Mary

Seconded Nina, I have suggested Ms Bull to present the live relay myself more than once, such an intelligent, knowledgeable and thoughtful interviewer. A series on the radio with her interviewing dancers would be a good second best.

Wondering whether to go to this, in a rather dry month- what do other forum members think?

One or two things at Coliseum might make August more bearable?

Certainly makes perfect sense to me Coated, I think you're right ( but still think the lasers etc superfluous). But save yourself the £7 as the programme does not illuminate the ways in which the dance relates to the books...(there's a surprise :-))

I do so agree that if ever there was a work that needed to end completely before applause, this was it ( well Romeo and Juliet is a bit like that too isn't it-) it is so irritating when people start clapping and cheering when characters are still busy dying on stage. I found it very jarring indeed.

Thanks for the reminder to book BRB triple bill- looks great!-at Sadlers Wells- and by booking ENB Lest we Forget at SW in September, at the same time, I got a handy 20% discount....! much needed with all the ballet on just now..leaving some funds for--- The Feb Ashton programme which looks wonderful -but am I being slow, or does it not yet say where this might tour (if anywhere).

So that was Olivia Cowley! I agree she was really excellent- I could not see her face- such a shame.

Yes I wondered whether they might use a part/section/work as a stand-alone piece in a different triple bill and in my view that would work very well. The title does give the clue- plural Works- yes, this is three linked works not a full length ballet, really, I should have been clearer about that. I agree the middle section could be taken right out to make a very good two part ballet. Did anyone spot the Fille mal gardee reference by the way? Now that's a poser but I promise there was one...

My first viewing last night and it was cast 2.(That said the cast details are very complicated...) I agree very much with what Kate, Lindsa,y Bruce have already said.I am sure there are errors in my thoughts below caused by the darkness, the vague cast sheet, and it being a first viewing, so sorry for any such... I thought it was far and away the best thing McGregor has done. Overall, a very exciting, moving experience. I agree with the many who have said that the second piece is weaker, needs some pruning, is too long. But most of all, it was just too hard to see the dancers and this was the first time I had ever been in the position of really not knowing who any of them were for the first 5 minutes. The costumes did not seem to me to be much to do with Orlando, beyond some Elizabethan references and some cross dressing. The lighting was very pretty indeed, especially when the three tiers of the audiorium were ringed with sparkling coloured light- and the lasers were impressive. But- I didn't catch any significance behind these effects. I think Bruce said it was like a circus interval and these effects did create a circus ring, but, added little to my eyes to the actual piece. This was the least satisfactory response to Woolf's novel. All that said, there was very fine dancing indeed going on, which I could just make out...I really liked the ending,and to me the spotlights, outside which all was gloom, acted as a good metaphor for the book's ideas about the shortness of life and the theatricality of our public lives, as each character has its short few moments in the light before spinning of into darkness, and the dance grows ever more manic and involved. Parts 1 and 3 I found very moving and beautiful, and would love to see again. Part 1 was a sensitive response to 'Mrs Dalloway' not a simple acting out ( which would be impossible anyway as it is not a simple narrative). I think, but would have to see it again to be sure ( and agree how maddening it is of the cast sheet not to give any idea of what parts the dancers are dancing) that at times older and younger versions of the characters were dancing together and weaving in and out in a way which echoed the novel's effects of playing with time. I must warmly echo the praise of Ed Watson's very, very affecting solo as Septimus, going mad, remembering the dead Evans his friend and comrade-- and suffering from the effects of the war. But all the dancing was very fine, especially Bonelli. The final piece was sublime, I thought. It was a completely unified piece in which dance, music, sets, and lighting worked to create a meaningful whole. I found it profundly moving as an interpretation of some of Woolf's ideas, but, and here's the test, in its own right, so that even had I known nothing about The Waves or Woolf it would have worked for me as a piece. The sea speaks to us at a deep level and the design of the piece exploited that very cleverly with the huge video projection of waves, the crashing of waves through the music, the lighting and the slow majestic rhythms, echoed in the dancing, creating an overwhelmingly and haunting effect. Some of the movements were exceptionally lovely, quite unlike the Wayne we know. (Again I need to see to again to be able to see in more detail how he created the effects...) Ferri was brilliant, dancing with a kind of controlled power and inner conviction throughout that carried out into the auditorium. I remember her as a fragile ethereal sort of dancer but she now has this steely quality that is vastly impressive. I went with doubts as I have not liked much McGregor before, and I do love these novels, so there was the fear that someone was going to trample on a favourite work in hobnailed boots..... But no, it was thoughtful, it was clever and for the first time McGregor had made dance to move me emotionally rather than just to impress . A few people have used the word 'fluid' for the dance and that seems just right. Also it struck me how little he used that trick of repetition which even the best choreographers sometimes over-indulge. Rather, the movements flowed in an ever-evolving sequence, on and on..a good image for Woolf's prose, instead of making patterns that are repeated and echoed in a more formal shape. Hats off to him, as well, for choosing Woolf, and for putting on the stage some female characters who are individuals, whose consciousness is the focus of the work, and not the gender stereotypes we see so much of in ballet old and new.

Here's another idea- McGregor could add chapter 4, based on Woolf's novel 'Flush' which is about Elizabeth Barrett Browning's lapdog...sure to be a hit...especially if they use a real spaniel......imagine the bouque of bones at the end......

My Picturehouse encore is on Monday so evidently not totally centralised.....

I entirely agree. Very interesting point about expressing emotions through dance rather than trying to express concepts- that is just how it struck me too. Let's hope the programme keeps it short and snappy (!likely!) I have just finished watching all the rehearsal films and they are interesting and also at times beautiful to watch, especially the Ferri/Bonelli. She is an inspiration, and the choreography here seems to me far more engaging than anything of McGregor's I have seen before (and I think I have seen most of his RB work.) I agree that he had got stuck in a groove of one type of movement but here maybe he is breaking out of it. I was also feeling a bit doubtful, being a great lover of Woolf's novels and especially The Waves, whether this project could really work or do any justice to Woolf, who I think is the most brillant novelist of the 20th C- but, it looks as if he has produced something different and very interesting so I am now really very much looking forward to seeing it. I can only speak for myself but having read all the debate, I don't really believe in this idea of two camps: the traditionalists ( a bit boring, probably old, conservative, etc ) and the dynamic, exciting young set who love McGregor. No, it is more complicated than that and many many of the old fogies like me who love Fille and go to several casts and etc, have in fact watched all McGregor's work and given it a chance- if we haven't liked it all, that is not for want of trying.... So, here's hoping we will be cheering next week . None of us who love RB want to see anything but success for the company and the dancers.

Philip Mosley did look at the flowerpot and think twice before throwing it- just as advised in this thread....I thought he did a good job in building the character but the clog dance did not use the sound of the clogs enough as part of the music. I have to agree, Indigo-even though Osipova /McRae last night was fabulous, the first night with Muntagirov /Morera was in my view the best of the run, just by a nose- and indeed Will Tuckett ( as well as Gary Avis) made a big contribution to that. Muntagirov was so charming and somehow that performance just all came together. Regarding Peregrine though, I am getting a bit worried that his career is stalled. Where is he in the 2015/16 cast lists? Surely there are some opportunities in the new season. If they're not careful he might be looking elsewhere.

I believe "eligible" is a well-known euphemism for "very rich" Bruce....

You must have got back very quickly Bill! I agree it was marvellous, totally joyful and uplifting. I was really won over by Osipova-her facial expressions and acting, lovely. Her solos, fantastic. McRae charming and full of vim and pep as ever. Paul Kay's Alain confirmed as my favourite ever interpretation, Gary Avis making something of the role of notary ( channelling John Inman perhaps a tad). The corps together, fleet of foot and pliant of scythe. Wonderful. The pony seemed, shall we say, pleased to see Darcey Bussell.

I rather agree about Alain- every time I see Fille I feel more uncomfortable with this character's portrayal as someone to laugh at rather than with. Your mention of Frank Spencer is precisely the point- such a series wouldn't be on TV now as people are a bit more sophisticated and don't think it is so funny to laugh at people with learning difficulties (or whatever problem) . Good thing too! However Paul Kay was the best I had seen and redeemed it somewhat for me. I am very pleased it is Paul Kay on the night of the live screening especially as I am taking a friend who is new to the ballet. i admit that for me the humour of the ballet, though lovely in a gentle sort of way isn't the main thing about it. I actually find the whole piece poignant and moving and it always makes me cry.. Something about the nostalgic glow it has, and all the hope and promise of young love. But then I am middle aged.

Very interesting. I like the point McGregor makes that he never sits down in rehearsal, as he likes to walk round and see the dance from all angles. (Perhaps he might try seeing it from some of the cheaper seats too!) Isn't Ed Watson marvellous ( very unoriginal comment!)

I would just say- book the amphi! and if you want to lash out for a special treat go for the Grand Tier where you can always see.....( and also see some interesting RB people often as well)

Seconded. Marvellous photos, thanks Dave

I could not agree more. ...and if it's glamour they insist on she can do that too, after all.

You can listen to it on the Radio 3 website iplayer thing-y Alison....

I am listening to Deborah Bull presenting the first of 4 programmes on Radio 3 as part of their dance season-( this is first of four programmes in their Saturday Classics series on Saturdays at 2pm) an excellent selection of music used for ballet, though not written for ballet, with her interesting commentary. She is a great presenter: so well-informed, authoritative yet with an easy pleasant manner and a nice clear voice. Why on earth she is not on TV all the time, I can't imagine. Next week apparently it's Wayne Sleep. All on i-player of course. recommended.

Oh my goodness, this is divine- thanks so much. Polunin is very beautiful here- (so much for running a tattoo parlour in Neasden..I ask you!!

Agree.I wasn't feeling very well but even so was enchanted. As I left I was thinking - If the audience weren't in love with Muntagirov/Morera before, they are now. There was great and warm applause. I so nearly didn't go, but Muntagirov was well worth making the special effort to see, he had such long lissom lines ,such elegant dancing yet, also had the natural comic touch in this role: one of those dancers who radiates charm. Morera was perfect. The corp were light of foot and seemed to be enjoying themselves greatly. Gary Avis was a superb farmer. The clog dance was funny and not overdone by Will Tuckett. More! as some people were calling out....