Bruce Wall

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.

Yes, I thought it had been on her dress and she rounded Gartside. Both gave vivid etchings of their fascinating roles.

I don't think it can be the all down to the location, standingticket. I was standing to see it for a third time today myself (courtesy of a most kind BcoF member). I enjoyed it even more than the last two times - if that is humanely possible. Like that oh, so magical tree ... It keeps growing on you; keeps bearing new sprouts and shedding ever more fruitful perspectives that are ever perfectly ripe.. I have a feeling this may well become - like Fille or R&J - a deserved RB standard. Simply glorious. It revels - as does the wondrous challenges of the Shakespeare - in a colourful celebration of community. That wholeheartedly remains as its - and by association - our heartbeat. Bless Mr. Wheldon. His father's memory has been proudly honoured. Well done all. It is our nation which now must celebrate. Again enormous thanks to Mr. O'Hare and Ms. Kain for the insight of their prevailing vision's courage.

Oh, thanks, Angela. I did know they appeared in Kudelka's SL .... but sadly I wasn't able to nip across and catch it. Bless the NBoC for their always wonderful video clips, interviews and photographs.

Her partner in crime in that workshop outing is a spectacular dancer as well.

And then there was 'Beatrix Potter' ..... Oh, dear ....

Wonderful news: A wonderful dancer returning to his roots in a truly wonderful company. Good news ALL round (methinks anyway). I only wish NBoC were returning to London. I would love to see McKie and Lunkina dance together.

Thanks SPD444 for your kind comments; thanks to all. It means so much. Bless you.

What a special treat it was to see THE WINTER'S TALE for a second time tonight with the delayed premiere of the second cast. Some things certainly ARE worth waiting for. In every respect this experience was a happy one for me; building in strength upon my own initial happy impressions. Bennet Gartside's Leontes brought the first act - indeed all - into the light of his own very special and always regal frame. Having directed a production of the play in London in 2005 I know there are two failings in playing this wonderful role theatrically: (i) The performer mustn't give in to the temptation to give too much away too quickly e.g., to be 'Too Hot; Too Hot' - (leaving him to appear overly repetitive or OTT as some critics recently observed - and (ii) must always remember that Leontes remains a monarch throughout - struggling to grapple with the affairs of his own confused state as much as those of the nation. Gartside's King haunted in each respect. Every inch a king - Gartside managed his manful responsibilities with magnificent precision and variety. His relationship with his young Prince son - the glorious Joe Parker - was lovingly defined from the outset and when Marianela Nunez - a truly resplendent Hermoine - made reverence to him in the court scene it traced the very moment when both would ultimately turn from their own personal observation unto the state's business wherein monarchs need to do very private things within a very public surround. The weight and shade of these two deservedly noted artists made a substantial difference to the sensitive story telling of this evening's particular narrative tale as did Valeri Hristov who proved to be a tastefully exotic Polixenes. There was no doubt at all in anyone's mind but that this was very much a King of an entirely different realm. Reaching out Laura Morera was, as we have come to expect, searing in the informed immediacy of both her depiction of Paulina's intellect and emotions. We watched the seeds of her wisdom bear fruit. A fine journey. Her outburst in face of Leontes betrayal of her mistress stung as did her decision post fisticuffs - one made on behalf of all - to sublimate her own interests in order that she might serve - as she does in the play - a greater good. Here she is OUR catalyst. Ms. Morera stood apart (and as parted) with apt distinction. Let there be no doubt: This evening's second act - a magnum opus whose tenor is so tellingly different from the first and third - delighted even more than it had the premiere. Beatriz Stix-Brunnell delighted in her life enriching embodiment of Perdita. Here VERY CLEARLY was a creature ENTIRELY raised on the shores of this isle of Bohemia. The fact that she wore her mothers colours was now but an accident of fate. We, the audience, reveled freely as much in Ms. Stix-Brunnell's innocence as her joy. She bubbled forth. When presented with her mother's token about her delicate neck Ms. Stix-Brunnell bravely made almost light of toying with her future maturity .... one that would come into greater focus all too quickly - and post bourees - once further significant voyages of discovery had been undertaken. Her regal beau tonight - Vadim Muntagirov as Florizel - was the very picture of love's young dream and without hesitation his father's rightful inheritor. Mutagirov's multi-wattage smile beckoned and the shaping of this young couple's rapture in the adagio was a delicacy for all to savour in times to come. (What a shame that this cast can't be filmed as well.) This Forizel was a young man who had determinedly come in search of disguise. Once changed he wanted NOTHING MORE than to celebrate the spirit of the community in which he found himself, much as Shakespeare's play dictates. Muntagirov honoured all. Not once would you find this young man staring out into any theatrical house. His attentions were brilliantly focused in and around that dazzling tree. Under it's charge Luca Acri's enticing Brother Clown - aptly named - revelled in being Bohemia's balletic answer to Rory Bremmer; a personage rife with lightly mocking bon mots. His partner in crime - Yasmine Naghdi - all sun against an azure sky - was as much a whirlwind of zeal in her etching of the Young Shepherdess much as Ms. Stix-Brunnell hereself had been on last week's world premiere. James Hay delighted in his fleet of foot articulation in the happy corps - (what a stunning Floritzel/Perdita combo he will one day make aside the vivacious Francesa Hayward) - and the bear - O that stunning bear - one billowing in his inspiration - came alive in more than just one boxed vision and zealously pursued us all with his spirit of dedication. He in fact followed us out. Can there be a full length ballet in the Royal;s repertory that is MORE ravishingly designed or aptly lit I pondered. I struggle to think. To my mind, there can be no question but that THIS IS a keeper .... 'Deservedly so', say I. Wheeldon's work - in London - has come of its age. The ROH audience remained adamant in its admiration for all concerned. How grateful I, for just one, am to simply have been present. A gift indeed.

Wonder why there are two casts dancing Month on 22nd October but only one set for the other works? Here's hoping the TBC might be Osipova if she is fully recovered by that point (which might attribute the TBC in the first place). Disappointed no Muntagirov in Month.

Thank you for sharing this fact, Nina. As for myself, I so enjoy seeing companies from different countries - especially dancing repertory with which I am familiar. The different accents and perceptions often enhance my own viewpoint/enjoyment. To me that would, I think, be a selling point ... but as you say we are all different. Thank heavens. How sad. They are a wonderful company with a fantastic repertory. I wish you had an opportunity to see more of their considerable and diverse work. I had the privilege of taking my PhD at the University of Toronto (after completing my undergrad studies at Cambridge during which time I continued to build my firm appreciation for both the Royal and - as it was then - London Festival Ballet). This was during the period when Erik Bruhn was running the NBoC, a Company founded by the wonderful English woman, Celia Franca, who, herself, had danced with Sadler's Wells Royal Ballet. I certainly benefited by many of the riches I was able to share through the NBoC during that period. I still remember sitting at what was then the O'Keefe Centre preparing to watch Bruhn's glorious production of La Sylphide (to this day the best production I've ever seen and I've seen a goodly few such as Koborg's for the RB, Bolshoi, etc. ). An announcement came over the loudspeaker. The dancer who was scheduled to dance James would not be appearing and he would be replaced by a graduating student from SAB. The audience groaned I remember. The curtain went up and there was (a then unkoown) Fernando Bujones. He remains the best James I have EVER seen. It was a totally magical afternoon. (The woman dancing the proverbial Sylph, Nadia Potts) went on to run the National Ballet of Canada School.) I realise that Bujones did not dance very much in London but he was I think the finest technical male danseur I ever saw - or perhaps may be like to see although one lives in hope. There was no question but that the current NBoC's AD, Karen Kain, reigned supreme as a performer at that time at the NBoC. You could see why she was one of Nureyev's favourite partners. I treasure my memories of the many diverse and glorious performances I saw her give. I wish you had been able to see those too, Nina. I feel confident you may well have enjoyed them.

Erm ..... It isn't. Am I alone in feeling Items No. 50 and (especially) No. 53 border on being offensive? (Don't worry I won't feel offended if you say I am.) I myself wonder what those Canadian-born alumni who have served in the Royal Ballet - amongst whose number off the top of my head include Lynn Seymour, Wayne Eagling, Jennifer Penney, Tamara Rojo, etc., might well think should they ever care to read - or be passed - such commentaries as those as herein referenced on this Forum. I pray Canada has - as the current British coalition government might well put it- "broader shoulders" than good ol' 'Little England' in this instance. Sadly - as my mother used to say - 'such words can but speak for themselves'. Merely adding - and my own writing must have crossed with your own post - WELL SAID, KATHERINE.

Well said, Ian. I, myself, could not believe Mr. Crisp's overt dismissal - which I assume must be very personal and longstanding. Not for the first time has he had the courage to stand alone in a surrounding field. ENB's LEST WE FORGET presentation obviously touched a telling nerve for him. From my own personal perspective I can only feel that he was somewhat blinded to what I perceived - in seeing this excellent and brave commemorative programme three times - to be a rightful mixture of both artistry and ambition. From my perspective THAT is HIS personal loss. Much as I have come to expect, my heart exclaimed at the end of each of those nine acts: 'Well done Ms. Rojo'. As she has evidenced before with the fine company she continues to brilliantly build she has done us - the majority - more than proud. As towards myself, I additionally wanted to toss in a word of personal thanks to the stunning Ms. Angela Wood in NO MAN'S LAND: Last night was, I think, the first time I had seen her in that particular assignment. To my eyes she was certainly 'ravishing' in both her dramatic and balletic acumen. (Perhaps her ravishing injections were but a trick of the light in this inspirational programme which was wonderfully lit throughout .... but somehow I don't think so.) In Ms. Rojo's gifted hands, talent will I think somehow out itself eventually. As towards personal WWI associations, I, myself, had a great uncle who - whilst in reality but 16 - managed to slip in under the military's wire early in WWI. (His own father as it happened had been a general in Britain's then 'Empirical Army' during the Punjab campaign not hugely long before and adamantly refused permission for his son to 'sign up'). Still this young lad wanting to travail aside his peers succeeded in getting himself a job as a runner in France via his own devices. He proverbially ran away to join the circus. He was, as it happened, wounded early on but there too managed to escape from rehab only to meet his ultimate maker during his second determined sojurn. Somehow last night I felt as if I saw him climb and roll in Maliphant's gloriously emphatic SECOND BREATH. It, like he - and indeed - this entire programme - was suitably Brave. Over the course of those three telling performances I somehow managed to feel him stare back both when Akram Khan and the truly glorious James Streeter piercingly peered over that emphatic trench, each time both into and out of the historical DUST; remnants of which we continue to breathe e'en now. Indeed I shivered last night as I felt my great uncle glare back in his rightful pride. I saw his eyes glisten as he nodded with respect and his grin of content find an even greater girth. Of course it had - as it must have been ' "Hell". Still, for me, "this entire evening" did not "smack of compromise" as Mr. Crisp suggested. It was more - at least for me - than "unspeakable suffering as a souvenir". Churchill's words during that next World War: "Some chicken; some neck" - rang in my ear as I read Mr. Crisp's jottings. But then I was simply one of those emitting - as Mr. Crisp himself had pointed out with what I felt at the time could only but be some little disdain: "the delighted cries from the public." I, for one, was proud to be amongst their number. Obviously he did not. For that privilege a hearty 'thank you, Ms. Rojo' Indeed a heartfelt 'thank you' to the entire ENB family. You continue to severe the majority - if not Mr. Crisp - with pride. May our blessings strengthen your rightfully determined arm. Please know: Your country NEEDS you!

Well, I saw you hiding out at the back, Alison

Yet another "hug" for Kevin O'Hare!

A magnificent achievement - by choreographer, composer and artists all - honouring Shakespeare's challenging, delicate, various and vivid work in a way other choreographers (say those who have treated the ever perennial R&J without its key banishment) might well have benefited from. This IS as much a staple for the RB as it is a major achievement for, I suspect, a British/Canadian balletic generation. Well done, Kevin O'Hare and Karen Kain for this joint commission; one following on from your joint support for the creation of Alice. Well done ALL. O'Hare's ten year narrative plan now looks less an oasis in its happily calculated risk and more an artistic Bentley gleaming in its appropriately dedicated reality. We, the punters, are in your debt. We sit in your back seat sharing in your resultant and earned rapture ... and, heck, we have only just begun to wind down your wittily decorative windows and stare out in rapture. The journey so far has been both bright and buoyant (turning away from that fleeting dark shadow of a certain Raven Girl above. We expectantly look onward to the further growth of those life enriching developments so enticingly evident from the branches of that truly stunning tree; one that surely grows for ALL seasons.) We too long to sit on its swing. Your stunning climb of this particular Shakespearean mountain has been more than worth anyone's journey. It both enlightens and entertains inside the human condition. Bless you both for your courage. Bless you for your foresight. Bless you for ALL.

In a way - and with respect - I don't I agree. The Winter's Tale - (apart from the play's fourth act - which is virtually a different play in and of itself - and about which I was delighted to read that Joby Talbot had said that he intended to treat it as such in his musical depiction) - is quite an intimate story of but a collection of five people's 'through story'. It does not depend on a vast amount of historical and/or any other particular back knowledge much as Mayerling does. I remember first seeing Mayerling done by the Royal Ballet in New York at the Met. The audience at that opening evening was largely befuddled I think ... and at the next performance in the programme (the free one handed out to all patrons with their ticket purchase) there was inserted 'A Guide to Understanding the Synopsis'. I honestly don't think that will be necessary with A Winter's Tale. The heartstrings of its redemption celebrated here are, I should think, key fodder for balletic treatment if for no other reason than their universal simplicity. I, as but just one, am very much looking forward to tonight's voyage of discovery/revelation. Perpetual anticipation indeed.

The way of most programme futures I'm thinking ....

Had no problem with the system today .... but, my word, I went in at 10.00 am this morning and first off hit 'Manon Lescaut' .... I FINALLY got one amphi standing place ... but I had to search down FIVE performances to find it .... The standing - especially for opera - is beginning to be like gold dust for general punters .... So much for the support of the subsidy that is supposed to make it 'available to ALL' ... (e.g., those who are willing to play the 'rush in at the opening of the general booking' game! The ballet mixed bills proved no problem. Oh, and one other thing ... don't know if it's just me .... This £3 donation is becoming more difficult to rid yourself of. I still think you should have to CLICK the option in the first place ... not to have to go into two screens - and it isn't made clear - to remove it!!!! Perhaps others don't agree???