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Found 17 results

  1. Is anyone going on Tuesday? Had booked specifically to see the wonderful Mr. Watson, but having missed out at the weekend, I am going to make this one if I have to walk!
  2. I went to ENB performing Chrisopher Wheeldon's Cinderella in Manchester today (Saturday Matinee). Erina Takahashi and Joseph Caley were the leads. I have never been to a Wheeldon ballet before, and not watched the Royal Ballet televised productions of recent years. I must admit to a certain about of ignorant snobbery and prejudice towards this choreographer. Being a lover of the great classical ballet canon, I had a bias that it might be, (especially judging from the Cinderella promotional images) rather too 'Matthew Bourne-ish' (again, I admit to being quite ignorant of Bourne too). The excellent reviews on this forum of this Cinderella (in the round, in the Albert Hall) encouraged me that it was worthwhile to go and see. Thank you Ballet Forum! I found it was a splendid cinematic dance theatre with more than enough of the classical style to satisfy me. For sheer visual effect, it is impressive and sophisticated. The colours of the staging and costume are extremely rich and splendid, lustrous. I did wonder in some scenes if they crossed the line into garishness but they just stayed on the right side, I think. The varied effects are very striking, wonderful (I particularly liked the row of chairs levitating in Act III). The choreography I found very interesting and often extremely pleasing. I loved the use of the male quartet of 'Fates' throughout. As with the other Cinderella I've seen (BRB Bintley) the Seasons dances are a highlight, and Precious Adam's leading Winter was probably my favourite. Perhaps some of the step sequences were a little 'busy', particularly in the (infrequent) solos, and I must admit I didn't find the grand pdd's conveyed the overwhelming emotion I thought they should have. The national dance section was again a little busy but I love this music and regret that it doesn't feature in the BRB version. But overall the dance was continually creative, impressive, surprising and consistently high standard. And I will admit that at the climax of Act II ballroom scene had me won over - the way the corps formations drew the scene onto it's finale, and portrayed the ticking clock with their arms - I thought this was fabulous. The leads Takahashi and Caley were of course excellent and flawless, but I'm not sure their individual (or pdd) choreography was a sufficient vehicle for either of them to really enrapture or astound the audience. It looks like this production has sold extremely well, far better than ballet usually does in Manchester.
  3. In the order of Cinderella, Prince Guillaume, Benjamin Manchester Thursday 17 October Erina Takahashi, Joseph Caley, Jeffrey Cirio Friday 18 October (mat) Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Friday 18 October Shiori Kase*, Jeffrey Cirio, Barry Drummond Saturday 19 October (mat) Erina Takahashi, Joseph Caley, Brooklyn Mack*+ Saturday 19 October Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Southampton Wednesday 23 October Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Thursday 24 October (mat) Alison McWhinney*, Aitor Arrieta*, Henry Dowden* Thursday 24 October Shiori Kase, Jeffrey Cirio, Barry Drummond Friday 25 October Erina Takahashi, Joseph Caley, Brooklyn Mack Saturday 26 October (mat) Alison McWhinney, Aitor Arrieta, Henry Dowden Saturday 26 October Shiori Kase, Jeffrey Cirio, Barry Drummond *Debut in the role with English National Ballet +Guest Artist
  4. Though not strictly ballet, can we discuss a west end show on this forum. If so, can I talk about a performance whilst still in preview, or do we wait until after official first night?
  5. A bit early to be starting a thread on this yet, when the run doesn't start until Thursday, but I wonder if anyone has splits yet for the programme (and/or can confirm that the running order is as above)? All the ROH website says is running time 2 hrs 35 minutes, and my reminder from the ROH was simply tacked on to an email about my last Sleeping Beauty booking, and didn't give the split times. I'm guessing there will be significant intervals. I'm also stunned to see that 8 performances of this are scheduled, schools' matinee included. Perhaps that partly explains why there seem to be so many seats left.
  6. A rather late announcement by the ROH that tomorrow's Insight session, a rehearsal of A Winter's Tale, is being live-streamed at 7.30 GMT. Clemency Burton-Hill presenting, Joby Talbot talking about his score. No details of dancers. Available to watch here, or on the ROH Youtube channel.
  7. Apparently the RB's season starts tonight, and I hadn't even registered Thoughts and other feedback here, please.
  8. I will kick this off, though in many ways I'd rather not. I enjoyed Vertiginous Thrill - I'd forgotten most of it except the tutu shapes, and it was fun and well danced - lots of turning and jumping. Tarantella: Hayward and Sambe brought the house down. Absolutely brilliant - superb technically, and so full of effortless charm. Strapless looked stylish, but was as problematic as last time round. But it was Symphonic Dances that really depressed me. As a tribute to the wonderful Yanowsky, it could have been thrilling. She was beautiful - how could she not be. But the work itself was, in my view, dire. (And also in black and red, like Strapless! Does no-one think of these things?). Lots of swirling and strutting and running, incredibly old fashioned, tawdry designs. Gosh. I could have wept. But the dancers did their best - James Hay and Reece Clarke stood out particularly. And there were from time to time a few moments of interest, even of beauty. But they were drowned in the awfulness of the rest. I must acknowledge that it got an excellent reception. Maybe it's just me.
  9. From a Ballet Alert posting re: the British Born American resident choreographer who is an RB associate, one of the RB's dancers and a star principal from NYCB: It looks like the American In Paris revival is taking shape, with Wheeldon at the helm as choreographer and director. The show will premiere in Paris, with hopes of a Broadway transfer in 2015. Robbie Fairchild is in the workshop in the lead male role. Leanne Cope of Royal Ballet will workshop the Caron role. I'm not familiar with Cope, but Robbie Fairchild seems like the PERFECT choice for this project as far as the dancing goes. My only other candidate for the role would be Woetzel, but I suspect that he is now too old for this role. Robbie can certainly dance the role, but I have no idea whether he can act. It seems like for a big budget musical on Broadway, they would need someone who is a "triple threat". http://artsbeat.blog...adway/?ref=arts Now have a feeling that more than a few Balletcoforum members may be doing a spot of shopping next Xmas in Paris .... for, one suspects, (well, fingers crossed if project plans and castings remain steady) good reason. (Just by the bye, I have been told that Mr. Fairchild is well known amongst the NYCB dancers for 'singing all over the place' .... and from his stunning performances in FANCY FREE there is, I think little question that he can, in fact, fit this particular GI's bill, stepping up for Wheeldon much as another NYCB Robbie - (La Fosse that is) did for Robbins on Broadway!) Cope - certainly from a dancing perspective - seems inspired casting for the Caron role. (Who knows, perhaps she'll take the 'Cooper route' in her future career!)
  10. Well, it's already been talked about a lot, particularly here: http://www.balletcoforum.com/index.php?/topic/12514-obsidian-tear-new-mcgregor/ but tonight is the premiere of the new McGregor work, Obsidian Tear, along with a long-overdue revival of MacMillan's The Invitation, plus what should be a welcome re-viewing of Wheeldon's Within the Golden Hour. Thoughts here, please.
  11. I am undecided about whether or not to go to this next month. There are some good seats remaining for the Sat mat and I am tempted due to the opportunity to see Zenaida Yanowsky. And yet... while I have liked some of his work,I am not a huge fan of Wheeldon and I fear a whole afternoon might be too lacking in variety. For me anyway. There seem to be quite a lot of tickets left in general. Of course the decision to go or not to go is down to me. I just wondered if anyone could give their opinion of what's on offer?
  12. So just as Charlie and I had met, we were joined by Alex Beard, who I interviewed for the London Ballet Circle recently, who gave us a mini tour of the ROH redevelopment plans exhibition - well worth seeing in my opinion. Then up to the Clore where Kim Brandstrup was rehearsing Deirdre Chapman and Bennet Gartside in Ceremony of Innocence. Although I've already seen it performed in Snape and Copenhagen, Kim used this opportunity to amend and fine tune this work. Although there is no narrative as such, this scene was inspired by a memory from Benn's character's childhood when a day at the beach was marred by getting separated from his mother. Years later his mother still remembers being frantic with worry and it appears the experience scarred her for life, still worrying about him as a grown man. Liam Scarlett's work Age of Anxiety is still in development. Based on the book, the first section that was rehearsed saw Matthew Ball and Natalie Harrison as the young couple very much in love in a late night bar. Liam's ability to articulate every facet of the characters helped his dancers find their unique interpretation. It was great fun to watch the development of that section. The evening concluded with Liam rehearsing Tristan Dyer's solo which was a masterclass in the eloquence of the smallest of movements. Many thanks once again Charlie for the opportunity to sit in on the rehearsal this evening. Kind regards Allison
  13. Xander Parish has been named Emerging Male Dancer of 2014 at the Premia La Danza Léonide Massine in Positano. Oksana Skorik was named Emerging Female Dancer of 2014. Steven McRae also received an award as male Dancer of the Year and Olga Smirnova as female Dancer of the Year. Christopher Wheeldon was named Choreographer of the Year. Here is the full list: o Lifetime achievement award 2014 – Mats Ek and Ana Laguna o Choreographer of the year Award – Christopher Wheeldon (The Royal Ballet, London and New York City Ballet) o Prix Benois-Massine Moscow-Positano – Mariko Kida (Royal Swedish Ballet) o Dancer of the year Award on the international scene – Olga Smirnova (Bolshoi Theatre, Moscow) o Dancer of the year on the international scene – Steven McRae (The Royal Ballet, London) o Emerging on the international stage Dancer – Oksana Skorik (Mariinsky-Kirov, Saint Petersburg) o Emerging on the international stage Dancer – Xander Parish (St. Petersburg Mariinsky Kirov) o Dancer of the year on the contemporary scene – PeiJu Chien Pott (Martha Graham Dance Company, New York) o Dancer of the year on the contemporary scene – Alvaro Dule (Random Dance, London) o Classical Dancer of the year on the Italian scene - Carlo Lanno (formerly Milan’s La Scala, the San Francisco Ballet today) o Contemporary Dancer of the year on the Italian scene – Giuseppe Comuniello (Virgilio Sieni Danza) o Prix Massine Legacy– Elizabeth Souritz (Biography di Léonide Massine) o Premio all’Alta formazione di danza “Luca Vespoli” – Larissa Anisimova (Presidente Fondazione Accademia nazionale della danza, Roma) http://www.thewonderfulworldofdance.com/ana-laguna-xander-parish-oksana-skorik-steven-mcrae-honoured-in-italy Edited to say that, although I have put this in the Xander Parish thread, given that a number of other dancers are mentioned, administrators may feel it should be elsewhere. If so, please feel free to move it.
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