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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...

Colonel Mustard, in the kitchen, with the lead pipe

I've not seen much of his, but remember photographing LA Project, and being a bit bored too. Afterwards, got some sensational photos from the shoot, as the individual steps were super - the overall piece, or maybe it was the musical choice, was dull as ditchwater though.

I was trying to remember that one - thanks Sim

Balanchine makes the music sing! See Symphony in C (music by Bizet), Jewels (music by Foure, Stravinsky and Tchaikovsky). Also, Apollo (Stravinsky), Ballo della regina (I've forgotten the composer) - lots, and lots more

Foteini Christofilopoulou was at the rehearsal of Compagnie Yoann Bourgeois: He Who Falls, part of LIMF 2016 - here are some photos: Jean-Baptiste André & members of the company © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr Julien Cramillet © Foteini Christofilopoulou. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Compagnie Yoann Bourgeois: He Who Falls, LIMF 2016 Courtesy of DanceTabs / Flickr

you're not alone there for sure, Capybara.

Just to be annoyingly pedantic - Nicol played A Gypsy Girl's lover; 'A Gypsy Boy' (in yellow) was Luca Acri :-) Claire certainly shake, rattle, and rolled though!

Interesting - though I'd have gone for Francesca Hayward and Steven McRae as the 'ultimate' couple from this run of Rhapsody, from what I've seen. Just my own thoughts I hasten to add, and what purely caught my own eye. Others may disagree for whatever reason, probably more valid than my own. Just I would have loved to photograph them together. Steven always a joy to photograph as he gives so much whenever on stage, and Francesca just hits those musically Ashton spots so well.

She seemed to be enjoying it as much as we were this afternoon. Stunning performance indeed.

I think you mean Akane (Takada) young Jillykins - but agree with you assessment :-)