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MaddieRose

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Everything posted by MaddieRose

  1. I thought I'd missed a few months and we were doing Spooky Halloween Stories. I have a mixed but overall negative opinion of reimagining the classics. Some of them have been alright, a few good, but I think I approach them with lower expectations than the actual classics. I can't speak for others but I'm not expecting the most incredible thing I've ever seen, I'm expecting to compare it to the version I already know, which in my opinion takes away from the overall experience. And as for electronic music, particularly a full-length ballet, that petrifies me. I think I'd get a headache.
  2. Maybe I should be putting said blame on my sister then. Wouldn't necessarily be her fault, but we just like blaming things on each other
  3. That is really frustrating. I had something similar once, where I stayed home while the rest of my family went out specifically to collect a package that was coming. I sat waiting for the package, and after a while I went to inspect the letterbox, which had a missed delivery card in it. Turns out because there was no car in the drive they hadn't even knocked. I just wish I had heard the missed delivery card being posted so I could go and chase them down. Luckily it wasn't something we needed urgently, but I was more than a bit miffed on missing a family day out for no reason
  4. As someone who's studying Gatsby for A-Level, I don't remember any description of Daisy's hair, but I find the book so boring that I might've missed it. And as for wigs, I'd much rather see the dancers comfortable and with their own natural hair. I'm not bothered whether a role was originated by a brunette or a blonde or whatever. The only exceptions I can think of is if they need a particular hairstyle to evoke a certain period that couldn't be achieved with natural hair, or were playing a historical figure, but even then I wouldn't be that overly fussed if wigs were removed from the equation.
  5. Congratulations to all the winners! I especially love the Best Company Response to the Pandemic Award, and it was lovely to listen to Ronald Hynd's experiences and memories.
  6. As a younger and new ballet goer I'd love to see more Ashton. Symphonic Variations is one of my absolute favourites ballets, but even just reading these posts there's a few that I haven't heard of. I've looked through programs from the late 30s to mid 50s and found Ashton works I had no idea existed as well. It seems such a shame that these works are being, perhaps not truly forgotten, but not programmed as much. Correct me if I'm wrong, but Ashton was the founding choreographer. It shouldn't come down to them to do anniversary programmes or All-Ashton bills every now and then, I think these works should be programmed regularly so the audience can see them and the dancers can dance them. While I'm all for new works, forgetting your heritage is, as a history student, the exact sort of thing I wish companies wouldn't do.
  7. i've seen Harry Potter and the Cursed Child, I'm not taking anything from that trolley
  8. Wow. I too don't want to make any assumptions, so until we hear more on this matter I shall say it's news I wasn't expecting to read today.
  9. I caught up on the stream from last night, and went in with a completely blank mind. I can't speak for any other interpretations of these works, but only for someone who is seeing them all for the first time. Apollo was probably the one I knew the least about, but I thought it was marvellously danced. Matthew Ball was incredible, and gave a performance that I can only describe with the words 'looked like he was possessed by the music'. I very much enjoyed Hamilton, Calvert and Kaneko, but Kaneko was a particular standout. I haven't seen much of her before, but I am now a Kaneko fan. Choreography wise I enjoyed Balanchine's use of interlocking hands, although I can only imagine how complicated it must be to learn. The ending on the stairs was absolutely sublime, and provided a wonderful ending to a wonderful piece. I must admit that at the end of the first portion of the Tchiakovsky Pas de Deux I thought it was over, and was very please when the variations happened. Anytime Nuñez and Muntagirov are onstage I am happy, but they had a radiant feeling that was infectious, even through the screen. I was rather awed by the solo parts, particularly when (forgive me for not knowing the technical names) Muntagirov did those spin-jumps around the stage. I enjoyed it so much I nearly found myself clapping at the end, like I was in the theatre with them. Dances at a Gathering is a wonderful showcase of the talent the Royal Ballet has, and after identifying what colour everyone was (I spent a short while before the piece trying to figure out what Brick meant), I very much enjoyed it. Again the dancing was brilliant, and I quite enjoyed seeing the different combinations of pairings throughout the piece. There's not much I can single out as I thought everyone was brilliant, and I hope this is a piece that remains in the active repertoire as it does show off the skill of the dancers. Particular praise must go to the piano accompanist, who I thought was excellent. Like the ending of Apollo, I very much enjoyed the ending where everyone was on stage. All in all I'm very glad this was streamed, as for someone who in in the Midlands and can't always get to London, it gave me a chance to see three pieces I'd never seen, along with being reminded of the talent the Royal Ballet has
  10. Thank you all for your help! Rosalind Eyre does seem correct. One thing I always have to remember about these things is that if they were signed at the stage door they signatures might not always be as neat, which makes them harder to decipher sometimes. And as for the proximity, most have done that, but Fonteyn, Nureyev, Ashton and Mead all signed on the front page (the first page that's not an ad).
  11. The Programme itself is dated as the 10th February 1969, so presumably one performance, but not sure whether they were all signed on the same date. There's a lot of principals represented, and I don't know enough about who would be in the theatre at any given performance to say if it could come from one night. And thank you for Gerd Larsen James, that does seem very likely. The final one that I have no clue who it could possibly be is this one. Again, any suggestions would be very helpful
  12. Thank you, that must be it, as she's listed on the roster in the programme
  13. I've been using my local second-hand bookshop to ease back into things. It's a place I feel comfortable and is usually quite quiet. I've had social anxiety for a few years, and it's worsened in the pandemic, but I'm starting small and hoping to build back up to bigger events and places
  14. Hello all, I'm sorry if this isn't the right place, but I'm an amateur collector of theatre programmes, with a particular interest in ballet programmes. I have a signed Royal Ballet programme from 1969, with 35 signatures in total, and I've been able to decipher the majority of them. People I have identified: Margot Fonteyn, Rudolf Nureyev, Monica Mason, Frederick Ashton, Robert Mead, Leslie Edwards, Christopher Newton, Brian Shaw, Michael Somes, Ann Jenner, Donald MacLeary, Jennifer Penney, Derek Rencher, Carole Hill, Diana Vere, Elaine Thomas, Merle Park, Christine Beckley, Ria Peri, Antoinette Sibley, Bridget Goodricke, John Lanchberry (conductor), Hilary Tickner, Desmond Doyle, Julie Wood, Michael Coleman and Ronald Hynd People who I think have signed but I'm not too sure: Alexander Grant, Svetlana Beriosova, Deanne Bergma, Deirdre O'Connaire, Georgina Parkinson There are however a few that I haven't been able to identify, and I'd appreciate any help with the matter. For the photo that's hopefully (if I can work technology correctly) the lower of the two, it's the signature that starts with an O? perhaps, and has a surname beginning with B? There's also a few more, so if anyone can help me out with those too I'd be happy to post the photos
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