zxDaveM

true, but as she was in front, it was my toes about to be stepped on! And those point shoes are solid! lol

I also saw the Linbury's 'Dark With Excessive Bright' Monday evening. Enjoyed the experience a lot. Getting that close up to watching ballet dancers almost in slo-mo dance mode was something I'll not forget. At one point, Melissa Hamilton walked in front of me in the 'public gangway' and stopped, awaiting her queue to move into the dance space (we were in the walkway), and was so close she could have been wearing my shoes! 🙂 I didn't want to move in case I got in the way, so it was a long hold of breath, I can tell you!

I really enjoyed Boundless - had that Wheeldon/NYC vibe about it. And having Yasmine Naghdi n a tour de force didn't do any harm to it for sure. I thought she was magnificent. The middle pdd with Ryoichi Hirano I thought was superb. Liked the first half of the Junker piece (despite the music, sorry, 'soundscape'), which definitely had Crystal Pite written all over it. I'm afraid 2 blokes dancing never does it for me, so that scuppered the latter section in my eyes. Didn't get November's piece at all - just looked like jumping about in colourful costumes; I was waiting for it to go deep down dark and rhyhmic, and it didn't... Lurrrrved Twinkle (Jessica Lang) - the charm meter simply ran out of oodles! Fumi Kaneko and William Bracewell revelled in it (as did all the cast) So for me, both of the best pieces were female choreographers, which to me says how much we've been missing out on in recent years

Both Giselles - great! Forsythe programme - great! New Nutcracker - we'll see (but has to be better than the current one!) The 75th online celebration could be fun All that engagement/futures/new stuff - remains to be seen, but doesn't exactly look satisfying fare Could have done with another triple bill in there I reckon... 😉

you little star, you!

perhaps it took them that long to fix the website booking...

It's daft, that's what it is

it's on the Saturday evening performance (at 7.45) in the Linbury. They seem to be doing four ofthe pieces

any info welcome - and for The Winter's Tale too (and second run of Swan Lake?)

yes, they can, and I do so most performances I'm at, as I'm usually Stalls Circle right If you were blocked, it may have been because they were having a private reception in it (more often happens in the bar area adjacent to the crush room itself - the conservatory) especially if it was on a prmiere performance night

casting: https://www.roh.org.uk/tickets-and-events/43/insights-festival-of-new-choreography/cast-list/57569

The insight into the new choreography festival is on YouTube this evening: no idea if the photo above any clue or not (casting not out yet)

To paraphrase Andrea True Connection: How do you like it? How do you like it? More, more, more!

I'd be amazed if there were any south of £100

🤣

Whoever made it feel like January has 67 needs shooting...

Probably update the 'the' to 'this'

Saw the friday night performance too - enjoyed even more (as had a better idea of what was going on, and could match the dancing to the synopsis points). Still a bit phased by the gaps in the music, but did love some of the tunes they used. And c'mon- it was Alina and Johan!! Makes me realise just how much I've missed them over recent years

oops - I did! (and I've corrected, so thank you)

I really enjoyed the evening. Made me realise I'd not seen Alina dance for ages - and that I had resigned myself to never seeing Johan Kobborg dance again - let alone juggle, and ride a unicycle! Although he only danced with Alina briefly, it did bring the glorious memories flooding back, I can't deny. It is always a pleasure watching Alina dance, she is so expressive, and I particularly loved the sections where she danced with the Angels (Marc Jubete and David Rodriguez) either as a duet or a trio. The 'corps' of 6 dancers made up the other characters (of the circus, Gelsomina's mother), and were rather a filler when the main characters not on stage, though what they did was pleasant enough. The main interest of course, was between Gelsomina, Zampano and Il Motto (Alina, Mick Zeni, Johan respectively). Sold to Zampano by her mother, his initial desire quickly turned to abusive jealousy. Il Motto's intervention seemed to give her hope, but he seemed disinterested in her, more keen on the confrontation with Zampano, which ultimately led to a fight in which Il Motto died (despite seeming to have the upper hand through most of the fight). Despite being remorseful, Gelsomina understandably was frightened of him, and the joyful circus life became more of a scary nightmare. The dancing wove around this plot (my loose interpretation), with the angels occasionally freezing the action as a sort of inner world of Gelsomina. The score was snippets of music (recorded) from a variety of film score sources (a list - and long list it was - in the programme) which did give the piece a rather 'bitty' feel, as most of those snippets were only 2-3 minutes, with blank pauses between. The dancers did make the most of each snippet though, some of the dancing (as mentioned, between Gelsomina and the Angels) was sublime. Nice touch in the curtain calls - Alina herself gave all the cast and creatives a single rose, and Johan got a kiss as well 🙂

win win win win Fore! in other words....

no, nor me - I struggle to imagine why anyone would tbh

you can always politely say "no thank you" and they don't seem to mind that

I was really sad to hear this. The last few years had been a struggle for him, hence the lack of reviews. He was one of those FB friends you meet online I really wish I'd known in real life, so to speak.

Blimey - that IS a wild guess! And would be pretty much a one off