zxDaveM

I was at the rehearsal in question, so here are some photos before Natalia had to withdraw because of the injury. Such a shame as she and Matthew Golding were in such sync, that i'm sure the performance would have been spectacular, Lets all hope she makes it to her shows in March. Natalia Osipova, Matthew Golding © Dave Morgan. Courtesy of DanceTabs / Flickr Matthew Golding, Natalia Osipova ©Matthew Golding, Dave Morgan. Courtesy of DanceTabs / Flickr Matthew Golding © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: RB - Giselle 2016 Courtesy of DanceTabs / Flickr By kind permission of the Royal Opera House

Lidia Crisafulli was at the Flamenco Festival at Sadler's Wells, this time for Farruquito & Farruco. Some photos in the links: Farruquito & Farruco in Buen Arate © Lidia Crisafulli. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Farruquito & Farruco: Buen Arate Courtesy of DanceTabs / Flickr

Foteini Christofilopoulou was at the rehearsal of Hubert Essakow's 'Terra' at the Print Room at the Coronet in Notting Hill. Here are some sample photos... Benjamin Warbis, Luke Crook © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Monique Jonas © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Hubert Essakow - 'Terra' Courtesy of DanceTabs / Flickr

It is the cast with Sarah Lamb, as I understand it

'Like' isn't what I meant - 'agree' would be more apt

I was at the rehearsal at Wilton's Music Hall, so here are a few photos: Hannah Kidd, Chris Tandy © Dave Morgan. Courtesy of DanceTabs / Flickr Eleanor Duval © Dave Morgan. Courtesy of DanceTabs / Flickr Company dancers © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Mark Bruce Company - 'The Odyssey' Courtesy of DanceTabs / Flickr

"benighted site"? I say, that's a bit much!

Aileen wrote (in the Wheeldon triple thread): "I've wondered how professional choreographers improve. Does anyone give them any feedback or suggestions during the creation of the work or after the work has been performed? The choreographer is an artist, and has a vision, but, as with any other human endeavour, s/he can learn from other people. The concept of training in the context of choreography seems a strange one but why should it be? What support and advice is there for emerging and even established choreographers? Or are they pretty much left to get on with it with minimal oversight by anyone else?" My thoughts on this (and I hasten to note I have no special or inside knowledge). Like many of us, I'd guess they learn on the job. Learn what works for them, for their 'style' and how people react to it, how the dancers perform it, whether they find a 'muse' upon whom their work can blossom. Can they improve with input from others - possibly, though I'd guess much would depend upon inspiration, and that could come with their first ever work, or the last before they can choreograph no more. Basic choreography techniques are taught in school, if my understanding is correct, though some will take to it better than others; those that do, may eventually be drawn to it instead of dancing, or take to it more when their dancing abilities fade. By implication, if you can be taught choreography, and improve it with experience (and/or collaboration), then almost anyone could do it - the genius lies (as with anything I suppose) in being particularly good at it. Abd that surely can only come with making new works, and being allowed to experiment, and yes, occasionally fail. The introduction of the collaborative process, one of Wayne MacGregor's briefs when he was made resident choreographer so I heard, was to give choreographers (potential and more established) the confidence to make collaborations - with dramatists, with artists (for ideas of sets/costumes), with composers, and so on. This does seem to have fallen by the wayside of late - no proper Draft Works this year, for example. The choregraphers generally regarded as the greats - Ashton, MacMillan, Balanchine, etc. all had great works and duds interspersed throughout their careers - so did they 'improve' as such? Or was it more down to a particular set of inspirations that made for a great work - or causing confusion to reign and a dud did get made - and then everyone only remembering the greats and forgetting the duds? I feel reasonably confident that 20,30 or more years down the line, we'll only be remembering Wheeldon, MacGregor and Scarlett's great pieces, and pretty much forgotten those that didn't cut the mustard (Internet searches excepted!!). Anyone else want to add their 2p worth?

An interesting question, and perhaps a new thread?

Sadly, I couldn't make any of the shows (I wish I had!) - but I did make it to the Director's rehearsal before the run started. Here are some photos: The Dream - Fairies © Dave Morgan. Courtesy of DanceTabs / Flickr The Dream - Joseph Caley, Nao Sakuma © Dave Morgan. Courtesy of DanceTabs / Flickr A Month in the Country - Delia Matthews, Iain Mackay © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: BRB - Ashton double bill Courtesy of DanceTabs / Flickr

Foteini Christofilopoulou was at the rehearsal of Tara D’Arquian's 'Quests' at the Greenwich Dance Agency’s 1930s building. Here are some sample photos... Tara D’Arquian, Quests © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Anne-Gaëlle Thiriot, Marc Stevenson © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Tara D’Arquian - 'Quests' Courtesy of DanceTabs / Flickr

7pm starts in the week would utterly knacker me have to confess, as the best I can do with trains (on time), is get to ROH after a day at work at 7.05-7.10. So on a purely selfish note, I hope they DON'T do that! I'd have thought the interval timing dependent on constructing (and deconstructing) the set, rather than as an annoyance to the audience. Indeed, some may like a longer interval than the minimum, to chat with friends and have a glass of something fun. As an aside, I thought the 2nd interval in this triple was 25mins, and the last piece 35mins running time. But as you say, perhaps those that left had had enough - or had only come to see Ms Osipova

Foteini Christofilopoulou was at the rehearsal at Sadlers Wells for Ballet Flamenco Sara Baras: Voces, Suite Flamenca, Flamenco Festival London 2016. Here are a few of sample photos... Sara Baras in Solea por buleria © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Corps de ballet in Solea por buleria © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Ballet Flamenco Sara Baras: Voces, Suite Flamenca, Flamenco Festival London 2016 Courtesy of DanceTabs / Flickr

Lidia Crisafulli was at the rehearsal of Alula Cyr: Hyena. This is part of 'Resolution 2016'. Here are some photos from that... Alula Cyr: Hyena: Jessica Ladley, Lil Rice, Fiona Thornhill © Lidia Crisafulli. Courtesy of DanceTabs / Flickr Alula Cyr: Hyena: Jessica Ladley, Lil Rice, Fiona Thornhill © Lidia Crisafulli. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Alula Cyr: Hyena - part of Resolution 2016 Courtesy of DanceTabs / Flickr

As for my thoughts after the opening last night - well, Strapless was 'ok', but didn't fire me up the way the other 2 pieces did. Still puzzled though - if the crowd were so shocked at the unveiling of Amelie's portrait with 'that' dress and its misbehaving strap, why were they not fazed at her wizzing about at the pre-show party in said dress? Hmm - not thought through, I reckon. There were some marvelous pdd's (the one with Natalia Osipova and Federico Bonelli was hot stuff) and the pdt with Edward Watson, Matthew Ball and Natalia, was intriguing. Loved the can-can dancers too! But overall, it felt a bit too episodic, and had a few too many dull bits in it - and as someone else has already said - black costumes with a black background (and backlit) - urrrgh! (Liam Scarlett's Sickert piece suffered this way too - I do hope this isn't a sign of the future). Music - can't say I was either enthralled or horified, just non-plussed I'm afraid. As for the other 2 pieces, well, I love Arvo Part's music, so 'After the Rain' was a knockout for me. Two pieces of music, so two different dance sequences was fine as far as i'm concerned, and really enjoyed both sections. Thought Itziar Mendizabal really shone in the first part. 'Within the Golden Hour' is one of my favourite Wheeldon pieces, though reminiscent of DGV is sound and motion, that doesn't so it harm to my eyes and ears. Wonderfully danced (as were the other pieces) by the whole cast, with humour and panache. Can't wait to see it (and 'Rain) again. Strapless - might yet grow on me...

I was at the rehearsal on Thursday, so here are a few photos. Itziar Mendizabal in 'After the Rain' © Dave Morgan. Courtesy of DanceTabs / Flickr Natalia Osipova in 'Strapless' © Dave Morgan. Courtesy of DanceTabs / Flickr Lauren Cuthbertson, Matthew Golding in 'Within the Golden Hour' © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Christopher Wheeldon triple bill Courtesy of DanceTabs / Flickr By kind permission of the Royal Opera House

Foteini Christofilopoulou was at the rehearsal of 'I am not in love' by Jodie Cole, part of Resolution at The Place, 2016 Jodie Cole © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Jodie Cole © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Jodie Cole - 'I Am Not In Love', part of Resolution 2016 Courtesy of DanceTabs / Flickr

Lidia Crisafulli was at the rehearsal for Tara Pilbrow's '2+1' at Westbourne Grove Church, 7 February. Here are some photos: Tara Pilbrow and Amir Giles © Lidia Crisafulli. Courtesy of DanceTabs / Flickr Tara Pilbrow and Amir Giles © Lidia Crisafulli. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Tara Pilbrow - 2+1 Courtesy of DanceTabs / Flickr

Foteini Christofilopoulou was at the rehearsal for Tanztheater Wuppertal Pina Bausch: “…como el musguito en la piedra, ay si, si, si…” Here are some photos: Tsai-Chin Yu © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Pablo Aran Gimeno © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Clémentine Deluy, Eddie Martinez, © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Tanztheater Wuppertal Pina Bausch: “…como el musguito en la piedra, ay si, si, si…” (Like moss on a stone) Courtesy of DanceTabs / Flickr

Yes, Thursday 12.30 (Friends General) and should be the opening night cast

I am, and I am... :-)

Perhaps people coming back for more after seeing 'Alice' and/or 'Winters Tale'

I've seen a fair bit - and like some, don't like some. The last 18 months/2 years, 2 of the best things I've seen of any form were ENB's/Akram Khan's 'Dust' and Crystal Pite's 'Polaris'. Both of which were very darkly lit, and had a lot of writhing on the floor. So although my post was jokey, it does have elements of truth. As a generalistic rule of thumb, ballet is up and airy, seemingly leaving the floor below; contemporarary more down and uses the floor as a component, rather than something to float away from. At least, that's how I view it. As for the future of ballet, part of its enduring charm is its tradition - which is why Swan Lake and Nutcracker always sell out. For the sanity of the dancers they need new work - and choreographers like Wheeldon and Ratmansky provide new challenging work with classically endowed steps - as well as the opportunity to dance those classics. Emotionally charged works also add vitality, where people like Liam Scarlett are picking up the mantle of MacMillan. I don't think we'll ever see the likes of the Petipa/Tchaikovsky combo again, but their legacy is always there to draw on, and people will most probably always want to see it. Question would be production values - avoiding being 'stuffy and old fashioned' could lead to the charge of mucking it up to much (look at some of the Nutcrackers around!). What does puzzle me is the constant quest for the 'young audience'. Whilst its nice to see the youngsters in the audience, I reckon the target 'new audience' should be those in their 40s+ where the children have left home and you feel too old to go the rock/pop gigs anymore but still enjoy an evening out, and without said children, have a bit of cash spare. (this is ignoring where these days you have to be the bank of mum and dad!). This probably a different topic though

blimey guys, lighten up! It was meant as a bit of a joke, is all!

ah- contemporary dance! Or rolling around on the floor in the dark, as I like to think of it...