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I was going to write a review but I don't have to now as Linnzi has done all the work for me! I was going to say pretty much the same thing as she has! I liked three of the four pieces, but I'm afraid that Never Known just didn't do anything for me. I started zoning out and when I zoned back in I thought I was watching Flight Pattern. I didn't like the grey costumes, and when the neon lights were lowered it reminded me of a room where those prisoners were about to get questioned (or worse). This was my first and only viewing so who knows, maybe had I had a second I might have liked it more. For What It's Worth brought us colour and smiles and joy. The music and choreography occasionally reminded me of Still Life At The Penguin Cafe, and I liked the piece even better for that. Twinkle was cute, with touches of humour (and I noticed that the American choreographer used three of the four American RB ballerinas). I loved the simple yet effective set, and I could watch Will and Fumi wash dishes together and it would be a thing of beauty. All in all a very pleasant evening and for a fiver for SCS centre it was one of the best deals in town. I loved that this was on the main stage. I hope that the full house and very enthusiastic audience means that this will become an annual event on the main stage.

Agree.

Rojo was invited back to the RB after she had left in order to have a proper farewell performance (M&A with Sergei Polunin). Maybe she could extend the same courtesy to YY Tan.

Welcome to the forum, Chris!

Or Calvin Richardson?! There is a thread about going to the stage door that you might want to have a look at:

In which case they could film it for a DVD release. Hayward's Manon should be committed to whatever the current equivalent of celluloid is, and for it to be with Alex for his final show would be glorious.

Yes....his Bratfisch made me weep. It was so sad and poignant. His Romeo with Miss Naghdi as Juliet was one of best performances of this ballet I have ever seen, and I have been watching it for decades. He did it his way, and it worked brilliantly with Yasmine. It ripped me apart and I will never forget it.

Not only for the money, but to make those of us who can't be there very happy indeed!!

I think every post on this thread shows that everybody IS pleased for him.

Guesting is almost always organised months in advance, so it shouldn't be any surprise to them. Should dancers be going on their holidays before the end of the season?! Perhaps there are injuries, etc. I do hope not, for the dancers' sakes.

He is also a great presenter for the RB for World Ballet Day....I wonder if those Days are over?

Perhaps, but how many can there be to delay casting until after the tickets go on sale??

Congratulations to Alex. He will be much missed but what a great opportunity for him. I wouldn't be at all surprised if 10 years hence he is the AD of a ballet company.

Personally I think that Creature should be put in a store cupboard with its RB cousin Frankenstein and left there forever. Of all the iterations I've seen of this story, in this case original is best....leave it to Mary Shelley, Boris Karloff and Mel Brooks!

What a good idea!!

Me too. I would love to see it again.

Thanks so much for this lovely review, @Blossom. Did more seats sell in the end, or was the Palladium half empty?

Links – Monday, 19th February 2024 Reviews – Royal Ballet, Festival of New Choreography: Debra Craine, The Times (share token) Jenny Strong, London Unattached David Mead, Seeing Dance Review – NYC Ballet, Solitude: Gia Kourlas, NY Times (paywall) Review – Various: Nelken, Dark With Excessive Bright, Sao Paolo Dance Company: Sarah Crompton, The Observer Reviews – Tanztheater Wuppertal: Nelken Graham Watts, Bachtrack Helen Hawkins, Arts Desk Feature – Royal Ballet Dancers Aim To Inspire Bradford School Children: Alex Moss, BBC Feature – 92NY Celebrates 150 Years: Staff, Dance Magazine Preview – Prix de Lausanne Rising Stars: Ruth Leon, Slipped Disc Article – Musicians’ Union Launches Petition in Support of Northern Ballet: Florence Lockheart, Classical Music Interview – Joshua Junker, Royal Ballet: Olive Pometsey, The Face. Review – Justin Peck: Illinoise (Chicago), Steven Oxman, Chicago Sun Times Review – Les Ballets Jazz de Montreal: Essence, Merilyn Jackson, Fjord Review (part paywalled) Review – Dance Danced Dancing (Wellington, NZ): Teianna Chenkovic, Theatre View Article – Young Cornish Students Selected for 2024 Dance World Cup: John Danks, BBC Review – Niruparma and Radendra (Kathak): Abhisar and Panduranga, VV Ramani, The Hindu

Looks like we plebs will have to book blind and just risk it then...unless they get the casting out very, very soon.

You are completely missing my point but I am not going to comment any further.

Maybe so. But why does he have to point out the fact that it is 'mostly white dancers' performing the piece? If he has to say that, it clearly is an issue for him. Unless he is merely virtue signalling. Either way, it is insulting to the dancers to have their skin colour pointed out because they are dancing an African-themed piece created on those very same white dancers by the African choreographer, for whom it isn't an issue. If it isn't for him, it shouldn't be for anyone else.

Exactly. The choreographer was commissioned to create a work for the company. HE chose the dancers, HE chose the theme, HE was very happy with them. He could have chosen any subject for a ballet, but he chose one with strong African influences, which I for one am always delighted to see, no matter WHO is dancing it. The fact that he created an African-themed ballet for these 'white' dancers shows that it didn't bother him at all...so why should it even be an issue for Jays?

Why does David Jays feel the need to say this in his review and draw attention to their colour? It's insulting to all the dancers who have worked so hard, and to Mthuthuzeli November, who was very happy to create on these dancers without caring what colour they are. Mthuthuzeli November has made a splash with his work for Ballet Black. Ballet diversity being what it is, a predominantly white cast delivers For What It’s Worth, inspired by singer Miriam Makeba (“Mama Africa”)

How appalling and insensitive. They should all just walk out immediately. If this is how ENO treats their artists then I'm sorry, but they don't deserve to continue as an opera company.

And as I always say, no-one is forcing anyone to see anything...but we are being forced to not see something through no fault of our own. The answer is simple: give us the choice. Anyone who doesn't like it or who is offended, don't go. But don't stop the majority who are not offended from seeing it. Other European countries are performing Bayadere with no problems at all. I wonder how many audience members who see La Bayadere, a 200 year-old fairy tale, have their views of history or Hindu culture skewed or changed forever after leaving the theatre?