Bruce Wall

Was I? Oh, how clever of you to remember, Alison.

Huge thanks, John, for, as ever, your excellent service. Bless you for ALL. P.S: It worked. Meunier is now a 'historic entity' ...

Guess that makes me 'Bruce Secundus' .... [perhaps that's too much like a school roll call] ... or what about 'Bruce Squared' ...??? ....LOL ....

Vis a vis my review, I have been asked by John Mallinson - and happily oblige - to note that I did proudly have in some very small light - and I hasten to add small - an involvement in this year's ENB Choreographics programme. I did not mention this in my notice as I can honestly say that I had not seen any of the choreography nor indeed actually heard the vast majority of the music prior to attending this fine programme as a simple audience member. That made it especially exciting. My response in that light could, I think, therefore be seen as being wholly independent - or so I certainly felt it to be - or I would never have deigned to publish this or anything else in its specific reference on this much valued forum. In fairness I feel it only fair that I should reference my identity in the real world. I am Dr. R B S Wall (a/k/a Meunier) ..Can a moderator please let me know how I might best alter my 'BcoF nomination'. Much thanks. As say 'Alison' is 'Alison' it might be easier if I was simply 'Bruce' ... or 'Bruce Wall' much as my mother might have recognised. I chose the name 'Meunier' out of naught but admiration. Decades ago while living in NYC I found myself in a dance with cancer. Frequently I shared a 6.00 am chemo drip with a young artist from NYCB. My historic nomination was chosen out of nothing but total inspiration for that personage - and I have used it here ever since. I think it was 1997 when I first used it on the wonderful 'Ballet.co.uk' as was. For security reasons to do with my own work I (and my Board of Trustees) was concerned about revealing my official identity. Now this usage - given the advances of time and technology - is nothing but a habit and I am certainly happy to drop it and to be known by my own name as 'officially' christened. Indeed, I agree with many here that it is now only right and fitting that we should.

Erratum: In my review above the dancer referenced in the WE ARE FREE pas de deux was in fact Adela Ramirez not Jeanette Kakareka. Mea culpa. Would that I could change it. She was truly stunning.

It was so lovely to see the 2014 ENB Choregraphics programme for a second time tonight. I always feel, at least with new dance, that a return visit is absolutely mandated assuming an initial tug of engagement. Sadly, it is exactly that adventure which many christened critics simply don't have the luxury to witness being driven - as they rightfully are - to review. However, only then, can the stage be fittingly said to have had a chance to deliver its opening sally. Never fair I think to shoot anyone in the back. That's not to say that each performance won't ALWAYS be a dangerous voyage. It will - especially with ANY programme filled with entirely new material. Oh, and, of course, ANY NUMBER of wonderful things MIGHT happen. That is, I believe, what we call history. Still, one simply wants to take the edge off of some of the nerves of anxiety in order that ALL might equally share in the risk; in the fulfillment of this glorious project's shared energy in the most positive light. Tonight we - the audience - were truly the first and last character of each and every piece in this wonderfully varied jigsaw. We tangoed. The Barbican Pit's air hung refreshingly fresh in its auditorium in order that the heat on the stage (as much as the concentration of those drawn into its wonderfully vivid folds) might rise - as it should - ever more incisively. It did. Bless ALL for such glorious work; Bless Tamara, George and Gavin for having made real this enticing gift of a vision. There were just so many 'images', as Fabian Reimair so astutely observed in but one of the several finely filleted film segments as rendered by the ever astute cinematic acumen of Laurent Liotardo. I was proud that we were able to hear the composers own voice in each film aside that of their appointed choreographer. Each spoke most movingly through their music. By cleverly employing such a tactic we, the audience, got a direct sense of the different languages and the shared metres being employed in the collaborations. That was wisely effective. It was, indeed, a keen honour that at the the programme's conclusion the glorious affair that is the Ivor Gurney did not - in any light - appear to make any of the original ballet scores being premiered seem out of place. That in and of itself was an enormous honour. Tonight my own mind's eye suddenly caught a different glimpse behind the brilliance of George Williamson and Tamara Rojo's ordering of the programmatic fare. Suddenly I saw - through David Hewson and Makoto Nakamura's fine collaboration in 'Ripple Effect' - the haunted figure of Guilherme Menezes not only crushed by the death of his friends but now crushing the breath out of yet another exquisite life force so poignantly enhanced by the ever soulful Ksenia Ovsyanick. One watched as both painfully shriveled into a huddle of living death; as they benched in a life lie every bit as potently false as their promised 'new world' had proven to be. In the concluding VERA, Menezes was back - now, himself, a phantom - and Vera - perhaps another of Menezes' surviving mistresses - as enlivened by the ever radiant Nancy Obaldeston - sparkled inside the wide berth of humane hope. Time may have passed between the beginning and the end but we knew - instinctively - through the shimmering choreographic tongue of the abundantly gifted dance maker Stina Quagebeur - that this woman - this VERA - not only could but WOULD survive. No one worried that SHE might be waylaid; might be destroyed. No. She would lead. Was her's an 'incongruous ecstacy'? Perhaps. I'm not certain. Certainly one sensed through the determination of that bouree near the end that there was to be a future. Most definitely. In totality it was quite, quite 'exaltee'; Vividly so. I could hear the audience swallow. Quagebeur makes the passion behind Vera's 'Testament for Youth' - one surely for all time - clear. John McCrae (her designated poet) too is well attributed through the balanced richness of her choreography - and just how wonderful is it that he should be celebrated by a woman. Vera Brittain would, I think, rise and cheer. 'We need this voice', she would say. McCrae too would nod in approbation. Our sense of Vera's journey, grace and strength - as transcribed by Quagebeur - remains palpable in my heart even now. It has been refreshed thoughout Stina's own magical mesh of moments. Brava! (I, myself, would love to see this fragment developed into a larger tomb replete with several more equally exquisite chapters championing belief much as Vera so courageously does herself throughout the pages of the Brittain. Surely this fine choreographic artist deserves just such an opportunity.) Stephan Hodel's was an oh, so rich musical canvas for 'We Are Free'. It strives to open with a grin of delight - and, yes, a snigger. I couldn't help myself. I greeted the wit of Fabian Reimair's opening pas; one launched between the aforementioned Laurent and the dazzling Jeanette Kakareka; with an engaged and engaging smile. It was as if they were irrepressible. (They were.) 'And now the finger goes here!' one snears. (You'll have to visit for yourselves to get the reply.) The music parried each movement with determined theatricality; ricocheting in just so many various and rich shades; each with a rife sharpness that I'm certain Sassoon himself would have piercingly applauded. The striking design showed the guts behind Fabian's determination to meet his own insight head on. In that pursuit my mind's eye watched as an auto-cue dropped. It read simply: 'Cue MORE applause'. My thanks too to Chris Hamilton for his stunning composition of The Stone; the song - so vividly enacted via Shimi Goodman's dramatically focused instrument - as much as for the ballet where his own compositional voice found a new and deservedly challenging outlet; one happily enmeshed with the wonderfully talented movement of James Streeter's empowering imagination. This piece bewitched by virtue of its own direct simplicity. I was reminded of something Tennessee Williams once said: 'Mystery lies between the bed and the chair.' The heart-rendering trio of Erina Takahashi, James Forbat and Nathan Young were ravishingly expressive; dynamically sharp. Aside the glory of their composer/choreographer combo each allowed every single audience member the privilege of their own private slice of sentiment (without being sentimental): A suitable and true test of brilliance. Bravi. The buoyant aspiration of ALL; that faith in rightful ambition such as has always been the hallmark of Tamara Rojo's determined brilliance - was here fulfilled as much by the ambitious striving of Emmeline Jansen as in the pride of potential we could each extract from within this programme's entirety. Surely no one could ask for more from a programme labeled ENB Choreographics? It did what it proclaimed on its advertised tin. Not only was it well packaged but each and every element saw the music and heard the dance. Its process was as clear as the striving of its product. That, as ever, is a thrilling. gripping and miraculous enterprise offering a healthy compliment of potential reward..

Wasn't that already announced with some prominence in the RB's 2014/15 season outline some weeks ago?

At NYCB Robbins would often work with several sets of possible principal casts at the same time in the development/revival of works and, as I understand it, sometimes would only make decisions as to who would be dancing what on the day - or certainly very late in the proverbial day. He was credited with giving many young dancers their first significant prominence in the Company. Indeed, I believe that was the case with Britain's Christopher Wheeldon. (NYCB Casting is announced much closer to the performance date than, say, is the RB. The comment above is ONLY by way of historical record and not in any way a reflection on the procedural policy for Robbins' works at the Royal Ballet about which I know nothing whatsoever.)

Just so everyone knows .... Here is the choreography / casting for the ENB Choreographics ... Some wonderful talent therein .... I was surprised this was not listed separately in and amongst/alongside other press releases. (Then again - and most like - I may have missed it.) Tickets are selling very well. Friday night is sold out and there are only three tickets left for Thursday's opening. In any case .... FYI .... Repertoire and Creative Choreographer- James Streeter Dancers - Erina Takahashi, James Forbat, Nathan Young Composer - Christopher Hamilton (orchestrated by James Simpson) Choreographer- Stina Quagebeur Dancers - Nancy Osbaldeston, Guilherme Menezes Composer - Ivor Gurney Choreographer- Makoto Nakamura Dancers - Juan Rodriguez, Zdenek Konvalina, Joshua McSherry-Gray, Ksenia Ovsyanick Composer - David Hewson Choreographer- Fabian Reimair Dancers - Adela Ramírez, Angela Wood, Janette Kakareka , Laurent Liotardo, Francisco Bosch Composer – Stephan Hodel Musicians - English National Ballet Chamber Ensemble, directed by Gavin Sutherland and recorded by Yohei Sasaki

I would imagine this venture in Italy will have a great deal of the material that was in the last Men in Motion at the Coliseum. Certainly it suggets it might from the line up. I very much look forward to the next one in London. There are so many fine men dancing internationally to join in the Putrov's imaginative celebration ... I would love to see Mathias Heymann do Manfred or Tyler Angle and Robert Fairchild in something .... say that lovely Lar Lubovitch central duet that Northern Ballet so fetchingly reminded us of recently. Just so much to engage.

I made my comments based on the fact that I went in thinking it would be horrific in terms of the selected venue. It was wonderful to see it so full (at least around where I was sitting and refreshing that ENB require a larger venue each year for this important programme to meet demand. Must confess I didn't travel upwards.) The fact that the stage was slightly raked from such a high angle to begin with would have retarded the view of the front rows (never a good place to watch dance from in most venues in my personal opinion - Have you ever tried sitting in the front at the Met in NYC, Capybara?) but blessedly allowed many more than I had originally thought might be the case the chance to have a clear view. From the back of the stalls the ENB 'family' atmosphere was, I'm pleased to report, heated. I'm sorry this was not shared by those in the very front. Blessedly I did not have a problem hearing the film clips. I'm somewhat surprised as I was immediately under the first balcony overhang.

I thought Alsion McWhinney's solo (David Dawson's A Million Kisses to my Skin) was radiant; Vitor Menezes' take on Ana Maria Stekelman's natively spicy Mambo Suite delightfully witty and both his and Senri Kou's rendering of the pas de deux from Bournoville's La Sylphide delicatley dedicated in the sincerity of its core relationship portrayal. Wonderful too to see two fine new choreographic entries in the colourful person of Junor Souza in his own (as assisted by James Streeter) haunting Last Minute (not to mention his own powered thrust in the coda variation in the Esmeralda pas aside the aforementioned Ms. McWhinney) and most especially the gloriously explosive Nancy Osbaldeston in her own Skye - which surely must win my own vote for the most explosive opening - and insightful eye make-up - of the evening. Stunning too - AS EVER - were the short - and zealously edited films by ENB company member, Laurent Liotardo. (There is no question but this lad has a great career ahead of him in terms of a second career.) Fine too to see the Lyceum being employed as such a fine venue for dance (replete with its raised stage) - at least from my seat at the very back of the barely raked orchestra stalls. Finally, kudos to Ms. Rojo for being both charming as well as potently brief in her handling of the award presentation and for populating this year's 'family' outing outside of the standard war horses. All in all a good evening was had by all methinks. For that and ALL much thanks.

Bless you, Amelia, for the historical clarification ..... Still in all, this, I think, proves the wider point in my earlier posting ... I don't believe I am/can be alone in terms of the SV narrative confusion(s).

I KNOW - because I have been told - what the narrative for SWEET VIOLETS is supposed to represent ... the Sickert/Jack the Ripper thang - but how is any innocent ticket payer supposed to know that Eddy is, in fact, the Prince of Wales ... I wonder, Is it just me or is this kind of mysterious concoction just the sort of thing that gives ballets which are SUPPOSED to have a linear narrative a bad rap? Out of curiosity I walked about during the second interval last night - and actually spoke to a number of paying audience members on the Amphi level (all previously unknown to me) as to their comprehension. To a person they said they were mystified. Two different people in two different groups said it was 'pretentious'. I was, myself, shocked that Scarlett did not seem to make - at least to my eye - any further clarification in this regard - especially having had the luxury of an initial go-round. Perhaps it was different on different levels of course. My budget doesn't stretch to those I fear. Perhaps, of course, I just don't understand. To me Serenade as a work (and I thought Lauren Cuthbertson was the standout component in it last night) is much more evocative and, dare I say it, clear. It invites its audience (well, at least me) to share and allows you the luxury of helping to define the characters as they respond to the music for yourself. Blessedly there are no bitzy breaks in that zeal and we all I think have felt the embarrassment of the young lady who is late. For me Serenade is much more universal in its appeal. But that, of course, is just me. .

A version perhaps of that old favourite: 'Sometimes less is more' .....It even has fewer words What struck me in the Tindall was that there was (i) the potential (ii) for (in places amongst its many parts tis true) an original voice to beckon; one which occasionally strolled beyond the merely generic such as one is all too often nowadays entirely gifted with. That made me smile. That I felt was most encouraging and certainly warranted Nixon's rightly supportive encouragement.

Saw the Northern Ballet programme at the Saturday matinee and was even more engaged with it I think than at the programme's opening. The Lar Lubovitch balletic smile to Morzart is always particularly telling. I vividly remember seeing it for a first time in NYC as part of an OUTRAGE gala (it then being the height of the American AIDS crisis). The narrative of the central male pas brought back poignant memories of that searing occasion and Contadini and Koon served it with suitable respect. I was especially taken (at both performances) by the outstanding soloist work by Matthew Topliss in the thrill that is that work's Rondo. I also very much enjoyed seeing two different casts in the Concertante and appreciated afresh Tindall's new work seen this time from a MG standing position. It is so exciting to see this Company dance a variety of major and new choreography. It can but only add strength to their arm. How I wish that this programme could fill theatres - of a similar size to the LIndbury - throughout the country - but I know that such a hunger has to be built and can never be simply borne. I so enjoyed the clear (albeit non linear) narrative of the three pieces. How wonderful it would be if they could develop their story ballets in two acts with an established one act ballet as a curtain raiser - such as used to be the case, say, with performances for La Sylphide of Giselle. That could I think be a very effective educational tool; a dedicated public service. I would love to see them tackle, say, works such as Balanchine's Allegro Brillante or Square Dance (perhaps with the caller). This fine triple bill showed that they more than deserve to tackle such - and should clearly have ACE support in that undertaking.

Funny, Lynette, I was standing at the very back of the last LInbury circle - and once Mr. Nixon had responded to an early request to 'speak up' - I, myself, had no audible problem in his regard. I would simply like to say how refreshing it was to hear someone make such a sincere dedication in a fashion that was both relaxed and articulate. I, for one, - and I may well be alone but I suspect not from the hearty applause that followed - appreciated the clarity of both Mr. Nixon's mind and dynamic. For me, a microphone would have robbed us of much of the immediacy of such. His - like much of the engaging programme that was to follow by his dedicated Company - was a fine and fitting tribute in deed to a woman who was herself, in every respect, brave.

But then Petit's Carmen is not - if memory serves - a solo for two. I thought, too, I read somewhere an indication that Jose Manuel Carreno himself would be appearing with the San Jose Ballet (of which Carreno is AD) as the supporting players ... and the scenery borrowed from ENB. ..... But perhaps I imagined this too .... Might be prudent to hold off any purchase until production content realises a little more sustainable clarity.

You pays your money and you get ????? ! Caveat Emptor. T'was ever thus I believe ... Sometimes there is more calculation in the risk than in others ... and certainly it fits in with the proliferation of gambling shops on the high streets ...

This commercial production comes without the UK subsidy given to BRB via the extraordinary largess of the British taxpayer. I remember the back row of the balcony for NYC Ballet being set at £35, then the cheapest fare - and that was set by the juncture of the Coliseum overseers and Sadlers Wells, again two entities who enjoy hearty subsidy (NYCB itself playing against an established guarantee as per established tradition.) Certainly those producers as noted had copious discounting late in the day for these performances and even then NYCB played to sadly ... and wholly undeserved ... diminished houses. Peter Martins himself remarked that he was dumbfounded at the logistics employed. It had then been a quarter of a century since NYCB last appeared in London. I suspect it may be as long again - if indeed not longer - before a British dance audience will again see NYCB - or perhaps other world class ballet companies short of the Russian ones - on their home turf. Entire generations of dancing careers will have been sadly lost to their greater enjoyment/erudition.

The pricing is, I agree, Alison, distressing in terms of access ... but that may well not be the producers' current concern. I have a feeling that some discounting will have to be wrought ... and they may simply be wishing to cash in on advance as much as possible. In terms of the renters that is understandable. Still, I can only feel that a goodly portion of these ticket fares have been set with discounting being an expected option - especially at that time of year - and given the ENO's disturbing ( to be read: truly shocking) established history in terms of their concerted lack of marketing at the Coliseum on behalf on ANY productions short of their own. The latter actions surely speak for themselves.

http://artsbeat.blogs.nytimes.com/2014/05/07/city-ballets-2014-15-season-to-feature-ballets-by-peck-scarlett-and-ratmansky/?ref=dance Includes NYC premiere of Martins' La Sylphide and a new ballet by Liam Scarlett among others.

(i) Jmhopton, Please know you can go to La Scala in a month or so and see them both dance McMillan's R&J (assuming no changes) ... or to NYC in the autumn (lovely time to be there) and see them dance DQ and in a triple bill (as well as Vasiliev in Flames and both in different performances of Giselle - Osipova dances with the stellar Sarafanov as she did at the Mariinsky - with the Mikhailovsky all in a 2.5 week residency and the Koch Theatre. (ii) I would like to see that Ivan too. Don't like the ballet as a rule but have only ever seen it with Mukhamedov and a young Godunov. Sure Vasiliev would add heat to the flesh of what otherwise might well be some rather hollow rattling bones. Somehow suspect politics may will kick in though as he isn't appearing - apparently - as Spartacus when the Bolshoi do it in NYC this summer ... and sadly was not even one of the replacements for the ABT Bayadere - let alone first casts - which may well, I suppose, be his choice. As it is he is only doing three ABT appearances all season - the opening gala (the central pas from Bayadere as it happens with the lovely G. Murphy) and two DQs - one each with different partners - all in the opening two weeks. (This may well be because of other commitments - such was suggested by one poster on the KoD forum pages on this website.) Still one lives in hope vis a vis the Ivan given that he is listed as a 'guest principal' on the main Bolshoi site now. Otherwise it is a rather cool - in places almost frigid Bolshoi Cinema dance season. More enticement for the punters will be necessary I think ... much as with the ROH offerings ... Still bemused and saddened that the Ashton bill is not being included in the latter's remit.

Just a suggestion: What about the Met's technique of offering hosting by other featured performers involved in and around the company. I could see Laura Morera and Ricardo Cervera doing nicely in that regard for example in terms of relaxed informed relay and wit ... Also it would show the wonderful international mix involved with the Royal Ballet (much, say, as Domingo, Nebtrebko and Desee do when in such service at the Met).... introduce people who international viewers (the bulk of any such audience) may well see in other relays ... and allow those individual artist/presenters the opportunity to draw fresh prospects out of those being interviewed (again much as is the case at the Met). In specific regard of The Winter's Tale both of those named (Morera/Cervera - a Prinicpal and leading Soloist) were, themselves, in the alternate cast. I didn't see the cinema relay ... but I would have thought a brief interview with Bennet Gartside would have been warranted ... given that he originated a smaller role but had to step (magnificently it must be said) into the lead.