Bruce Wall

SORRY. COULD SOMEONE PLEASE REMOVE MY PREVIOUS POST. SOMETHING SEEMS TO HAVE GONE WRONG IN THE FORMATTING WHEN IT WAS PUBLISHED. I WILL COPY OVER WHAT I WROTE. HOPEFULLY THIS WILL WORK: Sara Compton in her article published in The Telegraph yesterday said: The Royal will no doubt say that it has within its ranks dancers with great potential, and it is possible to spot a few who are undoubtedly worth keeping an eye on. But world-class dancers are born not made, and the star dust that Cojocaru and Kobborg sprinkled on all that they did does not look in plentiful supply. Yesterday evening Johan and Alina reminded us all why they stepped beyond their own native born epithets and reached that rare firmament of balletic world stars of late shared with (from the RB's rich ranks alone) Rojo, Guillem, Nureyev, Dowell - and the first I actually saw albeit late in her career (and that initially being in New York where de Valois said she 'was made 'a world star') Fonteyn. Each arguably is a balletic brand of their own. You need only say their name to see them dance in one's mind's eye. While reminded by certain shadows of the joy of a decade's worth of world class performances by Cojocaru and Kobborg on the ROH stage last night, there was still sufficient strength in the active presentation of their roles in Mayerling to remind us what made them uniquely special on a world stage in the first place, most especially in the case of Alina (the culmination of which Johan is obviously touchingly protective of as he, himself, noted in that moving South Bank documentary of some years ago). Both LIVED and LOVED in a moment that was uniquely theirs. When the fine new Director of the Royal Ballet comes to balance his principal books - and he may understandably wish to wait to do so in this very difficult and crucially important balance - he will have to carefully ensure that the the World Class element (with contributing guest artists filling mid-term needs - this not being a race) are intertwined against the core of fine company artists who (i) rightfully appeal in terms of the company's own national/provincial make-up and (ii)HAVE ALWAYS allowed it to function fully at heart. The BALANCE of both will be KEY if the Royal Ballet's world ranking (as established by de Valois) is to be maintained, e.g., if the RB brand itself is to continue to sail beyond. The established balance, of course, may well (needs must) alter. EVERYTHING needs to change - to breathe - to live. If you don't, time will. O'Hare has clearly set out as his understandable priority a commitment to three native born sons in terms of the actual creative core (McGregor, Wheeldon and Scarlett). He may wish to change the make-up of the overall Royal Ballet to service these as his primary goal. He has also made a commitment to new narrative works shaped in their voice. This is a long-term strategy in a political world powered by 'short-termism'. It is brave. It is fair I think to say that the dancing of the RB whole changed - as Fonteyn noted - when the balance of choreographic glory for which the company became renown passed from Ashton to McMillan and as it has arguably already done so given the last RB's director's brave (and much admired) commitment to McGregor. She, herself, noted that such marked the high point of her own considerable tenure. There is no question but that ALL three are competitors on WORLD stages today (well, rapidly becoming so in young Scarlett's case). Such similar changes in style are today proudly noticable in terms of ABT's own commitment to Ratmansky whose contract now stretches to 2025. Part of the ABT's own company-threatening problems in the 90's lay in the fact that there was no established ABT choreographic recognition beyond its established label as a 'classic' company. No single choreographer (say Tharp) or coterie of such had been sufficiently resident and successful in the Company's own regard to establish/oversee a stronghold in terms of a performance style of/for its time. (While I realise that Ratmansky's appeal is not always applauded on these forum pages, the change in ABT's own performance style of the entire canon as reflected through the Ratmansky prism cannot be argued with as the NYT critic (himself British born) has noted. As Kevin McKenzie proudly exclaimed THAT has been the "highlight" of his own artistic tenure; one now extending through a period embracing those of Dowell (who proudly brought Alina and Johan as well as Guillem, Nunez, Rojo and Acosta into the RB fold), Stretton, Mason and O'Hare at the RB. I pray the latter's hand will succeed in time with a similar stealth. There is no question but his is a dangerous voyage during any number of exciting things may come. The decks now seem to be clearing for the new. The danger of that excitement is the thrill we can all share in.

Thanks SO for this, Bluebird. I had already been committed for tonight for going to the opening of RUTHERFORD AND SON (a fine play in a production by Sir Jonathan Miller) at the St. James Theatre, (Two days isn't much notice to change established plans and there are, of course, always other people to be considered). Still NOW I will be able to steal away and get to the ROH for the Johan/Alina last act. I'm so pleased that I will be able to see the VERY END of these two fine artists with the RB. It will be a very different place without the excitement of their potential about.

Don't know whether it has been otherwise noted here but Alina has now CANCELLED her Swan Lake with ABT on 21/6. I wonder if this puts a cloud over her appearance on 5/6. It would be, of course, understandable if she were not able to perform due to injury. Her health is obviously paramount. One sends all best wishes for the speediest of recoveries to full health for this talented artist.

I am too, Dave, but as Alison said - at least in HIS regard - I think we ALL saw this coming for some time. I remember when he went out of the Oneign his text said the would be out 'for a LOOOONNNGGG time'. Alina will know better than anyone what she NEEDS to do to husband her resources. I am sure she has made the right decision for herself and, therefore, for us all. How lucky we were to see that Rose Adagio at her gala. It too wasn't originally printed in the programme as the decision on her performance in it was obviously held until the very last moment.

Right on both counts, Aileen .... but they, of course, guest around the world ... and for WORLD CLASS BALLET COMPANIES (which I will here, of course, include the RB) ... I assume ALL is fair in love and war. Sarafanov left the Mariinsky as noted not (as I understand it) for money but to further his career and seeking a freedom to dance a more diverse repertory of choreography. I would assume given the Royal's fabled established rep (can you imagine him and her in Month in the Country - delicious) and the fine current RB Director's rightful focus on the purvey of the new (bless him for his courage on the behalf of everyone's future) this would, I'd imagine, be a substantive draw. Surely the economic circumstances would not differ substantially for someone at THIS level. Their Mariinsky background would here be key and somehow I think the days of free-flowing dosh radiating from the Mikhailovsky's 'banana coffers' is - like, say, British banks - at least somewhat in doubt. (I'm not entirely certain - with respect - I'd be so quick to put Mr. Golding on a similar plane just as yet. As with EVERYTHING else in life ALL is about agendas and TIME - as Shakespeare was so fond of reminding us - rules.) Moreover, it would allow this talented couple to be established together in one place, knowing as we do that they already have the joy of an infant child in tow .... and, hey, just think of THOSE feet!!)

Well, Aileen, if they brought Sarafanov ... they could HAPPILY bring Novikova into the RB fold ... She would thrill in Alina's rep ... knowing, sadly, Alina will not be there to do it for her glorious self. Both of these couples have a similar purity/truth in both the commitment and refinement of their artistry. Like Alina and Johan, once seen they are never forgotten. How blessed we have been.

Given that a formal 'last performance with the Royal Ballet' in London has been announced as being 'June 5', I doubt sincerely if a ROH 'farewell' (as was granted to the devoted Ms. Rojo and the rather wayward Mr. Polunin) will be forthcoming. They will have already 'officially' departed and the noted date given for fans to mark their reverence in London has been now noted. It is ONLY sad that no advance notice of this COULD BE given. That said, of course, their other performances in the Mayerling string did not materialise. Who was to know that when the booking was announced .... You pays your money, et al. Those lucky few (sadly not I) with a ticket for 5th June are most fortunate. That is, of course, how history crumbles. I well remember the dates of Vasiliev's Spartacus being changed after the initial casting was announced and having to beg borrow or steal (and blessedly I didn't have to do the latter) my way into those few historic performances which (happily) I did. On a side note, I wonder if this paves a further way for Vasiliev to join the ranks of the RB to 'fill a bravura breech' left as t'were not only by the hugely respected and wonderfully consistent Mr. Kobborg but also the departure of that self professed 'celebrity' Russian (and I've always thought Ivan came across quite modestly in interviews) formally in the RB employ ... (I have now promised myself I will type his name no more than once in any one posting - that of the departed one that is). Please know I'm not here making any statement as to the overall prudence of such for the RB, (that is arguably debatable as McKenzie made it clear it was for ABT), but simply remarking that this MIGHT now be an advanced possibility knowing as we do that (a) Vasiliev is 'moving to London' alongside his inordinately talented partner in life who IS joining the RB ranks and ( - given the sudden nature of this current pronouncement - a distinct feeling that the overall climate/hunger for such might well have altered given all the varying tributaries that WILL need to be balanced in order for the current realities of the RB to effectively flow.

This must be very sudden as, of course, they had performances booked for the fall season. They have given so much joy to us all over the years. We have SO much to be thankful for. Perhaps Alina will join as a Principal with a combination of Hamburg (where she is a muse) and ABT (where she is hugely appreciated). I wonder if she will guest with the Royal. This departure (e.g., not fulfilling their Autumn commitments) makes one wonder. I do hope so ... or, if not, that we might get to see at least her dance in London's theatres again with other notable companies. All best wishes to both of these fine artists. There is no question now but that Ms. Nunez will deservedly be the Senior Principal of the Royal Ballet. With Acosta's departure surely in the not too distant future the cry will go out for strong men to fill the RB's principal male ranks, i.e., males who are able to fulfill both classical and new work commitments, and who are able to maintain the Royal;s established international ranking. These artists are, of course, rare at any time. (My dibs - for what it's worth - would be for someone of Sarafanov's ilk. At least his entrechats (which Nureyev said defined 'any significant danseur') would come at lease close to matching those of Kobborg's own keen artistry. There are certainly VERY few at any time who could. We have been so, SO very privileged to see and learn from both. Bless them.

All revealed here: http://artsbeat.blogs.nytimes.com/2013/05/30/artistic-director-of-cedar-lake-contemporary-ballet-to-step-down/?ref=arts Interesting to note in this brief item that the NYT ALREADY separates the 'UK' from the rest of 'Europe'. I wonder do they secretly support UKIP? ... Perhaps ONLY Madame May and her team know best ... LOL. With the new departmental (2015) cuts ... I sit here wondering if they will combine the Department of Media, Culture and Sport with the Home Office ... or, sorry, Department of Justice ... given that Shakespeare once lumped ALL artists together as 'rogues and vagabonds'? Guess we'll have to stay tuned in GLEE with George ... or perhaps read it in advance in the NYT Cultural pages But then THIS ... like so much else that is delivered from boxes, be they variously dispatched or not ... is determinedly off topic ... Mea culpa.

How generous that Symphony in C should belong to SAB. This is much akin to the rights to Shaw's plays (many still in copywright in the UK and certain other parts of the world - short of the US/Canada) having been bestowed and so greatly to have supported RADA in the past, now and for years to come. (And just think: Shaw died in 1950!)

From the Guardian interview published today: The six performances will run from 11 to 14 July, with three featuring Polunin. Hopefully, that is. "You have to take it day by day," he said. "But it's pretty certain I will come." What gives with this guy (????) .... especially when his now resident Company has obviously paid for him to come over and give interviews in promotion! Forgive me, but I would have hoped that Polunin was now old/mature enough to fundamentally understand his job and be able - for at least a bit - to look beyond himself. Am I alone to find the 'pretty certain' downright insulting??? From comments like the above it makes me for one (and I realise I may be in a minority here) question his commitment to anyone other than himself and certainly feel that the RB (and the British tax payer) is well out of his concern. Who was it who said: 'everything happens for a reason'. Osipova's comments in terms of her own commitment to the RB come as a relative oasis in such a regard. I'm sorry Sergei but the privilege of an audience's appreciation not only has to be earned it has to be maintained. Perhaps our dear Mr. Polunin has had one too many free lunches. Everything, I fear, in the end has a price for even you, dear sir.

Dear Aileen, Thanks for your considered response. It is much appreciated. I think your choice to 'avoid' guest performers is a good/prudent one if you wish to make a meaningful statement should you regard a lack of appropriate opportunities being given to resident dancers of ANY company. That will speak where it ultimately will be most effectively heard. Strangely enough, guest dancers can sometimes invite me into companies that I would not otherwise attend ... or to performances of resident (or even guest companies) that I might not otherwise have wished to purchase. I well remember going to an Oneign performance so wanting to see Johan and Alina (as I had so enjoyed their previous performances in this work). I was disappointed when Jason Reilly was listed as a replacement. I needn't have been. He literally blew me away and I thought they danced together wonderfully. I ended up seeing his other three performances in the role. I CERTAINLY would not have missed La Riche's performances at ENB no matter WHO he was dancing with. Again I saw one ... and ended up going to all three. I was totally entranced by his work. How wonderful it is that we all are inspired by different attributes. What a dull world it would be if we were't.

Grateful, Aileen, if you could please site your specific references in this regard. Certainly I read ones where Vasiliev was criticized but a good number which praised Osipova in her third movement performance. In these instances (especially in a case where one cannot see the performance for oneself) I personally always feel it is best to try to gain an ample cross-section before trying to weigh in myself.) As it was just now I was rather relieved to see Judith Mackrell note in an additional comment on her review of Friday night's RB performance of the same ballet that she 'didn't think the company's dancing was as charged and accurate as it can be Marianela Nunez was luxuriant and commanding in the lyrical second section, however, and Steven McRae and Yuhui Choe a blithe partnership in the fast, fizzing third.' That was, in fact, entirely how I felt. The first movement had I thought certain inaccuracies which Merrill Ashley (who staged it for ABT and who I was privileged to see dance that movement many times with NYCB) simply would not I think have allowed. Still, of course, that was but my perspective and must, of necessity, stand alone as such. As ever, the piece itself thrills. still I had to smile ... What goes around ... comes around and it ALWAYS will it seems. There is the following item in Hagland's Heel. I quote: ABT – Guest artist still injured Today the Royal Ballet pulled Alina Cojocaru from her next scheduled performances following her latest injury layoff. She had been scheduled to dance in Symphony in C on May 28 & 29 but is unable to perform due to injury. So, is ABT going to continue to hold open Herman Cornejo's all-important June 21st performance of Swan Lake for a perpetually injured guest artist while they have homegrown dancers who could deliver better performances in the first place? Or maybe they have some Grade B regional company dancer they want to import as another guest artist or hokey "exchange dancer" instead of allowing the company's own brilliant artists to shine. Let Sarah Lane dance Swan Lake. I laughed as you could change the names and very much see this listing on the Balletco forum methinks. Our dear balletic world gets,in a sense, ever smaller. In a strange sort of way that's rather comforting.

Obviously Osipova is a step in a right direction ... Wonder where the others will come from? Can't help but feel that by next season the RB principal male shortage (certainly in the classical ranks) is going to be (a) potentially dire (injuries permitting) and ( challenge the Royal Ballet's international rating. No time like the present, huh.

So that will leave Ms. Nunez dancing them ALL. How ironic.

Also wanted to add that the lovely Henry Perkins also studied in Russia.

Restor, I suspect part of the reason for this move by the RB (and I assume the overall policy of the ROH) may be the ACE cuts whose coming has been known for some time. In commercial theatre in the States (on Broadway, say, - or even at the Metropolitan Opera - the largest subsidized cultural institution in the US with a budget far exceeding the ROH's) the photographs/photographers are controlled by the specific producers/institutions themselves. In this way, the photographs that are used by reviewing publications/sites are always different - in that the publications are given different pictures rather than a selection of their own choice to ensure variety in overall coverage. Any photograph/s that are desired by the general public for ANY other uses short of commercial ones (e.g., for the artists themselves) can be requested and purchased. There are also certain leading artists who have approval rights over any images used. Please know that even the artists themselves have to pay (as I believe they should) for the production shots. (These things do not come for free - much as the artist him/herself was fiscally rewarded for their artistry by the management. Oh, occasionally one is gifted with a picture - say after a final performance - but that becomes - as it is - a gift and the weight of its value can only be enhanced in such circumstances. Even there, though, permission has to be given by the management to the photographer, or, indeed, their commission paid if the photographer so demands. Also - given the paperwork that comes with any of these images - it ensures that the photographer will ALWAYS be credited for their work. (I remember my own thrill at being able to buy a print of the first Hirschfeld drawing that was done of me. For me this was a mark of achievement. I didn't buy a copy of the latter two as these things were VERY expensive ... but I so cherish the one I have - and was thrilled when I was able to get Mr. Hirschfeld to sign it for me. Sadly even acknowledgement for the photographers work often does not apply I see on the web; well, certain web sites. (Certainly I purchased a goodly number of pictures of myself over the years in different Broadway/Off Broadway productions. Ironically these were frequently from different producers who often used the same noted photographer(s). Sometimes I lent these copies to publications to publish in an interview say, but even then - as was heavily stamped in legal instruction on the back of the said photographs - the publication had to get permission for usage from the original management and photographer and more often than not I'm sure an appropriate commission paid. This gives the original producing institution (i) quality control over the images they are responsible for and (ii) also allows them to gain them some income which is understandable as they are the ones contracting (and thereby responsible for) the photographers in the first place. Without such protection all photographers in this regard ALL would remain devoted amateurs. In this light some would think the allowance of three images from non-in-house sources was most generous. I wonder too how long that will be maintained as more and more margins become squeezed.

An interesting interview with the Raven Girl author from the Chicago Tribune in today's links: http://articles.chicagotribune.com/2013-05-25/features/ct-prj-0526-raven-girl-audrey-niffenegger-20130525_1_printers-row-journal-royal-ballet-night-bookmobile/2 In it she says that she found the RB rehearsals more interesting than the performances because you could see (and be involved by) the process. I know what she means. I felt just the same way comparing this interesting interview with what I saw (well, what I could see) on stage on Friday night.

Unless I'm mistaken, (and I often am), in the last wonderful posting by Dave M (of photographs of the Raven Girl/Symphony in C double bill) - and prior certainly to my own awareness of the RB ANNOUNCEMENT/PROCLAMATION OF POLICY CHANGE herein discussed - there were SIX pictures in total - with three of each separately titled production. Perhaps a limit of three per each 'named ballet' has been actioned to protect the work of the RB's own in house photographers. I, myself, wonder if a similar limit has been placed on 'additional photographers' taking pictures of the Royal Opera productions? Does anyone know? I cannot see notation of such in any of the commentary on this thread. Certainly I could, myself, understand this. I well remember being a member of the company of the Stratford Festival in Ontario, Canada many seasons ago and - while many people took pictures of the company as whole for publication at the designated photo calls - (there were 22 said productions that season) - only TWO were EVER officially allowed to take pictures of Maggie Smith (who was then in the company). In the vast majority of instances publications were forced to use the 'official' photographs of those photographers who were on the payroll of the Stratford Festival itself. This was undertaking to protect the quality of these images which were spectacular (and are still sold on postcards to this day). Certainly 'other photographers' were barred from taking photographs wherein Ms. Smith would appear. I remember they were very strict about this. I also did 13 productions on Broadway and those were ONLY ever allowed to be photographed by the 'offical' photographer and their staff. Certainly this is still true of the Metropolitan Opera. My concern in terms of some of the stealth of this discussion would be that the RB management might well question their own kind largess (e.g., the restriction of three being surely in their gift ALONE). I think harpistic's note of caution is at heart - at this stage - well founded. If people are unhappy with the situation (as now yet undefined) - which surely is outside of anyone's hands but the institution of the ROH itself - I would imagine a most effective response would be to cease buying copies of any official ROH publication (yearbooks, say - or calendars - or postcards) such as are primarily driven by their in house photographic records. That will, I'm certain, be most keenly felt.

I wonder - just as a question of website decorum - might this particular string not be better termed a 'dance news and information' item? In itself it would not appear to me to be a 'performances seen' or 'general' discussion per se (as I certainly think of it as being - as it should be - very specific in its focus). I realise, of course, that I am often wrong and certainly will be oh, so very grateful for your kind advice to strengthen my own better future understanding as towards item placements on these much valued forums. With thanks for your kind advice and apologies for moving away from the root of this important and rightfully core discussion.

I have a friend who went to SAB (after having graduated from North Carolina School of the Arts and dancing with Ballet El Paso and SF Ballet) before joining NYC Ballet and then Les Grandes Ballets Canadiens. He stopped dancing at 30 and went on to Yale Law School where he finished on the Dean's List and articled with a Federal US judge before rapidly working his way up as a partner in a major international law firm. He was then seconded by a major American State to oversee their environmental affairs and today is an executive in a major international corporation as well as lecturing in law at one of the major Ivy League universities There is no question but that this individual is one of the most extraordinary people I have EVER met but also there can be little doubt but that the self-discipline he learned early on through his life in the ballet has shaped his entire professional career in varying aspects. That this happened in the US does not of course mean that it can't happen elsewhere. Certainly one remembers this was well before the phenomena of 'Billy Elliot' was itself established both here and abroad.

While both will remain with ABT during the NYC season, both will it seems - according to the NYT interview with Vasiliev - leave the Mikahilovsky this summer. Vasiliev said he wanted to concentrate on new work. To quote but a line or two from the NYT interview: “I would love to dance everything,” he said, laughing. “I would love to make new work, too. I’m available. Can I leave my number? Choreographers, call me please.” If I was Ms. Rojo/Mr. Williamson I'd be getting my skates on. The couple are coming to London and this is one lad who DOES sell tickets both in NYC and London.

I was so relieved when Paul Kay came on .... as his clothes and general smiling panache added a touch of light amongst all the Ravenish gloom. T'was much welcomed and well danced. Agree the final pas had also more to offer than much else which preceded. I kept wondering if Edward Watson had been not much available during the creation period as he was, I agree, much underused. I always had assumed he was McGregor's male muse at the RB. Perhaps I was wrong.

As I said, now voyager, a dream ... Who knows, maybe a future reality ... Would be great if a seed could be planted

If they were needing to look for someone outside of the RB why not look to NYCB with all their experience in dancing Balanchine. Would dearly love to see Sara Mearns (@nycballetstar2b) so hailed for her 2nd movement recently. A long shot I know ... but still one can dream. In the old days I remember seeing Merrill Ashley in Sleeping Beauty at the RB. .