Mandy Kent

Any Oklahoma! fans here in ballet land?  There is a famous ballet/dance sequence in the original film. I first saw the stage show at the National Theatre with Hugh Jackman as Curly and Maureen Lipman as Aunt Eller. It was a traditional version and for me the benchmark for future Oklahoma!'s  I've also seen the Prom version on Youtube with the wonderful Robbie Fairchild as Will Parker. 

At this matinee performance at the Circle In The Square Theatre, New York City, there was an updated edge to the show. The attractive confident cowboy Curly (understudy Denver Milord ) carries a guitar and accompanies himself through 'Oh what a beautiful morning!'  ...Jud Fry ( Patrick Vaill) is a nervy disturbed young man rather than the ignorant brute usually depicted. The scenes in the Smoke House took part in complete darkness, 'Poor Jud Is dead' in the pitch black being rather weird and chilling rather than funny. The female actor playing Ado Annie , Ali Stroker has a disability requiring her to use a wheelchair but her characterisation, choreographed movement and voice were superb, she is so vivacious and talented and has been deservedly nominated for a Tony award. During the interval the entire audience were offered a meal of red chilli beans and corn bread which most of us lined up for, delicious! The dance sequence ( Laurey's dream) was a very contemporary affair with unusual back lighting and magnified images on the plain wall behind us. Rebecca Naomi Jones was a very sulky Laurey, I thought a little hint of her true feelings might have made her easier to believe.

So, yes I enjoyed it but I felt great sympathy for Jud, especially at the end when Curly is given a self defence verdict and gets off scot free.

Interested to hear any other people's views on this old but great musical...

I’ve now read up some previous discussions on Song of a Wayfarer and realise that Hallberg’s character represents Destiny and he is leading the Young Man , Gordon, ever onwards to his ultimate fate... This makes sense to me but even though I didn’t know the synopsis when I wrote my review, my feelings of a relationship progressing to a sad despairing ending were from the heart . 

Part c should read music Symphony in C 

Ballet Festival at The Joyce Theatre Programme D  Fri 17^th August

Programme curated by Edward Watson

The anticipation of a whole evening featuring and curated by Edward Watson had me sitting on the edge of my chair from the opening bars of Qualia Pas de Deux until the close of the programme.

In fact, owning up to my gushing fandom and the real reason I flew 3,459 miles will not come as a surprise to anyone who knows me. Following an injury which has kept Watson off the RB stage for over 18 months, it was a joy to watch him and see him fully fit and better than ever.

This evening of works by some famous, some lesser known choreographers created an overall ambience of elegance and finesse. With the super talented Sarah Lamb, Robbie Fairchild and Maria Kowrowski joining Edward Watson on stage, this evening was destined to be amazing from the get go.

First Half:

Qualia Pas de deux

Choreography: Wayne McGregor

Music: Scanner

Danced by Edward Watson and Sarah Lamb, in their brief Calvin Klein briefs and vests, tortured expressions, weird manipulations, sexy yet otherworldly, a mating ritual of contortions and very very beautiful.

Assume Form

Choreography James Alsop

Danced by Robbie Fairchild to an original track 'Assume Form' by James Blake, this jittery low key contemporary piece showed how controlled Fairchild is when he dances, from small shakes of his finger tips, to skewed leaning balances which he pulls back at the last minute, a minor piece but a memorable one.

All My Song

Choreography : Laila Diallo

Music ' Les Pleurs' Mr de Sainte-Colombe performed live by Jodi Savali on viola da gamba

and 'Are You Lonesome Tonight' by Elvis Presley

costume: Jean-Marc Puissant

In simple white silk shirt and grey silk trousers, Sarah Lamb evoked a tale of loneliness tempered with tremendous inner strength, her dancing showing her determination, the beautiful plaintive viola music drawing out elegant lines of dancing.

3 With D

choreography: Javier de Frutos

Musician Dan Gillespie Sells, Pianist: Patrick Gallagher

Music: 'I Can Give You the Starlight' Ivor Novello,

'The Man I Love' George Gershwin, 'Down In The Depths' Cole Porter,

'Hides is Your Heart' by Gillespie Sells

Dancers: Edward Watson and Robbie Fairchild, on stage with Dan Gillespie Sells on guitar and singing. Accompanied by Patrick Gallagher on piano.

You have all heard of singing the Blues. Fairchild and Watson danced the Blues, painting a mood of love, bitterness, love, hate, longing and a final kiss of such tenderness as their relationship comes to a sad, so sad ending........

And breath. Then clap like crazy....

Second Half:

CRISTAUX

choreography: Arthur Pita , part 'a' commissioned by Ballet Black 2016

music 'Dreaming and Upward Sky' by Frank Moon

Costumes: Yann Seabra

Part a : danced by Sarah Lamb and Robbie Fairchild

This work is like a beautiful dream with a star ( Lamb) spinning into your orbit, dazzling across the heaven of your gaze, encircling another celestial being ( Fairchild) , and fleetingly mesmerising us with utter grace. A work of pure genius in my opinion. Lamb's beautiful crystal encrusted costume in pale moonstone grey, with a tiny double layered tutu, added to the supernatural ambiance. The duet is the introduction to further parts....

Part b :

Music: Sunlight/Impossible Human by Bev Lee Harling

Dancers: Maria Kowrowski , Edward Watson

Kowrowski's dress by Lez Brotherston

This opens with Kowrowski kneeling and basking in the glorious rays of an amber light, a sunset glow which lights up the golden dress she wears with twinkling rays. Her partner Watson leads her through a contemporary dance of lightness and grace, a love duet which is simply divine.

Part c

Music 'Symphony in C, Adagio by Georges Bizet, arranged by Frank Moon

Dancer: Edward Watson

In silver tights and a crystal encrusted, head-covering mask, Watson glides through sensual steps

in a solo of starry 'otherness' , a being from another planet who comes to share a moment with us mere mortals. The adagio from Symphony in C, in Balanchine's choregraphy, has been described as moonstruck elegance, this was its counterpoint and harmony. Watson leaves the stage and descends fleetingly into the aisle, into the audience, as the light fades.....

Cristaux is a work by Pita which I believe is his 'Jewels' , a masterpiece danced by stars.

Thank you to all the dancers and musicians and crew who made all of this possible

PS (You know I love a PS..) I had the absolute pleasure of meeting Martin Harvey who I have not seen for a long time, ( married to Maria Kowrowski) who was in the audience, so friendly and so good to see him.

Ballet Festival, The Joyce Theatre, New York City, August 2019

Programme C, curated by Jean-Marc Puissant, designer, watched on Weds 14^th and Thurs 15^th August

This was a mixed programme with dancers from American Ballet Theatre, New York City Ballet and The Royal Ballet.

The opening piece 'Then And Again' was choreographed by ex-RB Gemma Bond using the music '12 Caprices for Solo Cello' op 25 by Alfredo Piatti.

Although this is an abstract ballet there were themes of loneliness and isolation from the leading female dancer which the cello music highlighted, cello being such a soulful instrument.

The dancers , mostly from ABT , were Stephanie Williams ( in the lonely role), Zimmi Coker, Anabel Katsnelson, Betsy McBride, Courtney Shealy and Cassandra Trenary with Thomas Forster and Erez Milatin partnering the female dancers. Forster is a particularly strong partner. Milatin ( New York Theatre Ballet, ex NYC Ballet) also had a light and delightful solo. I felt this was a pleasant way to start the evening without making a very strong impression on me, over the two evenings that I watched this piece.

The most powerful work of this evening was certainly the next piece 'Song of a Wayfarer' choreographed by Maurice Bejart with staging by Maina Gielgud. The dancers were David Hallberg, principal dancer with ABT and Joseph Gordon , principal dancer with NYC Ballet. The music by Gustav Mahler 'Symphony No 1, Lieder eines fahrenden Gesellen' created the mood of travelers on a journey, a journey of their relationship as well as a physical journey. The emotions brought to this piece by these two supremely talented dancers were so strong that you felt each step and each moment with them. There are duets and solos within the work, allowing us to see just how special and talented these two principal dancers are. Having seen Hallberg recently guesting at the RB I knew he was an elegant and expressive dancer. Joseph Gordon was a revelation to me, his beautiful line and fluid dancing were exquisite. There were some lighthearted moments, some jolly camaraderie, which made the more poignant interludes even more heart wrenching. As the lights faded at the end of the piece, as Hallberg lead Gordon by the hand to take him toward the back curtain and onward on their journey, Gordon turned back to the audience with an out-stretched arm and an expression of intense yearning and loss on his face. Spellbinding. A few moments of utter quiet were broken by rapturous applause and numerous curtain calls with a standing ovation.

To close the evening and to add a little sweetness after the bitter 'Song' , we had Divertissements from Elite Syncopations with dancers from the Royal Ballet. Kenneth MacMillan's Ragtime ballet featured Sarah Lamb and Calvin Richardson as the top-hatted central pair, Marcelino Sambe and Cassandra Trenary ( ABT) , and Joseph Sissens and Romany Pajdak as the pink and green couple. The dancing is so witty that you forget how complicated it is. Sarah Lamb and Calvin Richardson, elegant in silver and black, opened the proceedings and later gave us the glorious Bethena Waltz. Sambe gave us a brilliant 'Friday Night' solo , jumping and changing posture in mid-air not once but four times...which brought the house down in a huge cheer and much applause. Trenary, in floral turban and red ,white and blue costume, gave a very sassy Hot House Rag, with excellent use of her knowing glances and flashing eyes. Sissens and Pajdak were lovely as the pink/green pair, whose duet requires rather unusual and very humorous partnering , ending with him carrying her off upside down while she executes the full splits.

Tremendous fun and a lovely end to Programme C.

I went to the opening night on Wednesday 7th August , with a great view of the stage from the Stalls side gallery . There was a lot of drama and tension, some good ensemble work with the young cast, and some wonderful lyrical duets for Romeo and Juliet danced by Paris Fitzpatrick and Cordelia Braithwaite. A very different interpretation from the historic tale as you would expect from Sir Matthew Bourne. There is an orchestra who were very good. Overall I really enjoyed the show and am looking forward to seeing it again tomorrow. 

3 hours ago, LinMM said:

 

 

I wonder if female cats in general are better hunters and catchers!

That could be true, lionesses do all the hunting in a pride of lions don’t they?  

We had to close our cat flap ‘ in’ door , new rescue cat Tabitha was creating too much carnage, reducing the baby starling population plus a few headless mice. Her new nickname is Killer Queen . Simba never hunts or catches anything . 

Ticket taken 

Sorted thank you 

for Sale Bolshoi Don Q at ROH,   Sat 17th Aug eve 7.30pm    Balcony B63  £58 

please PM me if interested. 

I'm going to go to Prog C and D so will at last get to see Edward Watson dancing in Prog D .

I will report back .....

I’m very sad and shocked to read of John’s passing . He was a true gentleman as many have said . I met him many years ago through ballet.co and he was always kind,  polite and thoughtful . Sincere condolences to his wife, family and friends on their loss . 

Wanted 1 ticket Bolshoi Swan Lake for Tues 13th August

please PM me, any price or seat please, not standing 

TIA

19 minutes ago, ToThePointe said:

I recently had the pleasure of interviewing Shale for my blog, To The Pointe. He's a lovely guy and a great ambassador for classical ballet...

 

Link to the interview here: https://tothepointemagazine.wixsite.com/tothepointemagazine/single-post/2019/08/04/ToThePointe-Meets-Shale-Wagman 

Thank you for your super interview. You are right that Shale has a wise head on young shoulders. He is also modest and down to earth... except when he is flying through the air ! 

I think for any performer there is a desire to be appreciated and in the public eye. But there is also a time for privacy. I have NO inside information by the way, all I know is that no official announcement has been made so we can guess, we can hope, but we dont know...... 😶

5 minutes ago, Blossom said:

If anyone follows Shale on Instagram he has posted a link to an article in Russian from Beatrice magazine. Negotiating with google Chrome’s translation tool, despite the terrible translation, it does seem to suggest his performance at the Mariinsky is not a one off.

 

”This dancer was ‘acquired’ by the Mariinsky, not as a one off but for many seasons.”

 

www.beatrice.com/shalewagman - visit in chrome and should give the option to translate.

Blossom, this is an assumption by the writer of the interview and is not a fact, please note that when Shale Wagman has confirmed his future he will announce it officially. I have translated the gist of the interview but I left out that sentence as it was ambiguous.

There is an interesting interview with Shale in the Russian  'Beatrice' Magazine with stunning photos. 

http://beatricemagazine.com/shale-wagman/

For the benefit of those with neither the time or patience to translate the interview I will post it hereShale Wagman Beatrice interview.odt

I did this quickly so many apologies for the Capital Letters throughout...

(Google translate is pretty good but refers to Shale as Sheila/Sheil throughout )

11 hours ago, Dawnstar said:

 

 

I was very impressed by the performances, especially Tsvirko in the title role who seemed to spend nearly as much time mid-air as on stage.

I couldn't believe my eyes when he just remained suspended in mid air, defying gravity for seconds....very impressed by Tsvirko's technical prowess but also by his emotional, dramatic portrayal of Spartacus. 

The Tenth Anniversary of Ballet Under The Stars at Hatch House in Wiltshire UK 

I attended on Sunday 28th July , the final night of three performances given by The Covent Garden Dance Company arranged by director Matt Brady. The location alone deserves five stars, set amidst the rolling hills and valleys of Wiltshire, with beautiful views across the fields and woods. We had perfect weather and a warm welcome including very ‘gin’erous G&T’s and an outside lounge of comfy white sofas where one could chat to friends .

The performance was presented as three ‘courses’ to compliment and co-ordinate with our sumptuous dinner. So after consuming our starter we watched the ‘entree’ commencing with

Summertime ( m Gershwin/ ch George Williamson) danced with languid elegance by Ksenia Ovsyanick ( Principal Staatsballett Berlin) and Zdenek Konvalina ( guest Principal ) Then came Summa ( m A Part/ ch Safronkine) the first of three pieces choreographed by Vitali Safronkine .( guest Principal and choreographer) The music was a sonorous accompaniment to the abstract pas de trois danced by Safronkine , Iker Murillo ( guest Principal) and Maria Munoz Sabater ( corps, Compania nacional de Danza Spain ) It was pleasant and flowing, leading us into a much more spicy dish: Qualia pdd ( ch McGregor/ m Scanner) with Mara Galeazzi ( guest Principal ex RB) and Gabriele Corrado ( soloist La Scala Italy) . This intense duet, full of strange original movements and unusual lifts reminds me of an alien mating ritual, it’s abstract and weirdly satisfying . I loved it. Finally the Act 3 Shades pdd from La Bayadere ( ch Petipa/ m Minkus) performed by Xander Parish ( Principal Mariinsky Ballet)  and Maria Khoreva ( First Soloist  Mariinsky Ballet) .Khoreva , slender and delicate with immaculate technique brought pure class to this pdd, with lovely partnering from Xander. 

So ,altogether a very satisfying first course  that whetted our appetites for the main ‘ plat principal’

To begin this course a second work by Safronkine ‘La Silhouette ‘ ( m Sollima) was danced by Safronkine and Maria Munoz Sabater. Again this was an abstract ballet , a little bland but well danced. However the next pdd was much more to my taste ,

Concerto ( ch Macmillan / m Shostakovich )  Elegantly danced by Lauren Cuthbertson ( Principal RB ) and her partner Nicol Edmonds ( Soloist RB) against a darkening sky, the amber glow of the lighting on their orange costumes, together with the flowing circular arm movements and andante music was like watching a perfect sunset.

Next we were offered a short work ‘The Lightness of Being’ ( m. P Glass) choreographed and danced by Ksenia Ovsyanick and her partner Zdenek Konvalina

followed by ‘Closure’ ( ch Nunes/ m Schubert) a more contemporary duet danced by Parish and Khoreva . To end this course we had the beautiful Balcony pdd ( c MacMillan m Prokofiev) danced with passion by Mara Galeazzi and Gabriele Corrado. The latter flew across the small stage, giving great energy to Romeo’s youthful vigour and display of love. I was very impressed by Corrado and he was well matched by lovely Mara Galeazzi who is a superb dance actress and who can still make me believe she is 14 year old Juliet, in the first throes of love. Mara dedicated this piece to her dear friend , the late Stephen Hutchings, which was very touching . 

For dessert we had two abstract ballets ‘Reminiscence’ by Vitali Safronkine ( m Arnalds) danced by Safronkine, Murillo and Munoz Sabater , and Multiplicity/Forms of Silence and Emptyness ( c Duato m Bach ) danced by Ovsyanick and Konvalina.

Then ‘ Something Different ‘ which added a little spice to this course. It was fabulous to welcome back Steven McRae to the stage tapping his own choreography to music by Benny Goodman and I hope he will soon be fit enough to return to the Royal Opera House stage. 

A creamy and dreamy pdd The White Swan adagio ( m Tchaikovsky c Petipa) danced beautifully by Lauren Cuthbertson and Nicol Edmonds was the penultimate dish , and finally a bit of fun to finish: Ballet 101 danced by Xander Parish, which received great applause from the appreciative audience.

In summary the food was delicious and the dancing divine. I and my friends were well satisfied by this visual and gastronomical feast. 

The night continued with cocktails and music in the outdoor lounge area when it was so wonderful to see and chat with Mara , to meet Gabriele Corrado , Xander Parish , Maria Khoreva and Steven McRae. 

The whole experience of a Gala in the verdant countryside was incredible and I’ll look forward to a further feast next year ! 

Thank you Caseybeatrice for your wonderful review. So pleased you saw SL live for the first time with such a fantastic cast. 

Thank you Sabine. You have captured the essence of the way Shale dances in your description. What a fantastic evening! 😍

Oh what a (White) night ! The most incredible debut from a young and rapidly rising star! This 19 year old has a technique and stage presence beyond his years. His performance as James in La Sylphide was confident and his light and fleet footed dancing was a dream . Congratulations Shale ! 

I have one spare Upper Circle ticket for 'Here Come The Boys' starring Strictly's own Giovanni, Aljaz and Gorka on Sunday 14th July at 7.30 pm.  Cost is £29. The show is almost sold out. Please PM me or text/email if you know me already

Mandy