Jump to content


  • Content Count

  • Joined

  • Last visited

Community Reputation

1,197 Excellent

About Jamesrhblack

Profile Information

  • Gender
    Not Telling
  • Location:
    East Sussex

Recent Profile Visitors

825 profile views
  1. It’s always interesting to read varied opinions. I would absolutely agree with bridiem and HelenLoveAppleJuice that tonight was very special. I too was moved to tears during the Balcony PdD (as was my sister sitting next to me) and spent much of the last act damnp about the gills too. Unlike annamk, I loved Natalia Osipova’s wildness: I’m sure Lynn Seymour was anything but a wilting flower in the role and am sure I read somewhere that MacMillan used this blazing energy to drive the narrative process. That silent scream was indeed chilling as it coursed through her body. It was also a privilege to see a dancer of David Hallberg’s quality: such beautiful legs, such elegant feet, such understated but not cold elegance. Was Erik Bruhn at all like this? To me, the characters’ instant, mutual fascination and attraction read completely and movingly. Much else to admire. I was hugely impressed with Ryoichi Hirano’s Tybalt and enjoyed very much the dancing and characterisation of James Hay and Tristan Dyer, although I didn’t find them physically well matched with Hallberg in the Act One PdT. Are any taller dancers performing these roles this season? I’d not seen Romeo and Juliet for some years and for all the splendour of Prokofiev’s score I share the doubts of those who find rather too much padding, especially in Act Two. Nevertheless, I was truly pleased to be there this evening and shared in the enthusiastic applause of what seemed a majority of the audience.
  2. I really fear this ship has sailed, the clearest indication being that this season she was not cast in Bayadère as Nikiya or Gamzatti, despite having danced both before. Nor is she cast as Stephanie for the American tour. I had thought it might have happened after she replaced Osipova in Beauty but that, incredible how time flies, was over five years ago.
  3. Promotions can surely only occur if vacancies arise. That raises the risk of speculations that none of us would feel comfortable making on a public forum....
  4. Well, Manon and Fille are compilations, although to be fair what we hear in the theatre for Beauty and Swan Lake doesn’t exactly reflect what the composer originally wrote. I’m not sure that Minkus as a composer per se ranks with Prokofiev and Tchaikovsky, although much his writing is fluent and rhythmical (and was, indeed, preferred, if my understanding is correct as “fit for purpose” by the dancers of the late nineteenth century).
  5. How wonderful to see. Monica Maon’s Explanation of the architecture of the choreography is just wonderful. I habe such lovely memories of Deirdre Eyden in this solo and wish it were still in the Florestan Pas de Trois...
  6. There’s a similar instance in today’s Times review of The Magic Flute where the photograph credits Rupert Charlesworth as “the petty villain Tamino.” Of course, Tamino is the hero if the piece and the “petty villain: is, as the holy of the review makes clear, Monostatos, sung by Daniel Norman.
  7. A few brief comments on Tuesday’s performance (was travelling to Europe with work yesterday). I’d seen the original run with Tristan Dyer, Sarah Lamb and Nehemiah Kish, and, with reservations, essentially enjoyed. Despite what I had read on here, the theatre was almost full (including the extremes of the Upper and Lower Slips) and the audience was noisy in its enthusiasm. The lady visiting from the USA next to me who had been discussing her favourite companies during the interval “absolutely loved it” and admitted the construction whereby after the expository narrative of Act One the dancing increases through to the climax. I’d agree it was odd that there were no red-runners though, especially with two debuts. The Frst Act still doesn’t really work for me: it starts promisingly with the children, the switch to the adults (helped ny the fact that Alexander Campbell and Meghan Grace Hinkis were able to look so young) and the really lovely moment when both sets are on stage at the same time (“the child is father to the man” - probably need to write “The child is parent to the adult”) which reminded me of the end of Tom Stoppard’s Arcadia. I’d not previously noticed that it is Victor’s dizzingly excited spin around his mother that triggers her collapse, although somebody in the advanced stages of pregnancy dancing en pointe even within the ballet convention is unlikely to end happily. It helps set up Victor’s guilt over his mother’s death though. The dissection scene goes on too long surely, and the Tavern scene adds nothing, surely being there only to cover some scene setting. Being set stage left probably does nothing for sight lines in a horse-shoe shaped theatre either. The ‘Let’s Make a Body’ scene essentially works on the pyrotechnics and some dazzling dancing from Campbell, who is becoming a real virtuoso. Maybe Scarlett brings it out of him: I remember a new brilliance in his execution (which has always been very accomplished) during Age of Anxiety last year. Yes, the initial meeting with The Creature is surely too brief although I have read varied and convincing explanations for that. Act Two again starts with what I think is unnecessary: we don’t need to see The Creature attacked. It adds nothing, other than raising unnecessary questions, such as why he hasn’t found any other clothes during the period or, indeed, discovered The Book. I’m not convinced by Victor’s nightmare either. However, once we move to the mountains, I think the ballet picks up dramatic and choreographic pace very well. The relationship between William and Justine is beautifully charted, the pas de deux between Victor and Elizabeth is beautifully eloquent and breautifully danced Baty Campbell and Hinkis. He’s a true dance actor who brings such variety to all he does, whilst she surely deserved the epithet I once read to describe Sibley of “swallow swift.” The Creature’s solo of discovery is also beautifully set out and I think this one of the finest things I have seen Kish do: I’ve always enjoyed his work, and his long limbs seem convincingly “baggy” and stitched together here. The pas de deux with WIlliam (exacting stuff for a child and superbly delivered by Ptolemy Gidney) is also first class dance theatre and the climax of the act sheer horror. Act Three, with its tribute to La Valse, makes an eloquent start. I’m not sure everyone else can see The Creature. After all, he’s dressed now in an approximation of breeches and jacket, whereas when he returns at the end he is back to his “naked” self. The start of the killing spree isn;t entirely convincing: Father simply discovered lying on the staircase. However, the Pas de Deux for The Creature with Elizabeth is very powerful as he attempts to force courtesy on her and the way in which she wants with horrified fascination as the denouncement builds towards her own death is truly unsettling. Campbell and Kish bring real passion to their final duet and The Creature’s desperate attempts to win his Creator’s love become truly moving. His actions may become monstrous but he is not a monster: others have brought him to that. Of course, the sets are magnificent and the orchestra played wonderfully well to deserved cheers under Barry Wordsworth. It’s not a perfect ballet, and I am surprised that more revisions do not seem to have been made. However, I cannot agree with those who think it meretricious and find it examines ideas of responsibility, relationship, creativity and loss in ways that can move one greatly. I thought it significant that the loudest cheers were reserved for Kish at curtain call as Scarlett had managed to turn on the conventional head the anticipated response to such a character.
  8. Is it heretical to write that the one she did with David Wall was, if possible, even more breath taking (I did see her with Dowell post return in consecutive seasons), although I accept that my loving memory of that performance has as much to do with my childhood veneration of Wall. I came to love Sibley later, even though she was my first Giselle on the occasion of her ROH debut in the role. However, the final Sibley / Dowell Manon is an absolutely indelible memory.
  9. What a fantastic season this has been for Yasmine Naghdi. She really does seem to have established herself ast the top of her game and more than justified her promotion.
  10. Sadly, I’m only here for two nights and have an artist in DIe Walküre this evening so can’t get to any ballet performances this time.
  11. I’m in Munich with work and have a meeting with the Munich Ballet this morning. It seems that Nancy is also guesting here... https://www.staatsoper.de/en/staatsballett/ensemble.html#c6061
  • Create New...