maryrosesatonapin

I went to see this at the Derngate last night and was blown away. It was a mixed programme of older and newer excerpts danced by the younger dancers of the company who might not ordinarily have the opportunity to dance soloist roles for a number of years. I knew Acosta wouldn't allow them on stage unless they were good enough, and of course the performances weren't technically perfect, but they were very good and some were outstanding. My personal favourite was the kilt-wearing Eric Pinto Cata who had terrific stage presence and technique. The first half consisted of better known works, but introduced in a fresh way as we first 'met' the dancers preparing 'back stage' (ie the stage had a barre, various messy trunks, dancers putting on their costumes and so on). This meant that we were very aware of the performers as human beings, which worked well and was echoed at the end as they all picked up their bags and left the stage in their scruffy rehearsal clothes. There was one instance where we had a 'shadow play' of dancers hugging and helping each other with costumes. This must all sound a bit strange if you haven't seen it, but I thought it worked charmingly in this mixed selection. (There was a similar element in Scottish Ballet's brilliant 'Starstruck'.) So, the programme for those interested - mostly danced in front of a plain backdrop apart from a cafe scene for the second half: Ashton's Rhapsody Pas de Deux/Bournonville's La Sylphide pas de deux/Swan Lake Act II pas de deux (choreography altered by Acosta), Dying Swans (choreography altered by Acosta, with two dancers, but I wasn't keen on this)/Vaganova-Petipa's Diana and Actaeon pas de deux. Interval Stevenson's End of Time/Mollsjoll's A Buenos Aires/Van Cauwenbergh's 'Je ne Regrette Rien' [danced to a recording of Edith Piaf, although the rest was mainly the live orchestra who played with verve]/Van Cauwenbergh's Les Bourgeois/Carmen (a pas de deux choreographed by Acosta)/Tuckett's Nisi Dominus/Garcia's Majisimo which was a suitably brilliant and energetic ending. The well-deserved applause became a standing ovation which went on for longer than I can remember happening for a long time. As you can imagine, I am recommending this if you can catch a performance in Nottingham, Peterborough, London or Wolverhampton. The music was very much to my taste throughout - a great variety, but always enjoyable to listen to and appropriate for the dancing. Acosta is clearly brimming with ideas and this is one that worked excellently and, I feel, can only get better, developing the company at the same time. Oh, and our 'best seats' cost only £16.

Oh, I do hope I can see this one day! Everything I have seen by SB has been great.

Contrary to some other forumites, I loved this performance! Not as much as ‘The Crucible’ (which had inexplicably empty seats at Sadler’s Wells last year) but Scottish Ballet continue to be innovative and entertaining. This was a fusion of dance, original music (with playful references to the classical score) and film on the huge backdrop of the Sadler’s Wells stage. The small orchestra was superb, playing rich and strong; the music was full of variety but always delightful (the opposite of the accompaniment to that other modern version of an old ballet, Akram Khan’s Giselle). Really thought-provoking, often humorous, always visually stunning. My only disappointment was the dearth of actual ballet and the lack of a cast list. The whole company performed with vibrant commitment. Footnote: no unpleasant audience behaviour/eating/drinking was a bonus.

I thoroughly enjoyed 'Sleeping Beauty' at the Royal Opera House last night. This is what the Royal Ballet do best - lush, carefully rehearsed performances with dancers that are guaranteed to delight. And I was reminded all over again just how sparkling, original and appropriate is Tchaikovsky's beautiful score. Frankie Hayward as Aurora was exquisite, as always (even if ever so slightly wobbly in the Rose Adage) and to me epitomises a young fairytale princess. She can jump soundlessly and pirouettes as delicately and rapidly as a dandelion seed blowing in the wind (but with more precision, of course!) I did have my reservations about Alex Campbell's prince - he seemed ever so slightly portly (might have been the costume and his well-developed muscles) which made him less dazzling in the more demanding solo moments, although he and Frankie did the fish-dives beautifully I thought. Annette Buvoli was a great lilac fairy. Gary Avis did make me chuckle as the hapless Cattalabutte - his comical expressions were hilarious - and he richly deserved the bouquet someone had bought him at the end. Even the orchestra played very few bum notes! What a lovely. lovely evening.

I just read an article in the Irish Times which deals with audience bad behaviour (theatre goers rather than ballet performances) and says: 'It comes amid growing reports of rowdy and abusive behaviour from audiences, with the UK’s largest theatre operator Ambassador Theatre Group working with producers to temper any ad campaigns that could encourage bad behaviour. Popular shows will be encouraged to avoid phrases such as “best party in town” and “dancing in the aisles” after reports of rowdy and abusive behaviour.' Full article here: https://www.irishtimes.com/culture/film/2023/02/23/it-was-so-gross-creepy-paul-mescal-on-confronting-fan-who-groped-him-outside-uk-theatre/?fbclid=IwAR1gK1hSRncxxGCzwW61emw23HFod6bUxPOc5NagakIXmVeI6FvQtuCmbbw

There are actual drunks at ballet performances? Eeek! I thought at least these performances would be safe from that particular horror.

Re where to eat, we have enjoyed this place right nearby: https://caffedimilano.co.uk/

I went to see the Varna company in Northampton last night (Giselle). It was dire. Myrthe was OK, and the Wilis weren't bad, but the company seemed to be a mish-mash of various unknown Italian, Spanish, French and English dancers (no Bulgarians). Giselle was an English girl called Claire Gillard. She looked the part - young, fresh-faced, petite - and acted reasonably well but her dancing was only just passable. They had various Giselles on different nights and I read a good review of another, Ukrainian Anastasia Lebedyk, but it wasn't possible to know in advance who one was seeing. Hilarion only seemed to have a repertoire of two moves and played more for comic effect, and Albrecht's part was much simplified and his acting was wooden. The costumes in the first half were garish, and in the second, Giselle's garish tombstone looked like something out of a cartoon. And I don't want to be reminded of the back-drop film of ghostly floating ballerinas! I don't know whether it was the stage or the dancers (probably a bit of both - one dancer slipped and fell) but they all sounded like elephants. I like to support touring companies and am sometimes pleasantly surprised, but on this occasion was very disappointed. I think it's the only performance of Giselle where I haven't been moved. Having said that, they got a good reception from a full house at the Derngate theatre.

Now that sounds like the kind of interruption we can enjoy. Re Storm-Jensen as the Lilac Fairy, I found her technique insufficient a couple of years ago (to the point it really spoiled the performance for me) but having seen her in other roles since then I feel she has improved. She does have a lovely calming smile which suits the role, anyway. I do wish that RB wouldn't give dancers the role of Aurora unless they are fully confident about the Rose Adage. It isn't pleasant to watch and is unprofessional for a company that likes to think itself to be one of the best. (I've not seen Magri - this is a general comment.)

Oh, that's good news - I do hope so. I had seats for that but wasn't able to go at the last moment.

Yes, that is the performance I will treasure most in my memory. I have relived it in my imagination time after time. I had seen a number of moving Giselles and admirable Albrechts that season but Morera and Bonelli outdid them all. I actually have tears in my eyes now just thinking about it. I have been dreading news of Laura's retirement for some time but am glad for her sake she can move on to the enjoyable future she so richly deserves.

Hendrix was a wonderful player of acoustic guitar too - a real virtuoso.

We went to see 'Hey Luciani' many moons ago, and I thought it a work of genius. Love Michael Clark.

No no, Hendrix was NOT heavy metal at all. He may be considered a precursor by some. I saw him in 1970 and don't think he would even have liked Heavy Metal (though I like both him and it).

I agree. And I think Hayward is such a cinema star - the camera loves her. After many disappointments with new works, this is a new ballet that deserves longevity.

I'm so glad you had a good experience, Dawnstar. I agree, Mayara Magri looking so pale and wan was disheartening!

Same glitch where I was too.

I was going to try to time it so I could let you know in minutes, but the relay got disturbed and had a flickering screen and stop-started so I couldn't do that. It's when there is a long table facing the stage side-on with a cake on it. There are other feasts later but they are safe to watch!

If you do go, stop watching at the wedding scene near the beginning. If you were with someone they could tell you when it was safe to look again. It was quite gruesome. But the rest is well worth watching. I think Francesca Hayward in particular suits a cinema screening because you can see her beautiful face close-up.

Did you go, Dawnstar? I really enjoyed the ballet overall except for THAT scene which overshadowed everything for me, and was unnecessarily graphic. I thought of you as I watched.

Oh, me too! I tend to find ballet is a 'safe haven' but alas not absolutely always.... Nearly every book I read, series I watch or film I see seems to have some mention of, or actual, vomit. It really spoils things for me.

Agreed. Utterly disgusting.

Also Marquee TV etc.... lots of ballets there including things we might not have had the opportunity to see.

I didn't want this discussion to only be about RB dancers - and I have seen more than one RB dancer not dancing all of the steps well, although mostly they are very good.

I enjoyed it for what it was - a bit of fluff, really. It certainly wouldn't replace the original Coppelia ballet but the dancers were charming (including Darcy Bussell and Irak Mukhamedhov who were delightfully funny). The actual choreography didn't seem to be very demanding. I loved the overall designs and De Prince's outfit and persona.