Bruce Wall

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

There are now a few very brief clips of Peck's Rodeo on the NYCB website here. It would be grand if perhaps one day the RB could do something like this. I'm sure the men would appreciate/benefit from the classical discipline in a dance that both stealthily keeps to the balletic idiom and yet makes it somehow seem contemporary (as in the first - and longest - clip). (I have a feeling something like this would suit Muntagirov very well indeed - or Matthew Ball. Taylor Stanley looks sublime in the second clip. I could well imagine Sambe or Hay in something akin to that same.) I very much admired the sense of space in that small PDD segment (no 3 on the page). As in all that Peck does musicality is key - so different, say, from the clinical edge of McGregor. The patting on the floor (in the first clip) made me think of the Acosta passion for percussion. Blessedly I haven't read any reports in which it is noted that the NYCB company vocalise in Peck's Rodeo. (Guess they leave that to West Side Story Suite ... especially now that the caller from Square Dance has disappeared. At least in the Robbins they have the added bonus of assistance from Bernstein/Sondheim .... and the safe knowledge that it sprung from the original root.

Some interesting commentary by Millepied here.

Won't be surprised to see them raise the prices with the next season - as they already know that they have a progressive (if relatively small) cut over the next two years and may well have more in the next core funded revision review - given that the IMF have already estimated that there need to be 14% cuts overall in the next parliament.

Enjoyed this programme overall. Didn't much care for the first piece. I thought Kit Holder's TO FETCH A PAIL OF WATER was more than just a damp squib; it was actually - in the end - rather pretentious. The audience were decidedly polite in their response. Very much improved with Tuckett's DEPOUILLEMENT (to Ravel's rich Sonata for Violin and Cello) which was the best piece overall - but as it had been previously performed it seemed to be the most confident in execution. The Mark Bruce (SECOND COMING) - as ever with this fine talent - showed definite marks of an inspired imagination. It was wonderful to see the theatre so full in support of this company still so important to the UK's cultural communities. Wonderful too to see the balletic idiom celebrated throughout. Cira Robinson was imaginatively magnetic in her performances in the latter two pieces.

Thanks SO for this. It is WONDERFUL .. So glorious to see the first movement with all the detail for the female principal so carefully etched which sadly was not the case when the RB last did it ... and the devilish fourth movement so clearly completed. THANKS VERY MUCH INDEED.

Source It is a given, I think, that Wheeldon's absorbing WINTER'S TALE will be on the RB 2015/16 schedule as well. So pleased they are doing Kobborg's La Sylphide ... (even thought the Bruhn production that NBoC had is a real stunner as well). Cote's Le Petit Prince sounds additionally intriguing. Kain has delivered a good balance overall. The Press Release also announces that there will be another World Ballet Day on 1st October 2015. Something for us to pencil into our diaries now

Alessandra Ferri - Wolf Works .... Mara Galeazzi was in Cassandra

REALLY????? And here was I thinking it was just mime!!!

That building in Maui is stunningly beautiful. The cinematography ain't no chopped liver either. Helps to have talented friends when you feel the need to improvise. Funny, I usually don't like tattoos either ... but on Polunin they seem to suit .. given that they are his ... and we know he feels they are an integral part of his story. Good luck to him.

Thanks so for the Heads Up on this, SPD444. That's one I'M NOT GOING TO MISS.

Angela, with respect, it was but my interpretation of what I saw/felt on Saturday afternoon standing at T46 in the Royal Opera House ampi-theatre. I, too, (although certainly not in the league of your number) have seen a goodly few performances of this work in London, New York and, on a few occasions, elsewhere. (I remember an interesting one in Vilnius for example.) I was simply responding to what I saw/felt. I am indeed sorry that you felt it was "wrong, so wrong". Myself I don't think there are any real 'rights and wrongs' or any 'one specific way' in terms of perception of such matters. I, myself, love to read of other people's perceptions of such works - such as your own in the much appreciated German file - especially when they are interpretations of established literary tomes (e.g., Oneign, Taming of the Shrew, etc.). They can I THINK only help to make me consider and grow ... but, as I said, that is just me and I am ... I admit ... a funny old bird. I wish you, Angela, a most joyous end to your weekend.

Angela, I don't think it was revenge, or certainly as it is, I suppose, most commonly - well, conventionally - perceived in this specific context. Certainly, that's not how I read it. If it WAS it was ONLY against herself and even then she sought I felt a definition of greater expanse. This WAS Tatyana's battle with the loss of - as you put it - 'the love of her - (and here I assume you mean) - life CERTAINLY. The final moment I READ as being that of a personal victory for Tatyana; a new freedom; a renewal; a letting go if you will. I had felt the same at the end of Maximova's performance. (Did you see her do it? You must have out of that number.) Surely there have been - MUST BE - more than just one way to skin the Cranko cat, Angela. At least I would hope there have been for your good self especially after having seen more than eighty of them run their course. Certainly, IF IT WAS ME I would want to wait til I had myself a chance to see this particular artist's take before I made so definitive a judgement ... but that may well just be me. Thanks so again for ALL the work you do in keeping us abreast of the fine goings on in Germany. I only wish I, myself, had more of an opportunity to see those fine artists first hand. How I would like to. I positively adored Jason Reilly's Oneign in the last RB round of this particular work.

Very interesting. Watching it I was thinking how wonderful Matthew Ball from the Royal Ballet would look in such a solo. I'm sure there will be many more of such for both.

I wrote in my initial appraisal of Osipova's Oneign debut that it was a work in progress. A couple of people read this, I fear, in a manner which certainly I did not intend. For me that is EVER the case with Osipova and, IMHO, it is THAT which defines her greatness, much as it did for Maximova (who was such a stunning Titania with LFB/ENB, the original presenters of this Cranko work) and Semenyaka, who was Osipova's first Bolshoi coach (and, boy, does it show). Several entirely vital chapters were added in today's matinee in the towering tome that is HER Titania. They succeeded in enhancing everything and everyone in her surround. There could be no question: She and IT were ALWAYS of/in the moment; ever cognizant and unquestionably - heartbreakingly - zoetic. (Immediately after its conclusion - ripe with ecstatic curtain calls - I dashed to the Coliseum and watched five hours and forty minutes of Richard Jones' fine production of Wagner's 'The Mastersingers' which had in turn some truly inspired moments as well - as had the Flying Dutchman at the ROH last Thursday. All hail Pieczonka's STUNNING Senta. Should interest prevail, do try to catch them.) That Matthew Ball is a danseur noble in the making cannot be challenged. K. O'Hare's fundamental philosophy is now paying substantial dividends. (I so look forward to seeing him have an opportunity to dance with Hayward.) Yasmine Naghdi - she of the sunburst smile, placement and musicality to match the resplendent memory of Katrina Killian - made him more than whole. Together they sang as Lensky and Olga. As Aileen suggests above, they were the very embodiment of 'Love's Young Dream'. This pairing didn't need to adhere to any Italian legend for characteristic inspiration. No. They leaped efficacious and simmering - a Frank and Vivie to the life in full chase - fresh from the pages of Shaw's passion. The first act PDD - ripe with those fiendishly difficult back turning lifts - was enchantment incarnate. Never was there a need here for any 'filling'. (This sadly was not the case in the one other Oneign cast I have seen in this current RB stint of Cranko.) Golding was more than ripe in his title character's build and it was Osipova who courageously saw that he defiantly held sway. The small goatee Golding now harbours framed the complexity of his overall and ever changing mindset. While Osipova's Titania of the opening act was incarcerated in her romantic novels, Golding's Oneign - on first spying her - suddenly saw the picture of some woman he had loved but somehow rejected. His first act solo was riveting in its mix of self-anger, guilt, regret and frustration. Surely that's what alighted the scent of this young Titania; Fear. She longed for someone she could have a good fight with. She aspired to tangle. Osipova's entreating bourees were all as if both in and out of a cage. Her anticipation was rife as was - again - her spellbinding solo in the second act. There she churned having already been spellbound by the fulfillment of a fantasy Evgeni (as enervated by Golding's Godlike attack of 'any girl's dream') and also destroyed by the arrival of an all too realistic dawn. (I, for one, very much look forward to seeing more of/from this partnership.) Gartside once more was the very picture of aristocratic repression with his cherry of humanity skillfully placed on top much as he stunningly delivered in Wheeldon's absording Winter's Tale. His loving wife in this interim had more than learned to play - and excel at - the game he taught her. Indeed it was that very solidity which had brokered their bond of love. We could ourselves feel the surety of its seal. Banished by Osipova were the overt dramatics some other RB Titanias seem to currently favour in the last scene's PDD. Here Osipova pared all down to the bone; her tables having been turned much as her mirror was. HERE Osipova practiced role reversal. She played Oneign's earlier role - but one acutely fixed in her own frame. The fatal shot of Lensky - and her piercing stare in response which leveled Oneign to tears (and a big Bravo to Golding for so movingly pulling that off) had seen to this. For Osipova there was no going back from that fold. She said as much in her first glare at Oneign in the Gremin ballroom. In the final PDD Osipova partnered Golding's own wretched anguish. After he was no longer able to endure it (in my mind's eye running out to an almost certain death of one kind or another) Osipova gathered up the remnants of his now shredded letter in triumph and slowly - VERY SLOWLY - walked into the spotlight and waited until the VERY LAST SECOND to tilt her head back in a triumph. 'YES' she seemed to scream; It was piercing. It WAS brilliant. Brava ... BRAVI!