John Mallinson

This triple bill included Nijinsky's L’Apres-midi d'un faune, and What Wild Ecstasy, a new work by Mark Baldwin in his 10th year as artistic director. L'Apres-midi d'un faune (Pieter Symonds as Lead Nymph, Dane Hurst as the Faun). Courtesy of DanceTabs / Flickr ©Dave Morgan. What Wild Ecstasy (Miguel Altunaga, Antonette Dayrit). Courtesy of DanceTabs / Flickr ©Dave Morgan. What Wild Ecstasy (Eryck Brahmania, Julia Gillespie). Courtesy of DanceTabs / Flickr ©Dave Morgan. More... Dave Morgan: Rambert's Spring Season - 27 photos Courtesy of DanceTabs / Flickr Discussion of this production is here.

Granta, Aileen what version of what browser are you using? I use Safari or Firefox on a Mac and the seat display and selection seem ok though I haven't used it to actually book. There should be a zoom control slider at the bottom of the seating map though even at minimum zoom the Amphi doesn't fit. In that case you should be able to click on the display and drag it around to show the rest of the seats. When you click on a seat it should highlight in red, an image of the view from the seat should appear on the left and a panel giving the price and a Select button should also appear. If this is not happening there is something quite amiss. I note that the pictorial aspects of the booking system require Javascript to be enabled. I suppose it's possible that things don't work properly if you have an old browser - in fact this not terribly helpful help page says as much. You should report your difficulties with a full details to the ROH via their contact link.

As part of the Connecting Conversations series at the London Metropolitan University, William Trevitt and Michael Nunn are being interviewed by psychoanalyst Luis Rodriguez de la Silva - the 'connection' being that between performing arts and psychoanalysis. Wednesday June 6, 7pm. More details here.

Links – Tuesday May 15, 2012 Review - New York City Ballet, mixed bill: Alastair Macaulay, New York Times Review - New York City Ballet, Mes Oiseaux, Two Hearts : 4 stars, Apollinaire Scherr, Financial Times Review - New York City Ballet, Spring gala: Leigh Witchel, New York Post Q&A - Matthew Bourne and the making of Swan Lake 3D: Ismene Brown, The Arts Desk Film preview: Matthew Bourne’s Swan Lake 3D: Jessica Duchen, The Independent Review - Los Angeles Ballet, NextWave LA: Jean Lenihan, Los Angeles Times Review - Boston Ballet, Barber Violin Concerto, Fancy Free, Etudes: Charlene Peters, Boston City Guide Examiner Review - Ballet Revolución, London: Sarah Frater, The Stage Review - Ballet Preljocaj, Snow White: Laura Dodge, Londonist Review - La MaMa Moves!, Chamber Works I, NY: Claudia La Rocco, New York Times Review - Birmingham Royal Ballet, showcase, York: Charles Hunt, The York Press The Place Prize 2012/13 dance commissions announced: press release, DanceTabs Darcey Bussell is new President of the Royal Academy of Dance: press release, RAD Preview - Wayne McGregor’s SUM - where neuroscience and chamber opera combine: Linda Gomez & Emilia Spitz, Wired

Yes!

Links – Monday May 14, 2012 Review - Ballet Preljocaj, Snow White: 2 stars, Clement Crisp, Financial Times Sylvie Guillem awarded Venice’s Golden Lion: The Arts Desk Review - West Australia Ballet, Diamonds, Perth: Deborah Jones, The Australian Nina Levy, West Australian Review - Rashaun Mitchell & Silas Riener, Nox, NY: Brian Seibert, New York Times Review - Daniel Linehan, Zombie Aporia, London: Graham Watts, DanceTabs Review - Dance Heginbotham, Closing Bell, Twin, NY: Claudia La Rocco, New York Times Photos - NYCB’s Spring Gala: New York Times Preview - Whim W’him, Approaching Ecstasy, Seattle: Michael Upchurch, Seattle Times Michaela DePrince, young dancer (featured in First Position): Stefanie Cohen, New York Post

I think this discussion raises two interesting topics which could be discussed elsewhere: firstly how much does costuming add to (or subtract from) a dance work and what does it tell us about the creator's intentions, and secondly how much can one learn about a production from still photographs.

Photos by John Ross from the Snow White photocall. More… John Ross: Ballet Preljocaj, Snow White - 30 photos Discussion of this production is here.

Let me proudly raise my hand as one of the leaders of the 'staggeringly shallow' brigade. I thought Snow White's was about the silliest, most vulgar and unflattering costume that I have ever seen, and imposed of course by a male designer and a male choreographer/director. If it had been a great, or even good, dance piece then I might feel more forgiving but it was unencumbered by interesting choreography, drama or narrative coherence, made little use of the potentialities of the story and presumably had Mahler turning in his grave. Having found Preljocaj's Le Parc interesting, witty and clever when Paris Opera Ballet brought it to London in 2005, I was eager to see Snow White but in the event was very disappointed.

She's certainly in London and coaching La Sylphide as this rather fetching photo tweeted last week by Andrei Uspenski shows. (The James in the background is Dawid Trzensimiech.)

Links – Sunday May 13, 2012 Review - New York City Ballet, Spring Gala: Tobi Tobias, ArtsJournal Marina Harss, DanceTabs Gazelle Emami, Huffington Post* *a classic quote “When the program closed at about 9:10 p.m. was also when the evening really began.”! Review - Ballet Preljocaj, Snow White: Luke Jennings, The Observer Graham Watts, LondonDance photos, Dave Morgan, DanceTabs Review - The Royal Ballet, La Fille mal gardée: Luke Jennings, The Observer Review - Pavel Zustiak (Palissimo), Strange Cargo, NY: Deborah Jowitt, ArtsJournal Review - Introdans, Hemel, NY: Michael Upchurch, Seattle Times Carol Pardo, DanceviewTimes Alice Kaderlan, Crosscut Review - Yoshiko Chuma, Love Story, Palestine, NY: Brian Seibert, New York Times Film review - First Position: Jeffrey Gantz, Boston Globe A boxer at the barre, (why?!): Vikki Orvice, The Sun

No, I'm afraid the costume looks quite as bad on stage as in the photos. Whatever happened to sweet innocent Snow White? This girl is a sexy teen with no dress sense and no mother to advise her. Presumably the amount of thigh on show can be given intellectual justification by making some sort of oedipal triangle (Snow White v. Stepmother in competition for the King). If so, what tosh!

In a rare visit to the UK Ballet Preljocaj brought Angelin Preljocaj's 2008 ballet Blanche Neige (Snow White) to Sadler's Wells in May 2012 as part of a world-wide tour. Snow White and her Prince, Virginie Caussin & Sergio Diaz. Courtesy of DanceTabs / Flickr ©Dave Morgan. Snow White and her Prince, Virginie Caussin & Sergio Diaz. Courtesy of DanceTabs / Flickr ©Dave Morgan. The Court dance to pay homage to the King and the Princess. Courtesy of DanceTabs / Flickr ©Dave Morgan. More... Dave Morgan: Ballet Preljocaj - 27 photos Courtesy of DanceTabs / Flickr Discussion of this production is here.

Kobborg is supposed to be. Sorella Englund isn't - unless my complaints to management take effect!

Falling over is allowed - it's lack of commitment that isn't!

Welcome. A good point for discussion. I never use opera glasses, not because my eyes are wonderful but because I just don't get on with them and find them more trouble than they're worth, especially as I wear glasses. However, maybe if I had the right pair things might be different. My impression is that good opera glasses are very difficult to find - most small binoculars seem to me to be too powerful. Good optics are expensive too. The view from the Amphitheatre, even without opera glasses, may be better than from the Stalls as one can take in the whole stage more easily and the birds-eye view can often enhance things. In ballet, faces are not that important: it's the whole person who acts. However most of the regular ballet-goers whom I know do seem to be wedded to their binoculars so may be able to give better advice about what to get (or not) than me.

Links – Saturday May 5, 2012 Review - New York City Ballet, Serenade, Kammermusik no. 2, Brahms-Schoenberg Quartet: Robert Johnson, The Star-Ledger Review - The Royal Ballet, La Fille mal gardée: Louise Levene, Telegraph Review - Smuin Ballet, mixed bill; San Francisco Ballet, Don Quixote: Carla Escoda, Huffington Post Interview - Karole Armitage, punk ballerina and voguing pioneer: Nate Freeman, Blouin ArtInfo Review - London Children’s Ballet, A Little Princess: Bruce Marriott, DanceTabs Review - Ivy Baldwin Dance, Ambient Cowboy: Brian Seibert, New York Times Benjamin Millepied and Nico Muhly discuss their latest collaboration: Roslyn Sulcas, New York Times New York City Ballet's long-term future at SPAC in jeopardy: Paul Post, The Saratogian Preview - City Ballet of San Diego, Romeo and Juliet: Janice Steinberg, San Diego Union-Tribune Interview - Katie Green, choreographer: Carmel Smith, LondonDance Glimpes - Sara Mearns: Tobi Tobias, ArtsJournal Beatriz Stix-Brunell - one to watch: The Independent A Tribute to Moscelyne Larkin and the Legacy of the Ballet Russe: Amy Zeittlow, Huffington Post This week’s new dance (London), Breakin’ Convention, Ballet Preljocaj: Judith Mackrell, The Guardian

ROH is very careless of it's reputation to release a new website in such an incomplete form.

Links – Friday May 4, 2012 Review - New York City Ballet, Serenade, Kammermusik No. 2, Brahms-Schoenberg Quartet: Marina Harss, DanceTabs Preview - The Bolshoi Ballet’s, Jewels: Raymond Stults, Moscow Times Review - Karole Armitage, Werk! The Armitage Gone Variety Show, NY: Gia Kourlas, New York Times A tour of the Palais Garnier: Lennox Morrison, Wall Street Journal Review - Kota Yamazaki, (glowing), NY: Martha Sherman, DanceviewTimes Review - Staatsballett Berlin, Arcangelo, Herman Schmerman, Berlin: J.S. Marcus, Wall Street Journal Christopher Stowell and Oregon Ballet Theatre: Allan Ulrich, San Francisco Chronicle Review - Carrie Ahern, Borrowed Prey, NY: Deborah Jowitt, ArtsJournal Preview - Dance Contemporanea de Cuba, Birmingham: Diane Parkes, Birmingham Post Film review - YAGP documentary, First Position: Manohla Dargis, New York Times Kenneth Turan, Kansas City Star Review - Involuntary, One Point 618, Adelaide: Alan Brissenden, The Australian Hard-corps moms returning to ballet after pregnancy: Lewis Whittingham, Philadelphia City Paper Doctor in audience saves dancer whose heart stops on stage: Heidi Evans, New York Daily News Sydney Dance Company attendance doubles: Matthew Westwood, The Australian

Fascinating interview in the New York Review.

Links – Thursday May 3, 2012 Review - New York City Ballet, Serenade, Kammermusik no. 2, Brahms-Schoenberg Quartet: Alastair Macaulay, New York Times 5 stars, Apollinaire Scherr, Financial Times Leigh Witchel, New York Post Mary Cargill, DanceviewTimes Review - Boston Ballet, Don Quixote: Alan Helms, DanceTabs Review - San Francisco Ballet, Don Quixote: Pamel Feinsilber, San Francisco Examiner Paul Parish, Bay Area Reporter Review - Australian Ballet, Onegin: Deborah Jones, The Australian Review - Vienna State Ballet, Marie Antoinette: Patricia Boccadoro, CultureKiosque Review - Trajal Harrell, Antigone Sr., NY: Deborah Jowitt, ArtsJournal Review - Introdans, Heavenly, NY: Claudia La Rocco, New York Times Film review - YAGP documentary, First Position: Marilyn Jones, Christian Science Monitor Rex Reed, New York Observer Review - Baryshnikov’s star power can’t save In Paris: Georgia Rowe, San Francico Examiner Preview - San Francisco International Arts Festival: Rita Felciano, San Francisco Bay Guardian The National Institute of Dance Medicine & Science: Carmel Smith, LondonDance Dance UK Conference: Nutrition & Disordered Eating In Dance: Josephine Leask, LondonDance Pennsylvania Ballet’s Peter Pan, and Elgar: Peter Dovrin, Philadelphia Inquirer

I wonder if the ballet company will survive at all.

I agree that comparing MacMillan and Petipa is a bit chalk and cheese, except that the crowd scenes in Don Q and those in Romeo and Juliet have a sort of cousinage and need something of the same liveliness from the corps, but that, as you say, is performing style not dancing style. I like the idea of McGregor's Don Q, to be followed by Wheeldon's hip hop version of Swan Lake.

I think I know what you mean but on the other hand you do not get the sort of performances that the RB is capable of giving of the MacMillan rep with a "colourless performing style". For Basilio's bravura the names that spring to mind are Acosta (who may not feel able to dance it in two years time), McRae and the late lamented Polunin, though in two years time one or two of the promising juniors may have come through.

Links – Wednesday May 2, 2012 Review - Bolshoi Ballet, The Bright Stream (cinema relay): Alastair Macaulay, New York Times Review - Youth America Grand Prix gala (honouring Natalia Makarova), NY: Robert Johnson, The Star-Ledger Review - Boston Ballet, Don Quixote: Marcia B. Siegel, Boston Phoenix Review - San Francisco Ballet, Don Quixote: Sean Martinfield, Huffington Post You might like SF Ballet's Don Quixote if… : SF Appeal Review roundup - Scottish Ballet, A Streetcar Named Desire: The Week First dance injury clinic for NHS (audio): BBC PM April 30 (about 52 minutes in) Review - SMITH dancetheatre, Agnes and Walter, A Little Love Story, London: Misa Brzezicki, LondonDance Review - Giuliana Majo, Red; Gabriele Reuter, Tourist, London: Jeffrey Gordon Baker, LondonDance South Bank Sky Arts Awards - Arthur Pita’s Metamorphosis wins: Matthew Hemsley, The Stage Film review - YAGP documentary, First Position: Christy Lemire, Boston Globe/AP Secret World Of... CBBC series peels back curtain on fame: Tara Conlan, The Guardian Preview - BoucharDanse, Histoire d’amour, Toronto: Michael Crabb, Toronto Star Exhibition - Beauties of the Russian Stage: Beauty Without Photoshop, St Petersburg: Kristen Steagall, St Petersburg Times Photo gallery - Pacific Northwest Ballet’s all-Wheeldon programme: Joshua Trujillo, Seattle Post-Intelligencer Ballet Chicago makes Harris debut, at last: Sid Smith, Chicago Tribune