FionaM

5 hours ago, redshoesgirl2 said:

Elena Ilinykh is polunin's current love. i was wondering if he was going to try to make her into a dancer off the ice. it is rather amusing she is billed in appearances as ice dancing champion in sochi, but actually she and her partner came in third. she is pretty good and very dramatic. but they were not the champions, that would have been the americans davis and white.

Yes, as part of a pair she won the Bronze, (there are no solos in ice dance) but the team she was also part of won Gold.  

Graham Watts has written a review that reflects my experience of the 2 performances of Rasputin that I attended, so I won’t repeat the same details.  

In my opinion, it’s quite an achievement for a 28/29 year old to commission a choreographer, a composer, haute couture costume designer and a set designer plus dancers, with no established company and funding sources, and to bring it to London to a huge venue such as the Palladium.  What an opportunity it has been for all these young talented people to participate in producing such a good show.  They must be feeling ecstatic.  We should applaud the effort and achievement.  Imagine the pressure on Sergei to pull this off.

(By way of contrast I note Matthew Bourne’s new R&J is touring the UK for 3 months getting tweaked, revised and bedded in before appearing in London.)

I wish Team Polunin well for their next venture - Romeo and Juliet with Sergei and Alina Cojocaru in the main roles.  Choreography by Johan Kobborg, who will also play Tybalt, I believe.  In the vast Arena di Verona - how appropriate, ‘in Verona we set our scene’.  The set design ideas are looking interesting already (see Johan’s instagram).

Back to R&J.  I too saw the Osipova / Hallberg performance on Saturday.  Osipova was an outstanding portrayal in all acts.  Hallberg could not match her, until the final odd in the tomb with her supposedly dead body, which was absolutely spectacular and believable.  David Hallberg’s technique does not seem to be what it once was and I thought he was outshone by Hay as Mercutio dramatically, and by Calvin Richardson as Benvolio technically.  

Is Benvolio usually a trainee role for future Romeos?  If so, I’d be excited to see Calvin do it, though he could do with trimming the floppy fringe!  And he is on the tall side.  We know the RB needs some more tall princes..... watch this space!

24 minutes ago, alison said:

 

It's sort of a jump up with both feet together and pointed, two turns in the air (if it's a double), and then land, hopefully cleanly, although frequently fudged, in my experience!  Or something like that, anyway.  I'm sure someone else will be able to give a more technical explanation  

I believe the discussion is about double tours en l’air, which is a man’s jump where he takes off vertically from 5th position, with both legs together, spins twice in the air and lands back neatly into 5th. That’s the theory!   In practice, very few men can actually do it without fudging both the take-off and landing - but as it’s so quick we don’t see it.  Probably the cleanest at the RB at double tours is Marci Sambe.  A very few can attempt triple tours (Polunin, Sarafanov - but they are also fudged).

2 minutes ago, penelopesimpson said:

Okay, I didn't go, but this critique echoes everything I had suspected.  Self-indulgence, fan worship and control disguised as great dancing from a great dancer. It wasn't and he no longer is.  That's it. 

 

Sad doesn't even begin to tap the edges.  If only this mega-gifted young man had had the wit to understand that creative personalities so often need a dose of practical common sense, combined with a work-horse attitude.  He could have had it all for a few years and then, perhaps, gone on to create something that truly did span the bridge between classical ballet and popular dance.  He has ended up failing on all counts and I don't say that as someone addicted to ballet in its strictest sense.  Was there no mentor who could have instilled some self-discipline?  He makes much of his need for independence but this is surely a sham.  He is delivering a watered-down version of what his dancing used to be and presenting it as 'new.'  I am sure there is a marketing term for this but the only one I can think of is fraud.

Did you read Graham Watts’ review?

4 hours ago, maryrosesatonapin said:

My partner chatted to the Australian sound-man who was quite insightful about the experience of working with Polunin (whom he said is really different in person from his public persona) and he said they weren't expecting anything other than scathing reviews.  The Guardian review (with which I largely agreed except that it seemed to want to ignore the finer aspects of the performance) put the reason why in a nutshell:  'A world away from the norms of British ballet.'  Yes, there was very little 'normality'

 

Yes, do not go expecting pointe shoes and men-in-tights.  It is contemporary ballet.  And therefore the focus is not on the shape and placement of his legs etc, but what he can do as a dramatic artist, yet still with tremendous technique.  

There is much talk of the flying push-ups and skating-style layback spins as well as the usual ballet tricks, which he can do so easily.

If you do want to see what good shape/form he is in, I refer you to the recent live performances of Take me to Church and Acteon in Sevastopol (April 2019) and at The Bravo awards in Moscow (March 2019).

Back to Rasputin in which Sergei has commissioned original work (choreography, music, designs, costumes, lighting, etc) so that others can have their talent appreciated.  It will possibly surprise you to hear, that he was extremely humble in curtain calls at the Palladium, always stepping back from the line of participants (dancers as well as collaborators) that in the end the others had to push him forward to accept solo applause.  Despite doing the lion’s share of the dancing. 

Oh, and I loved the music.  

Thank you Graham Watts

https://bachtrack.com/review-rasputin-sergei-polunin-london-palladium-june-2019

On 01/06/2019 at 19:27, bridiem said:

 

Oh for goodness sake. If it came to the absolute worst, it would be better for the evening performance to start a few minutes late rather than to curtail deserved curtain calls.

Maybe because the evening performance was an early 7pm start?   But I agree the management should prioritise the artist-to-audience experience (that’s the main point after all!) and arrange start/end times to accommodate prolonged curtain calls.  

4 minutes ago, penelopesimpson said:

 In any case, I carry too much weight and he might slap me.  

Again you misunderstand him - it was a metaphorical slap reflecting his concern that so many people are overweight. I know I am (!) and have been encouraged to exercise by his comments.  

Heartfelt thanks to the supportive commentators here and in my personal messages.  Without those I wouldn’t be bothering to write.

I don’t think many on this forum HAVE ANY IDEA what Sergei is achieving with his current dance programmes.  You do have to change yourself and your perceptions, before you can be open to understanding what he is doing.   If you are looking for the pure classical ballet of his years at RB or Stanislavsky then you will not get that.  Don’t come expecting it.  It’s dance based on ballet technique.  

As an aside, are you aware of his many years of classical ballet brilliance at the Stanislavsky?  From what I read on here I doubt it.  IMO many of those performances were far more perfect than his younger days at RB.  I recommend you watch the many clips on YouTube of him in Don Q, Coppelia, Giselle, Swan Lake, Nutcracker, La Bayadere at the Stanislavsky or guesting with the Bolshoi and La Scala.

Back to this week at the Palladium.  You’ll be pleased to hear it was another near full house, and, standing ovation tonight (Thursday).  I’ve noticed principals and dancers from ENB and RB attendees at the shows I’ve seen so far.  

NO ONE ELSE gives the audience the emotional experience that he can and does.  He is also an incredibly hardworking dancer - 6 performances in 5 consecutive days where he is carrying the entire show.  And this format has been repeated in Prague, Moscow and elsewhere.  Even principals in your usual classical ballets (can’t?) don’t do that.

It’s my view that he may well be the misunderstood mentally fragile case aka Nijinsky or Yuri Soloviev of our times. (Google Soloviev if you haven’t heard of him).  In which case I want to make sure that I see and experience everything he does before he implodes.  And if not, then I look forward to many years of fascinating performances feeding my soul, making me think and marvel.

He does have a very supportive group of friends and colleagues around him now.  He is commissioning very interesting works with all sorts of creative people.  I am hopeful for his future.

He is a wonderfully caring man for any woman - you can see how he supports his dancing partners with a lightness of touch.  Use slow motion - you’ll see.  And oh my word he expresses himself through THE most beautiful hand movements ever in dance.  

You can choose to believe he is homophobic from some of his Instagram comments.  If so, you haven’t read them properly.  He was talking about male and female energy, and used Elton John as an example of male energy on stage.  There are earlier comments he has made which were supportive of LGBT people and which some have chosen to ignore.   Just one question to consider - if he were truly homophobic how could he have collaborated on projects with gay people and have gay friends.

It is not morally ok to label someone immoral just because you have different beliefs, or don’t like tattoos, or their choice of tattoos.  Many young people in the UK now have tattoos.  It’s a fashion.  And they are often chosen to provoke - it’s the ‘up yours’ culture.

I don’t even notice the tattoos when he dances  (in Sacre he wears a jacket and a T-shirt so there’s not much to see).   I’m focused on the artistry, the emotion, the use of the body and of course the technique.  He fills the stage and auditorium with his portrayal.  It’s unexplainable.  You either get it or you don’t.  

Oh, and his technique is still fabulous - the jumps, the turns, the soft landings, the perfect 5th positions - and oh the height of the jumps.  It’s the combination of ALL these things that make him so wonderful to experience. 

So excited for the Rasputin premiere tomorrow.  

2 hours ago, maryrosesatonapin said:

At least your post hasn't been deleted, FionaE, as mine seems to have been.... 

Really?  What did you say?!

2 hours ago, penelopesimpson said:

Oh Fiona.  Why chicken out now?  Do you honestly think there is anyone on this forum who would not be delighted to hear that Sergei was, once again, the exciting, accomplished dancer we all remember?

 

I don't think anyone has shown you antagonism.  Personally, I've praised the way you show Mr Polunin such unconditional loyalty - even though I believe that unadulterated hero worship is bad for any serious artiste.  I wonder if you are not prepared to submit a review because, as a ballet person, you know just how bad things are?  Go on, be brave!

 

The reviews speak for themselves and I suspect, given the numbers of empty seats, Sergei is losing support.  Yes, he may stagger on for a few more years yet, but the bad boy thing is merely tedious now and his loose connection with ballet and faltering technique may signal the end.  

It is precisely this kind of response that has alienated me (and others).  

Just one thing to clarify the mis-information stated here - the auditorium was almost full yesterday - all 3 levels.  

1 hour ago, alison said:

I guess that depends on whether someone is brave enough to own up to having gone to see it, given what's been said here.

Given the general antagonism shown to me here (never mind to Sergei and Johan and company) I won’t be sharing my opinions.  I’m sure many of you are thrilled.  

Suffice to say there is a spare ticket (mine) for the ROH insight talk tonight for Matthew Ball if anyone would like it.  I’m going to see Sergei’s show instead.

Four stars here

https://dancedispatches.com/sergei-polunin-mixed-bill-including-sacre/?fbclid=IwAR3rDYXjiOIA4sk7MYyZIkuTwZ3WTohM3lOaVofJpNXuWrrlO3wf1YWwPSI

On 28/05/2019 at 19:17, Estreiiita said:

I'm going - but somewhere on the previous pages in this topic I've already mentioned that. That is, some people are going (I believe, Fiona is going as well). To say the truth,  the main reason of my visit to London is to see Natalia Osipova in "Romeo and Juliet" and San Francisco ballet (I miss our Ulrik Birkkjær), Polunin's show is an extra "bonus". I'm very interested in his dancing  (and I'm expecting to see some dancing). 

Actually I have the tickets to the Grand Circle of Palladium, so it's interesting to see if I'll be relocated somewhere. The London Palladium sent me a nice mail clarifying how to get to them, etc., but without mentioning the possible relocation to Royal Circle or Stalls.

Both of the first two nights the grand circle  was open and pretty full. (I was there last night.). So you may not get an upgrade!

5 hours ago, Estreiiita said:

I'm going - but somewhere on the previous pages in this topic I've already mentioned that. That is, some people are going (I believe, Fiona is going as well). To say the truth,  the main reason of my visit to London is to see Natalia Osipova in "Romeo and Juliet" and San Francisco ballet (I miss our Ulrik Birkkjær), Polunin's show is an extra "bonus". I'm very interested in his dancing  (and I'm expecting to see some dancing). 

Actually I have the tickets to the Grand Circle of Palladium, so it's interesting to see if I'll be relocated somewhere. The London Palladium sent me a nice mail clarifying how to get to them, etc., but without mentioning the possible relocation to Royal Circle or Stalls.

Very good to know at least 1 other person from this forum is going 🤗

Interesting that no one on this group has responded to me that they are going to see any of Sergei Polunin’s shows this week. 

I wonder, is that because interested people are too intimidated to respond here, or that they have long since given up on this group. 

On 27/05/2019 at 11:06, FionaE said:

 

Ah that’s interesting, I didn’t know the grand circle was closed.  So yes I will have overstated from what I could see.  What happens to those people who bought tickets there?

The grand circle has been reopened, at least for tonight

14 hours ago, penelopesimpson said:

Fiona:  Maybe you could persuade Sergei to talk about dance?  

 

As for going to his latest venture - I'm washing my hair that week.

I think it’s interesting to note at the press announcement for Rasputin in Moscow that all the questions from journalists were about the show, EXCEPT from the British representative.

So it’s a 2-way street, maybe the powers that be on here could persuade the British press to talk to Sergei about dance?

7 minutes ago, bangorballetboy said:

 

That’s an interesting estimate, and that you say you’re estimating low.

 

Take-up of tickets is so slow that the grand circle is closed, so that reduces the capacity of the theatre to 1,640. Six shows means a possible capacity of 9,840. The first night is quite well sold in the stalls (but not so well in the royal circle). The other shows are, give or take, about half sold. So I’d say he’ll be lucky to have about five to six thousand tickets sold when the shows go on (ripe for tickets at TKTS!).

Ah that’s interesting, I didn’t know the grand circle was closed.  So yes I will have overstated from what I could see.  What happens to those people who bought tickets there?

Is anybody on here actually going to see his shows?  

Or is it only me?  And the 8,000+ other people (I am estimating low, as I don’t have access to accurate figures) who have bought tickets to this week?

6 minutes ago, Fiz said:

https://www.dailymail.co.uk/femail/article-7072739/The-one-lesson-Ive-learned-life-Dancer-Sergei-Polunin.html

The self pity never stops...

I think you mean the ‘Sergei bashing’ never stops.  

What happened to forgiveness, understanding and giving a person the benefit of the doubt.  I didn’t think this was a site for venting dislike in personal attacks.  If you don’t like him or what he does, you could just not comment.  Are we not here to discuss dance?

55 minutes ago, capybara said:

 

I don't want to participate in a debate about Sergei but I think that you are offering some misleading statements here, FionaE and I don't think that they should go unchallenged.

 

1. Johan Kobborg and Alina Cojocaru are an engaged couple with young daughter.

2. They left the Royal Ballet in July 2013 and there are varying versions of the circumstances leading up to their departure. Johan did post something critical on Twitter about their moment of leaving after they had fulfilled their engagements in Japan with the RB,  but nothing has been said in public about the  'whole story'. They had given their final performance in Mayerling the preceding May. The Director at that time was Kevin O'Hare. The Director when Sergei left was Dame Monica Mason.

3. Tamara Rojo left to take up the position of Artistic Director of ENB in 2012. Both that appointment and the change of Director at the RB were in no way connected with Sergei's departure. 

 

Apologies I wasn’t suggesting the departures from RB were linked to Sergei leaving. Only that it didn’t reflect well on RB management.  But as everyone says - that is all ancient history.

And yes I was under the impression Johan and Alina were married.  But as I am not a personal friend, I realise I have only hearsay to go on.  They’ve been a couple for 14 years or so I read.  

Thanks for the clarification!  And sorry again, I didn’t mean to mislead.  

I think you’ll find that Johan, Alina (they are married) and Sergei are friends.  Who remembers the amazing Les Lutins created by Johan for Alina, Sergei and Stephen McRae whilst at the RB?

Alina, Johan and Sergei all left the RB under a black cloud within a year. I do question how the RB management managed to treat 3 outstanding principals so poorly they left?  And also Tamara Rojo around the same time? 

Alina and Sergei subsequently performed at galas together.  

The programme at the Palladium next week is a joint project with Johan dancing alongside Sergei in Fraudulent Smile (programme 1) and Rasputin (programme 2).

Romeo and Juliet in Verona in August this year is a new joint project with Alina and Sergei in main roles and Johan as Tybalt and choreographer.  

Johan and Sergei also worked together on White Crow with Ralph Fiennes.

Perhaps we should be seeing Sergei through Johan’s eyes?  Johan is a very capable man and I believe he sees something others may not have opened their eyes to see.  

Back to Sergei Polunin and the pre-premiere of Rasputin in Moscow.  Lots of interesting clips about, including this one.  I am excited for the actual premiere at the Palladium on 31st May!

https://www.instagram.com/p/Bx0TMnEARob/?utm_source=ig_web_copy_link