Bruce Wall

Just a small point, Alison. This may be the first 'native' company doing a 'full' Napoli in the USA, I don't know ... but I am certainly aware that both LFB/ENB and RDB presented a full length Napoli in NYC previously - albeit some time ago. Also I don't think it is particularly strange that Arizona Ballet should be presenting such given (i) their AD's (Ib Andersen) Danish heritage - (he attended the RDBS and became that Company's youngest principal at 20 years of age) - and (ii) due to his close association with Stanley Williams during his many years as a fine performer with NYCB. Indeed, I believe the physical production (both scenery and costumes) has been borrowed on this occasion from the RDB.

It was a watershed moment for the LFB/ENB company ... much as I think today's regime will be seen historically.

People interested in this strand may be interested too in this new DVD of old (but good) highlights:- http://www.vaimusic.com/product/4581.html

Bless you, Janet. I did try to quickly look it up - but was obviously trying to do too many things at once. They mistakenly list 1988 on Makarova's Wikipedia listing so at least I am not alone in that confusion. At that time, 1987 of course, BRB would have been SWRB ... and it would have been the first year of Christopher Gable's extraordinary tenure in shaping (the then) NBT.

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True, Alison, but those companies - BRB and NB - have their established bases in centres other than in London, i.e., Birmingham and Leeds respectively. It would, I think, be most strange if they chose to premiere the majority of their new works in centres other than in their own committed territories. ENB is, after all, - if not always historically - the English National Ballet, and I would assume that they would be under somewhat more pressure to premiere their new works in the 'English' capital which remains, I believe, London (much, say, as the extraordinary Lest We Forget triple bill was). Of course in 1991 (the time of the Makarova SL) ENB would still have been known as LFB and BRB would have been in only the first year of its use of that title as opposed to its former name, Sadlers Wells Royal Ballet.

The full Joffrey 2015-16 season is listed below. It includes Ashton's Cinderella and a world premiere by UK born and ex-RB/SB associate, Ashley Page. http://www.joffrey.org/1516season

Met Season (with full casting) - http://metopera.org/metopera/season/index.aspx?type=next&sn=st Cinema Relays - http://metopera.org/metopera/liveinhd/live-in-hd-2015-16-season

Oh, the lucky, lucky people of Bradford on that occasion. I'm so pleased that ENB still continues the tradition of opening major productions outside of London. ENB's radiant Le Corsaire production opened in Milton Keynes I seem to recall.

Truer words - or so we are told - are oft spoke in jest.

I think the idea behind SHE SAID is particularly inspired ... and is, even now, perhaps a tad overdue. ENB has, of course, among its ranks two VERY talented female choreographers, the insightful Tamarin Stott (who is part of the February programme for The Print Room) and the ever glorious Stina Quagebeur. I very much hope that some of their fine work can be seen in and around this celebration of ever potent female inspiration. Bless Ms. Rojo for making this possible and for once again leading in a fine and definitive way. Let's hope that some of the works from this triple bill can be seen (and supported) around the UK. The need for/importance of such effective role models is unquestioned.

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1) I see that Oxford (the New Theatre) has been left off of the tour schedule this time round for any of the main stage items as well - but Bristol gained. 2) Very often, I think, it is the venue that plays a major role in determining the fare presented when dealing with major tour destinations (given that the Company will - I assume - be playing against guarantee). I should think this beautiful production of Le Corsaire will look ravishing in the Palais Garnier.

One of the lifts in the mirror PDD was fudged (the second in a series of three) but their handling of the recovery was inspired. If you hadn't of known ... you wouldn't. Magic.

I totally agree ... but surely you mean five ....

As someone suggested above these decisions - i.e., such as those on a choreographer to 'oversee' a new RB SL - are usually made WAY in advance. I understand from a source who's usually well sourced on such issues - and although there has been no official confirmation - that the decision in this specific regard has already fallen in Scarlett's favour. if true - and I stress IF - I, myself, have mixed feelings about this given that I think Wheeldon has truly come into his own - in terms of narrative development - after the initial Broadway workshop of An American in Paris. He has said so himself. Proof of this was given with Winter's Tale for the RB which followed immediately after that NYC commercial workshop identified in the previous sentence. I am now convinced - having seen it four times both at the beginning of its preview period at the Chatelet and at the end of its Parisian run that AiP will be a huge triumph for Wheeldon on Broadway (much like Gypsy, Fiddler on the Roof and West Side Story were for his key mentor, Jerome Robbins.) That can but increase the pressures on Mr. Wheeldon's plate and may well make him practically unavailable to the RB for such a major undertaking for some time to come. I know I was perhaps alone here in thinking that An Age of Anxiety was brave of Scarlett and marked a move away (refreshingly in my book) from an over abundance of/reliance on violence - specifically that of a pseudo sexual nature - which appeared to have entered into his work for the Royal Ballet post Ashphodel Meadows (which I still think is - by some considerable distance - his best RB outing). Certainly I know the initial American critical support for Scarlett has somewhat dulled over his past couple of works in NYC; specifically post the last one late last year for ABT which has now been affectionately termed in some quarters as 'twerkgate'. If the above report IS true - and again I stress the IF factor - I think it is brave of O'Hare to have gifted such a relatively young artist with this key oversight; one SO specifically key to the fiscal well being of the RB. I applaud O'Hare for that courage - again if true - and hope only that this seeming act of bravery might/will work out to everyone's advantage; not least on behalf of the well deserving audience members as much as the British taxpayer.

The French designer Jerome Kaplan has done spectacular work throughout the world, I agree. His designs of Lost Illusions (Bolshoi) and Ratmansky's Paquita in Munich were simply thrilling as well. Many choreographers have established (but not, of course, exclusive) relationships with designers. Currently I think of Wheeldon and Bob Crowley ... or Matthew Bourne and Lez Brotherstone. Perhaps that is why managements may not ALWAYS think of such designers independently when building new productions of established works - especially should their established choreographic collaborators not in that instance be involved. Also such design partners often have their schedules built well into the future.. This relationship phenomena, of course, is not new and often happens in the theatre as well ... with established directors. There were entire regimes build around Trevor Nunn and John Napier (for a while establishing the RSC house style) and Peter Hall and John Burry ... and what would Donnellan be if not cheek by jowl with Ormerod.

This is included in the (as ever) wonderful daily links of today, but I just wanted to highlight that you may find some items in Deborah Jowitt's (as ever exemplary) report on the 2015 Dance on Camera Festival of interest given the specific nature/breadth of this category. http://www.artsjournal.com/dancebeat/2015/02/filming-dance-dancing-films/

While I don't - in reality - think that it will happen, I feel that would be a wonderful idea, Janet. Even better - although, again, I don't think it is a realistic prospect - in an age of continuing and necessitated austerity where co-productions are often mandated by reality if nothing else - I think it would make a significant point if the RB were to lead the way and share Wright's BRB fine - already established, tried and tested - production of SL between the two Royal companies. It is - for my money - the best in the country. In this way they would be making a significant statement in terms of making very real savings and sharing a much prized resource.

Vis a vis the current (well, 30 year old) RB production - what is the cliche? Something I recall like 'least said soonest mended' ... My greatest relief was reading in several of the (few remaining) broadsheet reviews that this is (apparently definitively) the last time this particular production will be greeting our eyes. (Not, of course, that their accuracy can always be counted upon.) 'Whew', is all I seem to be able to muster at this particular moment in time. Our aspirations for the next production still have - for now at any rate - the pretension of innocence. Those particular notes of hope in this specific regard are, I think, much to be cherished.

No, Janet - nothing so focused, I fear. It was only that it was the only bullet item that specifically addressed ballet itself ... which was, in and of itself, part of the parcel of this article i thought. Perhaps even that - however - was giving it too much credit. I don't know. Sadly, I don't spend much time reading Marie Claire ... or such like .... so certainly I can't comment on the standard of such overall philosophies. It was, I thought, - for the reasons I stated - amusing - otherwise I would not have quoted the link: Promise. Certainly I didn't think it was anything that anyone should take too seriously ... even though I did feel it apt for a section entitled 'Sergei Polunin - news' as he was the specific vehicle - the catalyst - for what I took to be the sting of their absurdity. This is decidedly Polunin 'news' in the lower case ... as itemised above.

Yes, but Sim do you really think these comparisons were meant to be taken seriously (i.e., on a linear line)? I certainly thought the intent was otherwise. That said Millepied was a very fine dancer himself. and on the basic terms of comparison only methinks - even on a relatively miniscule basis - you could do a lot worse. Look at Woetzel - who in my book - and that of Baryishnikov - was one of those balletic 'once in a generation' talents - but who sadly only danced but one movement of one ballet in this country. He is never drawn out in any lists here. It is, I think, all about a certain kind of exposure - often away from the pure art form itself. It was this that Balanchine famously said should be avoided at all costs. Polunin has fought for this kind of celebrity. He has lived in an age of it. That no doubt helped to define his/our perceptions. That he has achieved it is unquestioned. I think - if you read between its lines - THAT is what the Marie Claire article was focusing upon. I do think they meant the absurdity to be pointed. I may, of course, be very wrong. The comment about Millepied was - if you take it at its face value - a dig at the local press for being parochial. How often has than been the case in the 'best of' or comparison situations here? 'Enough said' I mumbled to myself when I saw this. Certainly I smiled.

According According to this Marie Claire article, Polunin is 15% Millepied. To wit: "Danse classique oblige, Sergeï a forcément un peu de Benjamin Millepied en lui!" http://www.marieclaire.fr/,qui-es-tu-sergei-polounine-danseur-hypnotique-du-clip-de-lachapelle,733351.asp Go figure.

How exciting. Sounds like a wonderful programme. A rightful celebration.

A promo on bringing AiP from Paris to Broadway ... Lovely clip of Cope and Fairchild ... and Fairchild is very moving in his (non-stated) determination to reach the Great White Way ... It is amazing too that he has danced so many performances with NYCB in the interim. He dances Romeo twice this week - and they started back in AiP rehearsals on Monday. https://www.youtube.com/watch?v=K7ivYBbq58I#t=53