Meetmeatthebarre

Virtuosity? The RAD has a class by the same name which seems to cover what you have described?

Standing space. E-ticket can be sent instantly. Please reply or PM if interested.

How disappointing! A great cast of course, but I've seen both in this role a few times now and was so looking forward to seeing Reece I hope that the cause isn't anything too serious for either Natalia/Reece or anyone else...

Yes I don't think there's a guarantee that they'll be brought onstage, however. I remember one performance (can't remember the dancer) when mine were left out, but there were 5 or 6 separate stage deliveries to her that day, so maybe they were overwhelmed...

Sorry to resurrect this thread, but thought this would be the best place to bring up. The Dreampointes are the first pair of shoes I have had, for which the shank hasn't died within a handful of hours of wear. As such, I don't really have a sense of what it's like to have the rest of the shoe break down. In the last couple of days, I have been feeling a lot of pressure in my 4th and 5th toes (which are really tapered, so they usually sit on a lambswool wad I stuff in the corner, and my metatarsals take the weight on that side), as if the box has expanded. However, the box still feels firm from the outside - frankly, other than the crease at the vamp and a slight softening of the wings, not much different to when new even though they've had close to 30 hours of wear by now. Does anyone have any similar experiences? Is this a case of the Dreampointes "dying" differently to a traditional shoe, or equally likely, my weird octopus feet changing shape yet again and needing a refit? (My new pair have been on backorder for over a month, and with a wait time of another month now, so I can't do a direct comparison.)

I had never thought to fold a hoop! I just tried with mine and whilst I can't get it into quarters, it'll happily go into a taco, which makes future transport so much easier! Thank you!!

Hi all, would anyone have the following skirts in a black child's 12-13 or adult XS or S? It was unfortunately already sold out when I got my hands on my favourite matching leotard, and no other black skirt looks quite as effective. https://www.planetdancedirect.co.uk/MobileDetail.php?Prod_ID=3011127 https://www.balletpro.co.uk/products/grishko-skirt-da1182m?variant=23986068935 XS would be perfect but I suspect the other two sizes might work subject to taking a few measurements of the waist and hem width. Thank you!

Didn't Natalie Dessay train as a ballet dancer? But the Russian Dance might be too much of a leap. Literally!

Santa's budget was under £150 but I managed to get a Vicky (halterneck), Bluebelle (tank, skirted), Olga ( cami, skirted), Majeste (tank), and possibly my new favourite, Zira (tank, skirted) as well as a new pair of Grishko pointes and some extras. I love how he manages to make being lazy with special occasions into something more meaningful haha. I so sympathise with sizing! I'm a UK size 4-6 but tall, and also have a longer torso than average for my height. On one brand's size chart, I found myself an XXS on horizontal measurements, and an L/XL in girth... how on earth do you read that?! I now stick to Grishko and Wear Moi leos because I know they use a good 4-way stretch.

I've just been going through my list of "to dos" before the new year. Apologies for not getting round to this earlier - I was waiting for a new pair to demonstrate properly but they are STILL on back order! So I don't forget, I've taken some pictures of my current pair with a spare ribbon and some annotations in green as to where to sew. Hope they help - and please excuse the mucky insides 😶 In the first pic, the cut end of the ribbon is lined up with the top edge of the drawstring casing, and the stitching is made along the existing seam where the drawstring casing is attached to the main part of the shoe. In the second pic, the ribbon is folded along the line you've just sewn, and the stitching is made as close as possible to the top end of the drawstring casing (taking care to keep the cut end within the fold, and not to sew in the drawstring itself!). This gives an incredibly strong, double seam which is still easy to sew because, as mentioned before, it utilises existing holes in the shoe from manufacturer's stitching, and thinner parts (the drawstring casing) respectively. It has the bonuses of preventing frays, and looking close to invisible from the outside (also pictured). And since I've started using single elastic loop, I've never had to burn or nail varnish a cut end ever again!

I saw that you've also been taking lessons from Hannah Frost online - she teaches there too on Sundays. It's a bit of a wait after David's absolute beginners' class, but if you can take a good book then it's two birds with one trip

I love the staff at Capezio, especially Diva! It's just annoying that their leos are not cut for me at all (on weird sizing, a Capezio L is far too wide, but M won't stretch enough lengthways as they usually cut their straps and armholes very tight... and I'm usually an XS or S in other brands...!) Fortunately, my partner has a secret side job working for Father Christmas, so I was able to skip the middleman and order 6 (😁) new leotards from Wear Moi on the North Pole Inc. corporate account - even luckier, almost all the designs I wanted were on massive sale in my size 😁

David also (in fact, mainly teaches) Mon-Wed evenings and Sundays at Central School of Ballet if that helps your schedule? The studios are also beautiful and airy. https://www.centralschoolofballet.co.uk/classes-courses/adult-classes/#/events

Just be aware that camisole leos, whilst (I think are) a more flattering cut, are also slightly more hit-and-miss than tank and sleeved in terms of fit, if you're not trying on in person. (Hemmed edges and straps are always going to be less stretchy than just the fabric, or a seam.) If ordering camis online, I always look for lower cut underarms and/or alternative strap materials - such as the stretch lace trims that Wear Moi frequently use. Also, unless it's a brand known for its stretchy fabric, girth really matters!

Teaching style aside, what did you think of the level of Marianela's class compared to Vad's? A friend and I bit the bullet and took Vad's class in-studio. We found the level perfect - "hard enough to improve, but I didn't want to cry" hehe - though of course there were far more advanced dancers there too. I unfortunately missed the Marianela classes last weekend for my booster

🎉 🎉 🎉 this has made my day!

I think what beginning "pointe work" means is vastly different between individuals. If you have getting pointe shoes and doing slow rises at the barre for several months as a definition, then that is going to require a lot less training than aiming to transition to do everything on pointe that one can do in flat shoes in a reasonable amount of time. There are long debates about which method works best for pre-professional children, but as an adult where vocation isn't a goal - I don't think there's anything wrong with aiming for what gives you joy in the safest (teacher-approved) way possible. I have dance friends in their fifties who just want the experience and have gone en pointe earlier, but stayed at the barre for months doing basic exercises, if not years (and still are there).

Wear Moi are a favourite of mine and definitely low maintenance - I've never bothered separating mine out in the laundry; they've been abused with darks and at high heat in the washer and tumble dried and still look brand new. Their stretch fabric is incredible as well; a range of colours and - as a slim, long-torsoed dancer, they're one of the few brands which can actually fit me like a glove off the rack. Plus they are often on sale for £10-20! Grishko's Bolshoi stars also amazingly designed and nicely stretchy, though as my only one is flocked, cannot comment on machine washability. I've also recently discovered Danse de Paris which have some lovely cuts and floral prints, but have no direct experience.

Thank you both and to others! Have corrected my notebook. This. My childhood friend and I were the only two non-white dancers in our ballet school - even in the mid 1990s. It may have been different were we in a major city, but this was a smaller town where our families were also two of the only non-white families, and just before the internet was widespread enough to find role models outside of one's immediate surroundings. My parents were happy enough to pay a little a week to keep me in classes when it was just a fun thing that young girls did, but not when both dance and academics got more serious. They were terrified that school drama clubs might mean I harboured a desire to be a professional actress: I distinctly remember being asked, "when have you seen anyone who looks like you on TV?" Well - now more children and their parents can point to one of the world's biggest stages and say, "yes, there is someone who looks like me, and I might be able to be there too one day."

I thought it looked more like Alix in absence of a full cast list and being pretty far back, but would love to be corrected and give proper credit.

One final thought on this run. I've been absolutely captivated by Alix van Tiggelen during Act 1 - her upper-body carriage and expressions just radiate joy. I've not been as regular at CG for a few years having lived abroad and then lockdown, and was shocked to discover that she's only just joined as an Aud Jebsen young dancer! I was also delighted to see that she was wearing tonal tights and pointe shoes in Act 2 on closing night - something I hadn't noticed in the last two performances but may have missed? There may no longer be open "debate" over whether black dancers "belong" in an all-white Swan Lake corps, yet the controversy over Precious Adam's pink tights is barely three years old; Lopes Gomes of the Berlin Staatsballett has spoken about being asked to "whiten up" for Swan Lake in the past year; I think it was Dance or Pointe magazine that wrote about "brown bagging" for female dancers in the ballet world, even with the increased diversity in the recent decade or so. For what it's worth, after that brief moment of realisation, I went straight back to admiring the beautiful uniformity of the Wilis. The friend with whom I attended didn't even notice.

Slightly off-topic, but I had the absolute honour of taking class with Vadim today. Seeing his perfect turnout up close is unreal, and what an absolutely lovely person as well. But there was an unexpected substitute teacher for the class I took just before that - Kevin Emerton, who has danced the Leader of the Hunt, Wilfred, but also... Hilarion. So I took class with both Hilarion and Albrecht on the same day!

Fair enough on Giselle & Mary. However, my perception is that she was cast more often - not just a couple of Sugar Plums per run and after the new year. I recognise that we've had a swell in top talent in the past several years, I just wish we could have seen more of Laura.

Thank you, James. That rings a bell now. Perhaps it is highest praise that I only really see her in that role.

Please don't apologise - I found it hilarious, and obviously a pun I'd spent too long trying to concoct when registering I was sure she danced Tatiana in the 2019-20 run, or is my memory failing me? But on further thought - a Lise would be best. A full story ballet, and the image of her running into her happily ever after, forging her own new path.