Mary

I took my 16 year old nephew who has seen quite a few ballets with me. He liked it all, but, when asked which ones he would pay to see again with his own money, - some hesitation. But it was good to see a full house with lots of young people there, very well behaved and enjoying it. Preceding each piece with a short film in which the choreographers introduced each piece was quite a good idea, especially for this audience, but- very few choreographers are good at telling the audience about their work in words: I guess that's why they are choreographers. The little films could have been made with more editing I thought, to cut out a lot of 'I have worked with X for years and so I thought I would love X to do the lighting/costumes and I rang them up and they said yes' which adds nothing at all to our appreciation or understanding..

Ivan Putrov is standing in the street handing out leaflets? I take my hat off to him.

That sums it up, for me. When I woke up this morning Twinkle was the one I thought about, - it needs to be seen again. I loved the way Lang wasn't afraid to verge on the twee, but pulled back and made the whole piece superbly witty and the apparently simple idea and music actually very sophisticated. It was classical ballet- but original as well, and it showed off what these dancers can do and do best. I did enjoy the November piece, but it is true a lot of dancers could do justice to it, it did not really engage with the classically trained dancer.

How funny Dave ...the only bit I liked in the Junker was the male duet! The noisescape was painful...I hated it.

On the train musing... I enjoyed the second half: especially seeing some fun. M.November's piece was very joyful and colourful and J. Lang's was pretty and witty - and used the beautiful Fumi Kaneko so well..the poetry of her arms... First half none of the above.

Well exactly

You could say that Perdita is a role for a very young emerging dancer, as the character is a young girl on the threshold of womanhood, meant to represent new life, new hope, first love and so on.. I can see the logic there. But then you could say the same for Aurora! I do rather agree that we don't see enough of the Principals, all of whom are very capable of acting this role as well as dancing it.

Yes, quite enchanting, and the music works well in that scene in my view...... although there was an issue with trousers that occupied a large part of the original discussion thread I recall, - too long...too short...too bright- ? something...happy days!

I rather like it too, despite misgivings about some of the choreography and the music, so the whole must add up to more than the sum of the parts. I could do with less jealous writhing, as the point gets made pretty well quite soon, but is then hammered home....over-writhed - rather too much for my taste, even when it was Ed Watson. I always greatly enjoy the explosion of sound, colour and joy in Act 2, with frolicking round the tree, but for me Sarah Lamb and Steve McRae were perfect for that scene, alas not this time - oh and Gary Avis the ideal shepherd father, jovial, but also sufficiently stern. I also found it not a bad ballet to take a teenager to.

I'd be very grateful for any general feedback ( of course focusing on content rather than performances as it's a rehearsal) on this as soon as available - as debating whether to go tomorrow evening.

Oh I see I didn't realise there was a booking event today- is it just for the pop concert?

I was just trying to have a look at New Works tomorrow and can't get further than a sofa and the message 'The queue is paused' which is a new one for me.

Please don't stop posting Bruce, I enjoy your posts a great deal. Many of us are pretty fed up with not getting enough- er, ANY - Balanchine at RB. The RB dancers are entirely capable of dancing it and many of us would give a lot to see Symphony in C one more time. I don't think McGregor contorting is 'house style' exactly. May it never be.

Well, Peter, you are entitled to your opinion, but I don't think, myself, that all will be well. Giselle and Swan Lake are part of ballet history and central to the canon so it is not really a fair comparison. In my view, Carmen has never been made into a good ballet, and is a poor choice for a new ballet for so many reasons, not least that it is yet another story about a woman getting killed, but it is also very over-exposed in many forms. I am no great fan of Wayne McGregor but at least he reads, he thinks, and he comes up with interesting new sources for new ballets. So I am not keen on this idea. I wish nothing but well to the company and the dancers, of course.

The idea of yet another Carmen is what puts me off and I know I'm not alone.

I did book but then discovered- no trains. Luckily a friend was happy to take the ticket. It's a shame I can hardly ever go to galas - which are always on Sunday - as there is usually some train problem. I wish them a full house.

I really enjoyed your review PdQ - looking forward to seeing this. My only query is why you would want a realistic baby!

I'm not leaving my handbag....and I'm definitely not booking if I have to wear that.....🤣 Thanks Henry, it doesn't sound as if this experiment really worked. I have come across similar things many times with performing arts students ( who usually end up deciding the usual rules are there for a reason.)

Golly that sounds grand- and ideally positioned. no that can't be cold..... I'd go for it, but give us all a full report!

In theory anyone can walk through but not many people do... I once ate there for a special occasion and at the next table was an amazing gathering of RB people which made it great value! It was all cold. I would email them to ask about hot and cold... I have also once eaten on the Balcony (far off halcyon days!) and it was great fun for people watching... In either case it is also important to think about where your seat is if you're enjoying the interval service...or it could all be a great rush which would counterbalance the stylishness a bit. Both of course are very very expensive (and well beyond me nowadays. )

Thanks Jan- it was your report of those zoom talks I was remembering. Well I'm pleased he is putting on Fille and Cinderella and hope to see some more Bintley in future, as well as the new things.

I might be remembering incorrectly, but did Acosta say when he took over that he would not stage 'heritage' works- or am I confusing that with some other company? I once chatted to someone from BRB who had worked there for a long time, who politely asked me what was my favourite ballet. I said Fille would certainly be one of them, although to choose one was obviously rather absurd as I liked a large range, etc..The response was a loud snort and the person said 'Oh, you're one of THEM'. I was very much disconcerted.

I hope it sells out everywhere but I do recall it not doing so on previous occasions. I wonder whether giving a translation of the title in brackets would help for audiences who don't know the work - and also, lots of publicity stressing the ballet's joyful qualities and perhaps making clear that it is a good family ballet?

I didn't much like the designs either but the dancing is good and it is interesting to see such a different production,after 2 other Giselles this year, so thanks, Henry.

A major issue here in the Uk too Jorge, I think a lot of us share your concern!