Bruce Wall

A very brief Independent review can be found here. Thought Lendorf was charm personified and a non-abashed cad of a Franz replete with Danish thunder thighs from the get-go. He joyously goosed Stina Quagabeur's enticing Mazurka leader I noticed. (Why is that dancing couple not listed on the ENB cast sheet?) The mime was truly supreme and oh, so easy in Lendorf's hands. His solos were beautifully weighted and controlled. I did think that Rojo - albeit ebullient in the second act with a life-time's detail inherent in her communicative clock-work deployment - looked just a tad uncertain in terms of overall confidence with the partnering of the Act III adagio. At moments therein I felt I caught occasional sight of that ravishing smile being momentarily fixed. That said, her Spanish variation sizzled supremely and Rojo's relationship with the glory that is Michael Coleman's Coppelius did naught but dramatically blossom as the evening progressed. Above (and around) all there was oh, so much joy in the ENB ranks and it was warming indeed to witness the sincerity of Tamarin Stott's genuine interaction with the on-stage children. As ever, the stunning ENB orchestra under Gavin Sutherland's masterful direction remains the best balletic ensemble in town. A good evening.

Much thanks, Tony. Greatly appreciated.

Thank you. Do you know what she is 'guesting' in, 'bangorballetboy'?

This, or so it seems to me, is an age-old, question/argument. One has to remember that even Shakespeare (who has narratively fed so many works internationally in terms of both balletic and operatic realisations) employed a mix of classical tales from historic sources, e.g., the Chronicles. These were certainly far from being contemporary at the time and were (frequently) employed to add comment on current political regimes whilst crucially escaping legitimate threats of libel and treason. Only Shakespeare's larger narrative poems (e.g., The Complacent Lover) were themselves entirely original in terms of their overall narrative spin.

Interesting to note in one of the side articles of the above link (i.e., the one on Italian dancers leaving Italy for further experiences and a greater opportunity to practically dance), that it mentions that Mara Galeazzi will 'briefly' be returning to the RB next season as a 'principal guest artist'. Has anyone heard any details as to this? Perhaps I missed it in the season outline.

Interesting FT review which, I fear, summed up my own reservations at a first night viewing of Cubania [and certainly those of the woman standing next to me] and, more crucially/specifically, my concerns for the creative construction of the upcoming RB CARMEN. Heart dropping in the extreme.

A review from The Stage has just been put up here.

A wonderfully vivid and open (four page) interview about RESTLESS CREATURE with Wendy Whelan in Time Out (USA) here. Enjoy.

Source

Dave Morgan's gallery of pictures from RESTLESS CREATURE for Bruce Marriott's wonderful publication DanceTabs are, as ever, a thing of great joy. Well worth a peek and available - through the generous largess of Janet McNulty - on today's Links.

Well deserved ON ALL COUNTS. Nice to see ENB recognised as well in the latter (the Malakov Foundation outing) with Alina Cojacaru as a nominee for Best Female Dancer and Bob Ringwood for those TRULY STUNNING Corsaire designs.

Even though so much of her triumphant glory has sadly not been witnessed on these shores, even here people will STILL talk of Whelan as some write of Pavlova, tell of Baryishnikov and even now (amongst a younger British set) prize Guillem. She enhances space. A totally unique creature STILL, Whelan breathes as Robbins noted: "as a muse for us all". Currently in the ROH's Lindbury Theatre she inhabits an imaginative and sparely balanced programme in which she oft steps/falls back in celebration of her four chosen contemporary choreographer cavaliers: Alejandro Cerrudo, Joshua Beamish, Kyle Abraham and Brian Brooks. She invites us into their varied mind-space as much as her own vivid presence. She spontaneously collaborates with us as much as with them. All eyes dance in tandem with her soul. We breathe together. It is a thrilling privilege. All are left restless for more. This one I can sum up in one word: GO!!!

I was editing my post and it passed the half-hour dictum - (sorry,dyslexics are - as a rule - slow in such pursuits) - so - in fairness to myself - am posting the revision anew. It has been pointed out that ABT's current prices for the orchestra (stalls) seats at the Koch Theater during their Fall (Autumn) season are higher than ANY other company that has ever performed in the building since NY State Theater was built and that includes the current commercial run of the Bolshoi. I, too, am disappointed at the RB's restriction of Cinema relay programmes - especially given their enormous subsidy. I would like to think that ACE might insist (is that too strong a word) on programmes being shown that have NOT been broadcast more than once -or indeed once - within a couple of seasons. Of course, the leader in this field - the Bolshoi - are also repeating more and more recent/popular repertory - and not,say, their new production of Taming of the Shrew. This is disappointing. I felt it was a shame that more support wasn't given here to the POB relays which did offer a very varied repertory (e.g., Caligula) past but one season. It attracted small audiences true but it wasn't I felt given an opportunity to succeed; to build. If Kirstein had not supported the reality of small audiences and failure in early years in New York (lest we forget Ballet Society / NYCB was the third attempt at building a company the two great men launched) just think of the masterworks we celebrate today that might have been forever lost (e.g., like Four Temperments which attracted a large audience [including me] at the Chatalet in Paris on Saturday when it was very well performed by SFB. That said, decades of free educational incentives for 'joe punter' - which Balanchine insisted on - has I think paid off in some areas for NYCB and POB. During some of those 17.5 years I lived in NYC I, myself, volunteered to hand out insight material for free to any and all NYCB audience members - such as are only available to RB audience members with the purchase of an expensive programme - and occasionally led (and I was just one of a great many) free docent talks on the fourth ring. Dancers would volunteer their time to come up and speak with people wafting up the stairs. I well remember Darci Kistler (many more times than just once), Jenifer Ringer, Merrill Ashley and others being most generous in offering their time. Those free programmes that are still run in tandem with the NYC Library - wonderful as they are - are a far cry from giving 'insight' access at £17 or £12 per head. THAT SAID the audiences at the Royal have grown - disproportionately it seems to other companies - in recent years; especially for new work. Kevin O'Hare must be doing something right. Can that merely have been the Royal imprinter attracting a growth of tourists who may have been encouraged through the overwhelming and deserved increase in tourists as a result of the 2012 Olympics success internationally? If the Olympics were such a potent invite why are the same tourists not flocking to ENB / Sadler's Wells? (That is merely a suggestion for discussion.) It will be interesting to see once/when salaries begin to increase to balance out the ravages of (for many people the on-going) recession if there will be a further growth in renewed hunger for the art form at an address well outside of Bow Street? I, myself, am fearful that there won't but remain happy to live in hope.

It has been pointed out that ABT's current prices for the orchestra (stalls) seats at the Koch Theater during their Fall (Autumn) season are higher than ANY other company that has ever performed in the building since NY State Theater was built and that includes the current commercial run of the Bolshoi. I, too, am disappointed at the RB's restriction of Cinema relay programmes - especially given their enormous subsidy. I would like to think that ACE might insist (is that too strong a word) on programmes being shown that have NOT been broadcast more than once -or indeed once - within a couple of seasons. Of course, the leader in this field - the Bolshoi - are also repeating more and more recent/popular repertory - and not,say, their new production of Taming of the Shrew. This is disappointing. I felt it was a shame that more support wasn't given here to the POB relays which did offer a very varied repertory (e.g., Caligula) past but one season. It attracted small audiences true but it wasn't I felt given an opportunity to succeed; to build. If Kirstein had not supported the reality of small audiences and failure in early years in New York (lest we forget Ballet Society / NYCB was the third attempt at building a company the two great men launched) just think of the masterworks we celebrate today (e.g., like Four Temperments which attracted a large audience (including me) at the Chatalet in Paris on Saturday when it was very well performed by SFB. That said, decades of free educational incentives for 'joe punter' - and which Balanchine insisted on - has I think paid off in some areas for NYCB and POB. Those programmes in tandem with the NYC Library - wonderful as they are - are a far cry from 'giving access' at £17 or £12 per head. That said the audiences at the Royal have grown - disproportionately it seems - to other companies - in recent years; especially for new work. Can that merely have been the Royal imprinter attracting a growth of tourists who may have been encouraged through the overwhelming and deserved increase in tourists as the deserved result of the 2012 Olympics? If the Olympics were so potent invite why are the same tourists not flocking to ENB / Sadler's Wells? (That is merely a suggestion for discussion.) It will be interesting to see once/when salaries begin to increase to balance out the ravages of (for many people the on-going) recession if there will be a further growth in renewed hunger for the art form at an address outside of Bow Street? I, myself, am fearful that there won't but live in hope.

IF that was so, Alison, - and I for one pray that it wasn't but but an insulting commercial slap in the face of the English all - surely our job now is to stand up with pride in face of such an unfortunate - I might almost say ignorant - historic spite. Call me an idealist, Alison, but (at least as far as I was taught on this goodly soil) two wrongs don't - and never will - make a right.

While I realise this is in large measure a rhetorical question ... surely ... I have this fantastical hope that in Tamara Rojo's ENB case at least the answer might prove positive. While it might not be in my lifetime I would like to think that the hope for a positive reply might at least persist; that ENB might independently survive as 'the people's ballet' simply because enough English people believe that it deserves to. Of course such a title has to be earned and continually renewed. That is the excitement of their charter as much as our (i.e. the English peoples') good faith. Surely that was the hope in giving LFB England's 'National' esteem. May ENB live long after the title 'UK' has become but a historical artifact. After all the reality that we now know as Shakespeare's Globe has come to thrive without a penny from the ACE purse. Still, their glorious music (spoken, sung, filmed, danced and instrumentally played) and all the very fine production values that surround such continue to engage. Moreover, their admirable Education Department meaningfully instructs a far greater number than that heavily subsidized Juggernaut that is the RSC. Furthermore, an international audience has come to own the 'Globe' brand - for the foreseeable future - as their own. For many tourist's what they enjoy as 'Shakespeare's Globe' now helps to define part of their 'English experience'. Perhaps what ENB needs most - much as Lincoln Kirstein did for Balanchine - is their own brand of a Sam Wanamaker. Does such a beast now exist somewhere? I pray that it does. Therein - inside just such an astutely caring maverick body - lies the key to both ENB's continued magic making and its 'rub' methinks. Perhaps that is what ACE should be insisting be sought - above and beyond any real estate agreement.

Don't know if this gives any confirmed indication: http://www.ballet.org.uk/the-company/dancers/jade-hale-christofi/

And if Rojo wants to carve out a separate identity within the city - akin, say, to NYCB; e.g., the house that Balanchine and Robbins built (with - lest we forget - the all-crucial love, money, understanding and support of one Lincoln Kirstein - without whom none of that vision could EVER have been created) - then (referring to post No. 35 above) - Rojo needs methinks to do it in London. Certainly her first 'new' programme - the titular and exciting Lest We Forget - gave a pretty good suggestion as to the potential difference between the two institutions that might well be wrought, enhanced and celebrated in the future. I would suggest - again IF this was to be Ms. Rojo's over-riding intent - and I'm not convinced it 'entirely' is - then a retreat from the ENB brand (with or without decorative Westwood frocks) to the original LFB logo might well be prudent lest the ENB nomenclature becomes an unwelcome and confusing noose in and of itself.

http://www.independent.co.uk/news/people/elaine-stritch-dead-star-of-stage-and-screen-passes-away-aged-89-9613347.html

I suspect that 2013's ENB season announcement in June of that year may well have been predicated by the fact that there was no ACE portfolio review (which happens once every three years now) to be announced. I would hazard a guess that next year's announcement may well be in tandem with other major UK companies as a result. I should imagine it would have been difficult for Ms. Rojo to make 2015 commitments without concretely knowing firmly what ENB's public funding situation would be, most especially as their public resources have a proportionally higher stake in terms of overall core support than is certainly the case when compared with, say, the Covent Garden portioning for the RB.

Perhaps it may be of interest to UK balletomanes to note that the casting for the Nureyev Don Chisciotte (a/k/a Don Q) at Milan's La Scala has been altered. NOW ENB's rightfully admired AD, Tamara Rojo, will dance for three performances with Ivan Vasiliev (who it has been rumoured will guest - along with Alban Lendorf - in ENB's January 2015 two week stint of Derek Deane's SL at the Coliseum) and the RB principal Natalia Osipova will now dance for three performances with her old Mariinsky sparring partner, that dancer's dancer, Leonid Sarafanov. Also of local interest to note that the production is being mounted by the former ENB staff member, Mania Gielgud. Tickets are currently available for all performances. Details of the alterations can be found here: http://www.gramilano.com/2014/07/partner-swapping-la-scala-osipovasarafanov-rojovasiliev-zakharovamatvienko/ and the electronic booking form can be attained from the La Scala production's front page: http://www.teatroallascala.org/en/season/opera-ballet/2013-2014/don-chisciotte.html

I think the new advance student allotment must have some responsibility for this as they have a set number of SC standing room allocated for each performance for them and have access to it before the general booking opens. The programme has been deemed a 'great success.

Have to say that short of the pages being very slow to load at 10.00 am (for about 10 minutes - and the fear that such arose) I actually got EVERYTHING I wanted (short of a ticket to La Scala Di Seta in the Linbury which I obviously left too late as it was all sold out). The banner at the top saying that pages could be slow to load was indeed reassuring. No problems with the ballet at all I have to say. Still, I don't think I have ever bought quite so many tickets ... and spent quite so much money. Still, to be fair, an overall positive experience. It's now 10.52 so I was in and out well within the hour. I've even already had one confirmation returned for one of my three orders - and, of course, the other two 'order placed' notifications ... or I would be sweating rather than typing. (I confess that I made it three orders .... just in case the system disappeared - as it has in the past - and one lost everything in the one treasured bundle. Once bitten and all that.)

Bricks and mortar funding is oh, so much more easily attained than core support; that home of the truly brave. You can put a proclaiming plaque above the door of the one while the latter is forged with the satisfactory acclaim of the soul alone.

As per this article in Russian, Shapran and Bondareva are to move to the Mariinsky Source: http://konkretno.ru/...-v-marinku.html Wonder if the wonderful Novikova might be crossing ranks in a reverse direction to aid and abet her very talented husband (yet another member of the Mariinsky-Alumnae-Club). Seems to me that the Mariinsky has never rightfully honoured Novikova's artistry within their esteemed ranks. Not certain why.