Bruce Wall

It is perhaps ironic, Janet, but part of the stated rationale for the ACE stipulation that a portion of tickets should be held back for day sale (as is also the case with the heavily subsidised NT and RSC companies) is exactly that these tickets should be made more readily available (i.e., be given a fair chance for access) to people who do not live locally. Obviously even this is sadly not cost effective in your case. Still would love an answer to my question in post #40 if anyone has one. Much thanks for your kind consideration in advance.

Oh, I do know that, Janet. That's why I tried to stress 'want'. (I certainly don't blame them .... I 'want' to make money too I know the Met now makes a profit on the cinema broadcasts. (This has been published. The first few seasons played at a loss apparently.) Has there been any indication as to the overall return for the ROH? If so, I am sadly unaware of it. The NT has noted that their broadcasts are now profit bearing on an overall margin.

I assume that - regardless whether you are officially 'Friend'ly or not - everyone can still queue on the day for the held back allowance (as mandated in the ACE stipulations) .... or do they (i.e., the ROH BO powers that be) - check on quotas there too???????? Anyone know????? If so, it's getting a bit like boarder control. Soon you'll need to bring your passport .... as well as money

Oh, dear .... and here was I thinking they wanted to make money .... .... LOL

In and out very quickly. Only disappointed that there is a restriction to TWO tickets for Andrea Chenier. (Oh, to be a friend and have SIX!!!!!) So I guess I will only see it twice. Shame ... I was hoping for a third. May queue. Did all my opera shopping first ... as it goes more quickly ... especially Stemme/Wagner I noticed .... but got two of those too .... and so missed out on standing for opening Osipova SL ... but got a £10 seat so I'll pretend I can afford it ... If I can grab an amphi standing for that somewhere along the line I'll sell mine and take the admin hit All in all ... not bad. No crashes .... only a few 'you missed out on this place buster ... better luck next time' messages. Congratulations to the ROH for ironing out some of the truly appalling adventures of the recent past.

Just to confirm - in the article - Millepied states that - outside of the seven new commissions - which he says he 'hopes will include Wheeldon, Ratmansky and Peck [YES]' ... (the 'YES' is mine) ... the 2015-16 season will see new Balanchine and Robbins works added to the repertory.

Perhaps, but just playing Devil's advocate here, the American artist William Forsythe has created works on NYCB; in the very city of his own birth and upbringing. I, myself, well remember that Herman Scherman for example - which is in the RB rep (originally danced there by S. Guillem and A. Cooper) - was first created for Wendy Whelan and Albert Evans in one of the early Diamond projects. Of course - and much more recently - Forsythe not only created works for Millepied's LA Dance Project but currently also spends much of his time split between dance department projects at USC and UCLA where he is a staff member at both. I'm not certain, Angela, that Forsythe may any longer define the core of his own work as being entirely seeded in the 'European way of choreography'.

in a chic source .... and an amazing announcement that in the 2015-16 season POB will have seven - count 'em - seven new commissions .... I put my bets on Peck for SURE, Wheeldon and Ratmansky most likely (given intertwining past histories with the AD) and I should think a touch of Scarlett on the side (and in the night) I bet also there will be an injection of yet more Robbins' works to the POB rep where, blessedly, his gifts are much loved (and given the fact that the AD was in the premiere cast of Robbins' glorious last ballet - 2 & 3 Part Inventions - whilst still an SAB student).. If the latter IS included I would definitely recommend a trip across the channel to one and all on this board. It is such a shame that it has not already been seen here like so, so many of Robbins' later masterworks. Certainly Robbins was key in the NYCB recognition of Wheeldon and Millepied as significant young artists. (I, myself, well remember being in a NY State Theater - as was - lift and overhearing Robbins extol Millepied's gifts to Martins.) Somehow the lack of such showings of these Robbins' masterpieces in the UK seems entirely unfair given that the vast majority of MacMillan and Ashton works - inclusive of those created outside of Great Britain's bounds - have without hesitation been celebrated in America for some time.

Lendorf is dancing SL on 8th with Rojo for ENB but not 9th and 10th. Fingers crossed he is one of the Peacock RDB principals. Certainly would save on air fares. :-)

I think the advice provided in post no. seven is most prudent in and of itself. If you do have a chance to catch Sir Peter Wright's fine production for BRB it (IMHO) currently tops all of the 'current' UK versions. (K. O'Hare has suggested that the Royal may be in line for a SL renewal in the not-too-distant future.) In terms of European versions, I would heartily recommend Mukhamedov's created for the National Ballet of Poland in Warsaw. I found it riveting and was fascinated by the ideas employed. If you are looking at one of the smaller companies that travel around the UK - and will be doing so next year - I also found the concepts employed in Moscow City Ballet's Swan Lake to be most fulfilling. They will be doing that production in Richmond in January I believe. Richmond Theatre itself is lovely and, like the Coliseum, is a Matchem house. This may (I'm not certain) be a less expensive alternative depending on the size of your family/party.

A FOLLOW-UP NOTATION ... I saw the Saturday evening performance of BRB's generous SHADOWS OF WAR programme. I purposely chose this over the opening of the RB Ashton bill as the opportunity to see these particular works in London is even more rare (and I do have tickets for four different performances of the Ashton which I so love). Again I hugely enjoyed this BRB programme and felt it was an excellent assembly of pieces. The cast for MIRACLE IN THE GORBALS was virtually identical to that I had seen the evening before (as I believe it had been for the matinee) and the standout performer on this occasion for me in both LA FIN DU JOUR and FLOWERS OF THE FOREST was Mathias Dingman. Of that there could be no question. You can well see why this fantastically talented young man was awarded a Gold Medal at Varna. Both the placement and the partnering that had been blurred in MacMillian's eloquent aspects of that role the evening previous came into vivid focus here. This young artist's zeal in dancing through Ravel's intoxicating music was immediately rich in its ameliorated grace. Additionally Dingman's trajectile stealth in the Bintley was electrifying. I so look forward to his guesting assignment with ENB. They will be very lucky to have him amongst their talented collection of artists for those four Nutcracker performances. What a glory it was too to thrill to Momoko Hirata's flavourful redolence in the Four Scottish Dances. As per all other reports above - short perhaps of Aileen's reservation - I again found - perhaps ironically - MIRACLE OF THE GORBALS to be the most timely of all the pieces presented. What a fine work/parable this is dealing as it does with truly challenging issues in a manner which is sufficiently simple to effectively draw the audience into its fold without ever being patronising. How wonderfully etched/coloured it is by the very fine BRB Company. On this occasion I found the helium rich elation inherent in the brief pas de deux for Yvette Knight and William Bracewell's 'Lovers' particularly touching in its time-aware economy of affection. I also had here the opportunity to notice in greater detail Adam Wiltshire's designs after those of Edward Burns. They reminded my of my own walks around the Gorbals when privileged to do work with the Glasgow Citz (Glasgow Citizen's Theatre). Although the style/cut of the clothes may have changed much remains the same. What did hurt me somewhat, however, was the fact that the audience was here SO small. I was sitting in the Second Circle (that requiem for the poor) at the back (my favourite spot - albeit with field glasses ever at the ready). The entire space of that circle could - at most - have only had one sixth of its capacity filled ... and this WAS a Saturday night. During the first interval a young family (father, mother and daughter) came up and spread themselves out in the row in front of me. (We all had a row to ourselves up there.) When I applauded enthusiastically and shouted out 'Bravi' during the MIRACLE calls they turned and looked at me as if I had come from outer space. It was clear they simply hadn't got it ... or certainly hadn't enjoyed it as I had. (The mother had spent much of her time on her iphone. After about 10 minutes of seeing her play solitaire out of the corner of my eye I whispered down and asked if she would turn it off which she duly did.) They did not return for FLOWERS. It was, I know, their loss ... but I fear for the ultimate loss for us all that such departures - especially when taken as a percentage of such low attendance - signify. In my estimation this work deserved to be full. As far as I am concerned it deserves to be maintained. Gillian Lynne has done a great public service. I pray that it played to MANY more people in its Birmingham run and will continue to do so on the road. I pray that BRB will find it in their hearts to embed it in another equally fine mixed bill in the not too distant future. I would love to see it again in a different mix. Or has, perhaps, the audience for this kind of work truly been lost to the annuls of time? That question it seems is still out. It rumbles on ... or at least I pray it will.

Thank you, Janet, for your frankness. It is as ever cherished. Given the response I would appreciate it if you could please remove my two previous entries (and this one as well). With thanks and respect. I, too, now as it happens have been hurt. No further response from myself will be raised on this matter. I am sorry for my misfire and will retire from correspondence on BcoF for a time.

Oh, dear contributor 'nevsky', I had meant my entry to be light in touch. Seemingly much more so than you seem to have taken it. No ill was intended whatsoever. I do agree that the 'Friends' policy changes are unfair and agree it is an item of interest. I have, myself, been disturbed in the past by the actions of the ROH Friends and, as I implied, I have decided to let their ploys pass. It is all, I think, one can do. That said - and since you name me directly - I fear you have troubled me by your entry. Certainly I chose to take refuge in the fact that I'm sure any 'unpleasant'ness I may have felt was entirely unintentional on your part. Indeed I am convinced of it. I wish you naught but all very best wishes.

Oh, dear poster choosing to refer to yourself as 'capybara', have these 'ROH Friends' privileges not always been somewhat duplicitous? Certainly I seem to remember feeling that way when I was a (basic) member (indeed before they made divisions amongst their 'Friendly' subscribers). Admittedly I have for some time managed to resist the pleasure of their various and varying temptations and somehow still managed to live to tell this tell. Might it perhaps not be best for the sake of your overall mental and emotional well being, 'capybara', to celebrate the current six ticket allowance knowing it is sure (or certainly most like) to be reduced to four at some point in the not too distant future. Then, just think, you'll have the joy of remembering when .... (as you do, say, now having had the good fortune of enjoying an extended period of no allotted ticket restrictions) ... and be able to smile proudly in that memory. That smile I'm told can be telling towards the overall betterment of your constitution. The additional advantage of that (i.e., that which ACE officers now refer to as 'additionality' - even though that word does not appear in any dictionary I can find) - I'm sure may be one that not even the ROH Friends Office may have contemplated. Who knows perhaps some kind fiscal contributor will alight them towards the possibility of such. I'm certain they would be most attentive in that instance. Perhaps even the BMA or GSK? (This is, of course and as ever, just but by way of a respectful - and dare I say it - 'friendly' suggestion.)

I realise there are a goodly many on this Forum who dislike Ratmansky intensely (as has been clearly voiced hereabouts for some time*) but whatever else he may or may not be to you he is internationally certainly hailed as one of if not THE most noted choreographer of our current age. One of the great boons I, myself, profited by when I was privileged to be able to work in NYC during the end of the so-called dance boom were the free educational programmes open to all sponsored not only by NYCB (Kirstein knew these were key if they were to build an audience who would be able to grow with new works celebrating the ever necessary future) and the New York Public Library. The latter continues in offering these programs for FREE and so .. October 8, 2014, 7 pm — 9 pm Alexei Ratmansky in Conversation with Paul Holdengräber Co-presented by the Center for Ballet and the Arts at New York University, the New York Public Library hosts Alexei Ratmansky, in conversation with Paul Holdengräber, to speak about his life’s work performing and choreographing for some of the world’s greatest ballet companies, including the American Ballet Theatre, New York City Ballet, and the Bolshoi Ballet. Video Recording: http://media.nypl.or...8_Ratmansky.mp4 *Bruce Marriott made an astute and - as ever - well written point on another page about the dangers of 'over praising' without stated reason. I agree. However, what I, myself, find even more disturbing are those who dismiss out of hand without giving reason as to why. To my mind (and I realise I may be far off many other people's mark) that is not simply unfair but downright cruel. As my mother, herself a high court judge, used to say - in either regard - 'If you can't give a reason why it is better to say nothing.' I find as I continue to grow older much value in her wisdom.

Attended this last night and enjoyed the triple bill MUCH more than I did the dreary (a note should be sent with haste to the lighting designer that not everyone in the audience can see in the dark) and oh, so twee BEAUTY AND THE BEAST. That latter was Bintley back on his CYRANO fringes. Not a happy place to be. SO dispiriting. There is NO question but that these dancers deserve better. Certainly better they MUST have if they are to grow. (Thank heavens for the very fine Wright productions this Company is fortunate enough to possess.) Much as with Bintley I prefer my MacMillan early and, thus, I VERY much enjoyed the delicately entrenched brightness of LA FIN DU JOUR and certainly Ian Spurling's vivid deco design. Celine Glittens glittered. Brandon Lawrence is a good dancer with an enchanting smile but he must - simply MUST - work to make his placement more precise. That, too, will contribute to more clarity in his partnering. Tyrone Singleton was thankfully more able on both counts. I SO appreciated the opportunity to see Gillian Lynne's re-vitalisation/re-visualisation of Helpmann's MIRACLE IN THE GORBALS. It transported one immediately back to a time where the decoration of the choreography was certainly simpler and served to do naught but make the stealth of the narrative pungent. I so admired Michael Benthall's courage in his scenario's depiction of the hypocrisy inherent in the Church of England, an institution founded in at least part on deceit. Things, sadly, have not changed in that institution's regard and consequently this piece can still be in that aspect timely. Indeed as I was watching it I felt there might perhaps be a contemporary narrative ballet to be made in a similar light. I would love to see Scarlett tackle such on this fine company. There could I think be much to explore in a one act work that might husband this particular period piece (i.e., MIRACLE) given that same institution's continuing duplicity in its treatment of so many sectors, (e.g., women and gays). Iain Mackay was outstanding in his depiction of the irreverent minister - effectively cloying at his own collar at several junctures - and all the BRB cast clearly shone in their characterful fulfillment. Delia Mathews brought a glowing dignity to the Suicide victim who suffered both physical as well as spiritual indignity at the hands of her so-called protector and Elisha Willis enriched her prostitute with a self-respecting stature so oft missing in MacMillian's frequent one-dimensional depiction of such. Cesar Morales glowed as The Stranger without being sanctimonious; no small feat in this instance. Lynne's knowingly theatrical deployment of Bliss' score was enticingly rich in its West End detail. In that regard her work here reminded me much of DeMille's as first etched on this same stage. The best in this triple bill was kept for the last in Bintley;s (happily on a much more secure EARLY footing) FLOWERS OF THE FOREST and its ever osculating Celtic swirl. I well remember the glory of Yoshida radiating in the Four Scottish Dances the last time I saw this fine piece in the same venue and the stunning Nao Sakuma was I felt every bit her equal. Certainly there could be no doubt but that the exemplary Tzu-Chao Chou was a thrilling thunderbolt of eviscerating exactitude. What a gift that artist is. A word of SPECIAL thanks to the EVER glorious Marion Tait (in MIRACLE) and Jonathan Caguioa throughout for giving virtual masterclasses in meaningful character development through movement which me, myself and I have always believed to be (indeed cherished as) BRB's hallmark. So refreshing.

Could it not be an attempt to make a clear show of attempting to source local dancers. In this way, even in face of some current criticism (largely unjustified in my view) they will have concrete proof of having had made the effort in terms of outreach.

Is that a surprise??? She is, of course, an ABT principal ...and has been so for over a decade. Perhaps you mean it is a surprise because she is 39? P.S: I did not include the website link as it had not yet been put up in the calendar when I made the original posting.

It is interesting to note that RB principals Osipova and Nunez will guest with ABT during their 75th Anniversary season. Osipova is dancing a huge part of the ABT repertory appearing in Giselle, Romeo and Juliet, the new Ratmansky - (i.e., the choreographer/director who first brought her to balletic prominence) - Sleeping Beauty and Makarova's La Bayadere which was, of course, created for ABT with Dowell as the opening Solar, It's almost as if she never left as an ABT principal herself as she has, in fact, more performances than some of their more long standing ABT residents (e.g., Part) and is partnered with a variety of male leads including Hallberg and Gomes. . Nunez appears for two performances of Ashton's Cinderella opposite James Whiteside. Smirnova and Chudin appear for one performance of La Bayadere and Obraztsova appears in MacMillan's Romeo and Juliet as she has done with the Royal Ballet opposite Steven McRae who himself appeared as an ABT exchange artist some seasons ago in Le Corsaire. Here is the official press release: NEW YORK PREMIERE OF ALEXEI RATMANSKY’S ALL-NEW PRODUCTION OF THE SLEEPING BEAUTY TO HIGHLIGHT AMERICAN BALLET THEATRE’S 2015 SPRING SEASON AT METROPOLITAN OPERA HOUSE MAY 11-JULY 4, 2015 75TH ANNIVERSARY SEASON TO OPEN WITH WEEK OF REPERTORY PROGRAMS FEATURING HISTORIC WORKS 75TH ANNIVERSARY GALA SCHEDULED FOR MONDAY, MAY 18 GUEST ARTISTS FOR THE SEASON TO INCLUDE SEMYON CHUDIN, MARIA KOCHETKOVA, DENYS NEDAK, MARIANELA NUÑEZ, EVGENIA OBRAZTSOVA, NATALIA OSIPOVA AND OLGA SMIRNOVA American Ballet Theatre’s 2015 season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie. The season will be highlighted by the New York Premiere of Alexei Ratmansky’s all-new production of The Sleeping Beauty, a revival of Lar Lubovitch’s Othello and repertory programs featuring historic works in celebration of the Company’s 75th Anniversary Season. Principal Dancers for the 2015 Metropolitan Opera House season include Roberto Bolle, Isabella Boylston, Herman Cornejo, Marcelo Gomes, David Hallberg, Paloma Herrera, Julie Kent, Gillian Murphy, Veronika Part, Xiomara Reyes, Polina Semionova, Hee Seo, Daniil Simkin, Cory Stearns, Diana Vishneva and James Whiteside. Guest Artists for the season include Semyon Chudin, principal dancer with the Bolshoi Ballet, Maria Kochetkova, principal dancer with San Francisco Ballet, Denys Nedak, soloist with the National Ballet of Ukraine, Marianela Nuñez, principal dancer with The Royal (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 2 Ballet, Evgenia Obraztsova, principal dancer with the Bolshoi Ballet, Natalia Osipova, principal dancer with The Royal Ballet and Olga Smirnova, leading soloist with the Bolshoi Ballet. 75th Anniversary Gala Breaking with tradition, ABT’s annual Spring Gala, this year in celebration of the Company’s Diamond Anniversary, will be held during the second week of the Met season, on Monday, May 18 at 6:30 P.M. The evening will feature performances spanning ABT’s seven and a half decades. With guest speakers and film excerpts, the evening will honor the historic of ballets and the dancers who have shaped the Company's identity. For information on ABT’s 75th Anniversary Gala, please call the Special Events Office at 212-477-3030, ext. 3310. New York Premiere of Alexei Ratmansky’s The Sleeping Beauty The New York Premiere of Alexei Ratmansky’s The Sleeping Beauty will take place on Friday evening, May 29 led by Gillian Murphy and David Hallberg. This all-new production set to the classic score by Peter Ilyitch Tchaikovsky, with original choreography by Alexei Ratmansky, will receive its World Premiere on March 3, 2015 at the Segerstrom Center for the Arts in Costa Mesa, California. The Sleeping Beauty will be given eleven performances at the Metropolitan Opera House, May 29 through 30 and June 8 through 13. Ratmansky’s The Sleeping Beauty will feature scenery and costumes by Tony Award®-winning designer Richard Hudson. Hudson’s designs will be based on the historic work of Léon Bakst, who created a seminal version of The Sleeping Beauty for Serge Diaghilev’s Ballets Russes in 1921. The production represents Hudson’s third collaboration with Ratmansky for American Ballet Theatre, having previously designed scenery and costumes forThe Nutcracker (2010) and costumes for Dumbarton (2011). Ratmansky’s The Sleeping Beauty is American Ballet Theatre’s fourth production of the full-length ballet. The Sleeping Beauty received its World Premiere by the Imperial Ballet at the Mariinsky Theatre, St. Petersburg on January 15, 1890. ABT presented its (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 3 first full-length production of the ballet with choreography by Mary Skeaping from the original of Marius Petipa and the staging of Nicholas Sergeyev, at the Metropolitan Opera House, New York, on June 15, 1976. The Sleeping Beauty, with choreography after Petipa and staging and additional choreography by Kenneth MacMillan, received its World Premiere by American Ballet Theatre at the Auditorium Theatre, Chicago, Illinois, on February 11, 1987. A new production with choreography after Petipa and additional choreography and staging by Kevin McKenzie, Gelsey Kirkland and Michael Chernov received its World Premiere at the Metropolitan Opera House on June 1, 2007. ABT gratefully acknowledges Lead Sponsor of The Sleeping Beauty, David H. Koch. Additional leadership support is generously provided by the Lloyd E. Rigler - Lawrence E. Deutsch Foundation. ABT gratefully acknowledges Linda Allard for her generous support of costumes for The Sleeping Beauty. Additional support is generously provided by The Susan and Leonard Feinstein Foundation, Caroline and Edward Hyman, Howard S. Paley, and The Ted and Mary Jo Shen Charitable Gift Fund. Support has also been provided by the National Endowment for the Arts. This production is generously supported through an endowed gift from The Toni and Martin Sosnoff New Works Fund. This production of The Sleeping Beauty is a co-production with Teatro alla Scala. Historic Repertory American Ballet Theatre will open its Spring season with a week of repertory programs celebrating the Company’s heritage. Eight performances, May 11 through 16, will include Michel Fokine’s Les Sylphides, Antony Tudor’s Pillar of Fire and Jardin aux Lilas, Jerome Robbins’ Fancy Free, George Balanchine’s Theme and Variations and Agnes de Mille’s Rodeo. Hee Seo will lead the season’s first performance of Michel Fokine’s Les Sylphides on Monday evening, May 11. Set to music by Frédéric Chopin, Les Sylphides, a one-act plotless work, was given its Company Premiere at Ballet Theatre's inaugural performance on January 11, 1940 at the Center Theatre in New York City. The ballet received its first performance at the Maryinsky Theatre, St. Petersburg on March 8, 1908. This production of Les Sylphidesfeatures scenery by Alexandre Benois and lighting by Nananne Porcher. The Company will give the season’s first performance of Antony Tudor’s Pillar of Fire on Monday evening, May 11, with Gillian Murphy in the role of Hagar. Pillar of Fire, set to Arnold Schoenberg’s Verklärte Nacht (Transfigured Night), received its (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 4 World Premiere by Ballet Theatre on April 8, 1942 performed by Nora Kaye (Hagar), Lucia Chase (Eldest Sister), Annabelle Lyon (Youngest Sister), Antony Tudor (The Friend) and Hugh Laing (The Young Man From the House Opposite). ABT's current production was revived in 2003 with scenery and costumes by Robert Perdziola and lighting by Duane Schuler. Pillar of Fire is staged for ABT by Amanda McKerrow and John Gardner. Jardin aux Lilas will receive its first performance of the season on Tuesday evening, May 12, led by Hee Seo (Caroline), Cory Stearns (Her Lover), Veronika Part (An Episode in His Past) and Roman Zhurbin (The Man She Must Marry). Jardin aux Lilas, choreographed by Antony Tudor for Ballet Rambert in 1936, entered the repertory of Ballet Theatre on January 15, 1940. Set to music by Ernest Chausson, Jardin aux Lilas features sets and costumes by Peter Cazalet. Amanda McKerrow and John Gardner staged this production for ABT. The first of four performances of Fancy Free on Monday evening, May 11 will be led by Herman Cornejo, David Hallberg and Marcelo Gomes. Jerome Robbins’ Fancy Free, the story of three sailors on shore leave in New York City during World War II, is set to a score by Leonard Bernstein and features scenery by Oliver Smith, costumes by Kermit Love and lighting by Jennifer Tipton after original designs by Nananne Porcher. Robbins’ work received its World Premiere by American Ballet Theatre on April 18, 1944 at the Metropolitan Opera House. Fancy Free is staged for ABT by Jean-Pierre Frohlich. George Balanchine’s Theme and Variations will have its first performance on Tuesday evening, May 12, led by Polina Semionova and Cory Stearns. Theme and Variations, set to music by Peter Ilyitch Tchaikovsky, received its World Premiere on November 26, 1947, danced by Alicia Alonso and Igor Youskevitch. This production, featuring sets and costumes by Zach Brown, with lighting by Brad Fields, received its World Premiere at the David H. Koch Theater on October 30, 2013, led by Gillian Murphy and James Whiteside. Xiomara Reyes and David Hallberg will lead the season’s first performance of Agnes de Mille’s Rodeo on Tuesday, May 12. Rodeo, featuring music by Aaron Copland (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 5 and scenery by Oliver Smith, was first presented by the Ballet Russe de Monte Carlo at the Metropolitan Opera House on October 16, 1942, with Agnes de Mille as the Cowgirl, Frederic Franklin as the Champion Roper and Casimir Kokitch as the Head Wrangler. Rodeo was first performed by Ballet Theatre in Wiesbaden, Germany on August 14, 1950. A new production, featuring sets by Oliver Smith and costumes by Santo Loquasto, was given its Revival Premiere in 1989 in St. Louis, Missouri. Rodeo will be staged for ABT by Paul Sutherland. Revival Premiere Commissioned by American Ballet Theatre in 1997, Lar Lubovitch’s Othello, last performed by ABT in 2007, will have its Revival Premiere on Tuesday evening, May 19 with Julie Kent as Desdemona and Marcelo Gomes in the title role. Choreographed by Lubovitch and set to a commissioned score by Elliot Goldenthal, the full-length work features scenery by George Tsypin, costumes by Ann Hould-Ward and projections by Wendall K. Harrington. Othello received its World Premiere on May 23, 1997 at the Metropolitan Opera House in New York City led by Desmond Richardson (Othello) and Sandra Brown (Desdemona). Othello will be given four performances through May 21. Full-Length Ballets American Ballet Theatre’s 2015 Spring Season at the Metropolitan Opera House includes five additional full-length ballets beginning with the classicGiselle on Friday evening, May 22 led by Hee Seo in the title role, opposite Cory Stearns as Albrecht and Gillian Murphy as Myrta. Set to music by Adolphe Adam, with scenery by Gianni Quaranta, costumes by Anna Anni and lighting by Jennifer Tipton, Giselle features choreography after Jean Coralli, Jules Perrot and Marius Petipa and has been staged for ABT by Artistic Director Kevin McKenzie. The world premiere of Giselle, one of the oldest continually‑performed ballets, occurred at the Theatre de l’Academie Royale de Musique in Paris on June 28, 1841. The ballet was first presented by ABT (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940 with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 6 danced by Annabelle Lyon and Anton Dolin. American Ballet Theatre’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. This production’s first public performance was given on March 20, 1987 at the Shrine Auditorium in Los Angeles, California, with Marianna Tcherkassky as Giselle and Kevin McKenzie as Albrecht. The current staging is by McKenzie, using the Quaranta and Anni designs. Giselle will receive eight performances through May 28. The first of eight performances of La Bayadère on Monday, June 1 will be led by Polina Semionova as Nikiya and Gillian Murphy as Gamzatti. Choreographed by Natalia Makarova after Marius Petipa, La Bayadère is set to music by Ludwig Minkus, specially arranged by John Lanchbery, and features scenery by PierLuigi Samaritani, costumes by Theoni V. Aldredge and lighting by Toshiro Ogawa. The full‑length La Bayadère received its World Premiere by the Imperial Ballet at the Bolshoi Kamenny in St. Petersburg on February 4, 1877. La Bayadère, Act II (The Kingdom of the Shades) was first performed in the West by the Leningrad‑Kirov Ballet in 196l. Natalia Makarova first staged The Kingdom of the Shades scene for American Ballet Theatre in 1974 and it received its premiere at the State Theater in New York City on July 3 of that year, danced by Cynthia Gregory as Nikiya and Ivan Nagy as Solor. Makarova subsequently produced and choreographed the complete version of La Bayadère (in three acts) for American Ballet Theatre, which received its World Premiere on May 21, 1980 with Natalia Makarova as Nikiya, Anthony Dowell as Solor and Cynthia Harvey as Gamzatti. Kenneth MacMillan's Romeo and Juliet will be given eight performances beginning Monday evening, June 15 with Polina Semionova and Cory Stearns in the title roles. Set to the score by Sergei Prokofiev, Romeo and Juliet features scenery and costumes by Nicholas Georgiadis and lighting by Thomas Skelton. The ballet received its World Premiere by The Royal Ballet in London on February 9, 1965 and was given its ABT Company Premiere at the Kennedy Center for the Performing Arts in Washington, D.C. on January 3, 1985 with Leslie Browne and Robert La Fosse in the leading roles. Swan Lake, choreographed by Kevin McKenzie after Marius Petipa and Lev Ivanov and set to the score by Peter Ilyitch Tchaikovsky, will be given eight performances (more) ABT SPRING SEASON AT MET ANNOUNCED – Page 7 beginning Monday evening, June 22 with Gillian Murphy as Odette-Odile, Marcelo Gomes as Prince Siegfried and Cory Stearns as von Rothbart. The first production of Swan Lake, with choreography by Julius (Wentzel) Reisinger, received its World Premiere by the Russian Imperial Ballet at the Bolshoi Theatre, Moscow on March 4, 1877. Swan Lake as we know it, with the Petipa/Ivanov choreography, was given its first full‑length production at the Mariinsky Theatre, St. Petersburg, on January 27, 1895. This production of Swan Lake,featuring scenery and costumes by Zack Brown and lighting by Duane Schuler, premiered on March 24, 2000 at the Kennedy Center for the Performing Arts in Washington, D.C. with Julie Kent (Odette-Odile), Angel Corella (Prince Siegfried) and Marcelo Gomes (von Rothbart). American Ballet Theatre’s 2015 Spring Season will conclude with eight performances of Frederick Ashton’s Cinderella, beginning Monday evening, June 29, with Hee Seo and Cory Stearns in the leading roles. Set to the score by Sergei Prokofiev, Cinderella features sets and costumes by David Walker. The ballet received its World Premiere by Sadler’s Wells Ballet on December 23, 1948 at London’s Royal Opera House with Moira Shearer as Cinderella, Michael Somes as the Prince, Frederick Ashton and Robert Helpmann as the Stepsisters and Alexander Grant as the Jester. The ballet received its ABT Company Premiere on June 9, 2014 led by Hee Seo (Cinderella) and James Whiteside (The Prince). Cinderella was directed, supervised and staged by Wendy Ellis Somes amd Malin Thoors. ABTKids ABTKids, American Ballet Theatre’s annual one-hour introduction to ballet, is scheduled for Saturday morning, June 13 at 11:30 A.M. All tickets for ABTKids are $25. Subscriptions for American Ballet Theatre’s 2015 Spring Season at the Metropolitan Opera House, on sale beginning Monday, October 27, are available by phone at 212-362-6000, or online at ABT’s website www.abt.org.

In this instance I was trying to economically express: A mind entrapped suddenly in an inescapable past - and not just the swirls of escalating dry ice - without the ability to break out no matter how hard they (in this instance the character of Manon) might try (acknowledging that this was a period prior to modern psychology and its associated drugs and even a free at the point of delivery NHS.) My apologies for the lack of clarity. It was scribbled late ... and while I was preparing materials I required to teach three two hour and forty minute classes back to back at a certain noted university. Must now dash to catch a train to accomplish that same. The joyful memory of Ms. Hayward's triumph continues to haunt happily. Long may it continue to do so.

What can one say; Hayward once again bubbled forth and enchanted all within her midst. This was - not unreasonably - an even more assured performance than her initial outing/role debut. THIS Manon hung on her brother. That was abundantly clear from the get go. This Manon was as intoxicated by the material riches of life as he was. He steered; she answered. I loved Hayward's concerted struggle with the diamond bracelet in the 2nd act pas and the longing trace of her brother's intoxicated grin on her sensually aware parade into the second act. Hayward toyed with Watson's DG, yes, but fundamentally knew where her best friends were latched at any point in their particular match. She did so with a fervor that only a child raised in that hunger poverty dictates can possibly comprehend. When Lescaut was killed ... the only person who REALLY understood her ... albeit in a misguided and certainly engineering fashion ... this Manon's body vomited forward with an alarming violence. Her game too - much as during that earlier performance - was up. Her clock had run out. The last act was but wish fulfillment ... T'was but a realisation of motions so different from those girls in the opening cattle train. They still had an appetite to claw. Not Hayward; This Manon was sheathed in a posterior fog ... Hayward's artistry here - as elsewhere - was one devoutly to be wished. Hayward's Manon is a rich blessing to (hopefully) be shared by all. We are supremely lucky to have this talented young lady among the RB's count for this particular moment in time. .... Oh, and I STILL think A. Campbell as Lescaut ... and J Hay as the Beggar Chief are VERY fine indeed .... and both were superbly spontaneous to boot (both figuratively and literally at points within last night's quality compass).

And some of his re-stagings of major works (e.g., The Sleeping Beauty for ABT; now with ENB - indeed all his work at ABT) also appear to be absent ...as well as works created in Germany .... (although perhaps the focus of this Wiki page is merely on those works he created at the ROH) ... If the latter IS the case it should I think be clearly specified so as not to confuse/mislead the international reader. (I must say, though, that restricting that focus (IF that is the intent) does rather - at least to my mind - appear somewhat churlish and insular.) I wonder what MacMillan himself would have thought of that. I believe his time at the ROH was not always the happiest.

Source

Source (featuring choreographer Susan Stroman and NYCB principal, Tiler Peck. Presented as part of the much lauded/cherished Guggenheim Works & Process series.)

How exciting to have the potential for dramatic interplay between Osipova and Hayward.