Bruce Wall

Just a nod .... At last night's LBC meeting with Ivan Vasiliev, the dancer himself said he would be appearing in a programme in London for one night only on 17th July. I assumed this was to be at the Coliseum although that wasn't I think entirely specified. (The host was rather inexperienced and did not pick up on many of the key points of emphasis which left some in the large audience rather wanting I fear.) Vasiliev said he would be dancing the Pita piece from Solo for Two ... and also said something else but, sadly, given the unfortunate state of the sound system - which led to much gleeful animation from Mr. Vasiliev himself - I sadly couldn't make it out.

It was grand to see an audience - certainly in the stalls - at the Peacock which was larger than I might have otherwise expected/feared given past experiences with similar ensembles in London. I sincerely pray that the wonderful Mr. Birkkjaer and his dedicated and highly gifted team managed to break even from that stint. Perhaps the key in such presentations is to do exactly what they did; to concentrate on pure ballet/dance itself and excise as many other additional costs as possible and focus purely on a dedicated ensemble in order to make these kinds of programmes affordable/viable in London. Perhaps the fact that the presentation itself was restricted to three performances in but two weekend days was also key to answering what the traffic will now (happily) bear. I see that RSB's Streetcar has a similar short burst - I think three days - at SW. This programme with dancers from the RDB was a true delight and I'm so pleased that I was privileged to be able to attend two of the three performances. It was as much an honour as it was a joy.

Source Includes the ever popular Darcey Bussell and, latterly, BRB's David Bintley in a documentary focusing on the influences of Louis XIV, the supposed father/foundation layer of ballet as we now know it. Mr. Bintley is creating a new ballet around that particular theme entitled 'The King Dances' for the rightly admired BRB. Let's hope we have a chance to see it in London after it has served its designated regional tour path. All programmes will be broadcast on BBC4. Perhaps 'The King Dances' will take a special place of merit on the main BBC programming schedule for Xmas 2015.

A report of Nunez/Soares in a Rome Gala (alongside many others of course) is here. They danced the DQ and White Swan pas it seems.

Now there's an idea ... the construct of a balletic ON THE WATERFRONT for Vasiliev .... Right up his proverbial alley I should imagine Perhaps he could have samples of (appropriately associated) verse such as he is known to write published in the programme too!

Yes, but just to play the devil's advocate here for a moment, do not the Russian touring outfits (be it Siberia or Moscow City) often play in those venues .... and do not even other SW associate members - I'm thinking of the like of AMP with their Swan Lake, Car Man, Cinderella, Nutcracker, etc., and Random Dance - both now with public subsidy - also play / overlap with more local (i.e., more locally regionally) dance (i.e., contemporary) companies in those cities? I believe they do ... whilst acknowledging that I'm sure the immediate nature of their product does not overlap. And just for the sake of clarity - the reason why I focused above with an interest on Sadler's Wells in terms of presentation of major BALLET companies in London - [and, yes, I did restrict myself to LONDON ONLY as I was striving to talk about LONDON in comparison, say, with New York or Paris as a potential WESTERN World BALLET city] - is because Sadler's Wells was the last subsidized entity to support - [well, - again for precision's sake and not knowing the SW specifics in such - were certainly the ones who physically helped to house them be it at either their own primary or indeed secondary (in terms, say, of the last two RDB showcase rentals) venue - or, indeed, in association with the Coliseum's more commodious space] - such companies as Stuttgart, NYCB, ABT, SFB, POB - during their most recent London visits (with the acknowledgement that the presentation of the two primary Russian Companies - i.e., the Bolshoi and Mariinsky/Kirov has historically been the entire commercial domain of the Hochhausers who are ... well, certainly have been ... themselves a very fine private presenting outfit; one who have presented those specific same plenteously.) As Bruce kindly suggests above Sadler's priority has clearly shifted in this regard and they are understandably - especially given a restriction in national resources - clearly now much more focused on showing/celebrating a more national product of dance - well, given an emphasis on 'newer/contemporary' fare first - and those individuals in this country who are most committed towards it. Quite right too. The nation's resources (be they in space or monies) are, of course, primary and limited and should be reserved for the companies that do most to serve/support this nation itself. For those interested in getting an international picture/overview - be it of the BALLETIC world itself or anything else - there are airplanes. It's only that the umbrella - for whatever reason - and in terms of MAJOR WESTERN BALLET presentation I suggest it has to do primarily with the available facilities to house such - Paris and New York are different in terms of the overall stretch of their canvas. That is/has been their municipal choice/priority. That it is all. It is - a bit like international horse racing. It's a privileged sport; no question. That kind of international education has sadly never come cheaply. Times are different certainly for London - in so many ways - from when I was growing up ... and, who knows, - given that things are cyclical - they may well come round to being as they were then. Who knows? I don't. That's the exciting bit. (Somehow I doubt - given the state of my own matters sadly - that I will be around to see it - but I would, I promise, oh, so love to be able to do so ..... if I could only find an outfit - ANYWHERE IN THIS PRACTICAL WORLD - AND I'M NOT FUSSY - PROMISE - which has proven that freezing actually works!!! Heaven knows it has certainly been talked about for a long time too.) .... or should that bracket be a ..... (That's me attempting ... meekly I realise ... to be modern .... THERE ... i did it again. .

Yes, that Cinderella was at the Edinburgh Playhouse not the really beautiful Edinburgh Festival Theatre .... I was just wondering if any our major national dance companies ... the Royal or ENB had been there? It would be shame if they hadn't. And on the second score ... Northern and Birmingham now come to London ... and certainly Northern have overlapped venues with ENB .... although it appears that ENB may be cutting down on national venues now to some degree to represent the nation more internationally ...

He is wonderful. He was a former member of ENB; then left ... and oh, so wisely Ms. Rojo has brought him back. It is indeed our gain. His performances in Corsaire and Coppelia were to be cherished.

I agree with you, jmhopton. Totally. There is no reason why more international - and if I might - and dare I say it - more significant national ballet - should not be shared within those excellent facilities you have identified. When was the Royal last at either? That said, in my notation #38 above I was ONLY trying to explain the reasons behind why London itself is NOT considered - in the larger scale of things - a WESTERN centre for WORLD BALLET .... as the issue does seem to crop up from time to time. That is all. Again, there is NO reason why such significant ballet companies such as POB, the Mariinsky or the Bolshoi ... or, indeed, the Royal Ballet .... should not have designated stops at the lovely Lowry or the long noted Birmingham Hippodrome ... or the Edinburgh Festival Theatre for that matter. I wonder when was our wonderful ENB last at any of these venues? Does anyone know???? Alison, you are always so wonderfully accurate in your remembrance of these matters. Perhaps you could help. Bless you.

Yes, Sadler's Wells - the theatre that was home - some might almost argue birthplace - to British Ballet - is now a dedicated contemporary venue ... and I so look forward to ENB's contemporary ballet take on the Giselle via Akram Kahn. (I do, however, hope this doesn't result in ENB totally dumping some of the lovely - more traditional - productions of that piece they possess.) Here's hoping that the Kahn will be every bit as thrilling as Dust. New York, of course, is - in many eyes - the international root of contemporary dance as so much of its literacy was historically created there. (I above was, of course, ONLY addressing ballet.) They too continue to produce much product in the contemporary regard and hopefully the extra SW theatre might help in allowing both locales to better share their wares with each other. As to 'the new' in ballet, I suppose in dominance we will - as you so generously point out, Bruce - still have to travel to the designated major Western centres should our interests/resources prevail. (It is my fervent hope that pay per view might become a possibility for these significant outlets - including RDB - in time. That in and of itself would proffer a form of electronic touring/education that might be possible/achievable in modern times. Given the brilliant state that NYCB has found itself in of late (after a somewhat slow burn period) it can only continue to flourish I think - especially with the brilliant Justin Peck in tow (whose only work to be seen in London - his only stab at a contemporary work - was given five stars by Mr. Crisp on his first viewing) and I, for one, think that there is every possibility that the POB under Millipied may well lead to some really thrilling (and very necessary) balletic advances there too. Here's hoping at any rate. It is a wonderful time to live in this world of ours from all dance aspects.

A very interesting comment by DOUG FULLINGTON (Thanks Angela) himself that you may find of interest. This is from the Ballet Alert site: No fouettes in the Paquita notation. The only ballet in which they are notated is Swan Lake. We interpolated the Delibes variation for Lucien for three reasons: 1-no variation is notated for Lucien and no music is included in the sources for his variation. 2-the choreography for the variation is well-notated and was intended for the Delibes music. 3-the variation is exactly the kind of male choreography that would have been danced circa 1904, when most of the Paquita choreography was notated.

I think there is a very real reason why Paris and New York are perceived as the WESTERN centres for WORLD BALLET ... and why they, say, have many more visits by all major ballet companies [modern ensembles are often easier to tour] than a city like London or Los Angeles, say. The fact - as I have thought about it - really boils down to (1) facilities and (2) an existing established audience for diversity in balletic rep. That said the physical facilities really are the key. LONDON of course has the glorious Royal Opera House (2,256 Capacity) and the slightly larger Coliseum (2,558) as well as the very clinical lines of the new Sadler's Wells - ripe with its history - at 1,568. There is, of course, the Barbican (1,160 capacity) - which was so splendidly used by ENB last year - but it does not really appear to be ideal for ballet with a live orchestra. There is, of course, the Peacock which seats 999. TOTAL: 8,541 SEATING CAPACITY (including the really quite inappropriate venue), 7,381 SEATING CAPACITY IN ESTABLISHED MAJOR BALLET VENUES. NEW YORK has - appropriate to major ballet companies - the Met - with its 4,000 places - and the Koch/State Theater (Balanchine's House at 2,586 seats) - which are directly across the plaza from each other; City Center (only slightly larger in terms of capacity from the ROH at 2,700 - and the facility where Balanchine staged many of his now most famous repertory ballets) and BAM with both an opera house (2,104 seats) and an 800 seat theatre - both of which are of course now just down the road from the Mark Morris Dance Center. They also have a smaller dance facility - The Joyce - which is both lovely and clean lined and seats 472. The latter serves the same function in New York as Sadler's Wells does in London ... but it does seem to have more balletic content than SW certainly has over the last few seasons. This is where the RDB extracts programme will be this week. TOTAL: 12,662 SEATING CAPACITY IN ESTABLISHED MAJOR BALLET VENUES. While London and New York City are basically about the same size in terms of population, the facility head counts - in terms of serving ballet - and not, say, the like of the much admired AMP productions - are really quite, quite different. Also it shows why it will be such a major consideration to London when the ROH is closed for re-modeling during the next three summers as has been advised. (That said I'm sure many will be delighted to know that I have heard tell that the ROH are sponsoring?/supporting one of the much loved Carlos Acosta specialist Cuban programmes this summer ... but that will be it. I'm sure that will be a keen delight to many readers here ... but - if that programme is as it was last summer - and as broadcast on the BBC this Christmas - it will not be a ballet based programme at all and thus totally inappropriate for this count.) PARIS has the Palais Garnier (which is rather small in capacity - 1,972 - but has a goodly sized stage for ballet), The Bastille Opera House which is larger (2,723), the Chatalet which at 2,500 seats is about the same size and the lovely Théâtre des Champs-Élysées with 1,900 seats - all established BALLET VENUES - and, of course, other smaller venues akin to Sadlers Wells. TOTAL SEATING CAPACITY IN ESTABLISHED BALLET VENUES: 9,095 SEATING CAPACITY. For the above very real reasons I think IF the Sadler's Wells team were intent on making London a stop attractive/possible for major international ballet companies the theatre they would (and are planning to) build in Stratford would stretch at least to 1.500 seats rather than the promised 500 seat capacity. The latter I'm sure will best suit the smaller framed works they have long preferred and are most comfortable in serving. Both New York and Paris for years offered free educational programmes and these - over decades - have built a considerable dedicated and knowledgeable audience able to help support a wide diversity of dance (i.e., not just the popular home brands - as wonderful as they are.) Access to such programmes everywhere in the West now seems to be restricted to those who are able to afford it. This is very different from the past. I only pray that the provision can survive. It is due to such concerns that the Met has struggled so much recently.

Oh, thank you, Jane, for letting me know that on both counts. If it was the extraordinary Mr. Birkkjaer then he deserves our hearty thanks ... and then some. BLESS THEM.

Can I just encourage you - having had the privilege through work to have occasion to see this Paquita twice during the past week - to watch this. The production itself I thought breathtaking. The theatre is - as ever - also radiant. I will be most interested to hear what you think. I know there are many here who have struggled with Ratmansky in the past but I do sincerely feel that so much of his key work has sadly not been seen here ... and certainly I was oh, so delighted when Concerto DSCH was presented nine years after its NYCB premiere by the Mariinsky at our own wonderful ROH. Here Ratmansky's work is seen in tandem with that of the glorious Doug Fullerton and his Stepanov zeal. That breathtaking Giselle he helped frame for Carla Korbes (another unique artist who will sadly never have been seen in London as she retires at the end of this season) was oh, so instructive in several key ways and I'm sure the upcoming Ratmansky mount of Sleeping Beauty for ABT's 75th season will also be enticing for the same reasons. (That opens first at La Scala.) The decor of the Paquita I think you will certainly enjoy - (vibrant without being garish methought) - and the orchestration - especially that of the Minkus which was familiar to me - is refreshingly buoyant and exceedingly well played. Indeed it came wonderfully alive. I don't always think the company as a whole is up to some of the challenges - but I do so bless them for trying ... and this fine (IMHO) production can but help to build core strength amongst their ranks. The male artists from the Company's corps who took on the chief male dancing responsibility in the delightful first act pas de trois did very well. It was also wonderful (for me at least) to see a balletic scenario where hyper extensions were no where on the horizon and a defining petit allegro was clearly being celebrated. I was also amazed to see the use of 'off-balance' being toyed with at times ... as in the final moment's of the last act's grand pas de deux's adagio. I didn't think either of the two casts of principals really snared that particular opportunity as they might have but I could vividly imagine how it might otherwise look in the hands of, say, Tamara Rojo with an Alban Lendorf ... or perhaps a Francesca Hayward or a Sara Mearns with a Robbie Fairchild or a Tyler Angle; fine dramatic/balletic artists all. The czardas that immediately precedes the part we best know as 'grand pas classique' - is performed by a company of 24 children - and is entirely life enriching. The audiences' lustrous applause at its end sustained on both occasions that time it took for the young dancers to run off-stage and up onto an upper stage balcony where they would remain in full view for the dazzling treats that Ratmansky/Fullerton/Stepanov have created to occur below. (A side note: It was lovely to see that these Munich audiences still dress for the ballet. It's very much an old world charm. Both performances I attended were full and I got a definite sense of occasion from all present. During the interval there was a palpable parade through the many grand rooms that made up the front of the first balcony level. I too joined their stroll and was dazzled by the engagement of the conversation about the work at hand - and their pride in it - every bit as much as I was beguiled by the enchanting chandeliers and illustrious change in colours/mouldings within the differing facades.)

What a thing of joy this Bournonville programme as assembled/produced by Gregory Dean was yesterday. I had just got off a plane from Munich that morning and my ears - it seems always to be the case when flying with RyanAir - were entirely underwater. I watched both of yesterday's programmes - but the matinee was as if the sounds themselves were submerged. Notwithstanding the dazzling buoyancy of the dance that Mr. Dean had so generously assembled allowed me to 'see the music; hear the dance'. By the evening when my audible balance was blessedly restored I could fully share the rapture as had been evidenced by both of the near capacity audiences. (I have, I have to admit, never - ever - seen the Peacock so full. It was a joy to see ... and I pray that it wasn't due to an abundance of 'paper'.) I spoke last night to someone in the proverbial know as to the reason why there was no representation of this programme ANYWHERE outside the Peacock Theatre (or inside for that matter - short of the programme sellers with an independently produced programme). This I was told was due to the fact that this was a 'straight Sadler's Wells rental'. This independent company would have had to pay extra for a poster to be displayed not being under Sadler Well's official sanction. What was it that Churchill said: 'Actions speak louder than words'. For me this puts total pay towards Spalding's claim that his 'London' is a 'mecca or world dance'. Well, surely it isn't for world ballet. That's for current sure. His actions - especially in light of the fact that this programme was being produced by a young - well, 30 year old - British chap - can surely speak for themselves. Nothing more needs to be said and I only add this notation due to the obvious concerns - certainly shared by me - as evidenced above. The Joyce in New York on the other hand HAVE officially embraced this programme; a celebration at core of the Royal Danish Ballet's traditions. Of course you'll say that it may be be argued that our American neighbours have perhaps a closer association. I do understand. Still - and this from a purely practical perspective - not only does the Joyce - receiving a miniscule amount of public subsidy when compared with that proffered to the SW team - DOES clearly account on a specifically dedicated web page for ALL of the independent funding that has been secured in order to jointly produce their full week of celebration in New York. It also acknowledges this programme as 'a highlight of the Joyce season'. I would love to see the posters as they must now sit in the Joyce's frontage. I pray that a certain Dane who you just know will be sitting in that audience probably more than once -- (Did anyone see Mr. O'Hare on Friday by any chance? I looked but couldn't see him at either of Saturday's performances) -- might invite Mr. Dean to guest in Balanchine's extraordinary Bournonville Divertissements as staged by the legendary Stanley Williams the next time they do it. Certainly such would be manifestly deserved as would any and ALL benefits this extraordinary young man receives as a direct result. Well done YOU, Mr. Dean. I, for one, thank you. You served your country well in this dedicated slice of public service. Bravo. I felt that Mr. Dean was the finest male dancer on the stage at both performances I saw. HIs dramatic commitment and dazzling entrechats held all that he touched aloft. I was thrilled to see elements of both versions of La Sylphide currently held in the RDB rep; the Hubbe take in the afternoon and the more traditional one in the evening. The homoerotic kiss I did not find distracting. Indeed I admired both Hynes' and Dean's dedication to it and appreciated that the construct of the original was not in large measure disturbed short of the final walk towards the curtain. It was only that Hynes is an artist very young in his career and cannot of course be reasonably expected to be more than a shadow against the towering achievement of Sorella Englund's theatrical bombast. She commands now as much as she ever did. (It was lovely too to be able to get a taste of both sets of production costumes with their clearly differing pallets. Again, thanks be to Mr. Dean.) Gudrun Bojesen was a majestic Sylph in the evening radiantly responding to everything within her generous reach. I adored Ulrik Birkkjaer in everything he did as well and am sorry I missed his James the evening before. I also SO wished he could have performed the Flower Festival pas de deux with the extraordinary Diana Cuni at one performance. She deserved a partner with that wealth of experience to match hers; one where she, herself, did not have to anticipate the partnering be it in that pas de deux or in a final variation in one performance of Napoli performances.) Perhaps you'll laugh but I imagined Birkkjaer to be the very physical model of a Robert Helpmann. The proportions of his body seemed similar (at least to my eye) from what I have have seen in early photographs and films of Helpmann. Be it in the twist of his contoured bonnet of svelte hair, his delightfully square smile and - without hesitation - the life enriching precision of his enchantingly pointed feet - Birkkjae embraced soul though wit. I was delighted by his generous responses when in the Napoli's background as much as I adored the fact that Mr. Dean had seen that a slight alteration in variations was included in each performance of the Napoli extracts by his touring ensemble. For me Ms. Cuni was the outstanding delight amongst the women present. Such a force of precise joy she is and oh, so rich in her ability to 'inter-phrase' as Williams once put it. In ALL it was thrilling. As Dicken's Fagin might have sung: 'Be back soon'. .... PLEASE. i think it is clear, Mr. Dean ... the people WILL support you even if the Sadler's Wells umbrella cannot yet find it within their largess to do the same. There too your instruction might be key and I have every faith it shall. Bless you, Mr. Dean. Bless you.

Thank you so much, Anna. That is a stunning review. Bless you.

I just had a quick peek at the Joyce seating for this programme in New York between 13 and 18 January and it appears that there are sections 'unavailable' for every performance ... and with the opening and closing nights almost already full. Hopefully it will pick up even more steam there in the interim and help defray any losses for the presenters that may be occurred in the London round of three performances. (That said, I would imagine - indeed hope - that this ad hoc Company itself would be playing against a set guarantee and thus would not themselves ever be a victim of any lack of marketing prowess, etc.) Certainly it would be a shame indeed if this fine bill wasn't supported in both locales. I'm sure all of us would love to encourage them to return. Sadly I can't go to the Friday evening performance as I am in Munich for work (where I will catch the Ratmansky Paquita) but will be at both outings at the Peacock on Saturday (assuming no aircraft delays). I SO look forward to it.

It IS hard to comprehend isn't it, Nottsballetlover? It makes one fear for future appearances by world ranked companies in London. Of course, education is key and that too has been eroding - and becoming ever more privileged - for some time. In the distant past the British Council helped subsidise such major company appearances in the name of the Nation's greater edification. In those instances the box office returns were not so keen a consideration. I was myself vastly enriched as a child by the World Theatre Seasons at the Aldwych - now all those many decades ago. ... I was thrilled to have an opportunity to see the Berliner Ensemble and the Moscow Art Theatre and such like. Sadly that subsidy has not been generally present in that way for some time - although theatrically the world fare continues to arrive on the Barbican's schedule which is much appreciated. One wonders of course if the further cuts as predicted may make the terrain even for the home based ensembles all that much more uncertain. Perhaps not now given the beginning of the tax incentive opening an additional window for support. (That's one good thing that George Osbourne has fostered.) I do wonder, however, with the fall of the Oil barrier below $50 dollars and the overall instability of the rouble if the considerable independent subsidy that Russian ballet/dance companies such as the Mikhailovsky enjoyed when in London in recent years will become but a yellowing item in our collective - albeit aging - memory banks. It would, of course, be sad if that were the case ... but certainly understandable. Perhaps it will open the path for other - then more prosperous cultures - to showcase their noted balletic achievements. One can only live in hope. We all need to learn and through that learning feed our appreciation.

I was in Paris for work during the past week and was privileged to see the final two showings of Christopher Wheeldon’s re-envisioning of AN AMERICAN IN PARIS at the Chatelet. (I had only intended to see it once ... but the opportunity to go a second time - with a seat on the 'First Balcon' for a mere eleven Euros - was simply TOO tempting. You certainly won't get near ANY door on Broadway for that price ... and the seat which was supposed to be very badly obscured turned out to be the equivalent of a side seat on the Coliseum's Dress Circle. I certainly have learned the advantages of buying tickets at the box office in Paris rather than over the internet. The side seats on both sides of the Palais Garnier when I went to see La Source were very sparsely populated and yet the internet said it was ''sold out'. I have learned it is right to be brave ... as long, of course, as you can somehow muddle through with school-boy French. I actually surprised myself this past week both in work and at play at just how much I can remember when I need - or especially want - to. STILL ... back to AN AMERICAN IN PARIS.) This was a substantially different show from the one I saw/reviewed last year (i.e., but a month ago). How so you will ask? I will do my best to answer. The production’s (i) opening – whilst maintaining the core content and stunning visuals by Bob Crowley [which continue to dazzle throughout] – has been rightfully tightened as has the thrilling narrative build (ii) of the conclusion of the first act. Both remain in and of themselves unconventional but each now is rendered with potency afresh. Assuredly the latter now has the startling climatic build it richly deserves. The most substantial (and wise) alteration is the (iii) overall trimming of the musical’s book by Craig Lucas. This proves prudent in the extreme giving a rightful focus to both (a) Gershwin’s life enriching music and (b ) Wheeldon’s enhancing choreography. The characters themselves now evolve through the soul of their heavenly refrains and the (iv) spoken/sung sextets, quartets and trios are now witnessed as elegant acts of supporting glory. The letter writing sequence shared amongst four of the key protagonists is now a work of art unto itself itself and very much honours ‘The Man I Love’ which it movingly introduces. (v) The orchestrations such as have been wrought by the inspired team of Rob Fisher and Christopher Austin are now a virtual masterclass in inspirational musical application. They don’t merely engage; they enhance. They glisten like the moving bonnet of a Cadillac classic. The Gershwins’ music itself becomes a vital and complex character. It runs; it talks; it prances vibrantly. In a similar light each of (vi) Wheeldon’s three emotive pas de deux for Lise and Jerry are now thrillingly balanced/augmented by the text’s new found economy. Each now clearly builds through the narrative potency of its dance. It’s as if each has been threaded withthe refined agility of an ‘Ashtonian pink’ and Fairchild’s second solo variation is worthy of that masterpiece which Balanchine latterly bestowed upon SQUARE DANCE. So too has the (vii) theatrically coruscating seventeen minute ballet lying near the end of the second act – a ravishing circus of core choreographic enrichment - been adorned; augmented in its stealth. That particular work now MORE than fully deserves (a) not only its right of place but ( the celebratory proclamations denoted in the Production’s text and as staged immediately afterwards. Indeed at the two performances I attended this past weekend (3rd/4th January 2015) many in each of the Chatalet’s capacity audiences continued to applaud alongside the show’s ‘canned adoration’ having already proffered a sustained salvo in recognition of the pulsating joy that is the real thing. I predict that this work – Wheeldon’s dazzlingly dramatic treatise on the heroism necessary to sustain any artistic tryst through time - will not ONLY be balletically preserved in revivals of this particular book musical (and you just know they will come) but upheld/celebrated in the reps of such major historic ensembles as NYCB and POB; both rightly renown for their unique and continuing balletic originations. May this be for Britain’s Christopher Wheeldon what ‘Fancy Free’ was for his key mentor, Jerome Robbins; What ‘Slaughter on Tenth Avenue’ became out of On Your Toes for the mastermind that is George Balanchine. Such privilege is MORE than merited for the Wheeldon. It might well be strong enough to bring ballet back into dedicated focus for the musical theatre niche. May it be in that way as potently promiscuous as the ‘jukebox musical’ seems to have proven. (vi) The performers have now entirely cohered throughout into a truly ‘boffo ensemble’. Whilst Max von Essen and the admired veteran Vivienne Cox amongst the noted principals had already established the full range of their character’s impactful story lines from the very get-go they have now been joined in such fullness by Britain ever fervent Jill Paice – bravely giving tasteful vent to the unfeigned isolation that wealth itself seems to demand - and the oh, so talented young American performer, Brandon Uranowitz, who now thoroughly injects heartfelt urgency into the tremulous humanity which lies behind and lives beneath the chipped – albeit brilliant – shoulder of his/our composer. You can hear riveting single song samples from both by scrolling down in a radio studio recording here. All is not quite … but ALMOST perfect. A few midges persist. (i) The three lines of dialogue which immediately follow Uranowitz’s opening one line shot are entirely overwhelmed by the music. This needs to corrected. That brief dialogue between Fairchild and Cope is vital to the audience’s overall comprehension. You can hear the static from their body mics being walloped but it is not enough. If I didn’t know what they were saying I would have missed it entirely. As it is it sounds like a mistake. Perhaps a musical crescendo might be reached and then the three lines themselves – no more than two seconds in stage time - might be backed by a deserved silence as embedded in a brief suspension. (ii) The dialogue in the very opening of the second act – during the soiree held in honour of the Ballet Chatalet by Lise’s guardians – needs to be smoothed out. While it makes sense it remains too incommodious to purpose. (iii) Personally I think the ‘Stairway to Heaven’ dream sequence is a tad far-fetched but it is so delightfully delivered by the Company - and the scenic effects so dazzling in their Art Deco charm – it would be churlish to alter/amend/dismiss it in any way. So let that one pass. Last but certainly not least amongst the bounty are the leads themselves. (vii) Leanne Cope has entirely blossomed. Her singing now thrives comfortably on an altogether different level. Before I thought her crooning ‘pleasantly brave’. Now I found myself not thinking about such trivialities at all. Indeed I was too busy being thoroughly invested in her lyrics; engrossed in the refinement of her artistic invention. In all Cope consistently glistens via those ever sensitive beacons that are her eyes. They both pinhole and perforate. They sing too. Everything about Cope’s stunning gift has been extended in its carefully wrought mould. She lives in response. Therein her magic sits. Cope makes passivity active. She positively purrs with a transcendent idealism. Certainly I suspect she has never been better partnered. Cope has said that she prised the fact that she got to dance with a principal from New York City Ballet at her last audition. That – in itself - was a great achievement she tells. ‘No way. Get out of here’, Robbie Fairchild blurts. (‘I don’t do many pas de deux at the Royal Ballet’ she demurs.) The very ‘butteriness’ of Ms. Cope’s take on Lise’s balletic technique (as Ashton might well have intoned it) brings the unique perfume of her relationship with Robbie Fairchild’s unequivocally demonstrative ardour as Jerry into vivid focus. Their fish dives enfold with ease. Both enact the drama of their second act separation scene thrillingly. Its dramatic impact is visceral. While never overwrought it is - at one and the same time - courageous. It sears. The over brimming abundance of all four eyes in that instance has it. Their unscripted dialogue cries out in repressed pain as Jerry bellows into the wings at Lise’s frustrated departure. As towards (viii) Mr. Fairchild: Well, …. he remains ever more triumphant if such a thing were humanly possible … and it is. IT IS. Stars are born we’re told, not made. May the Palace opening of AN AMERICAN IN PARIS be Fairchild’s native theatrical canonisation. Since his SAB graduation appearance one has been privileged to instinctively know that Fairchild was balletic world talent. One sensed much the same with the teenage Woetzel. In his four AMERICAN IN PARIS dance solos Robbie Fairchild brings the ravishing legato line of a Dowell or Legris to play in equal measure with the stupefying buoyancy of a Woetzel, Villella or a Barishnikov firing through space. But now Fairchild joins a different realm. His work with NYCB can never – EVER - be the same. He will ‘do Romeo’ he says – that Romeo created FOR him – between now and his Broadway investiture – ‘if the dates work out’. Only NOW he will – as he MUST - bestow upon it the theatrical vigour that has made him that rarity – (something I myself thought lost to time) – a Jack Buchanan; an Astaire for his OWN age; one uniquely devouring space through hearts – be it in dance, acting or voice [and, yes, there was a reason why Astaire was Gershwin’s favourite interpreter]. Fairchild – like Astaire before him – now more than honours the music of his literacy; multiple faceted as it is. He mesmerises with a Jolson-like capacity that is uniquely his own. I can but feel that Gene Kelly (who I once had the good fortune to meet) would stand and cherish the thrilling compass of Fairchild’s courage. Its trigger electrifies, magnifies and inspirits. At both of the final Chatalet performances this weekend Fairchild pummelled his heart in recognition of the Parisian adoration and alone danced in step with their rhythmic applause that greeted the conclusion of the fifth full-company curtain call. As the tears glistened in Fairchild’s eyes you knew that he had accepted his burden; its responsibility; the potential joy of our stated challenge. He did so as much for himself as for us. ‘The people who get on in this world,’ Vivie Warren proclaims to her mother in Shaw’s Mrs. Warren’s Profession, ‘are people who get up, look for the circumstances they want and if they can’t find them, make them.’ It’s abundantly clear. Fairchild knows he can be a Garland of hope in a world where oil breaches the almighty $50 price barrier and the mighty Russian rouble may soon be hollowed; where Europe stands in deflationary toll with Japan. Time makes the man they say. Fairchild’s time is now ripe for our picking. Still it was an immigrant who had REALLY ‘made it’ and he could only have done so by feeling an immigrant’s pain. For this Brit – this Christopher Wheeldon – THIS is HIS American way. This has been Wheeldon’s self-acknowledged university and he has more than graduated with honours. I pray there may be many, many more such for him in his capacity as an overall director. Certainly the potential is there. Still there can never again be a first. May this make him enormously wealthy in ALL respects. He more than deserves it … much as The Royal Ballet MORE than deserves a new production of SWAN LAKE wrought at his now ready hands. You’ll laugh perhaps but there was a still corner in me that gnawed. In a sense happily so. Rather than see Wheeldon spend his time in London for a mere re-production of this particular Parisian adventure (especially after Parry’s – in my estimation somewhat churlish – DanceTabs review) I dreamed for a moment that he might re-establish/re-enforce ballet as a key part of musical theatre artistry by re-tooling/re-imagining GIGI as a stage ‘dance’ musical: A ‘dancical’ if you like built in Wheeldon’s AMERICAN IN PARIS mode. I, myself, had seen the first Broadway attempt to take that film to the stage many, many years ago. An admirable adventure it was. One stuffed to its considerable brim with fine work from a brilliant Daniel Massey, a suave Alfred Drake, a vivid Agnes Moorhead and – from a balletic perspective – the always stellar Maria Karnilova. [You can hear the latter two in the Contract Scene here.] All of these luminaries are, of course, long dead. That show was, in fact, to prove the final Broadway curtain for each.] Still it was never ever entirely successful. Last weekend I found myself wanting Wheeldon and his carefully selected team to grab hold of Cope and Fairchild and set the Colette in motion anew; to again see them toy. Suddenly I could see Cope’s Gigi teaching Fairchild’s Gaston to discover emotional freedom through dance. Before it closes for renovation it would be grand to hear the Chatelet’s historic rafters shake once more from the stamping of refreshed joy below. It too could be both a homecoming and a rightful rebirth for the Colette and a further deserved excavation for Learner and Lowe. But Broadway and AN AMERICAN IN PARIS first. Will it run? Of course it will. IT MUST. It’s already passed its Vimy Ridge.

Don't know about the RB - surely they have their own to celebrate on any sustained basis - but certainly you will see her again, Beryl, in the title role she created in Wheeldon's Cinderella (again with Golding) with her very own Dutch National Ballet when it appears at the Coliseum between 8th and 11th July. We will all look forward to that I'm sure.

Bless you, Katherine. I will take your kind reference to my 'understatement' as a compliment. I am reminded of the last line in what is my favourite one-act play, Rattigan's effervescent 'The Browning Version'. Therein Crocker-Harris speaks clearly into the receiver stating: "I am of the opinion, Headmaster, that, occasionally, an anti-climax can be surprisingly effective."

I just wondered if this wonderful umbrella offering might not be best placed as a sub-section under the overall cover of the much appreciated LInks Section - much as the 'Special Offers' jacket is now so effectively located within the Ticket Exchange folder? (Just a suggestion of course)

I found Muntagirov truly a revelation as Des Grieux. While I thought that there were many fine flourishes in his Basilio, I personally would like to see him embodied in a more Russian based take on this particular ballet. Somehow I think it might well be more suitable for him. That said, I thought that Anna Tsygankova was most generous in her Kitri's balletic breadth tonight and without hesitation responded with grace (and that enchanted Russian smile) towards all and sundry within in her considerable wake. She did marvelously well; especially in light of what must have been a lightning fast rehearsal period for a production so uniquely different from more conventional others she has in the past bedecked. Certainly I don't think I've seen Golding appear more comfortable/relaxed in his partnering duties since he joined the Royal Ballet. His past history in the Netherlands with Ms. Tsygankova was obviously a most happy one. Francesca Hayward continues to honour her enormous promise with a beatitude that is entirely irresistible and I was equally bemused by Mr. Sambe's thrilling vocal/movement interplay during the guitar interlude. It was entirely telling in its wit and very rich in the dressing of its appropriate ambiance ... or such as has here been defined by the much admired dancer/choreographer. It will be interesting indeed to see how this particular production is received in New York. Certainly many there will be able to hold a very direct response to the Spanish commentary - which seems to have expanded since the production first opened - especially given that so many in the audience will themselves have Spanish amongst their linguistic armory. I wondered if Mr. Sambe's developing monologue might have come as an immediate derivative from Mr. Acosta's much admired work with GUYS AND DOLLS this summer in Chichester. The spoken commentary - so brightly delivered by Mr. Sambe - without I assume a microphone - certainly marks the Royal Ballet out with a distinctive European flare.

I was at the same BA meeting when he said this. I always assumed it was because he wanted to build the company from the base up .... which refreshingly he has proactively been doing. I, for one, applaud his endeavour in this regard. Prudence in such a case may well be wise. Over promotion can be dangerous from all aspects surely. Careful nurturing under the O'Hare watch will - one hopes - bear a complete range of results in but a matter of time. Certainly some of the recent intakes (Reece Clarke being one) have practically shown themselves to be most promising. I also think Sambe is really developing well. The advent of his originating performance in The Ceremony of Innocence and his soloist stab in The Winter's Tale proved notable achievements in my book. Certainly this year's graduating RBS class has some super talents (assuming that they join the RB). It is also inspiring to see that someone like the gloriously talented Francesa Hayward is being more carefully husbanded than perhaps has always been the case with similar RB treasures in the not so distant past.

Core information All of these shows will be live streamed. Dates / USA Times: Justin Peck, 18.1 @ 7:30 and all of the ABT 75th Anniversary Events: 19.4 @ 3:00pm, 19.4 @ 7:30pm and 20.4 @ 7:30pm. The first ABT talk will cover dancers from 1940-1965; followed by ABT dancers from 1965-1990*; and the last group (the McKenzie dancers) 1990-2015. There is no date yet announced for the Whelan/Watson presentation. *This segment should certainly feature Dowell of RB fame as he was a key ABT dancer during much of this time. In my experience these programmes do not have the geographical restrictions that others have and are available on YouTube almost immediately thereafter for the greater benefit of all.