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  1. To be honest, as long as she isn't given the Nunez treatment after this season (which means overly-featuring a dancer in almost every big classic in back-to-back-to-back seasons), I'm fine (for now) with her being given the two big cinema screenings this upcoming season. She tends to be injury-prone and is already in her mid 30s. So, she doesn't have that much time left to wait and wait to dance these big classics in the cinemas. The time is now, especially with the younger three principal dancers on her heels. I will also add that I think it's a shame that a thread was dedicated to Cuthberston being given the crux of the classics (which I admit I'm still iffy about) as opposed to others when she has been absent from many of the past seasons' classical cinema relays. Perhaps that's because she doesn't have as many fans as other dancers, which can explain why she is receiving the short end of the stick? Maybe that can also explain the inconsistency of some...
  2. Also, Hayward recently performed in the Despertares event and danced in Tarantella. If you want to see, just go to 2:27 in the link below. https://youtu.be/uT6VsUf-cX0
  3. I can actually identify with Hayward's sentiments. I'm half-Turkish and half-black-American. But I identify primarily with Turkish culture, and never identified myself by my skin color or saw myself as a color. That's what having a Turkish mother will do to you! Ha. Turks don't care much for ethnic differences given the heterogeneous population in Turkey but rather culture given their very culturally-based nationalistic sentiments. In fact, in Turkey, even if only one of your parents is Turkish you will still be accepted as a Turk. Can't say the same for America who adheres to the one-drop rule regardless of your light coloring or more "European features." Indeed, living in America will eventually force you to understand that although your colorblind, the society there isn't. While in the UK racism may be more subtle, in America it's very blatant institutionally yet covert culture-wise (quite a weird combo!). As a result, Americans are much more race conscious and conscious of discrimination, and are thus likely to see Hayward's accomplishments as one of the black race. After all, in America's eyes, she is just black (which is in fact odd for mixed-race Americans because most black Americans are between 75-85 percent black. So, funny enough, if you are mixed you'll end up actually being more of your non-black parent). Anywho...Sorry for my rant!
  4. I lied! I'll say one last thing....if he is never going to be shown in the cinema showings as the male lead in the classics, why did KOH ever promote him in the first place given his age? Seems odd. I honestly don't know how some of these dancers stay motivated in the face of what looks like "favoritsm" (same goes for those who are hardly featured this season, particularly the two dancers that have already been mentioned by others). Good thing I'm not a dancer! Lol
  5. Regarding Hirano, I should have clarified (ha!), what I meant was like in Don Quixote, Swan Lake, Sleeping Beauty, Giselle....things of that nature. I've always thought he had a nice regal presence on stage. Oh well...seems I'll just have to accept that Muntagirov will likely keep dominating the screenings. Would love more diversity on the male part (although perhaps KOH feels that there aren't that many options as I suggested earlier?) Oh well...won't continue to harp on it further.
  6. Just curious, when was the last time that a first soloist danced the lead role in one of the major classics? Interesting that it was given to Bracewell over a principal. In fact, is there a reason Hirano is rarely given the lead role in the major classics for the cinema relays?
  7. Apparently there is supposed to be one commissioned for Osipova this upcoming Fall by Opus Arte, although I'm not sure if it will include both of her Bolshoi and Royal Ballet performances or just the latter.
  8. Yeah, isn't she about 35 years of age? By this time, she should have already gotten these ballet screenings under her belt. So I can understand why there was a pressing need to cast her in both now especially when we take into account the pressing need to cast the three younger principals in these screenings in the near-future as well.
  9. On a flip side though, Nunez has gotten a fair share of the big classics back-to-back over the past 2-3 seasons (Giselle, La Bayadere, Swan Lake, Sleeping Beauty, Nutcracker, and now yet again the Christmas "special"). So perhaps it is a bit unfair that Cuthbertson being cast in just 2 is garnering more immediate criticism than the former (although I'll admit I've criticized both scenarios). I suppose in the grand scheme of things, her getting both screenings isn't THAT bad especially given her absences over the years.
  10. Just to stir the pot a tad further (ha!), I actually don't mind the presence of Hallberg as of yet because I still think the male section of the company needs some work. I, for one, don't think RB's batch of men are where they need to be just yet on versatility, technique, and developing a presence on stage in the classical repertoire (although it shouldn't take that much more nurturing to get them where they need to be). Perhaps that's why KOH always has his eyes set on Muntagirov in granting him live screenings and opening nights? He seems to be the only one who has it all in the pure classics (although I admit, he needs to work alot on his acting in the more theatrical ballets).
  11. Just now realizing that Lamb isn't cast in anything so far for the winter? Or maybe my eyes are deceiving me...
  12. Although I love Cuthbertson, when was the last time she danced Odette/Odile for a full season? I was hoping it would go to Lamb seeing that she has yet to be cast in a cinema relay for Swan Lake (or perhaps she has?).
  13. I must be in the minority that actually loved Jennifer Hudson's take on it. What I find quite off-putting about the CGI is how un-uniform the face looks in relation to the rest of the body. Not appealing whatsoever even for Francesca. Looks like they didn't have the budget for great graphic artists. But perhaps its unfinished -- although based on the recent ineffectual efforts to create promising CGI by even a massive company like Disney in their live-action remakes, I shouldn't expect much. Sidenote: I wonder if the film's high-profile means Francesca might seek a new path in the arts and her personal career (in terms of not just focusing on ballet)? She did mention in an interview that she doesn't want to be bogged down by just performing at the Royal Ballet like some of her peers have done. I think Nunez is a good example of this given the traditional, "cookie-cutter" path she took and her utmost "allegiance" to the company throughout her entire career (not that not being restricted to the Royal Ballet means otherwise! Certainly not for me!). Perhaps we'll see more of Francesca in future films? She might be a promising actress for the cinema.
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