FionaM

Thank you . FYI on demand link is working for me (UK)

There are often returns in the last few days before a performance that was previously sold out. You just need to keep refreshing the availability page regularly and you will get something. I’ve had lots of tickets 2-3 days before that way.

Are there rules at the ROH about onstage bouquets? I’ve never given one there before?

Please don’t misunderstand. I was not disparaging the size of the bouquet, only that there seemed to be only one. I am wondering why no other folks have bought bouquets for Mayara’s debut ...... and making a note to myself to do so in future. At a show in Zurich that I attended recently, the promoters of the event bought enormous matching bouquets for all 5 main protagonists (male and female) which I thought was a great idea. Flowers for all !

Sergei Polunin’s ‘Take Me To Church’ got the biggest applause of the night .... as mentioned by Peter Land. I guess his dancing style is no longer to your taste.

Interestingly I was sure I wouldn’t like the MB R&J, having been just 48 hours earlier to see the wonderful new R&J by Johan Kobborg for Alina Cojocaru and Sergei Polunin in the Arena Di Verona. 10,000+ audience! That was very emotional. But I found I did like Matthew Bourne’s R&J especially the lovers pas de deux with their heads joined. Very clever. And his group dances are always theatrical and musical. The only thing I didn’t like was the gay couple (Mercutio and Balthasar), I thought it an unnecessary add-on. But perhaps in this world where gayness is not widely accepted even yet, perhaps it’s up to people like Matthew to keep being inclusive.

Wonderful photos Rob. I would like to see better bouquets for debuts. My New Year’s resolution .... next one I attend. Bloomsbury Flowers be ready!

I think it would best if someone else moderated this chat, if you cannot be honest about your intention.

As a moderator, that comment is beneath you. It’s rude.

The emotion captured in this photograph is amazing ....

Rapturous applause from these performances at Zaryadye Hall, two on 29th December and the third today 30th December. Another great show for team PoluninInk to tour. The Hall and Sergei himself allow recording, only requesting audience to turn the sound off their devices, so you can find many videos on social media. Ross Freddie-Ray McCaw - graduate of RB School - deserves plaudits for his story telling and classical ballet choreography. I hear the show is great, and not only from Polunin fans!

Indeed thank you for reminding me! Interestingly, Sarah Crompton does also positively note his contribution to the move ‘The White Crow’. So that’s something to be thankful for. Anyone willing to comment on the worldwide bookings, sold out theatres and obvious success of RASPUTIN outside Sarah Crompton’s experience? Personally for me it could do with some tweaks to the choreography. All choreographers (the greats included) tweak their creations on subsequent performances. Also, I note that the show has changed from a dance drama to more of a narrative ballet, now that a Vaganova-trained ballerina, Ksenia Ryzhkova (Principal at Stanislavsky, Bavarian State Ballet and now at Zürich Ballet) has taken on the Tsarina role. I hope you find this information useful.

I wasn’t suggesting they were comparable, just that life has many different turns for people. I certainly lament that Claudia didn’t return to professional dancing. I loved her performances and felt she should have been promoted earlier. If she had been, the outcome may have been different.

Yes, indeed. Quality and reliable dancer on many occasions

Indeed. It must be an awful feeling. On top of trying to do a decent job and not fall over in the actual performance, there must the thought in your head of ‘I’ve been given this chance and if it goes wrong, I might not be given another’. The mental challenge is as a tough as the physical challenge.

The turkey of the year is awarded by The Guardian to Sergei https://www.theguardian.com/stage/2019/dec/30/sarah-crompton-best-dance-of-2019 In this article, Sarah Crompton says: “Polunin emoted badly in Rasputin, which didn’t show a fraction of his once glorious classical technique. His fans don’t care, but I do. It was a great waste of his talent.” Actually she wasn’t looking closely enough. There were plenty of barrel turns, double tours and pirouettes at fabulous speed, height, placement and finish. Yes they are partially hidden by costume ... trousers rather than tights .... masking what he is doing. Anyone can find them on YouTube. Sergei would seem to be more interested in storytelling than displaying his technique. He is not a gala “show pony”. (Thank goodness). And this journalist obviously didn’t go to Verona to see his wonderful technique and acting skills on display in that fine Romeo and Juliet. So it boils down to it being her own selfish lament that he is wasting his talent. How is it her decision to decide what he does with his career? Claudia Dean left to teach. No doubt there are many others. He’s not the first to choose to do something different from staying with the Royal Ballet.

Oh dear! Whatever I say will be dismissed as me being one of those ‘blind fans’. I am wholeheartedly a fan of what he is trying to do. Regarding RASPUTIN perhaps the proof is in the facts of subsequent performances .... 1. Performances in Zurich (2) in November 2019. Both SOLD OUT 2. Performance in Tashkent, Uzbekistan in November 2019. SOLD OUT and outdoor screens erected for extra viewers. 3. Performances in Hong Kong in February 2020. Already SOLD OUT 4. Performance in Parma in May 2020. Practically SOLD OUT 6 months in advance! (only restricted view remain ... it’s a beautiful old theatre with many blind spots). Further performances for 2020 have been announced in the last few weeks for Milan (3) in April 2020 Singapore (3) in May 2020 Israel ... in the huge Caesarea amphitheatre in May 2020 A further performance for March 2020 has been announced only today, to be the huge auditorium of Crocus City Hall in Moscow and that will be the first to be performed to live rather than recorded music. As we all know, the cost of a live orchestra is substantial and is often unaffordable by small companies. So this is a real sign of financial strength of his company. Perhaps these audiences and theatres prefer to agree with Graham Watts’ review of Rasputin at the Palladium which is entitled “Polunin is Rasputin: a titanic, totemic performance at the Palladium”. https://bachtrack.com/review-rasputin-sergei-polunin-london-palladium-june-2019 My only real pain in all this is that the dismissive nature of many UK journalists regarding Sergei Polunin may mean that some UK theatres will be reluctant to book him and so he is even less likely to dance anything here, and that will be a real loss for me and others who would like to see what he is doing now.

Of course I was not consigning her to character performances quite yet! Although I am glad someone else pointed out her portrayal of the Nurse in R&J which I had also noticed. Not everyone is destined to become a principal and it is probably already too late for Romany. Having said that she has a number of years to be a fine soloist, and possibly get a chance at some principal roles.

Well I am going to upset some people, but this is my opinion. It’s not necessary to agree. Perfect technique is the aim of all dancers .... but rarely accomplished! I’m at the head of the queue in preferring dancers with good technique and impressive expression, over those with great technique and limited expressive qualities. The last are not much use, except as gala ponies. And don’t get me wrong I usually admire Romany. However IMO a soloist at a company of this level should have such a good and solid reliable technique that technical glitches are minor. In my opinion an adage movement with raised leg held only at 90 degrees a la seconde and with significant wobbles whilst raising it there and then pivoting to arabesque, does not cut it at this level. This same move was repeated as poorly another two times. Dancers should be able to correct the error on the next repeat. One poor move is fine, three is not. Both Gina SJ and Annette Buvoli managed these moves and the whole role much better. A lack of confidence can completely eat away at a dancer’s performance. I do hope Romany can regain hers. Either way, she will make an especially fine character dancer.

Apologies for the g not k in Meghan’s surname. Autocorrect 🙄 that I didn’t check before submitting

Double show day for me at Coppélia yesterday..... what a treat! I loved Anna Rose O’ Sullivan and Marci Sambe in their debuts in the matinee. Both were bouncy and comic and fun, and used their accomplished technical skills well. They are a super partnership and obviously have a great rapport which added to the fun of their performance . Good to see Lauren Cuthbertson and Alessandra Ferri in the audience supporting their colleagues. My ex-Principal dancer friend (and experienced Swanilda) did think AR looked a little nervous early on. Not surprising on a debut where you are pretty much on stage and required to hold the audiences attention for long periods. I rather liked Philip Mosley’s limping Dr Coppelius. He was comic rather than grumpy. Good job. I also liked Bennet Gartside’s version in the evening. I’m going to be unpopular and say that I found Gary Avis’ version too busy/fussy in the cinema screening. Hopefully he’ll settle into it and calm down after a few more performances. In the evening, Yasmine Naghdi was superb as Swanilda. Streets ahead of Marianela. Is there anything Yasmine cannot do? She seemed to have oodles of time for all the technicalities with delicious held balances and slow developpes. She was hilarious in her portrayal and clear (without hamming it) in her mimes. And great musicality too. She and Matthew Ball also have great rapport and he gets away with being naughty, as he’s so cute. The supported promenade en pointe going around 3 times in increasing height of arabesque leg was superlative. I do not understand the adulation for Matthew Ball from the audience. His solo was poor. It was the same in his Don Q that I saw not so long ago. He cannot do the technicalities of either of these solos to the level of other principals , or indeed to the level that many other RB soloists/artists could. The panache which he delivers brilliantly, cannot hide his lack of ability. Vadim, Marci and Cesar can do these solos beautifully. I’ve seen all of these 3 in Coppelia. I expect (but haven’t seen) that Steven McRae and Alexander Campbell could too, as I’ve seen their Don Q’s. I’ll be avoiding Matthew in these roles. He should stick to the dramatic roles and modern choreography which suit him and which he does perform so well.

Glorious supporting solos from Mayara Magri as Aurora and Gina Storm-Jensen as Prayer on Saturday evening. Mayara was so fluid and soft on top whilst mastering the tricky speedy footwork. Gina created a dreamy aura as Prayer ... beautiful hands, luxurious and controlled adage. Their mastery of these difficult solos highlighted how poor the matinee performances had been. Meghan Grace Hingis (Aurora) tries too hard to be bright and sparkly and is consequently too sharp and brittle. It’s uncomfortable to watch. Poor Romany Padjak (Prayer) had a nightmare performance and barely held the adage movements and then her leg was hardly at 90 degrees. And her whole body shook when bourree’ing. I’m sure she’ll have been very upset by this performance.

The full cast is announced for the premiere performances .... December 29 and 30 at Zaryadye Concert Hall in Moscow