Bruce Wall

I think very often it can be the music that leads people to initially enter the ballet's doors. I remember years ago when Prince did a programme with the Joffrey Ballet that it brought them in buzzing and McGregor, of course, did that programme with Boy George et al which was extremely popular for a triple bill. I also remember ABT with the Sinatra Suite by Tharp ... but then that had Baryshnikov dancing which I'm sure did not hurt. I'm sure part of the the reason NYCB brought West Side Story Suite by Robbins into their fold was because it attracts (well, hopefully) a non-traditional ballet audience base.

Here is the schedule for the remainder of the run of Russian Seasons, such as it exists. I was at last night's performance. There was an unfortunate EXTRA 20 minute interval due to a mishap with the lighting. In all it looked sadly under-rehearsed to me and somewhat slap dash. I overheard someone in the lobby say that it was the kind of presentation that they might have expected to see as cruise ship entertainment. While I doubt that would be the case, I did understand where those patrons were coming from. I thought the principals in The Firebird fared better on the whole than those in the other ballets. The recorded music was played at an alarming volume (I assume so the artists on the stage could hear it) and (at least to me) sounded like it was under water. Most unfortunate. Andris Liepa was, as ever, charming in his sincerity and understatement. Be advised: This programme ended one hour later than the time the house staff had originally been advised. I assume that will not be the case in other performances or their not overly abundant sales will rapidly diminish. 17 July 2013 (daytime) Chopiniana One-act ballet Music by Frédéric Chopin Choreography by Michel Fokine Original sets and costumes by Alexandre Benois Directed and produced by Andris Liepa, People's Artist of Russia Costumes and sets recreated by Anna Nezhnaya Coaches: Zhanna Bogoroditskaya, Honoured Artist of the Russian Federation Lyudmila Charskaya Cast: Young Man – Xander Parish Seventh Waltz – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Prelude – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Mazurka – Irina Ablitsova Eleventh Waltz - Alia Khasenova, international competition winner Two Sylphides – Yuliya Voronina, winner of international competitions Christina Burtseva Kremlin Ballet artists The Firebird One-act ballet Music by Igor Stravinsky Libretto and choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Assistant choreographer: Igor Pivorovich, Honoured Artist of the Russian Federation Original sets and costumes by Alexander Golovin and Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Firebird – Alexandra Timofeyeva, Honoured Artist of the Russian Federation Prince Ivan – Mikhail Lobukhin Princess of Unreal Beauty – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Koschei the Deathless – Igor Pivorovich, Honoured Artist of the Russian Federation Kremlin Ballet artists 17 July 2013 (evening) Le Spectre de la Rose Yulia Makhalina and Xander Parish The Firebird One-act ballet Music by Igor Stravinsky Libretto and choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Assistant choreographer: Igor Pivorovich, Honoured Artist of the Russian Federation Original sets and costumes by Alexander Golovin and Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Firebird – Alexandra Timofeyeva, Honoured Artist of the Russian Federation Prince Ivan – Mikhail Lobukhin Princess of Unreal Beauty – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Koschei the Deathless – Igor Pivorovich, Honoured Artist of the Russian Federation Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – Xander Parish Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists 18 July 2013 (evening) The Firebird One-act ballet Music by Igor Stravinsky Libretto and choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Assistant choreographer: Igor Pivorovich, Honoured Artist of the Russian Federation Original sets and costumes by Alexander Golovin and Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Firebird – Alexandra Timofeyeva, Honoured Artist of the Russian Federation Prince Ivan – Ilia Kuznetsov, Honoured Artist of the Russian Federation Princess of Unreal Beauty – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Koschei the Deathless – Igor Pivorovich, Honoured Artist of the Russian Federation Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – Nikolay Tsiskaridze, People's Artist of the Russian Federation and laureate of state prizes Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists 19 July 2013 (evening) The Firebird One-act ballet Music by Igor Stravinsky Libretto and choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Assistant choreographer: Igor Pivorovich, Honoured Artist of the Russian Federation Original sets and costumes by Alexander Golovin and Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Firebird – Alexandra Timofeyeva, Honoured Artist of the Russian Federation Prince Ivan – Ilia Kuznetsov, Honoured Artist of the Russian Federation Princess of Unreal Beauty – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Koschei the Deathless – Igor Pivorovich, Honoured Artist of the Russian Federation Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – Nikolay Tsiskaridze, People's Artist of the Russian Federation and laureate of state prizes Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists 20 July 2013 (daytime) Chopiniana One-act ballet Music by Frédéric Chopin Choreography by Michel Fokine Original sets and costumes by Alexandre Benois Directed and produced by Andris Liepa, People's Artist of Russia Costumes and sets recreated by Anna Nezhnaya Coaches: Zhanna Bogoroditskaya, Honoured Artist of the Russian Federation Lyudmila Charskaya Cast: Young Man – Xander Parish Seventh Waltz – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Prelude – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Mazurka – Irina Ablitsova Eleventh Waltz - Alia Khasenova, international competition winner Two Sylphides – Yuliya Voronina, winner of international competitions Christina Burtseva Kremlin Ballet artists Polovtsian Dances Ballet excerpt from Act II of Alexander Borodin's opera Prince Igor Choreography by Michel Fokine Original sets and costumes by Nicholas Roerich Directed and produced by Andris Liepa, People's Artist of the Russian Federation Costume designer: Anna Nezhnaya Choreography coach: Mikhail Lobukhin, international competition winner Coach: Vadim Kremensky, Honoured Artist of the Russian Federation Cast: Polovtsian Warrior – Mikhail Martynyuk, Honoured Artist of the Russian Federation Polovtsian Maiden – Yuliya Voronina, winner of international competitions Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – Xander Parish Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists 20 July 2013 (evening) Chopiniana One-act ballet Music by Frédéric Chopin Choreography by Michel Fokine Original sets and costumes by Alexandre Benois Directed and produced by Andris Liepa, People's Artist of Russia Costumes and sets recreated by Anna Nezhnaya Coaches: Zhanna Bogoroditskaya, Honoured Artist of the Russian Federation Lyudmila Charskaya Cast: Young Man – Alexander Parish Seventh Waltz – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Prelude – Natalya Balakhnicheva, People's Artist of the Russian Federation and laureate of the City of Moscow Prize Mazurka – Irina Ablitsova Eleventh Waltz - Alia Khasenova, international competition winner Two Sylphides – Yuliya Voronina, winner of international competitions Christina Burtseva Kremlin Ballet artists Polovtsian Dances Ballet excerpt from Act II of Alexander Borodin's opera Prince Igor Choreography by Michel Fokine Original sets and costumes by Nicholas Roerich Directed and produced by Andris Liepa, People's Artist of the Russian Federation Costume designer: Anna Nezhnaya Choreography coach: Mikhail Lobukhin, international competition winner Coach – Vadim Kremensky, Honoured Artist of the Russian Federation Cast: Polovtsian Warrior – Mikhail Martynyuk, Honoured Artist of the Russian Federation Polovtsian Maiden – Yuliya Voronina, winner of international competitions Kremlin Ballet soloists and artists Scheherazade One-act ballet Music by Nikolay Rimsky-Korsakov Choreography by Michel Fokine Staged and directed by Andris Liepa, People's Artist of the Russian Federation Original sets and costumes by Leon Bakst Costumes and sets recreated by Anna Nezhnaya and Anatoly Nezhny Cast: Zobeide – Yuliya Makhalina, People's Artist of the Russian Federation Golden Slave – ?????? Shahriar – Igor Pivorovich, Honoured Artist of Russia Shah Zeman – Mikhail Yevgenov Chief Eunuch – Roman Volodchenkov Three Odalisques – Yuliya Voronina, winner of international competitions Valeriya Pobedinskaya, all-Russian competition winner Alia Khasenova, international competition winner Kremlin Ballet soloists and artists Project coaches: Svetlana Romanova, Honoured Artist of the Russian Federation Vadim Kremensky, Honoured Artist of the Russian Federation Head of the Ballet Troupe: Vadim Kremensky, Honoured Artist of the Russian Federation Stage Director: Tatyana Rozanova Casting Director: Olga Golova Costume Designer: Lyudmila Chelysheva Props Master: Yelena Astakhova Theatre Director: Nikolay Troitsky Artistic Director of the Kremlin Ballet: Professor Andrey Petrov, People's Artist of the Russian Federation General Manager: Professor Pyotr Shaboltay, People's Artist of the Russian Federation and Artistic Director of the State Kremlin Palace

Thanks for letting me know Naomi. I think the new policy is a shame. It can but belittle the many.

As to who will partner Alina in Corsaire in London - because my suggestion could only be in a guesting situation .... there is always the option of the lad with whom Alina was meant to dance in Swan Lake this past season at ABT before it so sadly had to be cancelled: Herman Cornejo .... A wonderful dancer these two had previously been paired in Giselle in New York to deafening acclaim.. .... Sadly he is not yet known to most of those audiences who strictly stick but to UK stages ...Certainly he (like Vasiliev) would have danced Anne-Marie Holmes' Corsaire. That would come - one might think - with a certain air of both authority and comfort for ENB's new leading ballerina. Here's an interview with him: http://blip.tv/dancechanneltv/interview-with-herman-cornejo-2523718 Here's a sample of his dancing as Mercutio in MacMillan's R&J which will, of course, be familiar to you: http://www.youtube.com/watch?v=rKtPujADBNI and in Makarova's Bayadere which the Royal also has and which opened originally at ABT when Makarova danced it with Dowell: :http://www.youtube.com/watch?v=13dFNOMv1Z8 As Puck he is the definite standout (at least for me) in ABT's DVD performance of the Ashton masterwork. http://www.youtube.com/watch?v=WTSzZkfpilA&list=PL6E4F541F4B8AA306 Here's the said pas de trois from Anne Marie's Corsaire with Cornejo (whose sister is now with Boston Ballet) in which he shares the stage with Vasiliev. It is a live camera shot from last July at ABT. His partnering skills as illustrated here are, for my taste at least, much beyond those illustrated by a certain Mr. Polunin last week. http://www.youtube.com/watch?v=1B4amLHdrTw Just a suggestion.

Here's a video of Esteban Hernandez doing the second variation from the Flames of Paris pas in Paris in 2009 https://www.youtube.com/watch?v=Kfj_mUBdKqY Here's a video of the two Hernandez brothers (Isaac and Esteban) doing an original piece to Sinatra's MY WAY of all things in Mexico City last year. What I found most touching was the footage in the preamble. The picture of the two brothers arm and arm in the opera house is most telling. https://www.youtube.com/watch?v=xjJXLgjVIwI Here is Esteban in the variation from Diana and Acteon https://www.youtube.com/watch?v=7A6KCYQ7vfk&NR=1&feature=endscreen San Francisco will have been twice blessed.

First a point of correction: Baryshnikov only ever guested with the RB. There is NO question however that he was a great dancer. I lived in NYC during the end of the so-called dance boom. I'm so glad that I did as EVERYTHING of international note eventually showed up there at some point. Baryshnikov was a principal with ABT at that time and danced usually either with Gelsey Kirkland, Makarova (whose then most frequent partner was a fellow ABT principal at the time, Britain's Anthony Dowell) or Marianna Tcherkassy (although she frequently was partnered by another ABT principal, the glorious Fernando Bujones, another BRILLIANT dancer who died far too young at 50). Of course Baryshnikov had briefly been a principal with NYCB and still guested there on occasion. It should be noted that the ticket prices for ALL the performances (short of the very occasional charitable gala) remained the same no matter who was dancing on the Met stage. There was no 'star sur-charge' for either ballet or opera and that remains the same practice today. The same cannot always be said for the ROH sadly. I find the fact that there is a sur-charge for the 'opening' of Don Quixote' most unfortunate. Why then was there not a sur-charge for the opening of the Olympic triple collaboration bill. Surely that was 'more unique'. Perhaps it is just what the 'Royal's they' feel the traffic will bear regardless of their subsidy far in advance of anything the Americans ever dreamed of. Surely that speaks for itself.

Certainly the last time we saw Corsaire with the Bolshoi (2010) it was a pdt ... and given that Anne-Marie Holmes' productions both for Boston Ballet and ABT have it as a pdt I think it will be safe to assume that it will be a pdt. This is one so-called 'classical' production that is male principal heavy.

I had a thoroughly brilliant time yesterday afternoon at the RBS graduation showing. The first act was DEFINITELY the highlight of the programme ... NO QUESTION - and I agree that CANON IN D MAJOR and SEVEN GREEK DANCES stood out therein. (LinMM, part of the reason why I believe Bejart is not seen more often here is due to a string of unfortunate reviews on his works' initial outings in this country. This goes too for, say, Kylian and John Neumeier and certainly the latter works of the most noted ENGLISH-BORN choreographer of the last century, Tudor - although that was for distinctly political reasons. From many of the comments on this forum as much as from certain current critics such as Clement Crisp I now find myself fearing the future fate in these isles (whist they ALL remain 'British' of course) of Ratmansky. Of course none of these considerable talents need have feared. They ALL have shown that they can do very well thank you very much without 'little Britain' if needs absolutely must - and in some instances they did. It's only that producers, be they state or commercial ones, usually play safe here and this, I fear, has sometimes played havoc in developing the devoted British ballet audience's courage in diversity. Thus It was ESPECIALLY wonderful to see a focus on such in this RBS programme - much as it was in the new regime for the ENBS. Bravi Ms. Stock and Ms. Rojo. What stood out for me here was the strength of young men in general. This certainly hasn't always been the case in the past and needs to be applauded. I was especially thrilled by Esteban Hernandez in all three pieces in which he was featured. (He did appear in the second act's LA DESTINEE in a minor role as well - which was created for ALL in the Upper School. That I fear I found rather twee overall, certainly in terms of the rather tired overstatement of the choreography and masking costumes. There was a tad too much 'general' filler in the steps for my taste, especially after the drama had been highlighted in a dumbshow. This was made all the more sad when you consider the very fine dramatic original score by Michael England. (How grand it was for once that the composer actually forewent the large part of his own [deserved] bow and applauded the orchestra. Taste personified.) My heart leaped too when I saw that Mr. Hernandez (Mexican Born) will follow his brother (now a prinicipal with HET Ballet) into SFB. This is EXACTLY the right place I think. Already in his choice he has shown a sign of distinct maturity. Here is a place where he will be able to grow in a company of individuals so clearly rooted as a whole much as we saw again for ourselves this season and much as he would also have found if he had chosen to go to, say, Boston Ballet, NYCB or Paris. Immediately after the RBS showing I myself dashed across to the Coli and caught the second act of the Stravinsky's Copellia, again with Polunin. (I laughed on the way of that heated dash remembering that Hernandez had exactly the same featured spot in the Grand Defile that Polunin had shone in during his own graduation not all that long ago.) How I bet Polunin now wishes he had done things for himself in a different career choice order; taken more concerted charge of his own destiny instead of waiting til he found he could wait NO LONGER. It would have paid off handsomely for all I think. Herrnandez will have an excellent opportunity to grow in ALL aspects within the climb he has (wisely in my book) chosen. I do SO hope that in years to come - when HE feels he's ready and not before - that he might consider guesting with the RB. Still, it will be on his OWN terms - none of this 'fearing the director' nonsense - and that, in and of itself, will make it special. Mr. Hernandez is, like the weather we are currently enjoying, a ray of sunshine.. The radiance of his chosen joy stands out by a mile.

But then again, who was her last partner at ABT in Bayadere as it happens? ... None other than Ivan Vasiliev .... who I understand will be based in London???. Might this be an Ali for Alina's rarefied air?. ... In that one at least there are three different principal male roles (and two female) ... and as for being the one in the middle (which Ali most definitely is) ... I have a feeling Ivan has found himself there before.

There was proof positive last week that this is in fact not a good test. Polunin was dancing in Coppelia (a family friendly ballet if there ever was one) and the Coliseum was more empty that I can ever remember seeing it before .... ditto for the Sunday matinee. Both performances had the balcony closed .... and had been (rare in my experience) actually promoted by the venue (e.g., I had received an email about it which I NEVER do for ENB) ... and STILL BOTH performances had globs of red seats sitting empty. According to today's Guardian, Polunin is one of today's superstars. What does that say of today I wonder!!! Obviously he does not have the Vasiliev clout ... on the Coliseum scale at very least.

The production is indeed 'cool' in the way that the French are cool, as opposed to cold. It is the coolness in Petit - that distance - that always feathers the wit. I well remember hearty laughter when I first saw it in New York with its original cast (e.g., made up of the stunning Karen Kain - an ahhhhh factor if one was EVER needed - that glorious partner, Gil - which sadly a certain Mr. Polunin is NOT - though a fine dancer in parts - and Petit himself). The REAL star for me in this production was - without question - Anton Domashev, much as Petit himself had been. His gloriously rooted detail as Coppelius was sublime. He has been with the Stanislavsky since 1988 and how I would love to see his Madge. He well deserved the final bow in front of curtain at the performance I attended and the concentrated shouts of 'Bravo' he received.

What wonderful news. I am so pleased that she too will remain attached to Hamburg and ABT as well. That can but help share Tamara's concerted efforts and vision to an international audience as it most surely deserves on ENB's behalf. (Strangely, no jaw dropping here .... Sadly at my age that is something I cannot afford to do ... the cost of repair work being what it is.) I so look forward to seeing the Alina/ENB implant!!

That ruling must have changed, Katherine ... as I well remember seeing the NBoC in Oneign at the Met in New York which I think - even now - is not YET part of Canada ... LOL

I found the Johan's words as quoted from the Facebook page most sad. I would have thought such a statement might best have been made with a little more time for relection. As it is, it remains now but a matter of record for posterity. Surely (well, I hope) when all is said and finally done it is the memory of their considerable artistry ON the stage that will endure.

Got everything I wanted .... and in and out quickly. This was good. (I am most grateful as I have to catch a train to France for work at mid-day ... If it had been like the last booking period I would have been well and truly up the spout. Thank you ROH.)

Of course, that's the same company that Filin previously ran as AD after leaving the Bolshoi as a dancer .... I hope there are re-freshed security provisions in Mr. Urin's contract ...

I wonder if that means we lose the inestimable pleasure of seeing Nikolai Tsiskaridze in LIepa's seasonal blow-outs. (THIS IS INTENDED TO BE HUMOUROUS ... WRITTEN IN JEST ... LEST THERE BE ANY DOUBT) In any event it appears that it may be a 'BIG' change all round soon for the BOLSHOI company. AH WAIT ... WE KNOW .... TO QUOTE ...FROM THE ABOVE REFERENCED ARTICLE Succeeding Mr. Iksanova is the CEO Musical Theater of Stanislavsky and Nemirovich-Danchenko Company, Vladimir Urin.

So enjoyable. It is instructive too that Murray had at a certain point to leave his own country (Scotland or UK - take your pic to further his training and realise his dreams on a truly international scale ... Surely now he belongs to the world and that can but proudly shine on 'little Britain'. I hope this inspires a REAL commitment by this Country's government (either one) to help support young tennis potentials in the future. (Funny, you could say the same thing about ballet Certainly it can't but hurt .... can it? .... or is success still - at a certain point ... not quite clean here .... still something to be rather suspect? Certainly that would not be the case in the US. Just look at the Downton team ... (not that I'm drawing a comparison of scale ... that simply would not be fair.) but the crowns they have received State side have been enormously and materially quantitative for each. What goes around, comes around (albeit after 77 years), huh ? Well, one hopes ....

This is EXCELLENT news !!! So well deserved.

It's strange how all the controversy over the Bolshoi that swims about these pages drips over now into other avenues of one's life. I was at the Globe's production of MACBETH yesterday afternoon and suddenly thought of the Bolshoi when I heard these words uttered by Ross in the English scene: Where sighs and groans and shrieks that rend the air Are made, not mark'd; where violent sorrow seems A modern ecstasy As ever, Shakespeare (whoe'er he/she/it may be) seems - somehow - to SAY IT ALL!!

I know how you feel, Beryl. I feel the same concern when I look at the decimation of this country's savings rates wrought by a government that has been/is hell bent on seeing that the banks that 'we' so called saved no longer can effectively function as retail banks by virtue of Funding for Lending, etc. It is ALL worrying in the extreme. I would suggest keeping an eye on the seating charts and letting your purchase come more as a calculated risk rather than a certain guarantee as was the case in what is now I think 'another world'. This is a policy I am currently sticking to for the Stuttgart Ballet's visit. If the seats had appeared to be selling massively I would already now have bought some. As they have not I won't. Caveat Emptor and all that!!! Nowadays, it seems that 'fast and loose' has been pushed out of the box office window by 'slow and numbed' Let's just pray the NHS CAN survive!!

Yes, Aileen, but this IS what sells here - otherwise the sad state of the Boston Ballet sales this week would not be quite so evident as it frighteningly is. That would not, I feel, be the case in Paris ... and certainly not in New York ... but they are both climbs where dance education has been offered to the general public for free in support of the major ballet institutions themselves for decades/generations and it has clearly paid off. The effects of a greater greed - albeit housed within the walls of greater subsidy it is true (well, in the US reflection at least) - and a lack of substantive affordable educational outreach access in support of the fundamental creative work itself - is here (e.g., in the UK) made clear. If the case were to be otherwise the demand for a greater diversity - and support thereof - would be more evident. It is, I think, THIS that O'Hare is bravely trying to alter with his commitment to the RB's creative core as his regime's mainstay. Not before time I think. I pray he is able to see it through ... and, with luck on his side, that it might be a success to benefit us all.

Budget constraints (with promised cuts to come) will be on the cards through the 2017-18 season, should government forecasts be believed. This may well play to O'Hare's hand as it will help focus on the work of the creatives as is his stated desire. Should he lose that vision, he will - in this game - have lost not only himself but his audience.. If he wants to try playing to the extremity within the environment of the cuts' regard he could (i) refrain against announcing casting until immediately before productions (as say with NYCB where it is basically two weeks in advance) thus ensuring the focus being - as much as possible - on the works themselves (and ensuring future forecasting disappointments - as well as having a greater potential to proactively pick up on current developments) and (ii) refraining from interviews/publicity being focused on dancers and seeing it placed on choreographers/composers or (in absence of the original creatives) those who are doing remounts be it of the dance or associated music itself (such as with the POB). I am fairly confident that the 'Special Guest Artist' contract will disappear with Acosta when his end comes which surely must be sooner than not given the laws of balletic nature. This will allow the O'Hare regime to concentrate dance funds on the development of the RB itself, e.g., on its creative focus and give him a source to bring in international guest artists where appropriate to specific repertory as role models only when the needs arise. I doubt that items (i) and (ii) will happen - and I'm not advising such - but O'Hare has shown himself to be most brave in his vision and he might well feel that such risks would ultimately pay off in the longer term (given say the five years of cuts to come) in giving his much admired and rightful dedication to the creative focus for/of the RB. His gamble, after all, already has a stated 10 year game plan. Here's hoping that the RB flags in 2022 will be flying high. Here's hoping a goodly number of us will still be around and healthy enough (given the current climates too) to enjoy its success!!! In ALL, one lives in hope.

Yes ... The intervals were refreshingly brief ... and the programme was well managed ... as opposed to so many instances I can think of in another major local house. (Sadly no prizes for guesses.)

Basically just a shade over two hours ...