on uneven surfaces, I noticed that the dancers of the Vienna Opera are usually filmed for the New Year's Day concert and they are frequently seen dancing outside. But sometimes they are dancing on concrete or paving stones in gardens or outside various famous Austrian buildings. Isn't that rather risky or at least painful in such thin-soled footwear as pointe shoes? Incidentally, I watched Ballet Heroes again and it did improve (a bit). I understand why the BBC wants to use Darcey - she's very photogenic and well-known - but would it cost so much to give her scripts written by someone with a little more insight? Deborah Bull, for example, always found something interesting and fresh to say about ballet but I suppose she is too busy these days. The BBC's objective is supposed to be to educate and inform as well as entertain but there was nothing in the programme to support the opening statement that male dancers are complicated and misunderstood. I'd have liked a great deal more detail about their lives and not just the obvious ones we were shown. As for the Morecambe and Wise dancing at the end, it reminded me of Armand's exit in Marguerite and Armand. I assumed M&W were attempting to mimic Nureyev and it was much funnier when they did it. I don't think a retired principal dancer should be expected to send up her craft in this lame manner no matter how good a sport she is. But the film about Nureyev's defection was excellent and I really enjoyed it. Splendid dancing from Artem Ovcharenko and plenty of drama. The detail about the KGB's control over the dancers and the struggle at the airport were well portrayed and the only thing that didn't ring true to me was when he was formally criticised at the Kirov for taking his shorts off and dancing only in tights. I thought that was Nijinsky? It could hardly have been scandalous in the 60's, could it? Linda

Nutcracker is now scheduled for 1:00 p.m. on the 25th. Linda

Hey what's going on? I've been away from this for a while (death in the family) and was surprised my little post caused this reaction. "Team" Polunin was a reference to David Cameron's famous tweet about the Nigella Lawson/Charles Saatchi breakup, that's all. I meant that I am not a particular supporter of this dancer - technically gifted though he undoubtedly is. I can't help thinking his real talent lies in attracting attention from folk like Daisypop84..... Linda

And I had to pay for the Olympics in 2012 though I have zero interest in sport!

I first saw Golding in the Dutch production of Wheeldon's Cinderella and thought he was perfect casting. He is technically excellent and that true rarity - a tall well-built male dancer who is masculine, easy on the eye and a natural for the princely roles. I think he has not been given the best opportunities to show what he can do at the RB which is odd considering that the company had no problems presenting a very similar dancer to his advantage. Does nobody else remember Michael Somes? It's the same with many actors - give them the right roles and they are stunning but in the wrong parts - OMG! Linda

I always assumed that a sugar plum was in fact an Elvas plum, a crystallised greengage from Portugal which is a Christmas speciality and still sold by Fortnum & Mason. But I think it is the SPF's partner who has the strangest name: Prince Cough Candy. I used to love cough candy as a child but it doesn't seem very luxurious or special. Linda

It's on iPlayer now and users of Sky+ can download it. Linda

Yes, the wig for Manon in the 2nd act does no favours for most dancers and can appear very aging. I saw Leanne Benjamin wearing it and it gave her a rather frumpy appearance and so much older than Lescaut's mistress (Laura Morera). It made a nonsense of the story since at that point every man on stage was supposed to be fascinated by her. Now Guillem always looked good in Manon but she was notoriously picky about all aspects of her costume (and most of the time she was right). I note that the same wig rules do not seem to apply to the male principals - for example the blond curls that Dowell sported in Month in the Country have not made an appearance recently on the heads of other dancers in that role. Linda Edited for clarity

It's the silver wigs for the SPF and her Prince that I dislike - I don't know if it's the lighting or their age but in many performances I have seen they just look grey and old. And those daft epaulettes on the Prince's costume are hideously unflattering, even on dancers over 6 foot. They always remind me of the 'major-domos' of 50's cinemas (younger readers: ask your parents!) Linda

No sugar-free options I see - tough on folk like me and a bit surprising considering the huge number of diabetics in this country. Linda

Thanks so much for posting this link - it really is a revelation to someone like me who has only seen SB in performance in the last decade. The last time I saw it I had to wonder about the original fairies because all of the ones I have seen seem to find the variations SO difficult. It's quite wonderful to see dancers performing them so apparently easily and happily. Makes all the difference not just to the individual performances but to the ballet as a whole. And I can't agree more about the slow Russian tempi. I won't name the RB dancer I saw in Swan Lake who dragged out the Act 2 pdd so interminably I practically lost the will to live during it, not to mention one Russian conductor (again at the RB) who took the Nutcracker Grand Pdd at such a slow pace it brought down the entire mood of the ballet from festive to funerial. The RB must have a huge archive of videoed performances from the past - why don't they use them as teaching tools, if not for the dancers then at least for the ballet masters/mistresses and repetiteurs? I wish the general public also had access to these recordings but I imagine that the Musicians Union has them tightly wrapped up in copyright. Linda

How dreadfully sad - so young. I remember her being promoted as the first of a new type of dancer: tall, willowy but athletic and I'm sure she paved the way for dancers like Bussell and Guillem to be accepted in the romantic roles. She didn't have the happiest time at the RB but I do hope they remember her and her importance. She was a great dancer but not for long enough. Linda

If they don't show the other pieces I will know for sure that the BBC hates ballet-lovers. Linda

Well it is Autumn - maybe the caterers are just being seasonal? That's what modern cooking is all about and they may know more about food than ballet. I suspect that may be the case with me as I certainly didn't pick up on the 'gay sub-text' despite reading Kavanagh's biography. I will re-read the book when I get a free moment but from what I remember of her descriptions of the men Ashton loved, I really cannot see any parallel with the characters in his ballets. All the 'heroes' in the Ashton ballets I have seen are curiously passive - people to whom things happen rather than those who initiate action. But sadly, I have not had the opportunity to see as much of his work as I would like and if the AD of the company most connected with Ashton is more interested in contemporary dance, there's not much chance for anyone now, is there? Linda Linda

Now I really feel my 60+ years! Yes, Dame Dame Beryl Grey was there but so were plenty of younger folks. I wasn't aware of any special offer - certainly not when I booked but I chose this date for the cast of 2 Pigeons and I wasn't disappointed. I too noticed the poor dancer having a bad night in Monotones I and it emphasised more than ever that Ashton's choreography is far, far harder than it appears. By contrast I loved Monotones II and it ended far too soon for me even though I find the music less engrossing than the Gnossiennes of the first one. Nunez and Watson were quite extraordinary together. Isn't it nice to see Watson NOT in apparent agony? I'm glad I saw 2 Pigeons, having only seen the final PDD before but I'm not sure I would go to any lengths to see it again. The gypsies make me feel a little uneasy too, but more because their costumes and place in the story are stereotyped. Even the music with its cod mazurka (?) sounded a bit tired but luckily we had the amazing Morera and terrific Hirano to liven it up. Hard for the two 'leads' to match but Muntagirov is wonder: fabulous leaps, gorgeous line and none of the flashy 'look at me' tactics so many male dancers are prone too (and no, I'm going to name anyone!). And from where I was sitting I thought his acting was pitch-perfect - natural, involving, nothing over-done. Sometimes I think the RB tends to forget that Ashton requires a very different, more restrained style than that of Macmillan's works. I thought Lauren was lovely in the last act but overdid the spoilt immature girl in the first - almost channelling Alice. But maybe that is partly Ashton's fault - a little of that bird wing-flapping step goes a long way. She is never less than delightfully watchable though and she seems to find it all totally effortless. I hope that the young soloists and artists in the first Monotones will eventually find a way to make their steps appear equally easy. All in all though a thoroughly magical evening and I left feeling happier & more optimistic than I have done for a long time after an evening at the ROH. Linda

Monotones is not the only Ashton ballet she refused to dance. She once said she would not dance in Fille because it was 'too difficult and too stupid'. I suppose she meant the chickens? Linda

I had booked tickets for a West End play some years ago which featured a very well known actor in the lead. When we arrived at the theatre and discovered the understudy was playing in his place, we were offered the chance to exchange our tickets for a future date. Seems a sensible solution and I don't see why the ROH shouldn't use the same policy when a guest star cannot sing/dance. But when a company dancer, not a guest performer, is off, it is a different matter as the booking conditions clearly state that casting is subject to change. There were some harsh comments on the old Ballet.co website when a company member with an international following was off for a very lengthy period recovering from injury yet still managed to make guest appearances abroad. But presumably her contract permitted this and I expect that few established dancers would agree to join any company unless they could take advantage of chances to guest elsewhere. Ultimately it is a matter of contract: unless there is a clause insisting that performances with the company take priority, the management can do nothing. It may seem to outsiders like having your cake and eating it: financial security and big company benefits plus lucrative guest appearances but given how brief a dancing career can be, I doubt it will ever change. Personally, I've always been lucky and have enjoyed some wonderful performances from dancers I hadn't initially booked to see. Linda

Dear Lisa, I do hope your GP is supportive and helps you find out what is really causing these unpleasant symptoms. You are much too young to have your life restricted in this way but with the help of a good GP you should be able to get a proper diagnosis and advice/treatment that will make your life easier. Just be persistent and eventually you will get there. It took me nearly 40 years but I am much older than you and I only recently had the help of a good doctor. But medical testing and diagnosis has improved unbelievably in the last few decades. It is truly astonishing what medicine can do now and it is very important to keep a positive attitude and not be palmed off with random medication. Don't be afraid of being thought a 'difficult' patient - you only have one body and one life so you have the right to question any treatment that doesn't help. Good luck - I'll be thinking of you and I hope you don't miss any more Swan Lakes! Linda

Do you suppose the blue light stops you from feeling sleepy? I notice that my bedtime is getting later and later now that I use the laptop mostly at night. Linda Ed: Just answered my own question by reading the link above. No more late night Solitaire for me!

Hi Lisa Sorry to hear about your fainting attacks - what rotten timing! My mother was suffering from sudden dizzy spells and it turned out to be atrial fibrillation. This is usually age-related (20% of people over 85 have AF) but a neighbour of mine who is only just 40 has recently been diagnosed with the same condition. Has your doctor mentioned this? I believe a non-invasive cardiogram is the usual method of diagnosis. Fortunately it seems to be very easily treated. Do hope you feel better soon but try carrying a little fruit juice in your bag just in case it happens again. It's what diabetics are advised to use as it can raise the blood glucose level faster than anything else. Linda

Do you mean the ghost of William Terris? He was the actor-manager who was murdered by a bit player at the Adelphi Theatre and he used to frequent the baker's shop which previously occupied the site of the station. He died in December 1897 and has been spotted and heard rapping on a dressing room in the theatre. He was also seen in Maiden Lane and in the control room and staff room of the tube station. Apparently he was seen so frequently there that staff refused to work until a seance and an exorcism were held in 1956 to identify and drive him out. But Covent Garden is thick with ghosts including the ones in the Nell Gwyn, the Theatre Royal & Rules restaurant. Ben Aaronovitch's brilliantly funny crime novel, Rivers of London, even features a ghost as witness to a murder in the porch of the actors' church, St Pauls. The book also features a riot on stage at the ROH so it's a must for lovers of opera as well as detective stories. Linda

Here's another spoof: http://www.thepoke.co.uk/2015/11/06/john-lewis-christmas-ad-2015-dark-side-version/ This really made me laugh - a good antidote to the original, which I agree is a bit melancholy and creepy.

I think Marquez is very underrated. She reduced me to tears in Giselle and that's a very rare occurrence for me. They did the Balcony pdd at a gala in Spain and I saw a clip of it on Youtube. it was every bit as good as their performances in Mayerling, Cinderella, Ondine etc. He also partnered Durante on a couple of occasions, when Mukhamedov was 'off'. I missed those performances but the reviews were excellent. But I agree that height discrepancies can be very distracting without any real chemistry between the dancers. In the ice skating world it initially caused a lot of controversy with some judges even saying it gave an unfair advantage, particularly in the lifts and thrown jumps. I always thought such 'one and half' couples looked like a boy and his little sister on the ice - most odd! Linda

In this article Polunin is quoted as saying: "For artists to feel a real emotion to your partner is very important". There have been comments on other threads about the importance of chemistry between dance partners but many of the best dance partnerships have been strictly on-stage relationships. They haven't needed to overlap into real life to be convincing, which is probably just as well for all concerned. When real relationships break up they often have a negative affect on careers with one dancer feeling obliged to leave the company. i agree with Nina G. There are times when Polunin sounds like an amateur and not a true professional. Linda