Bruce Wall

I wonder ... am I alone in feeling the tattoos on this young dancer ... when being permanent as they are and not as some chosen part of character costume for reasons behind a specific piece ... are distracting to the line of the dance?

I don't know about that, Alison ... but the second row of the balcony is still £15.00. I know I bought a ticket to each performance today ... (e.g., four) ... They were all, as marked, £15 each. That I think compares favourably with the RB and the second row of the Amphi for most performances. Here is the solo for Vasiliev (which he will dance at ALL performances) ... http://www.youtube.com/watch?v=SYwqNtRdo8M in addition to the final piece by Gomes (at All) and Le Jeune Homme at two performances (19th and 21st - both opposite Lunkina). I know there are many here who really do not like him ... but Vasiliev (then 21 and only 24 now) was the dancer Petit called the 'first GREAT dancer of the 21st Century' ... and surely Petit had seen a few in his time (think Nureyev, think Gil, think La Riche, think so many others). I only wish that Vasiliev was able to do the Proust pas at one performance. (He has danced it before in Paris to great raves.) I do agree Vasiliev has his limitations in terms of classical placement (never having really been exercised in it as so many others have been for years in his advance .... In that regard Vasiliev simply couldn't begin to compete/compare with the refined splendor of, say, a Sarafanov ... (few through history could methinks) ... and not forgetting he too is not blessed with as immaculate a physical classical instrument as Leonid) ... but then Vasiliev does have that charisma; that of a young Baryishnikov .... and the potency of his generosity in wanting - indeed his willing drive to share such. ... THAT you simply can't buy. If you could there would surely be one on the self at the Royal Ballet and every major balletic entity on earth. How I recall the excitement of Baryishnikov before him ... but then at his best - being such a wonderful character actor as well as classical dancing artist - Baryishnikov had it ALL. That is why for me Baryishnikov REMAINS so rare an entity ... and why he was so famously jealous of Bujones. It was almost amusing. (Oh, for those evenings when both of them appeared respectively as Basilio and Espada in Don Q ... Now there WAS a truly unique electricity ... I've never seen a competitive spirit that ran so appropriately rampant .... Not even the Vasipova show!! There were two GREAT dancers with Gelsey Kirkland thrown in the middle to boot.) I, myself, would SO love to see Vasiliev guest with the Royal in an APPROPRIATE (e.g., APPROPRIATELY SPECIAL) vehicle. I would dearly love to see them revive MR. WORLDLY WISE for Vasiliev ... while Tharp is still at a point of creative potency. They could I think with Vasiliev and McRae in the Mukhamedov / Teddy roles. They would not otherwise have had such special capacity to fill those roles otherwise. Surely Vasiliev would also excel in Mayerling. Just remember how he revolutionized Spartacus. (Well, at least for me no other dancer has had such an overwhelming appeal in such an underwhelming ballet IMHO - and I have been privileged to see a few in my time. It was refreshing to hear V. Vasiliev say the same in an interview.)

These are, of course, for many alarming economic times .... (the Governor of the Bank of England says he has 'tremendous sympathy' for savers, especially those among the retirees) .... so the lack of sales at this point for this particular outing is perhaps not all that surprising. Sales certainly are not vast for the Stuttgart Ballet either as it happens.

While agreeing with the sentiment expressed above I applaud ABT's initiative in wanting to bring to fore the diversity issue in terms of females in ballet. Men it seems (and as has been well noted) have succeeded with a stronger suit in this regard. I do think ABT are right to highlight this specific issue and I celebrate their attempt to bring it to a wider public for overall consideration. As the WSJ journalist (quite rightly in my estimation) states, if the major international representative companies do not attack such they will be 'irrelevant in 50 years'. Some might argue it won't take that long for world tides in popular taste to completely turn. 'But look at us', audiences will understandably cry if they attend at all (a certain death knell). Provincial companies, of course, serve a more limited reach so I can see such surviving in certain insular enclaves although even they I'm certain will become more and more challenged and isolated in time.

See this film is being shown in NYC. Wondered if some of these 'emerging' dance/ballet films as stated might not be able to appear in one specifically cultivated and dedicated programme in one of London's so called 'art' cinemas? Surely such showings are the ONLY real way to build a hunger and develop an audience for such so called 'alternative fare'. In a world seemingly thronging to social media this would be a plug for the furtherance of an ongoing dance/ballet education in and of itself for those who - for whatever reason - have had (or chosen) to resist travel in the shaping of their own dance perspectives. Certainly it could hurt in the development of a meaningful twitter feed (so important nowadays - even to Balletcoforum links say) - and the idea of a Sunday morning specialty - certainly a less popular time for many which the major studios use to meaningfully preview so many of their own future releases - might well be an ideal vehicle through which to begin. . http://www.emergingpictures.com/2013/06/13/david-hallberg-stars-in-short-film-the-dancer-to-kick-off-national-spokesperson-role-for-ballet-in-cinema/

In any event she will appear in all performances opposite either Bolle or Vasiliev in Le Jeunne Homme et la Morte. Ref: http://www.broadwayworld.com/bwwdance/article/KINGS-OF-THE-DANCE-to-Make-UK-Debut-at-London-Coliseum-March-19-22-20130912 That should be exciting after sadly missing the opportunity to see her during the Bolshoi's season as had been originally proclaimed. It was wonderful in that Kennedy Center interview with David Hallberg to hear him speak so movingly of Leonid Sarafanov as a dancer whose technique he aspired to. I still feel that if the Royal were on the hunt for another guest male principal (or permanent one for that matter) you could not (at least in my book) currently do better in the search for a multi-box ticker. He and and his wife have a young child ... and another now on the way. Surely their timeframe now to (re)settle is more limited than it may have been before - but certainly doable.

I think this feeling may be particularly acute this year, Alison, as we all enjoyed such a magnificently varied dance feast even after the close of the RB season. How lucky we were. Would that we could have such a similar smorgasbord of international balletic/dance variety each and every year ... in tandem, of course, with our standard main courses of indigenous fare (which are themselves made up of just so many international streams). That continued combination would be truly Olympian!!: A fantastic legacy.

This was announced by ABT today: http://balletalert.invisionzone.com/index.php?/topic/37780-abt-launches-project-plie/#entry326490 Wonder if Balleoforum members think a 'Project Plie' would be a good thing for the RB to spearhead on a European basis??? Would this be something the Royal Ballet School could buy into? I had thought the RB had started a not dissimilar 'inclusion' incentive about 15 or so years ago, but it does not appear to have been overly successful in terms of practical placement within the ranks of the company itself given the rigors of time. The issues highlighted in the above press release's outline (inclusive of arts administration) represent much of what Benjamin Millipied has said he intends to tackle at the POB. Here is a follow-up article in the WSJ: http://online.wsj.com/article/SB10001424127887323392204579071071121764480.html Certainly such incentives - no matter how long they may actually survive - can't hurt.

Much thanks for your kind clarification, Anna. It is hugely appreciated.

Perhaps the answer is, Anna, to go back to college .... putting the Friends' fee towards your studies and joining the ROH team (for free) as a student ... You might even consider becoming an student ambassador!! (That's just my attempt at a joke you understand .... Feeble I realise ... When you say, Anna, that there was 'no standing' do you mean no standing on ANY level ... or just no standing in the stalls circle? Grateful for your kind advice when you are best able. Much thanks.

Both Jerwood and Davies facilities are listed in the Open City programme on line.

You can subscribe to the launch announcement for this new digital product and see a promo clip here http://on.aol.com/cityballet It is seemingly to be free for all and is sponsored by Citibank. It is executive produced and narrated by Sarah Jessica Parker, a NYCB board member.

Well, I guess that's better than being smothered by a trailing cloud of gauze during the second act of Bayadere, huh ...... Though either would be equally dramatic ... What of a ballerina slaughtered by embarrassment .... Now that (as an audience member) I myself have been witness to on a very few (but certainly memorable) occasions ...

I agree with Janet, Ann, on Orpheus ... Unlike so much of Balanchine's dazzling rep of 420 ballets .... this piece (Orpheus that is) was very much of its time and now falls (at least for me) sadly flat. For me I'd take a fine rendering of Brahms/Schoenberg or Mozartiana any day ... or oh, so many others ...

Thanks so for the information, Margaret. This is most helpful in terms of future expectation.

Thanks Margaret .... Can anyone see what Slips are being held ... just for the public interest ...

Well, I would have thought, Alison, that a segment of SW's funding to help support co-productions might have been aimed in this direction .... but then .... I wonder if there are restrictions in other (to be read: foreign) companies showing Ashton's work within a certain limit of the Royal Ballet's home. (I'm only asking as I can't myself remember seeing a non-British company for several decades doing Ashton in London ... other than the Schaufuss pick-up troupe doing Ashton's R&J which, of course, Schaufuss was responsible for bringing to ENB while he was director there and knowing that the original production had been staged for his parents in Denmark.) Certainly many foreign companies (including the Royal Ballet, Mariinsky and Bolshoi) have presented Balanchine immediately across the the plaza from NYCB's home, the (then) NY State now Koch Theatre. It would have been wonderful if NYCB had been able to piece together and bring - even as a one off - Les Illuminations during their last visit to London in 2008 (after a quarter of a century's absence). That ballet had, of course, been originally mounted with Ballet Society in New York prior to Ashton deciding to more permanently lodge the enormity of his gift in the UK. (That noted, Ashton himself said that he felt he was often more appreciated in America than in the UK. I know this as I heard him say it himself when I attended a talk he gave at the Joffrey School whist the main company (The Joffrey Ballet that is) was doing Wedding Bouquet and Fille at City Centre oh, so many years ago now. (The Joffrey hold a large canvas of the Ashton rep in their history.) That talk was graciously free and oh, so eagerly attended ... but those were, of course, different times.)

Understand, John .... and agree about the money .... 'in these difficult times' .... to quote the Prime Minister. It would be good if the impoverished could read a report. Will anything be published?

Would that some of the Sarasota specialties could be brought to Sadler's Wells for a showing

Janet, I agree with you vis a vis balance. As I have said before, I think once Carlos goes - and surely it can't be that very long - that I very much hope that the RB powers that be use the monies set aside for the PRINCIPAL GUEST ARTIST contract (the '25 performances per season' as established for Guillem) to fund a variety of 'guests' ('a principal guest artist' itself has always been a contradiction in terms at least to me) to show their skills honed in works for which they have been uniquely trained/tailored and for which the sharing of their expertise will be of the greatest benefit for ALL at the Royal Ballet (and here I would include audiences in the proverbial mix). That way ALL other monies and opportunities - such as have been earmarked for the RB dancers themselves - can be 'ring-fenced' (hate the word) for the further development of those within the ranks, e.g., ALL ranks. I agree with O'Hare that the focus at the bottom is most crucial given that is where the future top is to be defined and clearly needs to be cherished Such will I think re-establish the balance you are encouraging/desirous of Janet.

For myself I think that one has to give support to the Director. Kevin O'Hare is relatively new in his post. He has given more opportunity to young dancers - taking more in at the bottom of the ranks this season - than many other more recent former RB artistic leaders. He obviously has a vision he is trying to grow and does, I think, quite rightly not want to 'over-promote'. I, for one, applaud that. He has said he wants to concentrate on the development of the assignment of the British creative team (x3 in this case) and is building the shape of the company around this as is now reflected in ALL work. I also think that he has shown himself to be quite generous in giving a wide range of opportunities in a variety of works to the rank and file while not pushing the envelope beyond the appropriate guidelines which, as we have seen, can be even more damaging. In this specific instance he is balancing the opportunities offering a soloist much cherished on these boards an opportunity which might not otherwise have come (so soon) as well as bringing in guest artists from whom hopefully all (including they themselves) will profit. I think that is as prudent as one can be under the circumstances. As to the results of the gamble - of ANY such gamble - as ever - only time will tell. Blessedly this is not a fixed science - or we Balletcoforum types would have precious little to speak (or is that squawk!) about ... LOL

Dear Joan, That's exactly why I suggested HARLENQUINADE ... Something all can enjoy while not compromising on the choreographic or musical artistry. Call me prudish, but I for one am progressively distressed when I see ever more British parents/relatives bringing (very) young people to works like Mayerling where I fear the youngsters might well be forgiven for identifying (with justification) the art of ballet alongside a certain level of societal depravity inclusive of rape, drugs and homicide. They will, I'm certain, have plenty of time to read/learn about the later well away from the opera house/theatre itself. I suppose it's all a question of what people wish to have their children experience and certainly in this regard the RB offers a wide array of options whilst aspiring to celebrate the dictum: 'to each their own'..

Sorry duplication ... Would remove if I could ... See above ..

One thing I would like the to have the Royal Ballet attempt because I think (a) it would be popular for them (as it has a complete two act narrative and is both for and with children) and ( as it would serve as a wonderful vehicle for some of the less tall male dancers like James Hay is Balanchine's HARLEQUINADE ... or for Ricardo. I know I have mentioned this before ... but have never found a video segment from it before and I know many will have not had a chance to see it in New York. Now I have found one. This is one on a very small make-shift stage of Jimmy Carter's White House. The chandelier is almost as large as the stage. (You will see Robbins in the audience's second row). This segment is of the central second act pas de deux between Harlequin and Columbine and is danced by Baryshnikov (what a glorious balletic artist he was) and the ALWAYS enchanting Patti McBride ... as well as two small groups of very young children from SAB in the interlocking interludes. http://www.youtube.com/watch?v=fL_OJbNK-Sw&feature=youtu.be I very much hope that you might enjoy this.

Also, as has been pointed out much earlier in this chain by one of the ROH's own Student Advisors, the ROH itself advised that it was changing their policy to ADD the 10 SCS & 10 slips places per performance to students only as the availability of the afore-referenced Standby Scheme had already become relatively rare and as they themselves projected that it would become progressively more so in the future.