Bruce Wall

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.

They were able to profit from a new community incentive .... They weren't leaving, I think, due to any unhappy experience with the current facility. Indeed, now that I think of it, it could easily be fashioned into a malleable 500 seat dance venue ... and has a cafe and offices already established.

The launch of the new Northern Line extension into Battersea is to open in 2018 alongside the proposed opening of the new dance venue, Might not that area be a possibility? That said, I, too, would plum for a south of the river venue ... with the appropriate facilities / links as Margaret has noted. There is quite a bit of empty warehouse space near the hugely successful Menier Chocolate Factory that might be ripe/appropriate for conversion.. Perhaps something around there. The Ovalhouse Theatre is moving into a new venue. Perhaps taking over / re-developing that space would be an idea. It is immediately across from the Oval Cricket Grounds ... and has both tube and many bus line links. In fact, it is closer to Oval Tube than Sadler's Wells is to Angel and is already set up to deal with crowds.

See: http://www.bbc.co.uk/news/entertainment-arts-24821388 This is vitally needed and I know would be much appreciated. We have the Baylis Studio .... Wouldn't it be grand if this theatre could be known as the de Valois!

'City.Ballet.' digital series has been launched today as produced by NYCB board member, Sarah Jessica Parker: http://on.aol.com/show/cityballet-517887470/episode/517996964

One trusts happily so as they so mightily deserve. Their fine work should be celebrated to the hilt. It is filled with much joy.

The red heels are, of course, part of the appropriate tradition for the period.

..... I couldn't agree more.

But if they took it to the Albert Hall they would (of necessity) have to lose (at least a substantial portion of) the truly exotic and magnificently detailed scenic designs. I think this production celebrates the pros arch and that is, by light if not right (and I believe the latter is prudent), where it should (SO GLORIOUSLY) REMAIN. It is entirely magical ... and the full design element - including the enhancing lighting design are so much an extravagant whole. That is a key factor. How would you do the ship wreak without the scrims at the RAH? No, better save that for those war horses that are better known to UK audiences ..... They are best able I think to withstand the particular rigor that the opening out to such an arena demands. ....... They could, of course, take The Nutcracker ..... I do think Sky Arts should film this (e.g., Le Corsaire) pronto however .... They are in need of product .... and there is little better of ballet by an indigenous company than this so effervescently represents. Went again yesterday evening .... (My fourth viewing). The romantic pas de deux between Vadim and Daria was pure rapture ... a masterclass in partnering .... Also a word for Fernando Rufala as Birbanto .... PURE HEAVEN through character .... He deserved the shouts of Bravo after his last act variation. Would love to see him as Conrad which I know he has done already in this inaugural run. The orchestra were on fire in the New Theatre's contained pit so open in sound to the rolls of the Oxford audiences' delight. They were conducted on this occasion by Tom Seligman ... who I notice will be conducting the upcoming triple bill for that other company down the (London) road. Great to see the sharing of such talented resources. 'Onwards' I say ... That (at least in my book) can only be towards an 'upwards' motion. To wit: potentially uplifting. Bless Tamara for bestowing this wonderful gift for the benefit of us all.

Thanks so for this information

There has still been no update in the ENB casting. Would love to know who's dancing this afternoon's matinee and Saturday's? Anyone know if Daria will be back as advertised ... or will lucky Oxford be blessed with even more performances from the truly enchanting Ksenia? Anyone have any light on these matters.???

Had to laugh (to myself) just now. I called the ROH to check that I hadn't mislaid the tickets that I booked. (Old age I fear!!!) I was assured that they have only just been put in the post. 'We didn't start posting until the 26th' he said. I had written on this board on 22.10 that I bought these at the opening of this 'general booking period' ... or 'booking for the poor'. I now feel totally justified in saying that. The ROH box office rep I spoke to just now - a nice lad - said - and I quote precisely - 'Oh, they're cheap tickets I see' .... They are, I fear. ..... My case in point ... or is that a point in case??? Would that it could come wrapped in cash .... or that I might be made of money. As it is, it's all I can realistically afford. Enough said. I (and obviously he) know(s) my place. Is this what the ROH means by 'branding'?????

I'm sure she was ... but, sadly, we didn't get to see that in London .... Though we did see her in a variety of other assignments in that most stunning production .... They'll just have to bring it back again ... SOON!!!

She did the last time they presented Sleeping Beauty in London (at the Coliseum) .... and was truly beautiful in it.

Ah, yes, (I agree) .... but at least it exists .... as opposed to that other place down the road where their promises for the same must now be a decade old. I know, I know .... 'SOON' ... they promise. What was it Churchill was fond of quoting: 'Deeds speak louder than words'. I have faith it was true then. Certainly it is true now.

It WASN'T, I assure you. If you looked on the digital noticeboard on the ground level yesterday afternoon, Pad de Quatre, there was a cast change flashing through. There should, of course, have been an announcement given the obviously late determination of the replacement ... but as we know there wasn't.