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Bruce Wall

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About Bruce Wall

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  1. I'm with you, Sim. I fear for these I too have been priced out in favour of the main event itself ... but am very grateful for the Youtube display.
  2. I very much enjoyed this programme - a gala with both a point and a heart. Acosta showed himself a much more able partner than he was at ENB - and Summerscales fouettes in her UK debut in the Don Q PDD easily illustrated that she could now readily tango with Rojo's. Both did their nephew proud. Very proud indeed. (I only wish there had been some set up for Cranko's Shrew PDD as the audience around me simply didn't 'get it'). Evening highlights for me included Dingman's glorious variation in the Tschai PDD - simply stunning, Guneo's 'added' solo piece - sorry didn't catch the name but certainly did his beautiful line; Cao and Souza who were both electrifying in the In Memory Of PDD - so ripe for this occasion as much as for that day; BRB's Lawrence and Matthews giving sorrowful legato in their White Swan PDD and much joy being beamed by two real life couples - the RB's Corrales and his lady love, ENB's Katja Khaniukova, in their Corsaire PDD - she dazzled while his life enriching smile at this pairing could have lit up the theatre for days - if not weeks - and Kaneko and Clarke in After the Rain - after what must have been a full on weekend for both - gnawing here in full choreographic flight all the while garnished with radiant ardour. The final curtain call - replete with the star attraction - Dexter - was touching in the extreme - simply because it wasn't sentimental. The cherry on this fanciful cake was when Wayne Sleep - who seemed hugely titillated with his own gaffs throughout the evening - was the announcement that Dexter would be flying with his mother to the US on 25th January to get his well deserved medical treatment. Too right! A celebration in deed.
  3. Hi Ruth -- Sent you a PM for 28/12 at 2pm ... Cheers, Bruce
  4. I also agree. A watershed day of performances from the wonderous Ms. Magri .... I found her Princess Florine in the evening totally enchanting as well. Such gifts.
  5. I bumped into the wonderful Joseph Sissens and he said that he would be dancing the Bluebird at Saturday's matinee. Can't wait!
  6. And - as proof were in the pudding so to speak - ABT are doing Marston's Jane Eyre again for the 19/20 Met season. Here's to it becoming a staple .... Think Bronte would have agreed: 'More power to the people!' .... Think too it may have been the venue in the Met's case that may have initially overwhelmed the diminishing critical fold. With time they (the critics as much as the supportive ABT audiences) will come I know to accept, respect and ultimately revel in the glory of Marston's stunning intimacy - so true to the novel itself. In some ways I think they will look upon Marston as filling their current De Mille / Tudor void. Both dealt within a similar terrain/scope and survived by virtue of their imaginative choreographic merits.
  7. And, please, let's not forget - nor pass over - James Hay's luminous Lescaut (and this after having danced a full Florimund earlier in the day.) His mime was so frighteningly clear you could literally hear him speak. Such a special artist this young man is. We are privileged in his considerable deed.
  8. Have PM'd you vis a vis the 5th December matinee which I would love to buy .... as well as the Monday 30th December Coppelia mat
  9. 2 0 2 0 the festival returns to the Théâtre du Châtelet and present Cinderella • Dutch National Ballet Giselle • English National Ballet For the first time in France, the Dutch National Ballet will present Cendrillon , a magical choreography by Christopher Wheeldon , music by Serge Prokofiev. 7 performances from 2 to 8 July 2020 , accompanied by the Dutch Ballet Orchestra . English choreographer Christopher Wheeldon returns this season after the reprise of Un Américain in Paris . His work with dance companies such as the Royal Ballet of London or the Dutch National Ballet gives him the opportunity to create new ballets. It is for the latter that he climbs in 2012 Cinderella , awarded the Benois de la Danse for the best choreography. In this ballet, faithful to Grimm's vision, both dark and poetic, Cinderella is not necessarily a submissive victim, she carries her burden with her head high and with pride. And her half-sisters are not just stupid and mean. The choreographer does not forget the magic, essential to all stories, especially through his colorful costumes, his humor, the ball scene, the coach ... A show that will delight young and old! CINDERELLA TICKETS Another French premiere, the English National Ballet comes to Paris with Giselle , dazzling choreography by Akram Khan , music by Vincenzo Lamagna after the original score of Adolphe Adam. 8 performances from July 11 to 18, 2020 This ballet in two acts, composed by Adolphe Adam after a libretto by Théophile Gautier was created June 28, 1848, at the Paris Opera. Giselle is considered a classic romantic ballet, where the Willis, ghostly beings, ghosts of young women who are defunct, pursue their fiancés once the night has come to precipitate them into death. By transposing the plot into today's world, Akram Khan revisits this classic into a modern tale about migrants, mixing classical and contemporary dance. Giselle becomes a migrant, a poor factory worker and Albrecht, the son of a wealthy owner. No forest for the second act, but a disused factory where the Willis are the ghosts of migrant women who have suffered and died there. Like the nineteenth-century Giselle, that of Akram Khan forgives the treachery of his deceitful lover and wants to break the circle of revenge, leaving Albrecht to live, but cut off from his community for the rest of his life. A mind-blowing show ! GISELLE TICKETS
  10. Went to both the Friday and Saturday night performances and enjoyed both - Friday I think most especially given the whispering glory that is Hirata. I was certainly taken with the fine music playing by the Royal Ballet Sinfonia - so alive; so rich - and was delighted on both nights when it got the pride of the audience's place at the final calls. There were some lovely touches to the Bintley/Samsova/Heeley production such as others have expounded. That said I wouldn't trade it overall for the Skeaping one which continues to stand as my personal favourite out of the vast array of productions I have seen over the ever mounting years. I had gone on Friday on a soon-to-be-historic £8 Senior Concession ticket reserved in considerable advance. I arrived early on the Saturday - having enjoyed the evening previous - not having an advance booking - with £17.50 in my eager hand and was - as it happens - first in the Standby queue. The kind lady at the box office offered me a ticket in the First Circle and - when I went to pay - told me that BRB had stipulated that Standby for their presentations should be £25. That came as something of a slap in the face - because it certainly goes against what is in Sadler's Wells' published material. I told her politely that I didn't think I could afford that; thanked her and walked away. There was no one else - as it happens - in the queue at that time which - in my experience - is unusual - especially for something as popular as Giselle. Perhaps they knew. I walked over into the centre of the lobby disappointed. I stared at the cast list as I finished by Boot's sushi - which was both lunch and dinner as I had to work that day. I then went back to the Box Office - at a different counter - and asked if there might be a side stool at £15 I could buy. There was one as it turned out. From that position I could see a goodly variety of small segments of empty red on every level. Happily I - and indeed the people in the two stools beside me - found ourselves in more central locations - nay, seats - from the get go. My only fear (and I realise things may be different in Birmingham - I don't know) is that BRB may be pricing themselves out of some markets which might - just might - potentially fill some of those empty spaces. At least I knew to go back and ask again. I fear many may not. Certainly this fine Company deserves capacity audiences wherever they may be performing. There is no question but that the Giselle was MUCH more full than the BRB triple bill had been when I saw it on the Thursday matinee. At that performance - and I again had one of those soon-to-be-historic £8 Senior Specials - the ENTIRE Second Ring - surely one of the largest seated sections in that theatre - was entirely closed off and the remainder was not I think what you would - or possibly could - call full. That said it was more populated than it had been for some performances of San Francisco Ballet. That had been heartbreaking. I began to wonder how long it would be before the declining number of performances by ballet companies were to be cut further at this venue and - if so few people continued to vote with their feet - or perhaps more aptly - seats - how we might just not have it at all. That would be a sorrowful loss. Perhaps it is just me. Perhaps it will come to a point where I simply won't be able to afford BRB. That I feel would be a shame - but I do understand. Certainly I will always appreciate my good fortune in having been able to follow BRB - and before them, the Sadler's Wells Royal Ballet - both copiously in London and abroad. It has been a thrilling adventure. One for which I am most grateful and shall remain forever so.
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