FionaM

12 hours ago, bangorballetboy said:

hooray! I was wondering when someone would actually say this!

I shall be more brave ... I REALLY like the new calendar view 😉😂

https://www.roh.org.uk/calendar?date=2020-01

On a positive note  .... I do like the new calendar view 

I’ve had tickets returned by dancers too at last minute - back row of Donald Gordon tiger.  Excellent view. Not cheap 😉

I enjoyed this, having been waiting so long ..... as there is not a Curzon within reach of me!

I like the realistic setting very much, although I agree the dancers were a bit cramped at times .... by the fountain for instance.  Most of the time I liked Michael Nunn’s and William Trevitt’s choice of close-ups and angles.

I thought all the principals were very good.  It was good to see William Bracewell’s fluid dancing as Romeo.  I can see why he was cast.  Matthew Ball was completely convincing as Tybalt.  I liked the idea to have Marci Sambe dancing both the lead mandolin and Mercutio, else he doesn’t get much dancing.  And he is really, really good!   I also enjoyed the movie for showing much more of Benvolio’s participation than gets to be seen on stage and James Hay’s eyes flashed meaningfully.  

However I was disappointed to miss much of Francesca Hayward’s dramatic acting due to the net curtains, pillars etc in the bedroom scenes, and later due to the bars in the crypt.  She is such a perfect Juliet.

Interestingly I didn’t miss any of the dancing or scenes that were cut.  Hmmm, I wonder if they are strictly necessary on stage either. 

However ... I would have much preferred to view this on the big screen, as TV doesn’t ‘pull me into the action’ in quite the same way.   I do hope it will screened nationally, and internationally too, at some point. 

21 hours ago, Duck said:

John Neumeier's Beethoven Project premiered in 2018. A performance in Baden Baden in Oct 2019 was recorded and is now available online until Mar 2020.

 

About the work

https://www.hamburgballett.de/en/schedule/event.php?AuffNr=159437

 

Link to video on demand (I hope the link works outside Germany)

https://www.ardmediathek.de/swr/player/Y3JpZDovL3N3ci5kZS9hZXgvbzExODU0MTQ?devicetype=pc%2F

 

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

On 29/12/2019 at 23:32, SugarPlum2000 said:

Hi, 

a friend and I are planning on visiting London at some point through January and are hoping to see a performance at the ROH. However, as the trip is for university interviews and the university  have said that they would provide the final details in the new year, including the dates, we are unable to organise tickets just yet. How easy it is to buy tickets last minute? I know from previously going through the uni interview process that sometimes dates can be given as little as a week in advance and I would worry about not being able to get tickets that late.

In the past I have always bought tickets months in advance so this is very new territory!

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.

Just now, FionaE said:

 

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 !

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

2 hours ago, zxDaveM said:

 

hang on - no doubt a fan has paid good money for those (possibly more than they would normally afford), so there is no need to be disparaging about it. Its nice someone made the effort

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 !

30 minutes ago, MrsBBB said:

My turkeys of the year: most disliked piece was Balanchine’s Stars and Stripes, I hated every second of it.  Most disliked performance was, yes him again, Polunin in the Gillian Lynne tribute. I hadn’t seen him in years & certainly wouldn’t book one of his shows. 

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.  

Just now, Tango Dancer said:

For me it would be Matthew Bourne's Romeo and Juliet.  I know it got good reviews but I hated it.  I hated that I couldn't tell the people apart because they all dressed the same so it was impossible to identify who was who or build up any feeling for any of them..  I hated the fact that the ending made no logical sense to me. 

 

I liked some of the ideas but found the delivery rather a letdown.  I think Matthew Bourne has done some amazing pieces of work but I don't think this is one of them.  Apologies to anyone who loved the piece.  One of the people I saw it with loved it, but I'm afraid it wasn't good for me. 

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!

5 minutes ago, Jan McNulty said:

You asked me if I found the information you provided useful.  I answered truthfully that I didn’t.  

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

1 hour ago, Jan McNulty said:

 

 

Sorry, no I didn't.

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!

52 minutes ago, Jan McNulty said:

 

 

Sarah Crompton is a respected dance critic who is entitled to her opinion just as much as the rest of us.

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.

47 minutes ago, Fiz said:

Claudia Dean went home because her mother was fighting cancer and subsequently died. She left because she felt she had spent too much time away from her family. Then she took up teaching. The two cases are not comparable.

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.

3 hours ago, Sim said:

She did, and in every performance.  

Yes, indeed.  Quality and reliable dancer on many occasions 

2 hours ago, Fonty said:

Talking generally about wobbling in arabesque, in the Prayer solo, (or indeed in any solo that requires prefect balances) it must be a nightmare for a dancer who, for whatever reason, doesn't get the balance quite right the first time and then fails to nail it the second time.  What pressure there must be with a third or fourth one looming over them.  While it is annoying for the audience to see a less than perfect performance, it must be a ghastly experience for the performer.  .  .   

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. 

2 hours ago, Sim said:

It sounds like you are consigning her to the character roles already, FionaE!  I am sure she has many more purely dance roles to come.  I don't think one slightly off performance shows a lack of confidence;  she might just have been feeling a bit unwell.  She had after all been replaced as a peasant girl, indicating something not quite right.  I have admired her dancing this whole year and was delighted when she got her well-deserved promotion. 

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. 

6 hours ago, Sim said:

I agree Bridie.  I find Hinkis’ arms leaden and her dancing lumpen, especially in the classical roles.  Yesterday I felt so relieved when Romany came on as Prayer. A lovely, natural ballerina and always graceful, with beautiful line and such expressive arms and eyes.  Perfect technique is great, but it’s not all that matters.  

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.