zxDaveM

I think we should all remember the Interweb adage - if you wouldn't say something you're posting to the face of the person you're posting about - then refrain from doing so until you have had a good THINK, especially when posting under an anonymous username. So think 3 times, write/edit twice, post once

On another note with my admin hat on:

Raising reports using second accounts to 'disguise' yourself, won't work - we know who you are.

Changing usernames with little good reason (again, disguising controversial posts?) is getting a little tiresome. It also changes all your old posts, so hardly an effective ploy.

Just now, LinMM said:

I’ve been going through the links from April and can’t see a review yet of this Production…have I missed it 🤔

still in the planning stage...

13 hours ago, Tattin said:

A brilliant merging - that would be the funniest comedy ballet of all time!! - but please don't mess with Minkus' score this time- that bit rather upset me in the revamping version of Bayadère.

Don't worry - they'll play all the right notes... though not necessarily in the right order

6 minutes ago, Roberta said:

 

Had it not been April 1st I would have been quite shocked to read that. 

 

 

well, that's killed the jest stone dead

I've heard that to revamp Bayadere, it will be aesthetically merged with Fille, killing two birds with one stoned hero. Solor will replace Alain as Colas' rival for Lise, and Nikaya and Gamzatti will make up and elope together. The Shades will be danced in chicken costumes, and the golden idol will lead the maypole dance with a red umbrella tucked under his arm

Just now, capybara said:

I know…… 😉 and I find the familiarity endearing but the rot can set in quite quickly once we start to use shorthand.

 

 

Yes, I usually try to avoid doing it, but as all the info in the post I was quoting (and I was rushing), I allowed myself to cheat just this one time 🙂

5 minutes ago, capybara said:

M&C?

Yas?

😳

Muntagirov and Cuthbertson

Yasmine Naghdi

(as per quoting Mary's post...)

51 minutes ago, Fonty said:

MacMillan seemed to like portraying women being ravished by men in various ways.  

rape victims, whores/harlots, or dead

15 minutes ago, Mary said:

Muntagirov and Cuthbertson were beautiful in Two Pigeons- I am delighted with this casting and dleighted I can go....

 

Also pleased to see Calvin Richardson get his chance at Oberon as I can really see him in the role after his recent performances.

 

 

M&C - yes they were 🙂

Yas will make sure Calvin's up to scratch, with no doubt 😉

27 minutes ago, annamk said:

 I hope sales pick up nearer the time or the RB might find it difficult to justify this kind of programming in the future.

my thoughts too 😞

10 hours ago, myrtle said:

 

Now, to beat my dead horse the wig conundrum, was Hayward a blonde Titania in previous runs, does anyone recall?   Thank you again.

She wore her natural colour at the Vail Festival back in 2018 - unless that was just during the dress rehearsal that is!

12 hours ago, JNC said:

Better late than never (!) but one day after public booking does feel a big gaffe.

Well, there are still loads of tickets left - so it is really only us hard core fans who love Ashton (as can be seen by the tickets that have been sold - 'fans' tickets!) that go for these triple bills, sadly.

43 minutes ago, Fonty said:

 

No argument from me about your likes, with the possible exception of Song of the Earth.  I know it is a masterpiece, but I don't really like the music.  I believe that MacMillan created Concerto for the company to make sure they maintained their classical technique, so it seems odd that it should be performed so infrequently.  

 

I've seen all 3 of your  dislikes at least once, and although they wouldn't be my first choice, I wouldn't sit any of them out.  I thought the first two dealt with unpleasant themes, but did so in a very dramatic way.  I would far rather see those than some of the angst ridden contortions to ear splitting noise that I have endured at the hands of certain modern choreographers.  There was a time when the Judas Tree was THE one act Macmillan ballet in a triple bill. I wouldn't avoid watching it, but it wouldn't bother me if I never saw it again.    

First time I saw Song of the Earth I didn't much like it - but it really grew on me, no denying. Now a favourite

I had been looking forward to seeing Judas Tree (from rumour, and the poster still on the stairwell leading up the right-hand side of the house). After two viewings I will not watch a third. Same with The Invitation - but apart from the deeply unpleasant aspect, what also ensures I will miss it were it to return, is the party 'entertainment' (giant chickens/cockerels or something - think my brain has tried desperately hard to forget the whole thing)

1 hour ago, bridiem said:

 

Well I'd all in favour of MacMillan 'overload' if that's what it takes. (And no-one seems to worry about the current threat of McGregor overload.)

 

Well, to be fair, McGregor is the current resident choreographer, so you'd expect a lot of works from him (some of which I like a lot, some of which I do not)

On a selfish note, I just wish the MacMillan overload included more of the pieces of his I like (such as the current Danses concertantes and Requiem, plus the likes of Gloria, Song of the Earth, Rite of Spring, Concerto). There are others I simply won't watch again - DD, The Invitation, Judas Tree

Attended five very different evenings this last week (21st - 28th March).

First up was a trip to Islington, and Kidd Pivot’s Assembly Hall at Sadlers Wells. Dancing whilst lip synching to spoken words almost a Crystal Pite speciality. The decision by committee ruthlessly exposed, and throw in some superb solos/duets, plus Crystal’s astonishing way of moving groups of dancers around the stage, added up to an intriguing evening (apart from a break for a technical hiccup, which broke the mood rather, just as things were getting properly weird!)

Next was a slide down into the Linbury to see Sydney Dance Company, with their triple bill Ascent. Loved the short opening piece by AD Rafael Bonachela, the near continuous flow of the two couples of dancers was fascinating, as they filled the space, and veritably bounced off each other. Bonachela came on in the 10mins pause to charmingly introduce the company and thank all involved etc, whilst they changed the flooring/set for ‘The Shell, A Ghost, The Host & The Lyrebird’ (ch Marina Mascarell, plus her dancers). What we saw was as baffling as the title, with people swinging around on ropes, attached to torn flags/sails. I assume they were doing it right, as none were left marooned in the light rig above. Loved the score/forest soundscape (where the Lyrebird made its presence known) but apart from the odd solo, disliked this piece. After the interval (much needed to unscramble brainbox) came Anthony Hamilton’s Forever and Ever. The choreography was stunning and compelling, as the dancers stripped away layers (literally, in most cases, with costumes under costumes) with some couples ‘twinned’ in synchronicity for example - but the ‘music’ was just horrible. The opening solo to blissful silence (I came to relaise very shortly) seemed rather tagged on and as well as she danced it, I felt than an intro of 10-15 seconds would have sufficed. If I see it again, I will enjoy it even more with earplugs

Perhaps the quiet highlight of the week for me was at The Place (near Euston) for Mark Bruce’s Frankenstein. After an appetiser of 6 short dances to Mark’s own music (grouped as 'Liberation Day') as a sort of intro to the six dancers (how lovely to some good contemporary dancing to actual music), came a short (50mins) retelling of the Frankenstein tale. Jonathan Goddard was at his most mesmeric as the Monster, though perhaps the star of the show was Guy Hoare’s lighting (despite a technical hiccup - am I a Jonah or something?) allowing maximum use of the space. Came away wishing I had at least one more ticket

Wednesday was back to ROH for the MacMillan triple. Charmed by Dances concertante once again, stunned by Sarah Lamb in Requiem, sat out DD in the Floral Hall. (plenty already been said about this bill)

Thursday was Sadlers Wells for ENB’s Carmen (ch Johan Inger). Minju Kang as Carmen looks like a star in the making, and surely won’t be a First Artist for long. Found the piece rather episodic, and not particularly emotional or passionate. The movable pillars that acted as scenery seemed more animated at times, than some of the choreography There were moments (mainly when Kang was on stage), but also an awful lot of rolling on the floor or walking about. And Francesca Velicu as ‘The Boy’ ?? The score wrapped around snippets of Bizet’s monumental tunes was well done I thought. Kept feeling there was a great work trying to get out, but it never quite made it. Enjoyable evening though, all told.

This week was like recapturing my adventures when I first started to get into dance, when I went to almost everything I could. Sadly though, these days will now need a rest for 2-3 days! (Thank you Easter!)

4 hours ago, Sim said:

Can someone please explain to me what an 'influencer' actually is?  I keep hearing about them but where do they come from and what do they do?  Are they paid by companies to wear their clothes/perfume/shoes etc. and then tell their followers how fabulous such products are?  Is it just advertising dressed up as another word?  

once they have enough followers (on say tik-tok) they are showered with products to 'influence' said followers to buy.

And following such 'trend-makers' is the only explanation I can think of, as to why so many young women these days have inflated lips that make them look like they've taken a punch to the kisser, and have painted on mono-brows

Just a thought - I can understand why they'd try and get newbies in to see Swan Lake (hence the marketing efforts) as I reckon that life-long fans are more likely to be acquired watching one of the big classics, than something like Different Drummer (think that's one for those who are die hard fans already!)

Surely Odile has to be a bit swanlike, as part of the deception to convince hapless Siegfried she is in fact Odette (in disguise). She even mimics a few 'swan' steps of Odette's solo in act 2

2 hours ago, Jane S said:

Let's  credit the author - Margaret Willis

credit added

Can't see the RB dropping Onegin - the dancers would riot!

I agree Richard, with pretty much all you say. I'd 'lose' those wee hats from Danses in a heartbeat!

I won't be returning my tickets for other performances in the run though, as I have a good book on the go, and a comfy seat in the Floral Hall earmarked for me for the duration of DD. As I do have to see Requiem again!

Danses Concertantes - charming, witty, a bit dated. Isabella Gasparini was wonderful

Different Drummer - an occasional nod to his brilliant pdds; otherwise - ghastly! If I'd been told it lasted 2 hours I would have believed them

Requiem - startlingly beautiful, emotionally evocative, and something I don't think I'd ever tire of watching. Had I been told it lasted 15mins, I would have believed them

24 minutes ago, Rob S said:

Tube strike announced for Monday 8th April and Saturday 4th May (a double show day)

Thanks the the heads up - but Jack's alright, as I have nothing on the 8th April, and May the 4th (Star Wars Day) is Guineas Day at Newmarket, so I wouldn't have been going out anyway 🙂

Gosh - those are rather major cast changes!

(and a great opportunity for Isabel Lubach)

1 hour ago, Sim said:

 If I want to listen to music/watch ballet whilst I am surrounded by the glow of mobile phones I can simply go upstairs on a London bus, put on YouTube and join everybody else who is doing the same thing.  And it's free!

but nowadays everyone seems to have abandoned headphones, so the cacophony of different streams/videos/tunes/TV/movies would be maddening!