Missfrankiecat

Oh my!

Just finished watching on YouTube slightly behind time and it has really whetted my appetite for this programme. I agree with the comments about how special it is that this generation of dancers still can have an almost direct contact with MacMillan's intention via the generation he created these works on. [I thought the same when I saw Muntagirov being coached by Sir Anthony Dowell in Ashton's Blessed Spirits just before lockdown]. Watching Ed Watson working with Marcelino Sambe was extraordinary - the movements must be so jarring for bodies used to classical technique. I know they are all incredibly fit but I wonder if the injury level in MacMillan works is higher than others?

I would echo what @Sim@LinMMand @Linnzi5 have recently written about the Manon run. I would not usually dream of seeing 4 casts in the same production over a matter of a few weeks, but can honestly say each of the different casts completely transported me on the night: I noticed different nuances and appreciated slightly different interpretations of the roles. Such high standards from all taking part. Overall I too had no favourite cast, but I will say Osipova and Campbell's interpretations of Manon and Lescauts' interactions made me reflect more about their sibling relationship and how central it might be to the plot. Their acting really made me think about a back story to their characters. Quite an achievement to layer that on such superb dancing. This thread has also been a rich source of information and insight into the other performances I missed, so thanks to all who have contributed.

She has palpable star quality. I always notice her.

@lady emily and @Rob S heartfelt thanks for sharing your video and photos. Although I was there, it has been lovely to wake up this morning and re-live the warm farewell to Alex - with much better detail than the myopic peering I had to do from up in the god's last night! Like others, I feel so fortunate to have enjoyed watching Alex dance and listen to him talk over the years and to be there for the final fling last night. It was a joy to see the company publicly celebrating a fantastic talent, well-realised in a successful dancing career, and an obviously loved friend and colleague. I found the white rose presenting procession of leading ladies very moving, along with Vadim's bear-hug and non-assisted lift, and the presence of Lesley Collier. Alex's "hour long" speech was typically articulate and well-judged (despite the obvious emotion); it is easy to imagine that his skill set contains many qualities which will see him do well in leadership roles in the future. I probably haven't seen him dance as many times as others here and it seems almost trite to pick my favourite performance as Hans Peter with Frankie Hayward as Clara in Nutcracker, but to me they were the most perfectly wholesome and sincere personification of every little ballerina's dream.

It all feels a bit understated up here in the gods of the amphitheatre-I am feeling mournful

She will miss him a lot. I've seen them live a few times but I most think of them as a dance couple in a BBC film about preparations for the Nutcracker - Frankie's first Sugar Plum - and Alex was so calm, kind and supportive of her, like a big brother (of the best kind!). Along with the serene Lesley Collier coaching and grand-fatherly Sir Peter Wright looking on, it was a wonderful antidote to the stories of poisonous behind the scenes ballet relationships peddled in some films of the time.

Well, I'm not getting much work done this afternoon researching these fascinating facts but it The London Ballet Circle "In Conversation with Cesar Corrales" in 2021 records this from the(taller than he looks!) horse's mouth. "Linda said: “ You were actually quite small here for 15.” He responded: “ Yes, I was a slow grower. I thought I was going to be very, very short. I was very sad about my height as I was always the shortest in class. Mum decided to take me to a doctor because I was getting nervous about my height. They actually had a prediction that I was going to be 5ft 5 inches which is super, super short. Luckily it didn’t turn out that way. I’m 5ft 11 inches. I’m a good size.” Mind you, I'm often amazed at 5'4" me looking eye to eye at men who claim they are 6'.

I hear you. I aways think of Corrales as being relatively short. I've found the article (it was the Telegraph last Oct, not a women's mag but it was a fashion shoot!). Here's what was said about heights: "I’m curious to know how she and her 27-year-old Cuban-Canadian beau navigate the pressures of living and working together? ‘Well, you know, I don’t think we dance together as much as we could, because actually it all depends on heights.’ (Corrales is 5ft 11in, Frankie 5ft 2in.) ‘Some real-life ballet couples end up dancing with each other all the time. I think we dance together for just the right amount, so that we can enjoy what we do, but it’s not all season long!’ " I'd link but I have the idea we're not supposed to on here.

Posts starting on Instagram now from colleagues etc . Vadim is missing his dressing room buddy and having a final giggle in class. Claire is showing a lovely montage of photos from the years.

Quite. Re Francesca Hayward dancing with Cesar, I seem to recall reading an article relatively recently (when she was preparing for The Limit) in a women's/fashion mag where she was asked about dancing with her boyfriend and said they enjoyed dancing together some but not all of the time. She also said height was a factor because she claimed he is a lot taller than her (!) and so sometimes it was better to be paired with a partner nearer her height.

Maybe send her a message to get a move on next time in Act 2 - we've all got trains to catch after all!

I watched him quite a lot on Wednesday due to our position in the SC and he definitely had an eye on the dancers .

@Lesley If Swan Princess doesn't want the balcony ticket, I would be interested.

I thought this tempo was a deliberate choice - Kessells watched her very closely - because it shows off Nunez' phenomenal control and balance, her ability to 'float' in transitional movements and, interpretively, was conveying the labour of Odette's anguished imprisonment in swan form. Of course, this pace is a lot harder for less technically gifted dancers to follow.

I wasn't there last night but some colleagues were. They loved the production (3/4 hadn't seen the Liam Scarlett version before) and thought the swan corps was sensational. Much love for Benno and Von Rothart and the national dances. Some disappointment with Cesar and the partnership with Mayara, I'm afraid. Probably the same issues as above although it was really that they 'looked awkward as a couple when they danced together' that they described. But overall a good evening was had!

The boxes have been on for a couple of days - unsurprisingly, they don't seem to be shifting as its a lot of money unless you are a foursome, two of whom don't mind seeing practically nothing of the stage! But I have seen singles and doubles at £140 (stalls), and several at £99 or under dotted round the auditorium today, including one balcony standing! All moving very swiftly. I managed front amphitheatre eventually, which is about right for me on my own just to see Campbell's farewell.

Quite a few popping up today, especially after 4pm - they don't seem to be able to get rid of the boxes but others at various price points have appeared briefly so definitely worth checking in. I finally upgraded my very poor amphitheatre seat snapped up earlier this week so persistence pays off!

Anyone dying to see a final Manon tomorrow night and/or shed a tear for the departing Alex Campbell, there have been quite a few tickets at all prices popping up today, especially after 4pm. Worth periodic popping on the website if you are looking. I managed to upgrade my amphitheatre seat in the last half hour.

There was great disappointment in the section where we were seated that Luca did not make a curtain call - his Benno was very well received.

I absolutely understand that you weren't questioning their performance and I agree it would be nice to see other performances in a run reviewed [and I am aware, from a freelance dance writer acquaintance, that, at least on occasion, potential reviewers are offered a choice of dates/comps to other than 1st night]. But I was simply disagreeing with any suggestion, perhaps misunderstood, that others should get 'first night' dibs on the basis that these two have been reviewed before in the roles.

Any suggestion that first night casting was misplaced surely laid to rest by the reviews so far in, since no Artistic Director in his right mind would want to forgo first night notices like these. The Times and The Stage both giving 5 star ratings and superlative reviews of Nunez and Muntagirov (and everyone else). I particularly like that both pay fulsome tribute to Liam Scarlett's choreography and vision. I would link but I suspect we are meant to go to the Dance Links thread for the day.

Yes that was unfortunate - I was in extreme right SC so my view was slightly obscured but I thought she was having a cosy chat with Gary Avis pending curtain calls!!

I think, other than Nutcracker, SL is the most suitable classical ballet intro for children, especially if already into some form of dancing. Wonderful music, traditional costumes and lots of visual interest apart from the 'pure' dancing. Hope he has a wonderful time.

I'm the same. Fully intended to return tickets for 6.4 (booked because I was unsure I would be able to make last night's mid-week performance) but now thinking that if there is a chance of last night's magic being repeated, I don't want to miss it. There are so many excellent dancers in the company atm, it seems, on one level, ridiculous to watch one pairing more than once but last night reminded how exceptional these two are.