Bruce Wall

In a lighthearted response to dear Janet and others ... Perhaps ENB could tour regionally as 'Английского национального балета' ..... That's ENB in Russian!!! It would bring a certain intrigue to the brand .... and no doubt offer a fresh challenge for Madame Westwood!!!

If Mohamed won't come to the mountain .... I think the Coliseum is a wonderful venue ... and I remember it was oh, so very hard won for the LFB/ENB. It gives a sense of occasion to the attendance. Rightfully so. Would you be doing Etudes at The Peacock? I realise that there were a lot of empty seats ... Myself I think - in terms of effective re-branding - that you should go out and literally GIVE seats to groups that would not otherwise come. It seems to me - rather than the venue - that if you get what you are actually terming 'the brand' in then you will have a head start in getting 'the brand' - and/or their friends - to return. The venue too could be key for some of that admiration. That would not I think be an easy sell with, say, the Peacock. The empty seats last week in the Coliseum were just that - empty ... as is ANY marketing without a direct implicit focus .... In the end ANY emptiness must speak for itself. It too is, I fear, elementary. There's a substantial part of me that feels that those seats needn't have gone to waste. I know it is a difficult task ... but it is, I think, obtainable. Perhaps this is something that Ms. Rojo should speak more openly about in interviews. Let us know of the efforts being made by her and her team .... and not just saying that she is 'bringing sex back to the ballet' .... In good ballet did it EVER leave? Certainly Balanchine didn't think so ... nor did Ashton ... nor did MacMillan and, dare I say it, nor do any of those brave people worldwide who are reaching out in an attempt to celebrate the artform we all love so much. Oh, and please NOT the Barbican. Horrid, souless place that is most ashamedly is .... and the transport there is MUCH worse than, say, Sadler's Wells. The Coliseum is a PRIZE!! It, too, needs to be cherished.

Thanks, Irmgard. I've been told that MATTHEW GOLDING, the Canadian dancer who is now a principal in the Netherlands, will be partnering Ms. Rojo.

A bit like life, huh, billboyd!!

Irmgard, you seem to have access to information pertaining to the SL in the round casting. Is it possible to share this?

What a difference a day makes. Saw 'Ecstasy and Death' for a second time tonight, e.g., the third performance. Vis a vis my own comments above concerning the first night of this triple bill; (i) Madame Rojo tamed her indulgences of the previous outing and Le Jeunne Homme rang out in mutual clarity as this potent duologue should; (ii) Etudes was much transformed in terms of precision. I understand from someone who works for ENB that Vadim was truly in pain the evening before and that it hadn't been decided until 3.00 pm on Wednesday afternoon that he would dance Etudes AT ALL. Under the circumstances he did VERY well last night and some of the mismatch with Forbat (who, himself, looked in much finer fettle this evening if for no other reason - and there were a few - than he is a much better height balance with Lendorf) was immediately rendered entirely understandable. Lendorf made ALL the difference; Takahashi's game was raised in terms of confidence in placement and there was overall a much more seemly balance surrounding the entire affair. As to Lendorf; he did what he was brought up to do ... and boy did he do it BRILLIANTLY. Such finesse. It was an honour to be there to witness the inspired joy of his birthright! Agree with Bruce that the ENB men in general did better than many other male ensembles we oft see locally; that on both performance counts. Refreshing too that the programme ended earlier - perhaps the intervals were somewhat curtailed? I'm uncertain. Nice to see Prince Andrew in the house.

Thanks Aileen. I hadn't seen yours ... and thought that this would best fall under 'news'. Forgive me if I was wrong.

See: http://www.ballet.org.uk/news/news-archive/cast-change-ecstasy-death-1942013/

Agree about Le Riche. He provided an added sense of occasion to the evening, firmly rooted in the detail of character. It stood out. Thought Ms. Rojo rather gilded her lily of Death unnecessarily on this occasion. Hers was an oft too ornate mirror held up to the Frenchman's colorful and gloriously rooted nature. Less I think would have been more on this occasion. That said this was certainly the stand out piece for me of the entire evening. Troubling I felt that the intervals needed to be so much longer than the first two ballets themselves. (Was this the building and stripping of a now rather weary set for Le Homme?) Sadly these two intervals rather over-weighed Etudes I think, a ballet I felt I'd seen ENB itself dance with greater overall technical precision/cohesion and, dare I say it, joy under past regimes. Still, that too may be but a trick of my own and now oft wavering memory.

Thank you, Bruce ... You are right ... My words were very much over the top ... but it was certainly a sincere response at the time from a dyslexic who strives to be self-respecting. ('Strives' is optimum here.) My day had been a VERY long as well - TOO LONG PERHAPS - and I am, I fear, ever more rapidly getting very much older. That too I do know. I had to give a Shakespeare workshop for over one hundred primary school children. While it was successful and - CERTAINLY - a keen responsibility such an undertaking can simply do one's head in. I had dragged myself to Sadler's totally spent. TOTALLY. That is not a good frame of mind to visit ANY R&J in. I was amazed that I came away feeling uplifted; which honestly I did not expect; in a sense I was 'refreshed'. I CERTAINLY didn't expect anything - ANYTHING - would be able to do that for me in the state I was in .. expect perhaps my bed ... or a tomb or much longer promised sleep. R&J can sometimes I feel be such heavy going. TOO HEAVY. Certainly that is how I felt looking at the poster as I walked past the theatre. My initial response I feel had something to do with the light, a 'trick of' perhaps ... Still, more judicious eyes will certainly measure as you suggest. Rightly so. Should you wish (feel it prudent) please feel free to remove my words with, as ever, my entire respect.

WOW! WOW! WOW! .... and more WOW! WOW! WOW! What a TREAT it is to see (i) a production that employs ALL the music FOR DANCE (ii) to TELL THE STORY - which this production does MIRACULOUSLY well. (What a relief to have the banishment made clear - much as Ashton does - thus making sense of the urgency necessary for the last balletic act.) What a TREAT to see a production (iii) built for an ENTIRE COMPANY and (iv) to see it danced SO JOYOUSLY - as opposed, say, to a concentration on but a few well versed principals. What a TREAT to see a production that (v) you feel confident respects women - ALL WOMEN - within the community depicted. What a treat to see a production (vi) so wonderfully lit as this is (and I use the word in the sense of light!) so that you really honour ALL of the truly wonderful details. What a TREAT to see a production (vii) where the vibrant design (both in scenery and costumes) makes you feel refreshed and is not over cluttered nor ever too heavy. In short, WHAT A TREAT. ALL I CAN SAY IS 'GO' .... GO! GO! GO! ... YOU WON'T BE DISAPPOINTED ... THIS IS A COMPANY BALLET FOR A FINE COMPANY ... AND IT WON'T MATTER IN THE MAJORITY I THINK AS TO WHO THE PRINCIPALS ARE. THE WHOLE HERE IS, I'M CERTAIN, MORE THAN JUST THE SUM OF ITS PARTS. Perhaps that is the Canadian way ... much as at one time it was hailed as being the 'British' one. But then Miss Franca knew that as did her friend Erik Bruhn. On the bus coming back I immediately purchased a ticket for the three more performances of this production I could possibly squeeze into my diary this week. (Anyone want a ticket for La Bayadere on the Sat. Mat ... Now I have a reason NOT to go .. and not just because Alina won't be dancing this time either!!! Now I have a huge smile on my face and in my heart!!! Did I say that I found this ROMEO & JULIET a TOTAL TREAT!!!! ... WELL, I DID!!!) In all the accolades that I'm certain will be heaved with justification upon this production, I would like to pay a SPECIAL TRIBUTE to someone who I fear might otherwise be overlooked in the British press. I want to honour the GLORY THAT IS KAREN KAIN for having brought this production and its wonderful creatives together. I ALWAYS KNEW YOU WERE A GENIUS, KAREN ... YOU GO ON EVEN NOW ASTONISHING EVERYONE IN SIGHT THROUGH THE GENIUS OF YOUR OWN INSIGHTFUL LARGESS, ONE THAT IS NOW - AS IT ALWAYS WAS - ROOTED IN YOUR OWN STUNNING SENSE OF DETAIL. YOU ARE NOW - AS YOU EVER WERE - A ROLE MODEL TO SO, SO MANY OTHERS. Of one thing I am ABSOLUTELY certain: Celia Franca is looking down tonight from the heavens; down UPON the home of her own beginnings and, you know, Karen, RIGHT NOW, dear Miss Franca's smiling in triumph. That's YOUR gift to US as much as to HER. BLESS YOU! BLESS YOU BIG TIME, KAREN. YOU and ALL CANADIANS have every reason to be proud. YOU DONE BRILLIANT GIRL!!! Please ... PLEASE ... DON'T LET IT BE 26 MORE YEARS BEFORE YOU AND YOUR GLORIOUS COMPANY RETURN TO LONDON!!

I understand your sentiment, Sim. However, after having seen MIDNIGHT EXPRESS I can understand why some people's decorum might be pushed beyond any reasonable limit; yes, EVEN critics. I agree with the Daily Telegraph critic when he said it was 'unendurable'. What I CERTAINLY didn't understand was those who rose to give this an automatic standing ovation. That is the other extreme, I think, and should perhaps be treated with equal concern if it is not be rendered meaningless as it is on Broadway. (Such ovations were, I thought for example, deserved in the case of the O/V Don Q's.) I, myself, left the Coliseum after ME in a state of depression.

Chrischris I partially agree with what you write above. If the ENB was set out as a 'trying ground' for British and Commonwealth dancers then a quota system for British nationals/subjects would be wholly appropriate. That, however, was not I think its specific doctrine from LFB's very beginning. Since it broke its own barrier for hiring British and Commonwealth dancers the RB has seen itself as being competitive as a NATIONAL company on an INTERNATIONAL scale and, therefore, can no longer hold such remits as you have suggested. It's simply a matter of a different scale of objective. I believe, in part, this is why English Theatre Ballet was recently established; (e.g., to answer your specific call, Chrischris). I am sure you will be if you are not already a very strong supporter. (This, too, was part of the remit of the late London City Ballet.) It seems to me that ETB is well patronised (a very encouraging sign) and, like, say, Ballet Society which, of course, became New York City Ballet, will now have to prove its worth to ensure qualitative NATIONAL sustainability. Sadly I will not live long enough to see this absolutely ensured. However, I am relieved that at least the target recourse for British nationals is now at hand (if that makes any sense).

The New York Times obituary for this truly extraordinary woman: http://www.nytimes.com/2013/04/13/arts/dance/maria-tallchief-brilliant-ballerina-dies-at-88.html?pagewanted=all&_r=0

It has been reported in another forum that the legendary Maria Tallchief has died at the age of 88. A great dancer; a great woman.

That will be hauntingly beautiful I'm sure ... and all of those entrechat six!!! HEAVENLY!!!!! TRULY.

Here is a brief film of Sarafanov .... What a dancer he is .... That Giselle the week before last with his stunningly beautiful wife, Novikova (a soloist with the Mariinsky) was supreme. He has the most wonderful feet and placement. If the Royal was really on the hunt for world class men if would, I think, be hard to do better than this. ... plus the fact that he has partnered Osipova before a goodly number of times. And - a special treat - the two of them in the Tchaikovsky Pas de deux - Stunning.

Just saw (or rather sat through) MIDNIGHT EXPRESS and while I understand that it is morally and legally wrong to break a contract without notice, this train wreak is doing NO ONE ANY FAVOURS. Perhaps some things are worth more than money ... or perhaps it is just me ... To be fair there were people standing to applaud it. Where they came from I have NO idea. I wish ALL well.

I think too that the addition of Osipova on the RB roster gives world recognition to the company's rank of principal, not, of course, that there haven't been a few others (e.g., Alina and Tamara) who have deservedly won such recognition for themselves previously. I sincerely think the exchange with ABT is a very good idea in this regard as it is (like the competitions which so many international classical companies now use to mark out principals of international scope - as was the case, say, with Polunin and certainly Vasiliev) to give the young dancers who are being considered for promotion either company the opportunity to openly test their metal on a world stage. True, of course, the exchange is beginning with two established principals (McRae and Stearns, albeit relatively young ones) but I feel it could have value in the future in assisting to evaluate promotions for both companies; seemingly providing a more objectively open rather than subjectively closed situation amongst but a very few in one national office. Given the close relationship between the repertory of these two companies and their historic personnel, I certainly think this kind of forum could not do little harm.

I booked my tickets in three different lots - after the disaster that was the last booking period. (I was not looking for any Bolshoi as I had already booked those on the Hochauser Mailing List days). I was overjoyed to get the insight with Renee Flemming and the two Capriccios in Concert at £4 a pop - BEST BARGAIN IN TOWN. The ONLY mistake I made was NOT going for HANSEL AND GRETEL first!!! WHY DOES THIS ONE ITEM HAVE TO BE ON THE PARIS OPERA BOOKING FORMAT -- WHERE YOU DO NOT GET TO SELECT YOUR SEAT/PLACE ... BUT SELECT THE BEST AVAILABLE. I spent twenty minutes trying to get a place. It kept showing them as being available. I went in selected my area ... I was ONLY looking for 1 place ... and it kept coming up with the fact that they (whoever 'they' are) couldn't find 1 place 'together'. I felt like writing back and saying I would take 'one place apart'. I kept refreshing - sometimes seeing MORE tickets ... but ALWAYS had the same response. A VERY PARISIAN EXPERIENCE;... ONE OF TOTAL FRUSTRATION ... I STRESS THAT THIS WAS THE CASE ON THAT ONE ACCOUNT ONLY ... NO OTHERS. Why can't they just stick to the regular format???? They do so when Domingo or Kaufmann are singing ... and I assume they will do so when Osipova is dancing. ???? How did others fare?

Cory Stearns was, I think, part of the exchange with ABT in which McRae is also taking part. He is appearing in the (newly designed) Corsaire in NYC at the Met. I'm hoping this will continue and share some other dancers as well.

or with a guesting Vasiliev ....

Sim, surely Mr. V can stretch ... (certainly he can jump!!!) ... and they are SO good together. CAN'T imagine that either will want to leave ABT - They only really dance the NYC season as it is. I say this because there are so many RB productions in the ABT rep. That way they could really concentrate on the new material. Also, Mr. V has partnered Alina in NYC. Would make sense ... given that, sadly, Mr. Koburg's time as an active principal dancer must be coming to an end.

What can one say .... THIS IS FANTASTIC NEWS ..... A reason for joy in London. Wonder if there also will be some guest appearances by a certain Mr V .... (That's the order that the pair became principals at ABT ... First she guested ... then became a principal ... Then he guested and .... then he too became a principal. .... Seems to me the Royal NEEDS men!!!!)

I have to say, Janet, that the Coliseum are being wonderful. I got the full amount of my ticket for MIDNIGHT EXPRESS back today IN CASH at the box office. The kind box office staff member simply said: 'We are having to deal with Mr. Schaufuss' things'. Not another word was spoken. They are providing an excellent service in a difficult situation.