Bruce Wall

Bless you, Janet. Laughter is a GREAT restorative.

I wholly agree with Janet's glowing estimation in item number five above for this finely mixed bill by the ever exhilarating Northern Ballet Company now - as it has been for over a decade - under the enticing helm of yet another of those 'pesky Canadians' (to quote dear Janet from yet another BcoF page) David Nixon. Her word association is well wrought I think. After graduating from the School of the National Ballet of Canada under its pioneering director, Betty Oliphant (who founded that School aside the Company's own insightful founding director, Briton Celia Franca), Nixon entered into the main Company under the leadership of the likes of Erik Bruhn and Alexander Grant. Those penetrating chieftains needed to be pesky simply to survive in a country striving to forge something - indeed anything - of its own national identity from without the force of its own founding British and French chasms whilst still harbouring - somehow honouring - the uniqueness of its own indigenous native appeal/energy. History relates that they more than survived. They flourished. So too has Nixon. The fire of that achievement burns at Northern Ballet's core. Each is at a rightful one in terms of the pride of their unified qualitative deliverance. Confidence radiated the Linbury last night. I'm sure that Christopher Gable too is - somewhere - beaming alike with rightful pride. Indeed last night there was one advantage to the technical hitch which occurred prior to the evening's final unit - Kenneth Tindall's incendiary take on the act of creation entitled THE ARCHITECT. It meant - after an initial slight delay - that the audience had the pleasure of hearing David Nixon come out and speak to us, much as he had done in the front of last year's programme when he movingly spoke in memory of Gailene Stock. Has there ever been a more gently articulate leader of a ballet company? Not in my experience. I somehow doubt it. Nixon explained that the ROH's technology is great as long as it works .. but that sadly the computer system that masters the Linbury's scenic mechanisms had - for the moment at least - packed up and thus a 'pesky' bar would now appear against that ballet's established crystalline backdrop. 'We want to dance this work for you' Nixon said with deserved dignity, 'and often on such occasions - when things go wrong - it can inspire a certain magic'. IT did ... and then some. The 'pesky' cross was more than bared. It was dressed with a most vivid imagination. It became our shared Rubicon. Throughout the evening we had felt the energy of Nixon's own joy in being able to proffer meaningful opportunity to a collection of striving and oft significant dance makers (some of whom have well moved on from the 'emerging' epithet such as was applied by K. O'Hare in his introduction on the cast sheet). We - the privileged audience - much as the dazzling company that decorated the stage - thrilled in our proactive involvement ... one granted through the wisdom of a uniquely understanding architect. This IS a 'NORTHERN Ballet'. You can detect its accent immediately. That is its strength. From the very get-go that IS its pride. Happily it is far from 'Estuary Londonese'. That defining aspect alone is what I believe allowed NB to survive when ACE cruelly cut its core funding in the last round but one. Happily in 'the one' ACE temporarily came to their senses and restoratively realised the folly of their ways. This is a company that very much speaks as one; that sings in unison. It cries out the reason why it should be cherished. I can well see why Janet - a self-proclaimed 'Scouser' - (a heritage topped with the proclamation of a delightfully direct dialect) - holds such pride in this burgeoning ensemble. It is just so refreshing to come across such no-nonsense 'Northern' attack. In that one aspect the NB's zeal reminded me at times - certainly in Christopher Hampson's oh, so pretty Perpetuum Mobile - of the overall candor such as is currently celebrated by NYCB. It is like having a bath. You come away feeling cleansed. It's never furious in its exactitude; never OVER bearing. It is invigorating. Even when the wit of Stuttgart's Demis Volpi's LITTLE MONSTERS wore a tad thin Abigail Prudames and Isaac Lee-Baker were still brilliantly batting out in a park we could all recognise. Even if the concerted sweep of Mark Godden's ANGELS IN ARCHITECTURE did not entirely enjoy the heights of De Mille's detail, Nixon's dancers blissfully flew in the ever widening wonder of Copeland's exhilarating 'Appalachian Spring'. Nowhere was this Northern Ballet's accent more proclaimed than in the endearing bubble of Jonathan Watkins A NORTHERN TRILOGY. They let him speak for himself as much as Stanley Holloway - oh, so wittily so - and we giggled along. There are just so many fine artists in this company - that Godsend Martha Leebolt amongst them - but Northern Ballet's strength stands in their number. They celebrate such. So I think should we.

You know a work is worthy when it achieves an extreme range of cultivated opinions. In WW's case that's everything from a five star Guardian to a two star Daily Telegraph ... and that's even before CC comes out to bat. Odds on he's good for at least one.

Fantastically 'Becoming' photograph by A. Muir heads the ES WW review: http://www.standard.co.uk/goingout/theatre/royal-ballet-woolf-works-royal-opera-house-laser-beams-and-warpspeed-choreography-10243403.html It gives a certain polished lustre to the idea of McRae as a haloed golden boy

A better balanced review perhaps - http://londondance.com/articles/reviews/royal-ballet-woolf-works-royal-opera-house/

The production of An American in Paris now on Broadway WINS four Outer Critics Awards (now in their 65th year). It won awards for Best Musical, Best Director of a Musical (C. Wheeldon), Best Choreography (C. Wheeldon) and Best Actor in a Musical (R. Fairchild, a NYCB principal). I am sure we all send congratulations to the Royal Ballet Associate, Briton Christopher Wheeldon on these achievements. Additionally, fellow Britons Alex Sharp, Dame Helen Mirren, Richard McCabe, Marianne Elliott and Jim Dale also won 2015 Outer Critics Awards. These Awards will be presented on 21st May in Sardi's Restaurant. http://deadline.com/2015/05/outer-critics-circle-awards-curious-incident-of-the-dog-in-the-night-time-american-in-paris-1201424340/ http://www.playbill.com/news/article/curious-incident-top-winner-at-outer-critics-circle-awards-348762

Some fascinating insights into 'Hispanic dance' culture as voiced by Angel Corella and his PA Ballet dancers: http://aldianews.com/articles/culture/ballet-latino-accent/38921

Here is an interview with Leslie Caron in The Daily Beast who is more than generous about the Royal Ballet First Artist, Leanne Cope, who is currently on leave from the Company to appear on Broadway in AN AMERICAN IN PARIS as Lise, (the role Caron originated).and for which she has been nominated for a 2015 Best Actress in a Leading Role in a Musical Tony Award:: "She radiates real enthusiasm and a healthy ‘no neurosis’ openness about the discipline demanded in that profession.”

Some touching words about Leanne Cope by fellow AiP cast member, Veanne Cox. http://www.cityguideny.com/article/American-in-Paris-#.VU4iIo5Viko

Some of the conversation surrounding the dance elements during the RB's Woolf Works In-Sight programme is now on line:

In reference to the second section of the previous post, the long standing principal drama critic of the NYT (Ben Brantley) makes his selections as to what (i) will and (ii) should win key Tony Awards on 7th June. He feels that AiP WILL win as Best Musical and Christopher Wheeldon WILL be crowned Best Director of a Musical. On neither count does he believe they are the candidates who 'should' by rights win on this occasion. Source.

Interview with AiP's Leanne Cope in The Washington Post. The interviewer, Sarah Kaufman, takes pains to point out that Ms. Cope is 'on leave from the Royal Ballet'. ----- Charles Isherwood (second drama critic of the NYT) says that AiP WILL (and 'should') win the 2015 Best Musical Tony. (That's most vital as it will do the most to ensure a long commercial run for the AiP Broadway production and increase the likelihood of a more rapidly produced London version.) He also suggests that Christopher Wheeldon WILL (and 'should') win the 2015 Tony for Best Director of a Musical. That should help Mr. Wheeldon in developing further such projects should he wish to pursue such. He also suggests that Max von Essen WILL (and 'should') win the Best Supporting Actor in a Musical 2015 Tony for his AiP performance as Henri. Source.

As a side note - in the same article referenced in Item no 1 - (although not pertaining to the Bolshoi) - Margaret Willis mentions that - by his own confirmation - Mr. Osiel Gouneo (a young Cuban much admired by C. Acosta) will be dancing with ENB during the Winter season at the Coliseum (perhaps in Corsaire - to which he is well suited.) QUOTE:. "(Osiel told me at the party afterwards that he expects to be coming to English National Ballet for the Christmas season – he is a force to watch)." I have only seen this particular dancer on one occasion but felt he was exciting. You can see him in but one video clip here where - as a turner - he appears that he may well one day head toward the heights of Damian Woetzel who Baryishnikov once called the 'best turner in ballet history'. Here is the same dancer as Ali in a solo from Le Corsaire: https://www.youtube.com/watch?v=zjkh1Dw_5es..

Oh, I do hope they also bring the Shrew Thanks so for this, Ryo.

In her review of the Bolshoi's TAMING OF THE SHREW (choreography J-C Mailot) for DanceTabs such as appears in today's Listings as generously provided by Janet McNulty, Margaret Willis states: "(The ballet will be screened in cinemas next January – and hopefully be brought when the Bolshoi returns to London in the summer.)" This 2016 appearance by the Bolshoi in London chimes with a very brief comment that K. O'Hare made (under the Russian translation) in one of the now removed clips from the RB's Russian tour last year. I wondered if anyone else had heard more concrete detail concerning the above suggested notifications. No venue has been specified as far as I am aware nor can I find any reference as to the presenters for this projected London outing.

Vienna State Opera/Ballet have announced their simulcast season for 2015/16. There are two ballet items; one Ashton. Just a reminder these are web-streams. You can watch them at a selected number of times after the initial live relay juncture. Sunday, December 27, 2015 - Ashton's La Fille mal gardée Wednesday, March 23, 2016 - Manuel Legris' staging of Le Corsaire https://www.staatsop...ve.com/en/live/

Leanne Cope has WON the Dorothy Loudon Award for Excellence (which is part of the 71st Annual Theater World Awards) for her AiP performance. I am sure we all congratulate Ms. Cope on this achievement. (You may remember Ms. Loudon as - among many other Broadway credits - she originated - and received a Tony Award for her performance as - Miss Hannigan in Annie. Theater World is itself a long-standing theatrical publication issued annually.) The actual award in honour of Ms. Loudon will be presented to Ms. Cope (a RB First Artist currently on leave from the Company) on 1st June 2015 at the Lyric Theater in NYC by Dame Diana Rigg. Robert Fairchild (AiP) and his sister, Megan Fairchild, (On The Town) have both been honoured with Theater World Awards for their Broadway débuts in musicals. Both are principal dancers with NYCB. This is the first time that two siblings have won Theater World Awards in the same Broadway season. Britons Alex Sharp and Ruth Wilson also received Theater World Awards for their dramatic débuts on Broadway during this past season. http://www.playbill.com/news/article/broadway-siblings-megan-and-robert-fairchild-among-71st-annual-theatre-world-award-winners-348368

Delighted that Naghdi and Ball have been paired for R&J - most exciting - as well as Osipova with Muntagirov and most certainly - as noted - Ms. Hayward's debut with Mr. Golding. Oh, and the addition of Nunez/Muntagirov for the Tschai PDD is enticing as well. Was somewhat surprised that Salenko was brought in for Two Pigeons with McRae and not just the R&J. Has she danced much Ashton elsewhere? Forgive my ignorance on that score. Most pleased that Mr. Hay is getting a stab at Two Pigeons. I don't see Ms. Cope's name included anywhere - including Nutcracker. Perhaps she is delaying her RB return for just a bit given the commercial/critical success of An American in Paris on Broadway.

C. Wheeldon, L. Cope and R. Fairchild - all for AiP - have been nominated for 2015 Fred and Adele Astaire Awards http://www.playbill.com/news/article/an-american-in-paris-on-the-town-and-on-the-twentieth-century-lead-astaire-award-nominations-348315

Time Out too features the 50% reduction (on the already reduced ROH prices) for WOOLF WORKS: https://uk-offers.timeout.com/deals/entertainment-woolf-works-at-the-royal-opera-house?cid=TOL~OF~1400605295~entertainment-woolf-works-at-the-royal-opera-house~~CTA~2015-05-05 Only valid until Saturday, 9th May.

A 15 minute interview with Christopher Wheeldon on Public Radio International (PRI) in which he discusses growing up in South West England, choreographing at 12 at the RBS, the impact of Robbins on his theatrical acumen and during which we hear Robbie Fairchild sing in a snippet from the upcoming AiP original cast album to be publicly released on 2nd June 2015. Wheeldon reveals that 23 minutes was cut from the Paris AiP production in preparation for Broadway.

Am I alone in wondering why Sadler's Wells would not be able to offer more support in an instance such as this - certainly moral if not anything else. Must admit though that I too found it odd that the SW listing was not on the BTUK initial link. Has this outing been confirmed?

Like Pavlova, Fonteyn and in time I imagine Farrell, the light of her history will reign forever. We were blessed in having been able to actively witness the thrill of her reality.

Oh, this is a shame .... (I did notice that there was far less 'new' SA2 product of very late ... and what there was over the most recent months seems to have premièred on Sky Arts 1) .... I have a feeling some of us will have to question our subscriptions in time depending on the outcome of the renewed focus. I wonder if the increase of Arts programming on the BBC under Tony Hall was a factor. That said the BBC now generally produces its own arts material whilst Sky Arts 2 largely brought such in from the outside. The British arts commissioners' market in terms of media is certainly becoming an ever more elite calling. I'm certain they must wish it was otherwise and may soon look at Sky Arts 2's history as a separate entity with an ever more acute nostalgia. Truly. Here's the sky article on the merger .. http://www.sky.com/tv/channel/skyarts/article/latest-news I see the BalletBoyz will be focusing on the Kama Sutra in a Sky Arts 'Sex' season with choreography by Javier De Frutos.

Thank you for that official clarification.