Ian Macmillan

There were some odd things in it, I must say, with definite touches of Spartacus. And a very cheeky boy that Mercutio! However, my point in posting is to say that my weekly email from Cambridge Arts Picturehouse - there was a full house in the main cinema last Sunday - says they are re-running a recording at 4pm this coming Sunday, 19 May, due "to overwhelming demand." Whether other cinemas in the chain are doing likewise, I couldn't say but, if you missed it locally, you might want to check.

Would it not be the case that if one accepts the 'disconnect between White Lodge, Upper School and the Royal Ballet' thesis, the reductio ad absurdum implication would be that the RBS need only have about 4 graduates in all each year? I cannot think that there has been any real link between the output of one and the needs of the other since the earliest days of De Valois' school in the 1930s, and it had most certainly ceased to exist by the mid-1950s. Or to invert the argument, is there anyone out there seriously proposing that the Company's ranks should be churned at a rate that would absorb 20 graduates a year, say? There are so many desiderata in this area, too many of them diametrically opposed to most others. And whilst manifest concern is evident here in the UK - we're on page 3 of comment again in 3 days, I see - whisper it softly, but others may see it all a bit differently. The US online Arts Journal posted a link today to the Telegraph version of the Brind story under the headline: "Ageing English Ex-Ballerina Grouses About Royal Ballet 'Infiltrated' By Foreigners."

Now Janet, having once found myself in the paper after a NB premiere - to my shock and immense surprise - and now seeing some of the style coverage in Links and on Twitter of last night's opening at the Wells ..... am I going to have to make some very special effort when I go on Saturday? I'm a bit short on 1920s gear and cannot hope to compete with Craig Revel Horwood.

I think I've mentioned this before in some similar context - but, when training through the RAD and then Sadlers Wells School/RBS back in the 1950s, my wife assures me that she and others were quite capable of putting a leg by their ears but that any attempt to do so was firmly stamped upon. What is standard, almost demanded, today was apparently not stylistically acceptable then - and I have to say that, as a belated newcomer to the artform, and used only to what I've seen in the last 10 years, I do find film from back then just a bit quaint. So, happily, I'm quite relaxed about how things are done today and am sure that, thanks to Wayne McGregor et al, they'll be different again in another 10-20 years. And do you have to be Korean to dance Gangnam Style?

Without denying that there may be (or even is) an issue here, we have been here or hereabouts so many times before, with never a conclusion reached. Might it be worthwhile defining, if that be possible, what "British ballet" as used in the title of this thread might be? 1. Is it 'The Royal Ballet' as a company? 2. Is it only a matter of the number of British-born Principals in the RB? 3. Is it the sum of the RB, ENB, BRB, NB and SB as a total presence in British cultural life? And Ballet Black, and Richard Alston, and the Balletboyz, and Rambert Dance, and Random Dance and many others? 4. Is it the number of students at RBS who started at the first year of White Lodge? 5. Is it the sum of British-born dancers and choreographers working out side the UK? That list could go on and on but, without a much closer definition of 'the issue', I fear we will flail about once again to very little purpose. I'm off to bed - but for what it's worth, on any broad definition, I say the 'dancing with death' thesis is untenable. If we took only this Forum as a piece of evidence, we have nearly 44, 000 posts from some 1200 registered members in just 16 months that suggests there's life in the old dog yet.

From last Sunday's Links, a small taster for those who can get there: http://rbth.ru/arts/2013/05/05/london_gallery_showcases_russian_theatre_and_ballet_25483.html NB that all the exhibits are for sale .... if your pockets are wide enough!

Somewhat to my surprise, it turned up in Cambridge a couple of weeks ago - and it was certainly worth seeing.

Links – Wednesday, May 8, 2013 Further Obituaries – Frederic Franklin: Judith Cruikshank, Guardian Leigh Witchel, NY Post Preview – Royal Ballet, Hansel and Gretel (Scarlett): Vincent Dowd, BBC News Review – San Francisco Ballet, Cinderella (Wheeldon): Alastair Macaulay, NY Times Reviews – English National Ballet, Choreographics: Bruce Marriott, Dance Tabs Maria Lu, Exeunt Laura Dodge, Londondance Review – Ballet Preljocaj, Les Nuits, Aix-en-Provence: Laura Cappelle, Financial Times Preview – Ballet Chicago, Balanchine veterans coaching Act II, Swan Lake: Sid Smith, Chicago Tribune Reviews – Breakin’ Convention, 2013, Sadler’s Wells: Clement Crisp, Financial Times Sarah Crompton, Telegraph Lyndsey Winship, Evening Standard Isadora Duncan, My Life to be republished: Joan Acocella, NY Review of Books 10 Questions for the Royal Ballet’s ballerina Alina Cojocaru: Ismene Brown, Arts Desk Book Extract - Sadler’s Wells: Dance House: Sarah Crompton, Telegraph Review – Diablo Ballet, Balanchine and Beyond: Mary Ellen Hunt, SF Chronicle Preview – Reviving Balanchine’s Slaughter on 10th Avenue: Susan Reiter, Playbill Arts Review – RUBBERBANDance Group, Gravity of Center: Donald Hutera, Londondance Review – Arch 8 Dance Group, My True North, No Man is an Island: Kelly Apter, Scotsman NY Theatre Review – Nikolai and the Others, Richard Nelson: Robert Johnson, NJ Star-Ledger

From this morning's Links, there's a piece by Larissa Saveliev, founder of YAGP, that should be of interest here: http://www.dancemagazine.com/blogs/guest-blog/5128

Links – Tuesday, May 7, 2013 Interview – Cathy Marston, Choreographer and Director: Bruce Marriott, DanceTabs Review – Paris Opera Ballet, Firebird, Afternoons of a Faun, Bolero: Laura Cappelle, Financial Times Judith Mackrell weighs-in in support of Keynes and Lopokova: Guardian Rupert Christiansen argues for adequate State funding of the Arts: Telegraph Feature – Joseph Altuzarra’s costumes for NYCB Gala: Seunghee Suh, Wall St Journal Reviews – Breakin’ Convention, 2013, Sadler’s Wells: Judith Mackrell, Guardian Rachel Ward, Telegraph Lise Smith, DanceTabs Zoe Anderson, Independent Review – Alberta Ballet, Balletlujah!: Paula Citron, Globe and Mail Reviews – San Francisco Ballet, Cinderella (Wheeldon): Becca Klarin, SF Appeal Rita Felciano, Danceviewtimes Sean Martinfield, Examiner.com Review – Alvin Ailey American Dance Theater, Minus 16, Petit Mort, Revelations: Jean Lenihan, Arts Journal Review – “Dance Taipei”, About Living, Fuel, Way Out, Present: Brian Seibert, NY Times News – Australian Ballet, Senior Changes Backstage: Tim Douglas, The Australian Feature – Larissa Saveliev, founder of YAGP, looks at Schools worldwide: Dance Magazine

Links – Monday, May 6, 2013 Obituaries – Frederic Franklin – Dancer, Coach, Director: Sarah Halzack, Washington Post Jack Anderson, NY Times Pia Catton, Wall St Journal Reviews – San Francisco Ballet, Cinderella (Wheeldon): Allan Ulrich, SF Chronicle (+ 14 picture Gallery) Janice Berman, SF Classical Voice Ann Murphy, San Jose Mercury News Review – Mariinsky Ballet, Jewels, Symphony in C: Louise Levene, Telegraph Review – Mariinsky Ballet, Giselle (Shirinkina, Shklyarov): Margaret Willis, DanceTabs Review – New York City Ballet, Interplay, Fancy Free: Gia Kourlas, NY Times New York Season of Cambodia Festival: Preview: Valerie Gladstone, CityArts Review – Royal Ballet of Cambodia, Legend of Apsara Mera: Apollinaire Scherr, Financial Times Review – Amrita Performing Arts, Khmeropédies III: Source/Primate: Martha Sherman, Danceviewtimes Review - RUBBERBANDance, Gravity of Center: Judith Mackrell, Guardian Reviews – Bangarra Dance Theatre, Blak: Chloe Smethurst, The Age Eamonn Kelly, The Australian Reviews – Stephen Petronio Company, Like Lazarus Did (LLD 4/30): Deborah Jowitt, Arts Journal Wendy Perron, Dance Magazine Interview with Sarah Crompton on her book, Sadler’s Wells – Dance House: DanceTabs Gallery – ZooNation, Some Like It Hip-Hop: Dave Morgan, DanceTabs Review – Performing Lines, Reflect (Sue Peacock): Rita Clarke, The Australian Review – Natalie Abbott, Digital Fractals: Jill Sykes, Sydney Morning Herald And to end with, as that centenary date draws near: The Fight of Spring: Lucy Moore (Author of Nijinsky, A Life in yesterday’s Links), Daily Mail

For tomorrow's Links, the first Obits are from the US papers: Sarah Halzack, Washington Post Jack Anderson, NY Times

Having greatly enjoyed the film last week, I was delighted to find this article for today's Links: http://www.nj.com/entertainment/arts/index.ssf/2013/05/dance_theatre_of_harlem_rebirt.html Young Miss De Prince as Odile, and described as "a technical powerhouse" by experienced US critic Robert Johnson.

Links – Sunday, May 5, 2013 Preview – Audrey Niffenegger on creating Raven Girl with Wayne McGregor: Guardian Review – Boston Ballet, Serenade, Chroma, Symphony in C: Thea Singer, Boston Globe Review – San Francisco Ballet, Cinderella (Wheeldon): Aimee Tsao. DanceTabs Review – Royal Ballet, Mayerling (Gartside, Galeazzi): Jenny Gilbert, Independent on Sunday Reviews – The Observer Phoenix Dance Theatre, Particle Velocity Mixed Bill (Worthing) Royal Ballet, La Bayadère (Lamb, Calvert, Soares) Review – New York City Ballet, Ivesiana: Tobi Tobias, Arts Journal Review – Eifman Ballet, Rodin: Lewis Segal, LA Times (incl Slideshow) Preview – Alberta Ballet, Balletlujah!: Marsha Lederman, Globe and Mail Preview – Australian Dance Theatre, G (Giselle deconstructed?): Elissa Blake, Sydney Morning Herald Feature – Sarah Mearns on NYCB’s New Season: Huffington Post Preview – Jonathan Burrows & Matteo Fargion, Cheap Lecture, The Cow Piece: Victor Swoboda, Montreal Gazette Review – Australian Ballet, Four Temperaments, Bella Figura, Dyad 1929: Valerie Lawson, Dancelines Review – RUBBERBANDance Group, Gravity of Center: Zoe Anderson, Independent Interview – Choreographer Gillian Lynne: Matthew Hemley, The Stage Book Review – Nijinsky, A Life, Lucy Moore: Peter Conrad, The Observer Preview – Dance Theatre of Harlem, Touring Mixed Bill: Robert Johnson, NJ Star-Ledger Review – Company C Contemporary Ballet, Mixed Bill: Mary Ellen Hunt, SF Chronicle Preview – NYCB Spring Season: Terry Trucco, Playbill Arts Review – San Francisco Ballet, Criss Cross, Francesca da Rimini, Symphony in 3 Movements: Toba Singer, California Literary Review London Exhibition – Golden Age of Russian Ballet & Theatre Design: Phoebe Taplin, Russia Beyond The Headlines Different, but of real interest: Theatre Preview – Nikolai and the Others, Richard Nelson – Balanchine, Stravinsky and the making of Orpheus: Claudia La Rocco, NY Times

DanceTabs has just posted a very positive review by critic, Graham Watts: http://dancetabs.com/2013/05/london-childrens-ballet-the-secret-garden-london-2/ Congratulations to all involved, and fingers crossed for their future progress.

Just in case it's missed, there's an article in today's Links that should fit very well here: http://www.heraldscotland.com/comment/columnists/called-to-the-barre.20980789 And a pianist story. My wife was examining in the London area some years back and was bowled over by the young pianist still at College playing for the classes that day. She asked her name - Joanna McGregor ....... wonder what became of her?!

Dolly: I'd be somewhat surprised if she had not learned most of the major pdd at ENBS and, as a dancer wanting to progress, no doubt she will have been paying particular attention to all that the Principals have been doing in the performances in which she has participated. Thus, by a couple of months ago, it's likely that she had a very fair idea of the Odette/Odile roles - but she then needed a Director who felt she could do them justice. It would appear she has found one, and I'm sure she won't disappoint.

Aileen: I dare say that securing a permanent company contract can be considered as "making it" - if viewed from the outside. But as far as the larger companies are concerned, once 'in', progression (or not) to Principal is likely to become a whole new issue, where all manner of factors may come into play. Osipova and Vasiliev left the Bolshoi, perceiving that she, in particular, was being sidelined into soubrette roles; Natasha Oughtred has blossomed at BRB, after sensing that she was getting no further than Soloist with the RB; elsewhere, an indiscreet remark overheard may mean that one's face fits less well than hitherto with one's Director, and so on. It's a hard life!

There have been two links to reviews of "On Before" now. It would appear that the re-working of material used earlier has been to excellent effect, so congratulations all round. http://exeuntmagazine.com/reviews/carlos-acosta-on-before/ http://www.scotsman.com/lifestyle/performing-arts/dance-review-carlos-acosta-edinburgh-1-2912070

Ditto Begoña Cao. It was always on the cards that Ms Rojo's intention to keep dancing would affect the other female Principals, of whom there were already sufficient for the performances on offer. So how long can that last without something/someone giving?

Lauretta Summerscales? I think you mean the 'new Darcey": http://www.standard.co.uk/news/dream-role-for-the-new-darcey-bussell-8594495.html

My introduction dates from 1999, when I started seeing the lady, now my wife, who had been a dancer with the Opera Ballet at Covent Garden and then with the RB Touring Company, all a year or ten ago. (My focus till then had largely been on choral music, from the 12th century and onwards.) I think that the first production I saw was a Swan Lake during a Bolshoi visit, and then a tremendous San Francisco Ballet mixed bill at Sadler's Wells - the latter had a highly-charged pdd to Barber's Adagio that I particularly recall. A bit later I was pointed at a website called ballet.co, lurked for a while till I finally dipped my toe in and it's all gone on from there!

I've just discovered that there will be a showing of the "First Position" documentary in the Arts Picturehouse, Cambridge, at 1520 tomorrow afternoon - lots of tickets available.

Alison: But it's enthralling! But I should probably have added that if the excitement is too much, there's a fast-scrolling button at the bottom that works in 20-page jumps.

For those who might not normally look at other areas of the Forum, a performance thread on LCB's "The Secret Garden" has been started, using some great pictures by John Ross, here: http://www.balletcoforum.com/index.php?/topic/3625-london-childrens-ballet-the-secret-garden/#entry42649 Comment and discussion there, please!