Bruce Wall

NYCB in their playbills lists ALL DANCERS performing. To do otherwise would be in breech of the union regulations and they would be brought up on charges. Where there are cast changes they are (i) changed in the electronic casting notices; (ii) announced from the stage if late - and, if in time, (iii) have paper inserts in the playbill itself. Sometimes all three.

DQ - 3 Cellist - 2 Dante - 6 (You get to see the greatest range of the Company here - and they look so comfortable in it) Limit - 1 Northern - 3 Nutcracker - 3

Deleted - see below

Overall I had a good time at the gala this afternoon and it was a wonderful way to bid a long farewell to TAB after their short UK visit of 2023. I am fairly lucky in that I have seen the original casts in the full length pieces that others have said they like to see with their original companies (both American) A few points - and I'll reference 'serenade's review quoted above - as it seemed to be along the lines of so many. Harlequinade - This is another of Ratmansky's reconstructions of a Petipa ballet according to the Stepanov notations lodged at Harvard. I thought - much as I did about his performance in the Emeralds PDT - that Marcus Morelli was - in a word - well two - simply SUBLIME. I SO would like to see more of him. He has I'm sure a great future. He was well matched here by Sharni Spenser - surely one of the strongest ballerina's in the current Company - in terms of technique, musicality and dramatic aptness. I thought too the corps also danced very well and it was lovely to see Robert Perdiziola's exquisite costumes featured on the ROH stage. What I really missed was the mis-en-scene he created - i.e., the scenery - which was in both its motion and colourful sweep entirely bouffant in its airiness - and managed in its various guises to somehow lift the entire piece. Those, however, were built for a much larger stage and would in their construct certainly not be apt here. (Much as the size of the Met simply swallowed up the intimate nature of Cathy Martson's fine Jane Eyre created for Northern Ballet.) The NYT critic wrote 'This Harlequinade' suggests, at least, that not all Petipa deserves full restoration'. I have to agree. I think it is much better when it comes as a simple quotation as here. I happily joined in its thrill. If you wanted to see a two act reimagining of the same, Balanchine did one for NYCB which is a total 'family' delight - and features a large company of children who - as ever with Balanchine - dance the same steps as the adults. Of the Tchaikovsky PDD I thought one aspect of today's performance highlighted one difference (much as 'serenade' referenced) from those seen locally. That was in Chengwu Guo's solo variations. Both were, I thought, very fine indeed - and made especially so because of the vociferous silence of his landings which allowed the choreography to WHOLLY join in its celebration of the music. This is due to the deep plie he deployed - one that Balanchine always insisted upon and such as he ensured were wrought by the NYCB Company men through the teachings of Stanley Williams. This tradition carries on rightfully to this day. Balanchine demanded this from his men as for him then - as at NYCB today - music ALWAYS comes FIRST. (Where Balanchine wanted the feet or other body parts to be heard he would choreograph such into the works themselves much as many on this board will have seen this week in the Rubies' foot (Tall Girl) and hand (Principal Woman) slaps. I well remember in rehearsal (on those occasions I was lucky enough to attend) Balanchine would turn to Robert Irving (his conductor) and have him speak to the dancers FIRST before he addressed them himself. This, too, separates the NYCB traditions from other companies with very different and certainly much valued priorities. On Everywhere We Go - I first saw this Peck work (created in NYC in 2014) during NYCB's Paris visit in 2016 at its premiere there with the original cast (i.e., the whole piece) at the Chatelet. Memorably it had 22 curtain calls. The Parians had already come to love Peck's works as the POB already had a number in their rep, and indeed a creation, 'Chien et Loup', made expressly for them that year. While I was delighted that one of the larger Peck ballets of which there are now a great many was being featured here (even if only in part) at long last - and I sincerely was - it did look strangely squished on the smaller British stage. The full swell of Peck's sweep - which certainly you could get an indication of thanks to TAB here - was (inevitably) missing and you could sense the dancers attempting to measure space. Too, the magic of the changing symbols backdrop was somewhat 'short-changed' as a result. Seeing the extract today I certainly don't think this would be an appropriate address for the work as a whole. (Rotunda - a work from Winter 2020 which I was at its premiere in NYC - is very much a Peck chamber piece and will be well suited to British stages when it is shown by NYCB at Sadler's Wells next year.) I loved the fact that they listed the dancers after the first names of the original cast members. (They don't do that in NYC!!!!) You can hear the wonderful (and now retired) Sterling Hyltin speak about creating her part in the original production in a NYCB video here.) Can I just add that I thought Yuumi Yamada was ENTIRELY EXQUISITE in Sterling's role. What a tremendous dancer she is - and her speed is very much akin to that you would witness seeing this ballet in the relative largess of its State Theatre home. Certainly her performance cheered me no end and was a highlight of the overall day and assuredly in this very happy run. Thanks you so much TAB.

Best combos so far this evening in TAB's fervid performance of Balanchine's triumphant Jewels. Bless Sandra Jennings for having curated so effectively on behalf of the Trust. Her work here speaks for itself. Once again Marcus Morelli charmed radiantly in the Emeralds PDT - how I wish I could see him do it again - but I was propelled to write now because of the dazzling enticement that was Yuumi Yamada's take on the second woman's PDT solo following his own. It defined soulfulness. She more than sparkled; she coruscated through the stealth of her grace-filled glint. To add to this rapture the euphoric flicker of Benedicte Bernet's sweetly dominant Diana in tonight's Diamonds added lustre to the ROH's historic gleam. This diminutive powerhouse appeared to gently stretch its very dimensions. Here one didn't require the skilled artifice of the recent RB Cinderella's lit circle rounds. No, sir - 'Why?', you ask. Simple. This ballerina didn't just glitter; she blazed. Everyone present was enveloped in the heat of her heart. Its reflective bliss practically blistered in euphoric communion. It was more than a delight to witness; it was a privilege.

Some people might find this recent Balanchine insight from this year's Vail Dance Festival of interest (you see a very, VERY brief clip of Tiler Peck and Roman Meija rehearsing Rubies PDD in it and Roman in Prodigal Son - CAN'T WAIT FOR THAT) with dancers from NYCB, POB and NBoC as well as Robbie Fairchild - and surprise, surprise - even the truly GREAT (and long retired) Damian Woetzel in the finale of Western Symphony. Enjoy. https://www.facebook.com/watch/?v=310504644763250&ref=sharing

Thought tonight overall was a much tighter performance and wanted to pay special kudos to Marcus Morelli for stellar work in the Emeralds PDT. So lithe and clean with stunning dramatic accents to add to his overall sweep. (Would love to see him - as noted in his rep schedule - as Stanislav Nikinsky in Neumeier's Nijinsky. I can see him being excellent in that.) Also, Sharni Spenser shone with asserted musicality in the off-balance aspect of her first Diamonds solo. Happily the local musicians kept to tempi there and she more than brightly took their lead. She deserved the spontaneous applause. The orchestral rendering of Emeralds was - blessedly - also MUCH improved over last night's unfortunate effort. Well done, Jonathan Lo, for clearly making that happen.

Hi Anna - Sent you a PM.

Giving new significance to the term 'National'. .... Things ain't what they used to be ... or so it appears. As with so many other things hereabout .... it's diminished.

That's the Nijinksy Gala, Dawnstar, and has lasted that long for years. Next year's is the last under Neumeier's leadership and is scheduled to be six hours in length. I've always enjoyed those I've attended - and the much appreciated guest participants.

Too little; too late .... Should we be surprised? Neva!

Got my tickets - after waiting for the ones I had already booked to be returned unto their cyber space - bar one which was taken up by someone else in the interim understandably. Feel like they should PAY ME to be a FRIEND given the major frustration levels they have levied for oh, so many. The service - as ever - speaks for itself.

Shocking .... Outraged .... but not I suppose surprised .... Had booked 21 tickets so far - after much 'hanging' about ... Got Error 500 - had already had ticket limit ... went to pay for what I had booked and all that came up was the donation key. Fat chance that. Tried again - everything had disappeared. Again - Error 500. You've outdone yourself ROH.

Alison - based on the NYCB version - ENBS is just doing the four opening corps segments plus a modified finale without the soloists and principal participatory elements - and certainly minus all of their (i.e., principal and soloist) pdd and solos which make up a good portion of the original - which itself runs 40 minutes in total in its entirety. Hope that makes some sense. In short - and in answer to your question - no, it is not the whole thing - much as La Sylphide is very much a truncated concert highlight version. This allows the ENBS to also showcase brief premieres of work such as have been created for the students.

I have to say, Sim, it made me wonder what might be in those drawers below???!!!!

I agree, capybara. I was in fact writing partially in jest for the reasons you suggest - and wouldn't have mentioned it were Kish not to have focused on the 'Royal Ballet' so much in his commercial (i.e., titled) nomenclature. Just also wanted to say I saw Alessandro (the younger Frola brother) aside the truly STUNNING Japanese ballerina Madoka Sugai in a glorious performance of Neumeier's wittily poignant Sleeping Beauty in Hamburg recently and you can well see many qualitative chips off his fraternal block mixed alongside a sweetly innocent beam all his own. There was no question but that his was in every considerable inch - replete with those oh, so long legs which he deploys to assured advantage much as, say, Sarafanov was wont to do - a very questing prince.

Interesting that both of the Kish 'Royal Ballet' galas noted in the IG links quoted above include Frola (Francesco not Alessandro) .... Wonder if this is beginning to tell us something, or simply that Kish also had Frola appear in the 'Nureyev' galas at Drury Lane last September. All other dancers itemised it seems are contractual members of the official 'Royal Ballet' roll.

I wonder if the new director gave any consideration to this 18 year old BRITISH dancer, Taiga Kodama-Pomfret, who you can see here in Corsaire (also in ENB's rep of late) bits from his recent Vaganova Ballet Academy Graduation Recital. A bit about Taiga can be found here.

Tangential interest here - (and not worthy of a new strand but might be of interest to some BcF readers) - Former ENB dancer - now a principal alongside his wife in Munich - Yonah Acosta - stars in a new film.

It was 'the' as far as I was aware, capybara .... He was saying that he was not particularly interested in bringing in core 20th Century or 21st century 'balletic' masterworks for the company as they were NOT a priority ... but THAT (i.e., the dreaded 'the') definitely was. He has - at least as far as I can remember - been true to his word.

Seemingly so - or certainly as long as the current Director is in place which I assume is for the foreseeable future. I remember at a BA meeting with O'Hare - i.e., his most recent one - his saying that such was the 'definite priority' for him. I well recall those being the words he used.

Perhaps not worthy of an item itself, but interesting to note that BRB will be involved with NY's City Center Fall for Dance programme in their next season announcement - City Center’s season will kick off with its 20th Fall for Dance festival (Sept. 27-Oct. 8), which will include a collaboration between Sara Mearns of City Ballet, the choreographer Bobbi Jene Smith and the bass-baritone Davóne Tines, co‐presented with Vail Dance Festival; as well as the premiere of an original work by the street dance artist Ephrat Asherie and the tap dancer Michelle Dorrance. The two-week festival will also include performances by Birmingham Royal Ballet, led by the director Carlos Acosta, and by Bijayini Satpathy, an interpreter of the classical Indian dance form Odissi.

In answer to your question, Emeralds, I would say on the significant scale - NO - as the situation has been building for YEARS. The NYCB administrative powers-that-be have been toying with so-called 'dynamic pricing' long before it entered unto the UK fray. The Fourth Ring - outside of the orchestra/stalls - is the largest section of the State Theater and has been/is - for the vast majority of performances now - short of the most popular (e.g., Nutcracker, access programmes, retirement specials, etc.,) largely closed off. In the past few years the third ring has often been closed off too. I do understand - NYCB does not - and indeed never has - received anywhere near the government subsidy that, say, the UK's Royal or ENB proportionately do. NYCB dance more and produce more simply because they have always had to in order to maintain the support base they have quite rightly achieved as a truly world class entity. To give the NYCB team their due they have made provision for the young - allowing very generous discounts for those Under 30 and have even maintained a small range of tickets - now in the orchestra and (largely) second ring - that are more affordable - especially compared with, say, Broadway prices. Those tickets are currently (i.e., if you walked up to the box office today) $38/£30.40 before NYS tax and facility charge. (Basically after those they come out at $42.50) They are next season even kindly going out of their way to maintain that level for people who were registered as current subscribers in the 2022 season - understandably not wanting to lose their patronage. In my 2023/24 subscription (72 tickets) I have kindly been able to buy the same seat I had in the 2022 season for $40. I can promise you I am most grateful for this as for decades NYCB - from back in the days when Balanchine was still there in the flesh to rule - has played a very important part in my cultural life. In many ways it built it. That said, I am concerned - as those same $40 seats kindly granted to me in the 2023/24 NYCB season will for future single ticket buyers - and indeed any future NEW subscribers - or even established subscribers wishing to change their level - now be $73.00 before the tax/facility charge. $73 in effect will be the new $38. That will be lowest price it seems and THAT is - at least from my perspective - a HUGE increase. Now, that would not be unusual for key Broadway entities today - but certainly it would have taken the root out of the historic construct my own passion from the days - and it was long ago I understand - when I used to commonly frequent the Fourth Ring standing room in State Theater - now largely unavailable. Those days are clearly gone - I just don't want to see the core ethic that built and supported such genius for our world - the balletic one that is - be destroyed in the world's economic wash. With Wendy Whelan and Jonathan Stafford at NYCB's helm I sincerely don't think that will happen. They have - from my purvey at least - done an outstanding job in often hugely difficult circumstances. They have resolutely maintained and developed the balletic idiom - much as Tamara Rojo did with ENB. Certainly it will, I fear, be sadly much more privileged than it ever was before - but then it is exactly that, a privilege to be able to share in the on-going development of the genius that Balanchine and Robbins rooted and that Peck and Ratmansky now help to move on. Thankfully it DOES exist ultimately as a boon to us all. The other week I got on the subway - it was a Number one local train - at 137th and Broadway and was surprised and delighted to find myself sitting opposite none other than Edward Villella. We had - amongst other things - just that conversation all the way down to 66th Street. That too was a privilege. He had been coaching Robbins' Faun for NYCB which he originated. He said he saw Roman Mejia as his successor. I SO agree. I, for one, don't care what it costs. I'm not missing - while I can - the construct of such a career as that. If I know anything I know that you can't buy the time back. That is a personal choice. I am fully aware of that. I was in Munich on Sunday to see two performances of the new Ratmansky Tschaikovsky Overtures - in large part because I very much enjoy Ratmansky and know his work is not hugely popular in this country (thank you, the late Mr. Crisp) and - without hesitation - wanted to again catch up with the stunning magic of Shale Wagman - now in party with so many dancers who once were with ENB. What a glorious training ground ours is and how wonderful to be able to see them move on and flourish balletically. We can ALL be rightly proud of that. I'm sure ENB's prices will rise too - but that is all party with the world we live in. Now, as ever, things come at a cost - and it remains a matter of choice - but happily the digital regimes have at least made sight of such entities possible for many more. NYCB's recent programme in Madrid's lovely opera house - Teatro Real - of Balanchine's Serenade and works by Robbins and Peck never seen in the UK will be broadcast for free on PBS (America's Public Broadcasting Service) and its satellite outlets. I realise it is not the same as seeing these things live - as I do what I can to make sure I am privileged to do - (again it is a choice) - but then our American friends do not get to champion such treasures as the full Dante Project by the contemporary British master - McGregor - live either - not to mention the wholly stunning performances of the Royal's fine dancers in what they now do best - in what what they now are built for - were it not for the digital world - or should they chose to travel - as clearly some do. We can only ever live in our time - and this time continues to give so much. We should all I think feel privileged to have access to such blessings.

Dear Mary, I so wish that there had been oh, so many more who felt as you obviously do in 2008 in London when they clearly had just that opportunity. Sadly as reality informed, such was not to be the case. I, myself, completely understand that, however. The education for the majority - from a core balletic perspective - necessary to support such undertakings simply had not been in place. Sadly I think in many instances that is the same case for younger audiences in NYC today. It is not the Balanchine and Robbins programmes that they are cramming into - short of the access performances. The youth support IS there - but so many of the senior contingent that historically would have encouraged them are very much now a dying breed. Still, the new IS selling at both addresses. I will place my faith in this instance in Mr. Spalding. I don't think we have much choice. I am assuming he will know what will sell today for his native audience. If it doesn't then I think we will have every right to be very disappointed. Certainly it worked a trick with Tiler Peck's glorious programme - such as I hope you, yourself, were able to enjoy. It was certainly worth travelling for - as members here reported. I know I had friends from NYC who flew over to attend it as they had so enjoyed its precursor presented in NYC's beautifully restored City Center - a venue where so many of Balanchine's fabled works were originally staged.

I don't think we should be so entirely harsh - Here is NYCB's Anthony Huxley talking about Duo Concertant - and you see him dancing in it here with the TRULY stunning Indiana Woodward - We should be so lucky! -