The Sitter In

Depressing reading indeed. That Nijinska’s Les Noces is not to be revived in its centenary year and given the company’s history with the work is nothing short of scandalous - does no-one at the RB recognise that the company holds precious works in the history of ballet? Corybantic Games instead of Symphonic Variations perfectly exemplifies the current state of affairs…The absence of triple bills (the company’s glory) is truly shocking. We all love Mayerling, but hand on heart, how many Rudolfs of the first water does the company have? I certainly don’t want people just to ‘have a go’, which seems to be the recent logic behind a lot of casting. Apart from the return of Cinderella (heaven be praised), this is a stodgy, uninspired and uninspiring season with long runs of works. If they think Woolf Works will fill the coffers better than a well-crafted pair of triple bills… just wait, not to mention the benefit to the dancers of performing Ashton, MacMillan, Balanchine rather than the appalling ***** ********. Oh dear, oh dear.

£19 each, £38 the pair.

It is so sad but unsurprising that ballet is not immune to this sort of behaviour - the statue topplers are many. Good for Norwegian Ballet, but there are rumours that Bayadère will not be appearing at Covent Garden any time soon…for the same reasons but, in an ever so British way, the debate is swept under the carpet. Anyone wanting to see RB dancers in Petrushka, arguably Fokine’s greatest masterpiece, will also never get their wish granted, it seems…don’t ditch the ‘offensive’ part, ditch the whole ballet.

Given 2023 marks it centenary…Nijinska’s Les Noces, perhaps one of the most remarkable works of the century. And while they’re about it, her Les Biches too. The RB has the finest and most authentic versions of these two extraordinary works, but the current management seems not to wish to engage with them. I can only hope and pray that they have their moment of revelation and bring them back to the stage, given some of the schlock we have had to sit through in recent seasons…

Dance Books has announced publication of Gerald Dowler's 'The Golden Age, Ballet in Soviet Russia 1917 - 1991', a 392 page hardback book including 64 pages of black-and-white illustrations. However difficult the Soviet era was for the peoples of Russia, its seventy-four years represented a true golden age for classical ballet. It was characterised by a wholescale repurposing of the art form from being the ‘golden rattle’ of the tsars to the most potent cultural weapon in the Communist regime’s armoury in its struggles with the West. 'The Golden Age' presents a detailed overview of the development of ballet in Soviet Russia, from its fight for survival in the early years after the 1917 revolutions through the political demands of Stalin’s rule, the shock of armed conflict with Germany and the onset of the Cold War. As the century progressed, Soviet ballet was not immune to outside influences hastened by the onset of cultural visits and exchanges; it also suffered the defection of dancers and ultimately opened up further with perestroika in the 1980s and the fall of Communist rule in 1991. Gerald Dowler sets the complex, shifting world of Russian ballet in its political and social contexts and explores the contributions of major choreographers, dancers and teachers in creating the phenomenon of what is celebrated around the world as 'Russian Ballet’.

As far as I understand, NO printed cast sheets will be available. They are already absent at opera performances and the staff (certainly the two I spoke to about it) are defensive and rude. Perhaps a concerted moan might get them to change their minds, as happened a few years back. To assume that everyone a) has a device to access, b) has the time and inclination to do so and c) would not prefer a printed cast list is another example of the ROH's arrogance and fundamental disregard for their patrons. One would think that charging the eye-watering prices they are (about £250 top whack for Rigoletto), they could manage to print a few sheets... but no. Did they bother to ask their patrons? No.

I have received an advance copy of the book which looks simply splendid. It is large, generously illustrated and packed full of Mr Crisp’s observations about all types of dance as well as some truly hilarious comments. A real treat. I understand the book will be sent out at the beginning of September to those who have ordered a copy - not long to wait!

“His craftsmanship pushes the boundaries and broadens the Hip Hop form, utilising real-life stories to explore and physicalise emotive themes relevant to today’s society, challenging proposals commonly used in Hip Hop dance.” Extract from an entry for Mr Toonga on xtrax.org.uk…. ideal then for the nation’s premier classical ballet company…

Whose Swan Lake, I wonder...

On the back of the Fonteyn Gala, Naghdi as Ondine and O'Sullivan as Chloe... Symphonic with revival of Nijinska - Les Biches AND Les Noces - to sandwich it. That programme was done years and years ago and was SO good.

What...no McGregor, no Wheeldon, no Marston, no Pita, no Cherkaoui on people's wish-lists? Wonder why....Perhaps the RB management should take note. My choice...Symphonic

I found Men at the Barre both trite and ignorant. Apart from the dreadful editing which at one moment had the corps for the ball in Onegin apparently going on for Beauty, it reinforced many a stereotype and tackled few. The programme maker clearly had no knowledge of ballet and hadn’t even read the Ladybird book. His questions were often uninteresting, his comments uninformed. To start the entire programme with a discussion of ‘what male dancers wear under their tights’ was crass to the point of being tabloid. To state that it is this generation which is challenging stereotypes and bringing the male dancer to the fore shows total ignorance - Anthony Dowell, David Wall, Irek Mukhamedov, Carlos Acosta, Johann Kobborg etc etc etc. at the RB alone. In search of a ‘story’, much was missed out. For anyone remotely interested, WHY is Muntagirov considered ‘the best’? Did anyone talk of technique? No. Artistry? No. Was the director of the RBS or Ricardo Cervera asked about the challenges of teaching boys for ballet? No. Did anyone look at partnering? No. The young men of the company all came across as charming and modest, and there were some telling ‘talk to the camera’ moments, but... This was a missed opportunity and an utter failure. One star from me.

Brilliant G&S skit from an obviously very talented individual:

The problems with the review are several: Firstly, it is written from a position of serious ignorance about the art form the writer purports to know about by virtue of the post she holds; more than ignorance, even, hostility, perhaps. Secondly, it displays the worst 'look at me' aspects of an immature writer (which she most certainly is not). Therefore the intention must be to offend and be gratuitous. Thirdly, it is a sad indictment of a national newspaper that dreadful writing of this sort can make it across the editor's desk. Fourthly, apart from the current flash in the pan it has caused, it is utterly useless as a record for future readers. All concerned should be ashamed of this review, which does nothing for dance criticism in this country, the standing of those who write or the paying readers of the publication which chose to run it..

It would be a pity if the use of 'the Wells' was lost - it chimes with 'the Garden' and 'the Coli' - old London theatrical traditions are easily lost and never regained! Re. the Wells itself - it is not ALL new: if you look in the auditorium, anything painted red (i.e. the balcony structure etc) is from the old theatre. Re. the water well - the glass covered 'well' is, I am reliably informed, a fake, but a real well under the theatre does still produce water which is pumped out into London's ring main. it it weren't the lower level would be under water!

Le Corsaire ticks all three boxes