Bruce Wall

You could feel the rapture on Tuesday night in the house that (to a large extent) Balanchine built.  I don't sadly have time any longer to write reviews for BcoF given my work load, but I simply couldn't let this pass without mention.  The sense of thrill was palpable.  The 2023 NYCB Fall Season opened with a week of Jewels.  This Fall Season is ALL Balanchine.  Isabella Woodward - rife with her own native Parisian chic - was entirely redolent in the Verdy role in Emeralds.  Mira Nadon - continues to add natural ease - not to mention a caustic glint of humour in those all-persuasive eyes - to her 1940's Hollywood glean.  Some people have 'star' written all over them.  This girl - as ever - has whatever that IS in spades.  Much as she did last winter when she was thrown into the intoxicating Stravinsky Violin Concerto in place of Sara Mearns here she - again in toy with Igor - made the 'Tall Girl' in Rubies her own.  The wit and wisdom of her voluptuous limbs all so precisely agog don’t just startle; they awe.  In Diamonds Mearns clearly had something to prove - and, boy, did she do it.  This lady needs a world-sized stage to blaze in and her principal turn in Diamonds was one that I'm certain has now already become legendary.  This was ballerina plus ... and then some.  She was writing history.  The spirit of Balanchine was I'm fully confident gleaming from his usual place in the wings.

This – after all is said and done - is the Company that built my appreciation for ballet and every time I take my seat in State Theatre I know it is here that I have ‘balletically’ come home.  The boy who grew up in Fourth Ring standing room went to yesterday's rehearsal.  (If you give $1,000 a year to NYCB you can go to three stage rehearsals per week throughout all of the annual seasons - plus Dress Rehearsals - as well as observe SAB classes - all on a complimentary basis - and that's in addition to the much appreciated ticket priority.)  These stage rehearsals are usually two to two and a half hours in length.  They are not 'staged' in the sense of the Royal's insights.  These are FOR the Company purely - not YOU.  You are ONLY there because of the largess of your privilege.  You are a fly on THEIR wall.  You are not allowed to speak or applaud.  The acoustic of this wonderful theatre is such that - as you can hear the people on stage - they can hear you - even in a loud whisper. You sit in the splendour of the First Ring - but not in the first row.  You might be seen.  The conductors sit aside the pianist to one side.  The ballet masters are on the stage – as are the dance covers at the back. 

Yesterday’s rehearsal featured two works.  The first was Stars and Stripes from the 2^nd Movement forward.  There are 17 men and 41 women in this work.  The ever-stunning Roman Mejia – still SO young and even now clearly a major 21^st Century star - and the ‘better-than-ever’ Megan Fairchild wittily commanded in the infamously dangerous delights of the final PDD.  Mejia’s feet as much as his wicked grin define wit.  ALL is fiercely classical of course.  This is, after all, Balanchine in Balanchine’s home.  It is always invigorating to watch the NYCB men.  Apart from their dazzling speed and precision in the two astonishing male campaign segments what makes them stand apart is the silent landings en mass.  Balanchine demanded that they be there to serve the music – whatever the music was.  Where there is to BE noise it is choreographed into the piece as part of the music.  At the end of the ravishingly demanding second mass male variation the sound of them marching off – and then back to salute the audience – radiates pride.  That sound in and of itself – the marching I mean, is, indeed, profoundly moving after the expanse of the beautiful balletic feats you have just witnessed.  These are blood and flesh entities who have resolutely served their country.

The second rehearsal segment – after a five-minute break – was Rubies.  The pianist actually ended up playing the whole score three times – only to have to play it again a few hours later.  Here was featured the young soloist – and I confess one of my favourites – Emma Von Enck and Jovani Furlan.  They were enticing and after they had finished their run-through you could see just what it had taken out of them.  Furlan gave out a howl as he bent over moving into the relative privacy of far-side lip of the actual proscenium – that which travels into the auditorium itself – where he found some well-deserved restorative peace.  Then on traipsed Tiler Peck and Roman Mejia – he being back for more.  They went through the central PDD – having an merry old time between the two of them.   He is always filled with joy – she is, well, .... she IS Tiler Peck – enough said.  Later last night you got the full meal – as they were featured in the stage performance of Rubies.  It brought the house down – deservedly.  They were rightfully called back for an extra bow during the front of curtain calls. 

Still what made the opening evening even MORE special was the fact that there were 250 former NYCB dancers in the audience.  What a thrill it was for me during the intervals to wander about seeing the past meet the present on a balletic scale rarely known.  There was one moment I accidently caught with the glorious Stephanie Saland.  She looked ravishing.  She STILL looks ravishing – here in a glorious black dress.  She was moving about on the parterre level floor when she saw another woman from a little distance in the crowd  – a former dancer as she was wearing a badge they had all been given.  They looked at each other.  They leant forward.  They stared.  There were several moments of electricity.  Slowly smiles broke out and then you could see tears in Saland’s eyes.  They rushed together and embraced.  I have no idea who the other woman was – but that moment – in a way – was as restorative for me as it clearly had been for them.  The years had come together somehow.  What a thrill it was to see the likes of Farrell, Villella, Allegra Kent, McBride, Hubbe, Philip Neal, Edwaard Liang, Robbie Fairchild, Chistopher Wheeldon, Sofiane Sylve, Lourdes Lopez, Peter Boal, Judith Fugate, Heather Watts, Jock Soto, Damian Woetzel, Robbie La Fosse, Kyra Nichols, Katrina Killian, Jeff Edwards and so, so many others just milling about with the likes of Ratmansky, Justin Peck and an adoring world that has oh, so long surrounded them.  (There were some I had hoped to see like Baryshnikov and Kirkland that I didn't - but they may well have been there and I just missed them given the number. )  It was all for a great cause.  Certainly they had been and remain at the root of my appreciation for the art of BALLET; one that my heart is proud to champion. 

The final wallop of inspiration came at the very end of Tuesday night when all 250 of the former NYCB dancers – including three ladies who had been on stage at that very first ‘official’ NYCB performance in 1948 – all came on stage and joined the current company.  That was well over 300 people.  It was something I shall always remember.  It was entirely life enriching.  I would not have missed that moment for the world.  I will hold it in my heart as long as I live.  I will attach a little film from Wendy Whelan’s IG feed.  It does, I think, speak for itself.    

https://www.instagram.com/reel/CxbaivrgpXK/ 

1 hour ago, Jan McNulty said:

 

 

I much preferred the BRB production (although I enjoyed both) because it got rid of those ludicrous moving buildings and I loved the additional duet at the start of act 2.

I'm with you, Jan ..... Plus - it seems - or so the Rehearsal Director said - that Acosta wants this outing for his Royal DQ to be 'faster' - Fat chance I fear with THAT orchestration.  I fear it does nothing my make my teeth grit - but appreciate there are those who seem to enjoy/prefer it.  To each their own.  Always was; always will be.  

Had smooth booking today.  That said:  Never bought so little before and remarkably the opera o'reweighed ballet this time.  Sorry not to be able to get a place for Draft Works but I do understand these things are no longer for the realistic purvey of the likes of me.  Understood.  

FAO MODERATORS - Wonder if the commentaries dealing specifically with the Prisca Zeisel affair (short of the initial news item) might be worthy of a separate strand since it now seems to have taken on a life for itself.  I so value this specific BcoF strand as it gives valuable and immediate news about work/events in Germany, Austria and Switzerland.  I fear the over abundance of current commentaries on just one specific issue might muddy this oh, so valuable and certainly much valued service.  

6 hours ago, ChrisG said:

Peck removed this age gap which obviously was valid in balletic terms, and it ended up being a young man’s hormones that were on show! Maybe Kevin O’Hare will give Peck a commission on the back of it, or even Christopher Hampson, who I think I also spotted in the audience. 

Tiler has two performances as the Rubies Lead to dance in the first week of the NYC Ballet 75th Anniversary Season - casting here* - commencing on 19th September and even more I assume on the weeks that follows which sadly led to her Leeds absence I'm sure.  Not surprised that the male role was featured in her ballet as - and noted by her in an Leeds interview - she staged key passages of the piece with herself and her partner, NYCB principal Roman Mejia, initially demonstrating to the Company.  (Would love to have been a fly on those walls.)  Without doubt he is one of the world's star dancers now - as referenced by Ratmansky.  It's impossible (at least for me) to take my eyes off him at any point while he is dancing.  So look forward to seeing this piece in the LInbury after the NYCB Fall season.  

*(Now that Tiler is doing Rubies with Mejia it means that she won't be doing Emeralds which is heart breaking as she was SO good in it.  Still, can't wait to see Mira Nadon with the wonderful Davide Ricardo in those assignments.  Also doing the Rubies is Megan Fairchild - who is IMHO a 'better-than-ever ballerina in this the Autumn of her career and the stunningly young and vibrant Emma van Enck - who attended the RBS prior to going to SAB.  She makes her debut in the Stravinsky alongside the wonderful Brazilian Jovani Furland in his initial NYCB outing in this role - (although he may well have danced it before with MCB).  As to Diamonds Sara Mearns will I'm sure glitter - being too better-than-ever since her return - at least in my experience - alongside Russell Janzen in his final NYCB performances.  So look forward to seeing the combination of LaFreniere - who was so vivid in the Balanchine/Robbins' Firebird last Winter and Chan - who is the very personification of strength and elegant precision.  So much to look forward to.  Above all I can't wait for the opening night - when three ladies who were in the Company in 1948 when the 'official' NYCB began its exciting life will be present and each act is set to be introduced by originators from the respective ballet - which in terms of Rubies will mean McBride/Villella and for Diamonds - the ever-eternal combination of Farrell/Martins.  So much to look forward to in the House that Balanchine built.) 

Dear Bridiem - I see - JUST TO BE CLEAR - I ONLY mentioned Evdokimova in this instance because I thought she was a spectacular Titania in Onegin opposite - as I recall - Sombart.  (He danced with so many great dancers in the role.)  I have to say I saw Evdokimova dance much more with ABT - where she was a 'house dancer' - more than I did anywhere else.  Indeed, in a way it made me laugh.  I remember some people complaining when Evdokimova was on - much as they foolishly did with the stunning Martine van Hammel (did you ever see her????) because they weren't what they deemed as one of the ABT stable of stars which was vast at the time.  She gave oh, so many thrilling performances both in principal and soloist roles.  I especially enjoyed her in Tudor.  

7 minutes ago, bridiem said:

 

I'm not sure why you quoted me before making this rather indignant comment, since I didn't mention Onegin or Baryshnikov or Don Q at all in my list. For reasons I can't now remember or understand, I didn't enjoy Onegin when I saw it in the 1980s and have only come to appreciate it quite recently, so I don't feel I can reasonably nominate 'definitives'. (And of course others may well not have seen the performances in the 1980s.) And I didn't include Don Q because it's not a ballet that is really important to me (and no, I haven't seen Baryshnikov in it, either live or recorded).

Dear Bridie, with all due respect - I'm not aware that I quoted you AT ALL.  I was merely commenting on the choices for Oneign as I thought I said: 'In terms of Oneign'.  I'm sorry that you took offense at mine - and i must confess I have certainly just done the same at yours - but I know -at heart - that it was simply a matter of confusion so it is not an issue whatsoever.  I send every good wish. 

8 hours ago, bridiem said:

le to say that any one interpretation of a major role has been ‘definitive’ because, no matter how brilliant it was, that would exclude too many other interpretations of e

Am I just VERY old? .... I'm amazed - nay, flabbergasted - in terms of Onegin that not ONE person here reflects the likes of Haydee (for whom the role was created after all), Maximova, Seymour or Evdokimova for Titania or Sombert or - for heaven sake - Cragen in the title role ALL OF WHOM DANCED IT FOR LFB IN LONDON BEFORE THE ROYAL EVEN ATTAINED IT (and that is to take NOTHING away from the likes/heights of Cojocaru, Rojo, Reilly or Kobburg).  It's interesting certainly to me that the selections outside of the Royal - and the now historic Russian visits - in so many instances seem to be ones celebrated on video (e.g., Baryishnikov in DonQ - Did he ever it dance it here?  I'm not certain ... I thought he really danced here very little - perhaps a tad more than some, like Damian Woetzel who the great man said 'out-Baryishnikov'd HIM')  Vividly I remember seeing Baryishnikov in DonQ many times but that was with Kirkland and Bujones (as Espada) during the so-called 'dance boom' -- and was certainly not on these shores.  

I'm not sure about 'definitive' for - as I get older which it seems I'm rapidly doing the older that I get - I begin to doubt my own memory which I used so to depend upon.  That said the other night I stumbled across a video of Suzanne Farrell and Peter Martins in Allegro Brilliante and I realised that was the first cast I saw in the ballet.  Like SO many with Suzanne she marked them for me forever - even in face of the truly blissful mastery of Tiler Peck whose musical zeal blazes in it.  Even when I watch the roles I saw Suzanne in - oh, so many - certainly second movement in Symphony in C with the changes Balanchine put in for her, the last movement in Vienna Waltzes, Chaconne and - 12 oh so memorable times in Diamonds - I see her shadow even now.  It was her back.  It STILL leaves traces - much as Wendy Whelan did in so much - certainly Robbins' The Cage - and especially those many pieces that were created for her - a vast amount - including Forsythe's Hermann Sherman and much Ratmansky (for whom he said she was understandably 'a muse'), which include such world masterworks as Concerto DSCH, Pictures at an Exhibition, Namouna, and Russian Seasons.  These women haunt.  It's strange as when I very first saw them I wasn't sure that I liked them at all.  (I remember Wendy joining NYCB fresh from SAB - where I'd certainly seen her in the showcase - and she wore bright, BRIGHT red lipstick and you could watch her mouth the counts.  Indeed, we used to say: 'Count along with Wendy'.)  Rapidly I became devoted - and still am.  That is, I suppose, testament to their definitive talents for which I am EVER so grateful.  

Another performance I will always remember was at a (half empty) Wednesday matinee - DECADES AGO - of La Sylphide (Erik Bruhn's production) in Canada.  I was taking my PhD and had bunked off to see the ballerina, Nadia Potts as I rather liked her.  I forgot who was originally cast as James - but he was replaced at the last minute.  There was an announcement on the vast theatre's tanoy.  They had brought a graduating student in from SAB as the replacement.  They said the name but I certainly didn't note it at the time.  The curtain went up and - MY WORD - once seen, NEVER forgotten.  Certainly I have NEVER seen the role BETTER performed.  I was dashing around afterwards asking patrons and staff who he was.  No one seemed to know.  I went around to the stage door and the Doorman told me the name:  Fernando Bujones.  ENOUGH SAID.  

For me - in my own mind - the answer is a definitive 'no'.  There is just so much that comes flying in our direction nowadays - and we all have to determine what is useful and what isn't - in every walk of life.  If it isn't dancing in their (i.e., the dancers' regard) - then as far as I'm concerned - in terms of my own personal interest in DANCE - it isn't relevant.  I simply don't now have the time to spend on such frivolities.  

There are limits, of course.  If a dancer insists on having Putin tattooed on themself .... then .... well .... I'm sorry ... FOR ME ... that's where it goes beyond the BEYOND!!! 

Interesting to see that ABT will be doing Woolf Works in 2024 - I had thought that the Royal might have wanted to hang on to those rights but I suppose in the current climate an American tour by the Company will not exactly be on their cards.  Understandable.  

I wonder too if Ferri will appear in its American premiere season as she spent the large body of her career, of course, with ABT.  I'm sure that would certainly be celebrated when ABT is at the MET.  

'ABT will present the North American premiere of Wayne McGregor's Woolf Works at Segerstrom April 11-14,  2024' 

Now working for me too.  Hadn't previously.

6 minutes ago, Dawnstar said:

An email from ENB has just arrived with casting for The Nutcracker, both Giselles & Swan Lake. No mention of the triple bill next month though. Also as the casting says who will be dancing each main role but not the pairings or dates I'm not sure how helpful it actually is.

The email does say you can follow the link for the performance castings - but it really isn't functioning at the moment.  Maybe it just needs to be updated.  I'm sure that's what they intend.

1 minute ago, Sim said:

Well said, and I couldn't agree more.  There is something for everyone in it, and to rob audiences of it would be a crime.

and ... at least for me .... just 'bits' will not suffice.  

What you don't hear in those clips above is Mr. Toonga talking about his journey WITH BALLET.  Indeed he doesn't mention the word in terms of his own work.  Surely if it is going to be 'a development of 'ballet as an art form' it needs to be AN INTER-ACTIVE CONVERSATION - hip-hop included - but with the emphasis in/on the balletic idiom.  This is where, for example, it is VERY different from Kyle Abraham's association with NYCB.  He comes from a not entirely dis-similar background to the RDT's current charge but is willing and has embraced the balletic idiom in his NYCB efforts.  It is in this aspect that I previously struggled vis a vis Mr. Toonga.  That said, I can now clearly see how this fulfils the established theatrical commitment of the RDT - much, say, as it might, Adventures in Motion Pictures - which I now see as a close associate of the RDT in terms of their own purposeful drive - and, heavens knows, the former has been gloriously successful in carving out a dedicated audience.  Moreover, they truly cover this nation - as well as international ports.  They could quite rightly lay claim to a 'National' tag. 

For now I look forward to seeing what and how Mr. Toonga develops  - and really can only type those words with any sense of comfort as I've now clearly settled in my own mind what the over-riding structure of the core organisation supporting him in reality is.  (Thanks be to the RDT's noble leader.)  That said, I must confess I have not been particularly taken with those pieces I have seen of Mr. Toonga's work.  I will keep trying.  I'm sure there is something there to gain.  Just look at the response from the RDT artists.  I look forward to his future RDT development.  I can only now feel he is in a 'right place' FOR HIM - as he seems, himself, to suggest.  Good luck to him I say.

5 minutes ago, capybara said:

 

Certainly me but that does not diminish my interest in the RB's present and future.

 

KOH will surely not continue into his late seventies and there are may even be a number of 'hopefuls' eyeing the position as he approaches 60.

And here was me thinking that they might well be  'Call[ing Him] Madam'!

38 minutes ago, capybara said:

So, that ‘team’, the current overall shape of the rep., and the direction of travel which concerns many of us are unlikely to change until there is a new Director.

I have a feeling it could be a good couple of decades yet - and may well see a goodly number on this board out. 

Certainly I can't beat them - (wouldn't want to try) ... so I've proudly joined in support of the RDT Triumvirate well before their parade dances by - but - in more than equal measure also seen - as I felt was critical for me - to have a rightful balance where at least the frolicking leap of the forward march of the balletic idiom could stand at core.  Certainly I well know time waits for no man, (sorry, person).  

(In answer to Dawnstar, - since you quoted me - I know it is hard but I think we should be oh, so grateful for what we DO have.  We ARE privileged to have ENB and BRB as much as the RDT.  There are many on this planet who dream of having access to such.  Sadly I will miss ENB doing Theme (will have to make do with NYCB doing it) but I'm so glad I'll be able to see a goodly many of the Skeaping Giselles.  Before the dates were announced I had thought I'd miss a chunk.  I so love that production - one more akin to the Ratmansky that the Wright.  I oh, so ADORE that

fugue.  

Also to answer a number of notations as to a desire for foreign companies:  I think these will become - at least in the foreseeable short-term - (now there's a contradiction to dwell upon) - that it will be very UNlikely.  I think we have to remember that the 2023 TAB visit will inevitably have been agreed at the time of - and I think most assuredly BEFORE - the pandemic.  Certain costs and procedures would have been contained at that time.  Much in this world has changed.  The UK government hugely upped the arts touring requirements and visa costs for foreign entities.  Thus you really haven't heard any other announcements short of individuals and I suspect you won't.  The Americans had just earlier done the same - to an even greater extent.  I doubt you will be seeing the RDT - as a Company, say - in NY at any point in the near future.  Look at the Kennedy Center - apart from the past annual Russian company visits - one after the other - their season was chocker-blocked with international dance - including a lot of ballet.  The last season and next features virtually has NONE.  It's all indigenous - and cut down at that.  Tis a different world.  The Europeans are freer in this aspect - so Paris remains a haven - but even there it's not as keen a stunning array as it once was.  

16 minutes ago, capybara said:

Where is that tin, please?

I have never seen a written  statement outlining the RB’s vision and how that translates into the balance within the rep.

Without that, all I know is what I see  and interpret more as a mishmash response to current forces in society and the ballet world than a fully thought through transition from the classics/heritage rep. to …… what exactly.

Bingo, capybara. 

The TIN that I was referring to was the verbal one I heard with my own ears - delivered as it was in shards and only - but politely - issued when pressed.  I think, as ever, we have to look between such lines and let our native instincts fill in the proverbial gaps.  We don't, I think, have many other options in real terms.  It seems on this Forum many have been more than accurate in doing so in the past few years as reality itself has illustrated.  I, too, would love a written statement.  I suspect that kind of material - where it is to be found - is woolly at best and lodged in funding applications scrawled by paid consultants who are simply feeding back what the particular money sources have already fed.  In short, dry spin.  That's a different kind of dance altogether! 

57 minutes ago, bridiem said:

 

I'm sure that most of us would love to see more modern BALLET at the RB; most of the new works we see are either full-blown contemporary dance or a sort of hybrid where a bit of pointe work is thrown in to make it look like ballet. Why this sort of work is deemed preferable to new work using the classical ballet idiom in which the dancers have trained for many years, and/or high quality existing works in that idiom, I really don't know.

I so agree, Bridiem.  The fact remains that the Royal's (RDT) Director does not see such as a 'priority'.  We can't get around this.  I can only feel that the Trustees are fully on board with this - they must be - and they are, after all is said and done, placed there as OUR representatives - i.e., appointed to see the best forward movement for the Charity.  It is clear if we wish an alternative as opposed to what once we clearly saw a mainstay - i.e., both perceived and witnessed - we must on balance go elsewhere.  I, for one, have simply taken their firm guidance and, indeed, actions to heart.  That said, I am pleased to support our fine Dance Theatre in its efforts.  They are outstanding in this particular regard.  They do what THEY say on THEIR tin, i.e., the one now current and set - as has been clearly indicated - for the foreseeable future.

5 hours ago, Peanut68 said:

What???? Actually, in many ways I think you are indeed highlighting what some (the current AD especially) see the RB as....but have they actually checked in with those who should be at the crux of decisions about this? We, the audience, the dancer community, the tax payers, corporates & philanthropic individuals who generously fund surely should be consulted on this seemingly change of remit.....is it evolution or revolution I wonder? Frankly, if you read this forum I feel it is rather the latter with KOH leading the charge. I love lots of the more modern ballets (Woolf Works being one..) But frankly i can totally do without the strictly contemporary pieces. I couldn't really give  a hoot about showing versatility of genres by the RB...I just want to see sensational versatility within the boundaries of Ballet. I find it often cringe worthy seeing classical dancers do a commendable job of contemporary in a piece of work that would be so much better danced/performed by a pure contemporary dancer/company.

 

I agree with your first paragraph's sentiments, Peanut68, as I think I suggested in what I wrote.  I have come to terms now with what the Royal IS - rather than wishing for what it isn't - and seemingly has no intention of being (returning to?) within the foreseeable future.  As I said we can only live but in our own time.  I have simply found a way in which I personally can appreciate the core elements of the RDT (the Royal Dance Theatre) - and they are many as I have said - while still holding sway in the majority for myself to those companies where the balletic idiom remains prime.  For me THAT is a priority.  I realise that many cannot do this for any number of entirely understandably reasons - and certainly also that - equally understandable - it may not be as important a priority.  I simply have found a way - for myself - to have a comfortable balance in terms of expectation.  That is all.  In terms of 'bests' - should those EVER be apt - and I often think that they aren't - I strive to think it might be the best of 'both' of these differing worlds within our time's remit.  (Of course, time will ultimately tell.  It always does.)

1 hour ago, capybara said:

 

I agree that it's very sad and a bad omen that dancers such as Muntagirov are seemingly being underused at the RB. They are the Company's 'crown jewels' and are what keeps it 'up there' as (and I quote) "one of the world's great ballet companies".

 

Your initial comment today, capybara, FINALLY made me want to come out of my proverbial closet as per BcF which I've been privileged to be part of I believe since it first began and that was when the world still had the 'intranet'. 

I've been biting my lip for quite some time hereabouts.  Much as you said of TAB, capybara, I no longer think of the so-titled 'Royal Ballet' as of the 'first rank' of BALLET companies.  To my mind - in terms of the BALLETIC IDIOM - IT ISN'T.  What it 'IS' Is it a great DANCE company - OF THAT THERE IS NO QUESTION.  NO QUESTION WHATSOEVER.  You can rest assured of that.  It's the ballet bit in terms of the Royal that now sticks in my craw.  The BALLETIC IDIOM is no longer at this Company's heart (and here I assume that it still IS at TAB).  How could it be with the current Director's own philosophy? - and, yes, I'm certain Ashton, Tudor and the like are weeping in their graves.  I can no longer bring myself to call it the 'Royal Ballet' - I just can't - I'm sorry - and that is JUST for my OWN peace of mind.  I call it the RDT - the Royal Dance Theatre - as to my mind that is what it is - and IT IS A VERY FINE ONE AT THAT.  As a 'Dance Theatre' the ROYAL IS ONE OF THE BEST.  This separates it from ENB or even the current BRB methinks.  

Ballet companies can be very wayward beasts.  Blessedly Paris are now turning back after an age in the balletic dark it seems.  The greatest shame - THE GREATEST SHAME IN TERMS OF WORLD BALLET - AND THAT INCUDES THE UK WHERE IT PERTAINS - I STILL think is that Millipied left the POB - because he had - or was creating - a Choreographic Institute to be headed by Forsyth who - lest we forget - he had persuaded BACK to BALLET - (and THAT alone must have taken some doing) - and THAT I'm convinced would have had a major change for the perspective of BALLET in the 21st Century's cultural WORLD.  Still, the Parisians were true to form and squelched that turn; one they had themselves so bravely initiated.  

People can blame Peter Martins for many things - and God knows they I'm sure rightfully do - (and let it be known I was never a huge fan of his choreography - a few bits excepted) but he DID what he PROMISED Balanchine he WOULD do - The company would STICK TO A BALLETIC IDIOM AND BRING IT FORWARD.  Just look at huge amount of BALLETIC WORKS created for the various Diamond Projects (Hermann Sherman will have been one of those locals here will have seen).  Jonathan and Wendy - at least from my perspective - are doing a GLORIOUS job in that regard too.  IT AIN'T EASY.  IT CAN'T BE.  There's a world pulling against their tide.  Given that they are at every single performance and rehearsal - or at least one of them if not both - it's easy to strike up conversations in this regard.  STILL THAT OVERALL BALLETIC CONVERSATION IS NOT - AT CORE - HAPPENING HERE AT THE RDT's HEART.  Let's just face it. 

What IS here, HOWEVER, is JUST AS FANTASTIC - BUT DIFFERENT.  

I am AS grateful for the current NYCB balletic conversations as I am for the STUNNING ACCOMPLISHMENT of the ROYAL (Dance Theatre) in their commitment to the contemporary paths of McMillan and McGregor and the forwarding of such.  THAT TOO is well worth celebrating on a WORLD stage.  WELL WORTH IT.  It's just not BALLETIC at core.  To call it that is I think a disservice to the what the previous Royal Director took such pains to foster and what the current one is clearly holding tight as his mandate.  I celebrate both - much as I had in the past been proud to celebrate the so-called Royal Ballet - and I do sincerely cherish those memories - I was privileged to have them - but today it would be to diminish those (i.e, THAT heritage) were I not to find - or appropriately - have found a way to make peace with the current priorities and finding an appropriate terminology to acknowledge such.  Of course we will celebrate the Royal Ballet's past with the Ashton - and I CAN'T WAIT - but it is the future that must hold within any current title.  I NOW CHOOSE TO CHERISH THE ROYAL DANCE THEATRE.  

Were that NOT to be the case I would be joining One Pidgeon and WOULD BE OUT.  

AS IT IS, I cannot wait for the Royal to bring forward more new Dance Theatre for us ALL to celebrate.  They do what they do OH, SO VERY WELL.  It is the House they have built and it is a fine one.  

..... Got that off my chest .... I'm certainly done for today .... as I've let my own work pile up .... but it was, I think, time and certainly worth it.  For that, so, so much thanks, capybara.  

32 minutes ago, Balletfanp said:

He has only ever danced in Manon with Sarah Lamb (thus far) - but yes, he was fantastic.

Of course you are right - Thank you, Balletfanp.  They were BOTH stunning.  They seemed to feed a fire off each other.  That said, I would love to see him do it with Hayward.  Hayward is SO spectacular in that as she is in McGregor - as is, of course, Lamb.  The Royal dancers seem to become especially rich in what is their now committed dance idiom by dancing both.  This too is why the Pite sits so well with them I assume.  Wheeldon is very clever in creating works especially focused for their talents.  They are oh, so very different from those he creates for, say, NYCB, SFB or the Joffrey.  He sets those works expressly to the home Company's style.  I'm sure he is especially appreciative of these alternative opportunities.  

I should perhaps just add Peck (and that's Justin - not Tiler - although I have enjoyed the two things of hers I've seen too) to my list of Balanchine, Robbins and Ratmansky.  I so adore, say, his Rodeo (now the first movement of Copland Episodes).  I could watch it endlessly.  I used to so want the Royal to do Rodeo - in its original format (which I still prefer only because of a couple of minor bits - such as the use of the rope - that have been removed from it as it now sits) - and that only because I thought it would be a brilliant way to bring young lads into the ballet.  It so celebrates the football spirit which I know Peck himself is a fan of - and does so with stunning balletic delights.  After seeing TAB squeeze that movement of Everywhere We Go onto the Covent Garden stage I now know it really wouldn't be fair either to the artists, the audience or to Peck himself.  That, of course, beyond the knowledge that it too would not fit into the current Royal Company style as clearly defined by its rightly admired Director.  I would, though, love to see BRB or ENB do, say, some of his chamber works.  Belle Lettres is one I love and would work oh, so very well at Sadler's Wells - or Heatscape.  Still, there are a world of Peck works now to choose from.  I realise they are as foreign here - but then I know there will be a goodly number of world companies that will come to have these in time.  

32 minutes ago, bridiem said:

 

So presumably the RB would not recruit Muntagirov now? I agree with you that McGregor has had a huge influence on the company; I disagree that the effect has been 'glorious'.

I think that is arguable as you suggest.  Such a hiring would - in and of itself - no longer be - as clearly stated - 'a priority' - much as, say, Mr. Toonga's might not have been - or certainly so extended previously.  But then I haven't seen Vadim in a McGregor work ... but certainly he is a fine McMillan artist.  I so cherish the memory of him in Manon with Hayward.  Pure theatrical thrill it was.  I also loved him in Winter Dreams - and, of course, he is so celebrated already for his commitment to Mayerling.  He seems to be happy that he is in a 'good place' for him - and, after all, he seems - more than many others - relatively free to travel the world to find outside fulfilment as well.

As to the glorious bit, bridiem, some years back I would have struggled to hear myself type that.  Most certainly.  It was the current Director who helped me really to find a way.   When I found a route where I knew that I would be able to cherish was was important to me I began - in earnest - to really go and study the McGregor works.  I saw this Company grow in them.  I know he doesn't choregraph 'to' music but rather against it.  Still, I find much of this now so intriguing.  It is a celebration of fate.  To me that can be glorious.  I love seeing how his pieces fall and - given his mathematical predilections - seeing how the puzzles work out.  (That said there are some - like Multiverse - that I fear I simply can't abide no matter how hard I try.)  Now this Company is rife with core artists who are specialists in the same; who can best lead you in this contemporary game.  As long as I can have my Balanchine, Robbins and Ratmansky - my core forward balletic fix - (and I have 82 tickets for just the next current NYCB season alone - it's 75th - call me a 'NYCB promer') then I am more than game to join in the celebration of the McGregor cèilidhs.  It has come at a cost certainly but I feel I have been the beneficiary of such.  

1 hour ago, OnePigeon said:

I don’t want to see anyone doing McGregor 🤭.  

There's a world doing it.  I've seen McGregor works done by the POB, the Hamburg Company, the NBoC, ABT - the one NYCB disaster where it was found to be 'inappropriate' (and I say that so admiring much of his RB work where it is core) .... off the top of my head - and that's just me.   Again, no one does it better than the current RB.  They wear it like their own skin now.  This - post Stock - is what they are being trained for.  Indeed, I understand, that McGregor and Watson are now core in terms of the very selection of new dancers.  This is is why it has grown so glorious.  How I loved Untitled because of this.  Be proud of what you have I say to myself.  There's clearly a world that would love to be in your shoes.  

17 minutes ago, Sim said:

Well if the RB and other home companies were given the chance to dance these choreographers' works a bit more often, they might become more comfortable with their styles.  For those of us not lucky enough to go back and forth between NYC or other places abroad our only chance to see these works is if our home companies dance them, or we have to wait for the overseas companies to come here.  Of course no-one can beat the RB in MacMillan, or NYCB in Balanchine, but they should not be limited to what they are good at.  Dancers love a challenge, and therefore they should perform pieces outside of their comfort zones.  Otherwise things can get stale for them and for the audience.  

I SO agree with you, Sim.  Truly I do - and for that reason - as I noted in my remarks - I applaud David Hallberg for his sharing the range of works he has in his initial time with the Australian audiences.  That is NOT one of this RB Director's 'priorities' or, indeed, his intention.  As I say, you can't blame someone for NOT doing something they never intended to in the first place.  This would have been clear at the time of his engagement.  (He made it clear at the BA meeting noting that this was his intention from the outset - and I SO admire that kind of commitment.)  We can all take it or leave it much as in life.  At least there is something there to disagree with and not just general babble.  He put his cards on the table.  That too is surely a good thing.  I admire that - whether I agree with the pack or not.  That is MY choice much as it is yours, Sim.

I remember once doing a session some years back in a NY prison and being lucky to have Kevin Kline - who's a Shakespearean fanatic with an encyclopaedic memory - in the professional mix.  He gave the best advice I've ever heard given to a drama student - or indeed ANY student vis a vis instruction.  He leant over to the prisoner, smiled and simply said:  'Take the best and leave the rest.'

I remember hearing this at the time, turning and saying: 'Too right!'