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Bruce Wall

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  1. Thanks so, Jeanette. Will look forward to the report. So lovely to see the photo of the audience filled with respect, one for another. Heartwarming in the extreme.
  2. Oh, lucky you ..... The rest of us here in the UK will just have to cheer ourselves up with Vienna's Sin3 and Pictures .... but a taste of the NYCB magic .... Enjoy and let us know - in detail - what you thought, Jeanette ... Etch the pictures for us ... We will be truly grateful.
  3. Today is the weekly call-in session for BBC's You and Yours on BBC Radio 4. It will run between 12.18 and 12.57. Today's topic is 'Why is dancing important to you?' I thought that perhaps some person from BcoF might like to speak to put forward our own/their valued cause. I remember as a child Dame Sybil Thorndyke Casson telling me: 'Every audience member is the first and last character in every performance.' You can dance with your eyes as much as with your ears and feet. We, too, feed the performances. It is, I think, a critical aspect. The BBC blurb reads: ' Tell us what dancing does for you; the pleasure you get from it; how you got into it and why it's important to you. Email us about your enjoyment of dancing - youandyours@bbc.co.uk and don't forget to leave a phone number, so we can contact you. From 11.00am on Tuesday 21st September, you can call us direct on 03700 100 444. [Standard geographic rates apply]
  4. I was preparing another video for a Zoom session in the prisons this morning and stumbled across a sonnet by John Clare which - in my ignorance - I did not know. It veritably dances. It is called 'Sunday Dip'. I thought some might enjoy this little recording.
  5. I quite understand your feelings, capybara. I wore two masks - much as I do on public transport. (Like everyone else, I assure you I, too, find it uncomfortable - but couldn't live with myself if I thought I was knowingly - in any way - apt to be a physical threat to others.) I would say now that they (i.e., the ROH and public transport) are on a similar level in terms of Covid/Delta protection. (Although, of course, I may here be a tad unfair to TFL - given that mask wearing is - at least on paper - a 'condition of carriage'.) Even so, I would say that at least 50% of people I've seen recently on TFL are choosing to ignore that fact and the staff certainly aren't - at least from my observation - seeking to enforce it. I'm only really fearful given that yesterday - while Boris was reshuffling his home teams - the Covid/Delta daily death rate climbed to over 200 again. Given the rate the Delta seems to be replicating, the spectre is - or certainly could be - for some - in the short term - particularly alarming. It all boils down to what level of risk you, yourself, are happy with. I suppose we all have our choice - i.e., to go or not. Certainly - as the government has now made clear - we are currently in this for ourselves. The number of people willingly prepared not to think of others in the ROH amphitheatre the other night I, myself, I must confess, found hurtful. However that I well realise may just be me - (clearly I'm in the minority on that issue in these environs) - and I - as instructed - just have to find a way to live with that; 'suck it up' as they say. Still, we all have to breathe. The woman standing immediately to my left passed out within the first 20 minutes of the commencement of the new production of 'Rigoletto' - one which I have to say I enjoyed. The circulation of the air was just so close. She and her partner didn't return.
  6. Was at the opening performance of opera season on 13th September and have to say the vast majority of people were exercising their 'new freedoms' and not wearing masks, at least in the Amphi. Spoke to one FOH member who - when asked about her feelings - said she felt 'distinctly unsafe'.
  7. Don't know if this brings about laughter, but certainly it made me smile. I just tripped over this as I was preparing a film segment for yet another prison session. I've always thought that James Hay - one of my favourite RB dancers - resembled - in a variety of ways - a young Chaplin. Here's a film of Churchill visiting the set of Chaplin's City Lights in 1929. In it you get to see Chaplin (then a sprightly 40) do some pretty mean entrechats (circa 1.27)! I just knew it. Queue James for a close up methinks.
  8. Really enjoyed this gala. Think Ivan Putrov should get an award for being such a proficient producer. It really is a keen and much appreciated gift. This was just so refreshing and it went off like clockwork to a much appreciative - (fairly full from what I could see which was grand) - audience. So pleased for him. Highlight for me DEFINITELY was Natalia de Froberville (also enchanting in the Lifar Suite en Blanc segment - much as she was in the full thing for the week I was fortunate enough to see it in Toulouse) and ENB's divine Francesco Gabriele Frola (the ultimate world-class act - and all - including his stunning partnering - which otherwise was not always on display here - with a humility which is touching in the extreme. What a star) in the Diana and Actaeon PDD. Frola stands (or is that soars) alone just now in my estimation in being able to finesse bravura. (That's a fervent BRAVO! from me.) Another highlight were the performances (Dying Swan and Don Q PDD) of Christine Shevchenko. I've been lucky enough to catch her in a range of performances in NY but it was wonderful to see her always characterful and musical artistry on a London stage - especially in such a magically structured evening. Of the home team I thought Magri brilliantly husbanded her impactful gifts in the Grand Pas Classique. Felt for all of the RB three (Ball, Dixon and Magri) in Ondiviela's new piece. It obviously had involved a lot of work on their part - especially Dixon who came into it as a replacement for Putrov. Some nice PDD here but I felt there was a fundamental contradiction in terms given that A/I is (from what I can see) devoid of the extension of a emotional conversation that ballet is meant to envelop. (Perhaps it is just me.) Also lovely to see the Ukranian dancers in a differing range of bits and pieces of choreography. This evening showcased them well. [Kudos to the velvety Ms Shaytanova who was radiant in every step she undertook. Oh, and the Gopak was (as tradition would have it) explosive fun ... and - as ever - short enough not to wear out its testosterone filled welcome.] The Ukrainian's blossoming excitement in this fine endeavour exploded across the footlights. That in and of itself was a thrill. Thanks be to Mr. Putrov. BIG TIME!
  9. This just came up on my screen, a remembrance of d'Amboise by CBS News. I hadn't seen it and thought others might enjoy it.
  10. I have edited the video referenced above. (It would have helped if I had pronounced the word 'ionosphere' properly in the first place.) You cannot just replace with a file edit in Youtube. (It's a bit like having to fix any errors in your BcoF posting in the 30 min. (?) window or else your shame(s) stand in permanent place.) On YouTube you have to delete the file in its entirety and start again. This I have now done. The new link - 'currently' working - is here.
  11. Adrian Danchig-Waring, in a quote I noted above, referred - amongst other major achievements - to Jacques d'Amboise as a poet. Here is a poem he scribbled down and gave to Tiler Peck, the current NYCB principal. It is called 'The Staircase'. I attach this in the hope that you might enjoy it - as I so hugely did all of the performances I was privileged to see Mr. d'Amboise grace.
  12. At least it seems there are no more standing places which now fall under the £4 in-house re-sell administration charge. That - in the recent past - certainly removed any incentive whatsoever to return the tickets which fell within that band; one which the ROH deemed 'a donation'. Often these standing places - showing on the seat map as sold out - would be empty. Now the cheapest standing places I could see were in the £6 or £7 range for the programmes which have lesser tariffs (e.g., triple bills or new creations by McGregor, etc.). I was pleased to see this as not only are they still very reasonable but it puts these new works which have already enjoyed so much public and private subsidy in a much more equal cost line with the more established fare. In this way the popularity of these works will be able to be more readily judged on a more equitable basis.
  13. I believe the ROH has stopped the re-selling policy and that the gift vouchers are the only option. This is in line I believe with several other not-for-profit/subsidised houses.
  14. This is where gift vouchers come in handy .... Agree process easy ... and painless ... Credit where credit is due. Autumn Draft Works sold out from the get go though ... along with a few other non-Main Stage items ... Obviously the 'holding some back' in their specific regard is now a thing of the past ... Surprised at many (of what I would have thought of as key/popular) performances with a substantive amount left to be sold. .... Sure they will sell ... Perhaps people are just waiting to see what health situations will be once schools are again back in session ... Where once we were 'in this together' ... clearly we are now on our own. The knock on tourists is having its obvious say too. Have a feeling that will take more than a little time to replenish. Wishing all great good health and much joy.
  15. Sorry, Annamicro. I didn't realise it was a historic document. It didn't seem to be highlighted. Still the sentiments - at least in part I think - remain current, especially for those who may not have witnessed them previously.
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