Bruce Wall

Ian, thanks. This clip was embedded in the Bloomberg link I attached last evening.

Thanks so Ann for the clip. Very interesting piece. Would have preferred I think to see the dance clip from MIDNIGHT EXPRESS though that you referenced. Strange though that NO mention by PS was made of Zelensky being 'missing' and not appearing either. ..... Oh dear, I see that I and 'billboyd' were thinking exactly the same thing at exactly the same time. A case of 'SNAP' as t'were.

Thanks so for this. Disappointed no Hallberg and that Vasipova are not doing the Sat. FLAMES (still one mustn't be greedy, huh! Still

Here is an article in The Independent ... which suggests that ALL might not have been as PS chose to relay it. http://www.independent.co.uk/arts-entertainment/theatre-dance/news/sergei-polunin-drops-out-of-midnight-express-at-london-coliseum-days-before-opening-night-8560542.html I fear this bodes poorly for Peter Schaufuss Ballet's production. Polunin is secure in Russia and I'm certain that is where he will stay. We can ALL tune into 'Everything with Sergei Polunin' after all! Who knows, given the rich history, such a programme might well prove the kind of thing that would be of keen interest to the BBC, given their 'reality' history with a certain theatrical Lord.

Very interesting that Zelensky's disappearance has not ALSO been mentioned in the news items quoted .... This is from Bloomberg a few hours ago; Zelensky, who hovered over him during the London rehearsal [on March 27], was meant to dance the role of a jailer in “Midnight.” He isn’t reachable either, according to the company. http://www.bloomberg.com/news/2013-04-04/tattooed-dancer-sergei-polunin-disappears-in-u-k-again.html Has Zelensky been replaced for 'unforeseen circumstances' I wonder? ...... Seems the plot thickens ....

You are right MAB. I did not realise - until I read the Evening Standard piece that he WAS ALREADY HERE IN LONDON. That is QUITE a different kettle of fish. 'Unforeseen' surely is NOT good enough in such circumstances. For this reason, I think (as I thought before) that it will be extremely prudent for him NOT to return to the RB certainly. What kind of example would THAT be setting given his past history? His farewell there was an honorable one and a more than gracious gesture by the management. As far as that institution is concerned, it should be: Goodbye. Good luck. I wonder if the Stanislavsky Ballet WILL be playing here with their Coppelia now as was rumoured. I was looking forward to that. I know it's not been confirmed. Perhaps now it NEVER will be. Sad.

From what I understand there was a meeting with the press agents last night and they are still deciding if there are to be ANY press invites AT ALL. That is a SURE sign that MANY WILL show up and pay for their tickets. That ploy has been used in the past. Most famously most recently by SPIDERMAN in NYC. In this instance, I'm not certain it would, - (well, perhaps anywhere BUT in the UK where traditional memories seem more marked - drawing a reference say from the situation with Tudor works at the RB) - have ANY effect on Polunin's future dancing career AT ALL. In the larger scheme of things, he already has a permanent contract which he is fulfilling and a goodly number of other guesting commitments. (Didn't he recently guest in London with that RB? ... LOL) One would have thought he would have been in rehearsal anyway - given that it is a new production opening next week!!! I'm certain that LENDORF would have happily walked from THAT delightful trilogy if he could have !!! ... and, quite frankly, who would have blamed him. Perhaps he now wishes he had. Who knows? Both productions will, in short order I fear, be but footnotes. Indeed, there may well be directors who would applaud Polunin for such a move. Last night one of the dancers who had been papering for Schaufuss (who will remain nameless) said it would be better to come to the Hamlet at the Bloomsbury than 'anything else'. Neither prospect attracts me, I fear. Sad, as I was a Schaufuss fan when I first saw him dance in Canada, then with NYC Ballet followed by LFB/ENB. Some things are better left as they were. This is an especially sad tide, methinks, as I felt some promise for the Schaufuss regime with the Osipova/Vasiliev appearances in Ashton's Romeo and Juliet (even IF one had to suffer the extraordinary lack of taste that was Wayne Sleep!!! That, at least, seemed but momentary.) What was it my mother used to say ... something about some things being better left well alone!

Thanks, annamk. Agree about Cojocaru. What impressed me about Hallberg was the breadth behind the mind of his reach. This is, I think, the future leader of a company. They would be proud to have him in time I feel. Perhaps a successor to Kevin MacKenzie (??) who has, all in all I think, done a fine job - certainly in oft difficult circumstances - for a more sustained period that a goodly many in other similar sized situations.

What I love about Osipova is that you (well, at least 'I') get the sense that there is something there to fight with - and she's not frightened to show that in the specifics of her performance. 'Take it or leave it' she cries - much as Makarova - another Natalia - so bravely and so joyfully reveled in before her. As Hallberg pointed out last week in an insightful interview quoted within these pages' links (and, boy, did I come away SO admiring him after that), Osipova is UNIQUELY a dancer who ENTIRELY responds to the environment that surrounds her. Otherwise, as Hallberg pointed out, 'she simply can't'. I, too, was disappointed by much of the outcome of her RB performances in SL. Now, perhaps, I better understand. Perhaps she was simply responding to the vulgarities that make up so much in that particular production's climb. If that WAS the case - and certainly I didn't understand that at the time - then I am proud to admit my own failing. Listen, I am wholeheartedly with you NOW, Natasha. 'Go for it, girl', I proclaim: 'Bless you. Bless you for simply BEING NATALIA'!!. Above all, it's your guts I admire - and I sense - above ALL - it's that aspect which draws your cheers and will persist in your battle against time. BRAVA!

Osipova's EVERYTHING was quite extraordinary I thought .... and, on the great whole, I thought this company came up spades in terms of the sharpness of their interpretations. I saw three performances with three different Espada's and each in his own way was very strong. Moreover the Gypsy dancers were all quite phenomenal. Bravi. I fear for the RB's production. I fear that it may well be too soft; fuzzy round its edges. (Dowell, himself, said after the mount of the Baryishnikov production at the Opera House that he thought that the ballet (e.g., Don Q) was not completely in 'the Royal's character'. I tend to think this is true today as well. Would that the management had decided to have Messerer come and stage it for them rather than a relative novice in that department (albeit one who is celebrated in both the UK and Cuba as a dancer).

The fate of the Mikhailovsky Giselle makes me fear rather for an ENB programme called 'Ecstasy and Death' !!!!

I agree about the Novikova and Sarafanov (who I find are married) performance. They were astounding. Sarafanov's entrechats are truly world class ... No one in that league at the Royal Ballet. Well, perhaps Koburg but MANY years ago. Sarafanov outdoes even a young Nureyev in this regard which certainly takes some doing. Such gloriously beautiful feet that young man has. She is totally radiant in all departments. Doesn't hurt that she has the looks of a young Julia Roberts - but what is particularly notable is her musicality. Nothing is overdone, but all is refreshingly whole. This is a Giselle 'that has to be'. It was a privilege to be there last night. Truly. Was wonderful to see Richard Bonynge applauding generously in the front row.

I have a feeling with MIDNIGHT EXPRESS they may end up having to PAY some people to attend ... LOL!!!

What a shame that anyone that anyone going to Sunday's performance of Don Q with Osipova and Vasiliev has to miss this as it ends at 19.20. Still .... to have such problems, huh

I was able to book Alison ... I will put my entry that I placed on another topic listing: The booking for the Bolshoi (if you are on the Hochauser mailing list) is a bit confusing. You use the links on the sent email and you put in the password supplied and then it takes you to some strange screen with general rather than specific seating allocations (a bit like in Paris). However, I found if you went back to the Hochauser listing and clicked on the ballet/performance in question it would bring you up to the direct link to the royal opera house booking where you could book your direct place. You can ONLY book one performance at a time and so if you are making multiple bookings you will have multiple booking confirmations. Hope this helps. There seems to still be plenty out there.

The booking for the Bolshoi (if you are on the Hochauser mailing list) is a bit confusing. You use the links on the sent email and you put in the password supplied and then it takes you to some strange screen with general rather than specific seating allocations (a bit like in Paris). However, I found if you went back to the Hochauser listing and clicked on the ballet/performance in question it would bring you up to the direct link to the royal opera house booking where you could book your direct place. You can ONLY book one performance at a time and so if you are making multiple bookings you will have multiple booking confirmations. Hope this helps. There seems to still be plenty out there.

20% of the House, as I understand it, is held for general sale as a condition of the £21 million subsidy to which we all contribute to. Of course that may well be different with the Bolshoi as it is a private rental. That said, last time there were plenty of seats/spaces for weeks before they came.

..but my standing tickets, which cost either £6.00 or £10 when the RB is dancing, cost £18 for the Bolshoi. I mean, I know it's incredibly expensive bringing such a large company over here, but these prices will be offputting to many. I (and my wallet) feel much the same - OUCH - but when cinemas in London are charging £23 for the live relays it is, I think, hard to argue. (Call it a sign of our times. Ah, well ... Just wait until NEXT time, huh ... )

When was the last time there was something new on an open terrestrial network? .... I guess it was Alice in 2011 (with last Christmas being a repeat of the same as their token offering). Perhaps Tony Hall will wave a magic wand ... or perhaps the BBC won't get the license fee renewed ... (justified in my view) .... and all would have to be a tad more careful in terms of overall response. (Certainly it could not be any more lackadaisical than now surely).

Dear Meadowblythe, If it is of any use, in my work I frequently review students from what was formally known as the 'Conference of Drama Schools'. I can tell you with certain assurance two things: (i) Whatever else the Central School for Speech and Drama is, it's an administrative NIGHTMARE. (Were your son to have sensed this, he would have have shown himself to be most astute.) (ii) Short perhaps of RADA, I don't think it will really matter where he attends. His job will be to make the most out of whatever he receives himself as he will in truth largely learn from the work of those students surrounding him as much as from any instructor and that is ALWAYS a fluid matter for ANY school/class. Given the economic prudence this 18 year old has already shown to exercise (a virtue that I fear which will be much demanded in his future life) I think you should be most proud indeed. I hope that might be of SOME assistance to you. Cheers, Meunier

I was asked to write a brief review for an international publication on this event. I will share my scribblings (before they are edited) here. RUSSIAN BALLET ICONS GALA REVIEW “People like eccentrics, “ Vaslav Nijinsky cited in his diary, The Russian danseur and choreographer of Polish descent oft regarded as the first great male dancer of the 20th century continued: “Therefore they will leave me alone, saying that I am a mad clown.” I fear Nijinsky has not entirely been left to rest in peace. His ‘divine inspiration’ (as was quoted in a sonorous introduction last night), both plucked and pampered by Diaghilev, is still sparking. People, such as those at ‘Russian Ballet Icons’ who devised this well run gala at the Coliseum on Sunday, 10th March 2013, continue to celebrate and propel the spirit of Nijinsky. They do so as much to hail his quoted virtuosity as to champion the reputed depth and intensity of his characterizations. This particular programme, overseen by Wayne Eagling, was ably underscored by the Orchestra of the English National Ballet under the sensitive baton of Valery Ovsyanikov. Refreshingly it appears eccentricity is still applauded in our own balletic world; one even more homogenized (in terms of dance styles if not, perhaps, Bolshoi politic) than Nijinsky might have known even at the point of his death in 1950. As with any gala this was a combination of many parts, (in this instance 14). As is commonly true in any living entity these were of understandably variable quality. The highs, however, were definitely notable. Certain interpreters were able to travel well beyond the particular technical demands proffered . They were able to share by virtue of their own persona opportunities that enabled their audience to ‘see the music; hear the dance’; a dictum so cherished by George Balanchine, himself a Mariinsky contemporary of Nijinsky. Indeed, in that particular master’s exquisite DIAMONDS PAS DE DEUX from JEWELS, the always deft Bolshoi principal Evegnia Obraztsova and the newly promoted Artem Ovcharenko brought the conquest of Diana to enticingly vivid life. So too did the wondrous Albin Lendorf (of the Royal Danish Ballet) in Balanchine’s TCHAIKOVSKY PAS DE DEUX. All of these artists reached beyond their hastily assembled footlights in a unique fashion, with a special perfume. Each enveloped dramatic magic through the music in much the same fashion as one can now only imagine the evening’s chosen celebrant must have done in the face of his critics. Bravi. Of the pieces performed that were directly associated with Niijinsky himself (PETRUSHKA, LE SPECTRE DE LA ROSE, JEUX (Nijinsky’s choreography having been reconstructed by Mr. Eagling from photographs and reports) and SCHEHERAZADE), it was for me the hastily abstracted exerpt from LES SYLPHIDES that stood out if only for the majestic envelopment of Mariana Ryzhkina’s determinedly buoyant bouree. Maria Grazia Garofolui’s NARCISSUS employed Debussy’s haunting score as used by Nijinsky to scale his own brave choreographic heights in one of his two masterworks, L'APRÈS-MIDI D'UN FAUNE. Sadly the replacement was not a patch on the original's take on these suave notes.. One wonders why the latter was eschewed, especially in light of the occasion and the fact that the piece was so recently in the English National Ballet’s repertory. Of those segments included from more modern repertories including pas de deux from the likes of Sir Kenneth MacMillan, Kim Brandstrup and John Neumeier (who himself has created a ballet dedicated to Nijinsky from which no segment was offered), it was the Royal Ballet’s resident artist, Wayne McGregor’s incisive QUALIA that achieved the greatest emotional punch for the audience present. This was made most notable via the dedicated sinew of its original interpreters, Royal Ballet principals Leanne Benjamin and Edward Watson. One thing that made this performance certainly stand out from where I was sitting was the behaviour of the surrounding audience. Rarely have I seen so much ‘bling’ on quite so many treasured chests nor I have been aware of quite such a halo of mobile light shining forth throughout. This was very much a ‘White Night’. In the truest sense it was brilliant. One heavily laden woman a few yards from me actually answered her mobile when it rang during the PAS DE DEUX from RUSHES (enticingly realised by the dramatic dream that is Alina Cojocaru). This particular lady continued to hold a conversation in Russian throughout the entirety of that piece. It was, in fact, difficult NOT to hear her. Sadly I was not myself able to hear her make any mention of the name of ‘Nijinsky’. I promise you I was listening. It was, in fact, impossible NOT to. Her projection was admirable. It was so clear as to easily over scale the Prokoviev. (Perhaps she was an instructor in voice for some Russian dramatic academy. If so, master-classes must immediately be arranged with the entire British registry of the Conference of Drama Schools.) Near the end of that particular pas de deux (or was it in this instance a pas de trois?) one noted critic crossed the aisle and actually shred the phone from without this particular lady's bejewelled hand. Thus it was that the animation of her chat was terminated. This not only led to an almighty squawk but to a more dedicated assurance on behalf of the notable Coliseum house staff present. They must be praised. Thereafter they doggedly chased up and down the aisle with scolding torches in tow. Certainly they had much to illuminate, the bling acting much like a screen reflecting against the stage's sun. We now ALL walked away with a tan. I wondered what Nijinsky himself might have made of such movement. Another ballet perhaps? Who knows it might well have inspired, in concert, a future Jerome Robbins. Certainly from the evidence shown ON the Coliseum stage yesterday evening (for those who cared to watch that is) there was much that demanded our attention and, happily, ensured that there will be even more to mine in the future.

Thanks so for this link. Forgetting the content, the style of the writing is absolutely riveting. Bravo to THE NEW YORKER. I well remember years ago when I was living in NYC I used to wait anxiously for each monthly profile. It was like reading a new and thoroughly well defined detective story. Each chapter was so clearly detailed. I recall one profile on Sir Ralph Richardson made me actually feel that I'd grown up knowing him. It was simply so vivid. I am delighted that such informed and cultured writing as well as reportage still exists at this wonderful institution. Few others in my experience have survived. It is such a breath of fresh air. Thanks be to Marissa for sharing this.

If they have the preliminary casting ... as seems to be the case by the appearance of the above notation ... I wonder if they might not share this with us ... given a provisio that it most likely MIGHT change ... (Just a suggestion, of course).

Fall River Legend is, I think, a WONDERFUL ballet. Quite the BEST performance I EVER saw Guillem give I think (amongst the many that I saw in Paris, London and New York) was in this ballet at the Met with ABT. It could have been made for her and she was SUPREME. I can well see why the Parisians would want it ... and they will, I'm absolutely sure, love it. Also to pair it with a balletic version of Miss Julie is an inspired idea. Surely this kind of dramatic fare - given the British lust for such - might well be a programme commercially strong enough to share in the UK. (It has been a long time since they last officially visited these shores as a company has it not?) .... Or is it that Paris is too close to London with train fares to the French capital being sometimes cheaper than those to Leeds? I suspect - given their successful outing at the Koch Theatre last summer and the advent of their new director - that they will be making more regular visits to NYC.

Dave, the photos look glorious as EVER, but I think the link to the full gallery is actually patched to the Ashton Programme. Grateful if we might have a peek at the full gallery for this triple. Signed: The Ever Hungry ... but Smiling ...