Bruce Wall

Did Osipova dance the in the Rubies dress rehearsal???? It seems from Dave's press photos that it was Sarah Lamb in the Rubies pas???? Perhaps they did it twice. (Now there's a happy prospect .... but I would imagine incredibly tiring for Mr. McRae who was so spectacular in it in the evening - which I certainly DID see. Divine he was!)

As was reported on the Balletcoforum pages the other day, the Royal Ballet are doing Aeternum during their 2015 US tour package programme (Chicago, Washington, DC and NYC).

MAB, I fear you mistook the purpose of the quote. It was frequently quoted by Noel Coward - that 'little Englander' as you so very generously put it. This was quoted ONLY in defense of the current young .. .and certainly nothing 'against' Mr. Acosta such as you may have taken it.. I too saw his fine programme at the Coliseum this summer and very much enjoyed its diversity. I wish you, MAB, naught but the most joyous of Xmas tides.

There is an old theatrical saying: 'Lose yourself; lose your audience'. Perhaps someone needs to whisper such into Mr. Acosta's ear.

I seem to recall MB's original Swan at Sadler's Wells (mit A Cooper) had a live orchestra .... and certainly it did at the Piccadilly Theatre in the West End run shortly thereafter..

Luke Jennings has said in his single review of the two Mark Morris programmes today: (and I will only quote three sentences in keeping with the Board's guidelines): "He [Morris] offers a sense of Arcadian possibility: a return to an age of gold. .... So it almost certainly reflects poorly on me when I write that there are elements of Morris's work that I can't quite digest ... but I'm afraid I can't, quite. It's just not my idea of heaven." Here is a man for whom the current 'Royal Ballet' style MUST be prime. He seems almost shaped by it himself. Perhaps he has been substantive in some small way in its creation. THAT I myself would not pretend to know. What I am certain of, however, .... now having seen the second Mark Morris programme which i thought even better than the first ... is that I personally am glad that there was a full theatre of patrons who more than digested what was on offer ... they were merrily begging: 'Please, sir, we want some more.' They at least did not make me feel foreign in their acceptance of that particular sense of happiness ...... And, yes, Martha, that small slice of heaven that moved oh, so fleetingly across and about the Sadler's Wells stage this week. With THEM I felt fully able to accept the happiness I myself derived. Indeed I am left reveling in it. I realise THAT may make ME foreign to oh, so many of the current RB devout ... and for THAT I do confess I feel guilty .... Still please know there is a goodly portion of the McGregor that I can and do ADMIRE. Indeed, I have written so within this Board's frames. Let there be no question: I hear his voice .... I do .... It lives .... but that admiration is always at a distance. It is a sensation that I distinctly sense one could (if you wanted) calculate quantitatively through mathematics. With Morris you are always made to FEEL. Although the boundaries of that may always be more fuzzy .. less clinical perhaps ... you can I think trust in it. (I do know this is a not a popular sentiment in certain local regions.) Morris not only - as I suggested - warmly invites you in ... he PROUDLY stands at his temple's door and welcomes you through it by means of the joyful diversity of his rich choreographic vocabulary. (Funny, I was reminded when watching both CROSSWALK and FESTIVAL DANCE of a quote that MacMillan (yes, he who so celebrated rape) made when he said that: 'it is [sic] very much more difficult to choreograph joy'. Perhaps that is reason why Morris' work has been so celebrated by the repertories of a wide number of major international ballet companies. (Here, of course, I will remove the Royal Ballet .... for fairly obvious reasons .... Morris' work would simply not fit into it's much admired current and prevailing house frame. Funny, I do think Ashton, however, would have celebrated such programmes .. or at least the two we (obviously few from here) have been privileged to see. [And, of course, I am aware of the pull of the darkness for many in R&J.] Still I make the former statement being especially aware of Ashton's keen respect for balance through music. (Ashton's respect for the latter was ALWAYS palpable.)... Moreover I am equally all too aware that such times for our dearly beloved Royal Ballet have long since passed to other shores in the NAME of progression. Let there be no doubt: Luke Morris has safely found HIS spiritual home .... well, from a balletic perspective at least. ... He has clearly purchased a key .... He has set out his mark. Certainly he has raised the walls on his critical criteria. No more needs to be said. He has offered us all a guide to his future writings .... (while, of course, The Observer continues to support such). I wonder .... would it be going TOO far to wish HIM a HAPPY Christmas?

Can't believe that no one has posted in response to Alison's request. Did no one (e.g., no 'Balletcoforum-er') go to see this.... well, thus far? Can't believe THAT. I dropped into Programme A last night .... A TOTAL DELIGHT. This is as far as one could get from the current 'Royal Ballet' style .... e.g., that oh, so carefully calculated (and much admired) coolness. I must confess to finding it sometimes a touch distant. (I know ... I KNOW ... it's just me. I - like Ashton - wasn't born here .... so it always feel a tad foreign in its climb ... Still, that said I DO keep trying ...) .... The Morris programme ('Morris' Dancing ... was entirely warm and welcoming .... It was a bit like coming home. Well, for me at least. I can see it might well be 'despised' by the McGregor throng ... But then the world needs its diversity ... ) This Programme felt comfortable and challenging throughout ... An exercise in good taste (i.e.., no need to expectorate after.) It was a bit, say, like ENB's Corsaire in the concentrated joy of its welcome and appreciation of its music. The latter was key .... and is not always to be found, say, in the native creations of the ROH .... or Sadler's Wells for that matter. Loved the cleanness of the overall production .... and the fact that it was well lit .... (meaning you could see everything .... or was it simply that there was nothing that needed or wanted to be hid.) Proud to say that the large audience responded with concerted rapture ... Deservedly so .... and it was thrilling indeed to see the great man himself .... and the sincere respect he was shown not only by the punters but from his company as well. Catch it today or tomorrow if you can ... I honestly think you may well find something you might enjoy. (Oh, and the running times ... at least for programme A ... are accurate .... Happily So .... One hour and 36 minutes made for a VERY full and happy evening).

Would it be Lynn Seymour???

Of course .... Elgar variations ....

Daphnis and Cloe ..... Pan plays the pipes ... but wouldn't exactly call him a 'major' (dancing) character ... but is certainly catalytic.

Month in the Country .... the daughter plays the piano .... That springs to mind.

So heartily agree with Janet. Cranko's wit is troweled with delight. Barankiewicz was a particular delight ... as was the lovely pas de six. As to the Northern Line .... Not just Angel today .... but from Morden to East Finchley are not operative .... A tip from the Boy Scouts: BE PREPARED!!!

Moving away from the past and unto a new future - (well, a richly new one for us just now it seems): Natalia Osipova is a truly EXTRAordinary artist; one as assertively double jointed in her theatrical prowess as in her intuitive acumen. To paraphrase Oswald from Ibsen's Ghosts - (and there is a vast amount in Osipova's performance as Juliet that will haunt for some time) - "That STARE, Mother. THAT STARE'" It had the very devilment about it. Assuredly such was buried in the many shadows of her dying (and dead) falls. This radiant young girl's first steps into the court ball impishly imitated those she had seen of her parents and their like. They elongated with an almost innocent mocking. They lived in Osipova's 'now' as would all. She would return to such several times throughout the evening. On each occasion she attempted in progressive determination to return to the restraint of her formerly secure world of play. Surrounding Osipova by much of that world we now know is drawn from the understandably admired and much applauded current RB house style can I fear at times - via the dominance of its hovered draw unto austere distances - render many key 'otherwise' responses not only oblique but downright cod. Not so Ms. Osipova. She demands as much of herself as she does of us. Blessedly the heaving ROH throng tonight responded - or is that exploded - in a throw of delighted amazement. How grateful we are to be in the presence not only of Osipova's Juliet, but of the gift of her mind-(and heart)-boggling artistry. It elevates, thrills and delights in more than equal measure. It brims. It IS (without hesitation) ultimate. Long may we be so privileged to live amongst such courage. A word of appreciation too for Laura Morea's harlot. (Is she the only RB principal to still be doing soloist roles?) The wit of this woman made her stand out from the crowd in a most incisive and witty manner. Consequently hers was also a performance marked by its own contrasting and knowing points of stillness. The edges of her focus were here personally clear and not simply shared as framed by a stage manager's hand. A fine and full effort. Much appreciated.

I understand the sentiment about the 'bittiness' of the Stuttgart Ballet's MADE IN GERMANY programme by the reviewers ... and concur about the chop and change elements of the overall programme. I can but feel that was inevitable.. Given that so many current balletic works - say those made in that which we must now call the current RB house style which is even now being wildly applauded by an obviously happy and growing number and (as has been made clear here in several very recent postings) 'despised' by others - celebrate just so many jolts of diversity even within one whole I was myself a trifle surprised that several (especially Mackrells' swallow) appeared to be just SO overwhelmed by the format itself. I think if this internationally reputed Company had (as it deserves to be) been better known to UK audiences and certainly by those reviewing for local broadsheets as a professional vocation (surely a dying breed) this particular menu might not have been so difficult for them to digest. Were that to have been the case surely their attentions might helpfully have been otherwise focused. One thing it did put into relief, is that Spalding's desire for London to be seen a 'the dance capital of the world' is, I fear, a long way off. This will be accomplished methinks not simply by the local addition a mid-scale facility, but by an overall culture change in terms of significant programming (certainly in terms of ballet) allowing the UK dance mindsets to open via a greater global access. (Sadly SW's programme for Spring 2014, if anything moves away from such a purpose.) Had the Stuttgart Ballet been not SO foreign an entity in this country then perhaps just such a programme would NOT have been necessary. Clearly there was a lot of catching up to do. I, for one, was appreciative for this opportunity. For me what this bill did - e.g., its purpose - was to introduce to London the extraordinary range of dancers united by their truly extraordinary interpretive capacity. Surely THIS will NOW allow us (i) to have a better sense of THEM when we come to see Cranko's 'Shrew' (which I first saw - unforgettably - with Haydee & Cragen and last saw with a fiery Osipova in Munich) and (ii) further enforce the need for greater future London exposure if Spalding's aims can ever hope to be met. For this, I was/am ENORMOUSLY appreciative to Reid Anderson. Such a smorgasbord of gifts were here on display. A little pick and choose can sometimes go a long way ... and at least the tastes represented on this particular programme were hugely varied ... as has been (at least on this board fairly) represented.

Coppelia is, I think, the obvious answer ... but then I would suppose there are those who might suggest Don Q ... given that the hero seems sometimes defeated by life ... especially in the RB's three windmill assault.

The gloom seems to be part and parcel of what must now be accepted as the Royal Ballet's 'house style'. Surely nothing could be more dim however than Raven Girl. The pitch itself seeped in gloom on that occasion. The solitary glimmer of those silvery wing shanks blinded. (Wonder what the Russians will make of it when the Royal Ballet bring their house style to the Bolshoi. Who knows? They may be braying: 'Come Back Flames of Paris!! All is forgiven.' Then again they might want more of the Royal Ballet style as so, so many wished during the last two evenings' the latest triple bill has played.) For me It was SO refreshing to be reminded of balletic illumination in ENB's Corsaire. (Of course I do realise this ballet company's style is - of its very nature - very different.) Certainly it was warm. I must confess that's inviting for me. Indeed it was hot in places. Certainly when placed aside the Royal Ballet style; one drawn from a calculated coolness which is I know deservedly much admired from a variety of angles on its geometrical bias.

Wish the Royal Danish Ballet were coming to London in exchange ....

The capacity audience enjoyed themselves thoroughly last night at the ROH. It is wonderful to see the house that Monica Mason built - that now established through the prism of the choreographic voice /style she forged by bringing in Wayne McGregor and his dedication which, in and of itself, must be applauded (now being I assume the established 'Royal Ballet Style) - really take hold in front of a committed congregation that obviously feels that they own it. (I mean this as a compliment. There are far too many companies in search of just such a voice .... any voice.) I realise this may well alienate those whose keen following was sourced when a different RB voice was then current. I completely understand that - as my own RB appreciation was forged at a different time as well, Still one has to live in the here and very much now of the Royal Ballet. There is no longer any choice. The balanced filigree of Ashton's petit allegro has long gone, having itself been based on dancing languages of past regimes. Hyper extensions now prevail in a wealth of certain clinical coolness and it is wonderful to see such celebrated through the sounds of new composers, Joby Talbot still it seems reigns rightfully supreme, with Mr. Haines (Human Resources) joining happily in this new and vivid throng. There was much of interest in David Dawson's Human Relations that had its premiere and Chroma has obviously become for the Royal Ballet as core a signature work for the Royal Ballet as, say, Serenade is for NYCB. (I only felt, perhaps, that there was one too many principal couples for the development allowed in the premiere ... but really need to see it again.) The RB dancers are now built for these works and they honoured them with a keen joy and precision drawn from their own comfort. This is what they are built for (the works themselves in many cases having been built on them and their capacities) and one could certainly understand - seeing this - why the principals found certain difficulties with, say, the intricacies of speed and precision of Ballo. It simply comes from a different world. Watching the programme last night I was reminded of certain comments made by Merrill Ashley during her insights programme. (For this same reason I would have loved to see the Sarasota Ballet be brought over to the UK to celebrate the Ashton heritage that they are now obviously the rightful and key purveyors of. It would be great to applaud that too.) MacMillan's Rites of Spring was as ever as vivid as the music he honours and Ms. Yanowsky has found a role to which her style is certainly comfortably suited to (e.g., more than some of the other roles she has been recently cast in). You could here too see the effect of the McGregor/RB style on this Company's relating of such in MacMillian's colourful overall. It is was wonderfully fresh take --- and it was refreshing --- to see Lauren Cuthertson glow in the unique glistening of McCrae, Bonnelli, and especially the enticing looseness of Watson and Underwood in the first two works on the bill. These artists were at home in their now dedicated stylistic home ... and that was welcomed by the roars of a delighted throng. These works are obviously theirs to own for much time to come, I'm certain and I look forward to enjoying their dedication to such for much time to come. So wonderful to see that all of performances of this triple bill are completely sold out. That is wonderful and certainly hopeful for future developments in the forward movement of this established 21st Century RB stylistic voice. Certainly the differences with, say, ENB and BRB are now more clear than they have been for a very long time. Such differences are all for the good for the long term health of the balletic arts methinks.

Just wait til next year ..... These awards will be buckling their swash with ENB's Le Corsiare .... .... The whole of the country should be proudly shivering their timbers in its regard. Come to think of it .... Nicholas le Riche would make a great guest in that too .... and, hey, the Company looks simply superb ALL ROUND!!! For me that latter's more than reward enough.

Last night I dropped into that confusing complex that is all part and parcel of Woking's sleekly suburban shopping precinct otherwise known (in part) as the New Victoria Theatre to see Moscow City Ballet's Nutcracker. It had (I'm delighted to report) many warming delights to offer within this austere shell. As ever the Director's choreography was filled with much mindful invention and the production itself offered even more imaginative colour. The nutcracker himself and the mouse king were first rolled on as dolls controlled entirely by Drosselmeier. As everyone left that particular Christmas party Clara fell asleep and the rest took place (including the growing tree) as her dream progressed ... all up until the final moments. Here her doll came vividly to life as did the mouse king as much as the many riches she encountered in the land of continental sweets. The last image you have as the curtain falls on the first act is of Drosselmeier holding her aloft in her slumber whilst the snow swishes about. In this production Drosselmeier is in very real control of all fantasy. He not introduces Clara to the life-like cavalier of her dreams but invites the major pas de deux of the second act, here commencing - as in many Russian productions (and Baryshnikov's for ABT) as a pas de trois. A wonderful touch in this particular production was to give the mirliton variation to Drosselmeier as the principal. It worked a spellbinding treat and allowed the magician to delightfully conjure up all the participants in the colourful characterful variations as part of an enchanted waltz of the flowers. Vivid. Certainly there was nothing cut rate about the imagination here on display. Nothing at all. Much of the dancing too was of a fine level. Segei Saliev was a benevolent force as Drosselmeier; Valeriy Kravtsov thrilled as the Nutcracker Doll as well as a Spanish cohort (you can see him here in a student display http://www.youtube.com/watch?v=jlcnjU36luk) and Anna Ivanova was as enchanting as she was enchanted as Clara always being so vividly engaged in the music. Talgat Kozhabayev (the son of perhaps Russia's most famous astronaut) was it was true a tad rough around certain edges as the Nutcracker Prince but there is no question but that he showed his prowess in his vivid partnering of the speedily intricate coda of the major pas. Here was strength personified such as might delight any young girl. The manful orchestra under the baton of Igor Shavruk did their service much more mindful of Tchaikovsky than the Siberian National Ballet (a much lesser company) ever cared to be in relation to 'their' Minkus either in the pit or on the stage. The Moscow City Ballet continues to do a fine service bringing ballet to many corners of this country that otherwise would not be able to enjoy the live experience. In doing so they do themselves and us proud.

Blessedly mine too .... Although, thinking about it, it might be a tad more stretched .... what with a little more ... 'dance travel' .... to feed the fire. If nothing else it gives a little more leeway in terms of time for doing so which is much appreciated. Less guilt will be buried in certain sidelines let's say.

I had thought that such companies either played against guarantee (as NYCB did the last time they were here - presented by SW at the Coliseum) ... or at least in terms of a co-producing basis while in London (as I believe was the case with the NBoC). In this 'world' regard London still cannot begin to compete with NYC who this season alone is showing (just off the top of my head) NBoC, the Bolshoi and the Mikhailovsky [aside, of course, from major indigenous companies] and last season had POB and the Royal Danish Ballet (two companies who have not been seen in London for a considerable period of time.) I only think Mr. Spalding should be a tad more careful in covering his spread before he becomes overly confident in his assertions. It could well I think come back to haunt him.

I only feel that it is sad that throughout the time period that Janet has kindly laid out above there is not the participation by a 'major' world ballet company (either by their primary or satellite company) in any of the current SW venues. In the recent past SW has shown the NBoC, Stuttgart and ABT. It would have been wonderful if they could continue to exhibit at least one ballet company of this world ilk if they truly wanted to be representative, as Spalding says, in building London as the major dance capital of the world. I should say the same lack at the National Theatre (e.g., in showing a sampling of work from major world theatres) is evident. Certainly they used to do such (say, under Olivier's leadership when the NT - of which he was the inaugural leader - WAS internationally proclaimed - rightfully in the eyes of many - as 'the greatest theatre in the world'). This was pointed out by David Hare in his 50th anniversary review comments. The redoubtable Penelope Wilton took up his plea as both had profited from just such an educative tool while they were both in the early stages of their own respective career development.

Wonderful to note that througout this month, new episodes will be added each Tuesday and Friday. The latest one is an insightful 3 minute interview with Peter Martins by SJP. Great questions in a relaxed atmosphere. Brilliant. Have fun staying tuned. Thank you NYCB.