Royal Ballet: Carmen, Viscera mixed bill, October 2015

[bridiem]

After reading the reviews here I went to the bill last night with very low expectations of Carmen, though I tried to keep an open mind; and I found that although in places the expectations were unfortunately matched, I found the work as a whole quite a lot better than anticipated. Colourful, fun and at the end even moving, though also sometimes both boring and baffling. Frankly I had no idea what was happening or why much of the time (didn't buy a programme and the plot summary on the Opera House's website was short to the point of being useless, as it turned out), but the central relationships were at least clear and Laura Morera was really wonderful. It has a different tone and taste to the rest of the Royal Ballet's repertoire, but I found that quite refreshing. I thought that some of the crowd scenes were tedious and some of the choreography derivative, and I agree that it would benefit from editing/cutting, but those criticisms can (unfortunately) be made of many new works. I loved the sets and even the sooty bull! And I thought the work had a certain charm about it. The only other version of Carmen that I've seen is Mats Ek's, a long time ago, and I loathed that; so for me this was a big step up. Acosta himself has such presence that he holds the piece together whenever he's on stage; without him I suspect the faults would be even more of a problem.

 

I thought the rest of the bill was excellent. My only reservation about Viscera was the lighting which was annoyingly low a lot of the time, for no apparent reason; I loved the choreography, music and costumes. And Muntagirov was sensational in the Tchaikovsky Pas de Deux.

 

So all in all a very good evening.

[loveclassics]

I notice there have been several references to Carmen's second cast but what about the third?  I saw them at the last rehearsal - was that their only outing?

 

Linda

Edited October 29, 2015 by loveclassics

[capybara]

I notice there have been several references to Carmen's second cast but what about the third?  I saw them at the last rehearsal - was that their only outing?

 

Linda

 

Their debut is this coming Saturday (eve).

[aileen]

The 'third' cast is performing twice: on Saturday and on another date.

[loveclassics]

Thanks for the info - I'm glad they're getting more opportunities because, although I wouldn't normally comment on a rehearsal, I was very impressed with Matthew Ball's Escamillo and I thought Lauren & Eric Underwood were excellent in L'Apres-midi.  Sadly I can't be sorry I didn't buy a ticket for a performance since I don't really get Viscera and the two short pieces don't justify the cost for me, lovely though they were.

 

I won't add to the chorus of disapproval for Carmen but to anyone who was there on Friday afternoon, I was responsible for the "OMG" during the Chippendale moment.   Sorry, it was a completely involuntary response - I won't do it again (hoping never to have to!)

 

Linda

 

Ed for clarity.

Edited October 30, 2015 by loveclassics

[GTL]

I saw the second cast performance of 28 October and agree almost word-for-word with Bridiem's post #67 - except that I love the Mats Ek "Carmen" as a bit of light relief on a heavy bill, or variety on a mainly classical mixed bill. I felt this one showed the broad range of the Royal Ballet's repertoire and capabilities.

We all know how most dancers relish the opportunity to participate in new work. As others have said, much of that new work will be only partially successful but if risks are not taken, nothing that is both astonishing and durable will emerge, and these partial failures play their part in the eventual creation of a masterpiece. On other threads we are wondering if ballet has a future and how it needs to attract new audiences. Perhaps the answer is that classical companies sometimes have to offer it in programmes such as this for its brilliant other-worldliness to be appreciated alongside earthier, more populist dance. Could any of the audience drawn in solely by Carlos Acosta's deservedly high reputation fail to be impressed by the rest of the programme? Not if the applause and general buzz was anything to go by.

The "Carmen" was too long and muddled but so was the original "Raven Girl" by a more experienced choreographer. As Carlos Acosta has said in interviews, he wanted something different. With revision and pruning, it could differ from his previous work as well as existing "Carmen"s and be worth a second run.

[Billyelliott]

We are all set to come up tommorow as a family of 5 (3 generations ) for the matineé - so I've been watching this rhread with interest!

On ballence very excited because although the main aim was to see DS hero on the ROH stage one last time , it seems we are in for a treat alround and we will see things we might otherwise not have thought of !

[Beryl H]

We are all set to come up tommorow as a family of 5 (3 generations ) for the matineé - so I've been watching this rhread with interest!

On ballence very excited because although the main aim was to see DS hero on the ROH stage one last time , it seems we are in for a treat alround and we will see things we might otherwise not have thought of

I'm sure you will all have a great day, I saw almost the same cast on Wednesday, I didn't acually think of it at the time but it was my last sight of Carlos Acosta, something did make me applaud his entrance which I don't normally do, and I wanted to see his curtain call at the end before dashing out to catch a train!

[Mary]

It is rather sad to think that isn't it.

 

That's why I thought I might go to Acosta at Coliseum in December though these gala things are always a risky mixed bag;  but, it will be more like seeing one more time the Acosta I remember, than this show- perhaps.

[Lenore]

I went today with low(ish) expectations, but was still curious. I'll write up some thoughts here although I can't be sure they'll be as eloquent as others ????.

 

I didn't particularly like Viscera. It seemed to me like a mish mash of other Balanchine-esque ballets (I like Balanchine ballets though, but didn't enjoy this). I didn't like the music and generally found that the whole thing dragged. I kept finding my eye drawn to Naghdi funnily enough (didn't even realise it was her at first). Don't have much to say about this ballet I'm afraid, just wasn't my cup of tea.

 

The middle section was better. I do like Faun, but was not entirely convinced by this particular cast (Cuthbertson/Underwood). Maybe I just need to sleep on it? I love the music & the ambiguity of the whole thing. And mercifully it doesn't overstay it's welcome. I think I maybe compare casts to the original with Le Clercq, which I have on DVD, and don't really think anyone's interpretation has come close to that original.

 

Tchaikovsky PDD is something I tend to think of as being a gala piece. I loved Marianela's dress, and the music of course (can't go wrong with Tchaikovsky really). Not much to say on this one I suppose, other than it was a sweet piece, beautifully danced by both Vadim & Marianela. I did keep wondering how they'd work as a couple next year in Giselle, but that's another topic (& I guess we'll wait and see!).

 

I went with the lowest expectations for Carmen, but have to say I'm in the minority on here! I loved it. There were some parts that dragged of course, mainly towards the beginning if I'm remembering rightly, but I find that's always the potential issue when a full 60 minutes ballet has no break (I kept drawing comparisons to Song of the Earth, another ballet I love, which I also find has some sections that drag). I think never having seen the opera worked in my favour really. The music was beautiful & atmospheric in places & Laura Morera was wonderful, have to say I've definitely become a big fan of hers. However, I can't really see Carlos & Federco's roles reversed, & I'm a little disappointed they won't be using this exact cast for the screening. They seemed to 'fit' their characters very well today. I love Federico anyway but he was absolutely brilliant in this today (& Carlos had the perfect swagger for his scenes).

I'm not the biggest opera fan if I'm 100% honest, but I really don't mind it in ballets, especially the chorus. Would have been nice to know exactly what was being sung in the cards scene, although I got the general gist of it (there wasn't a translation in the programme, was there?). So overall, very surprised I enjoyed it, as reading the reviews it didn't seem like my thing!

 

Just my two cents. Would be interesting to know whether anyone's opinions have changed after a second viewing e.t.c? Definitely seems that the cast for today's matinee is preferred.

 

(Edited to add names of those dancing)

Edited October 31, 2015 by sylph

[aileen]

Interesting to read your thoughts, Sylph. I'm curious about Faun. The cast that you saw is apparently sexier than the Lamb / Muntagirov one which I saw. Is it supposed to be a ballet about the sexual awakening of an ingenue? Is the 'girl' supposed to be aware of her sexual attractiveness to the 'boy'? Or are they both innocents who find an attraction to each other when they happen to come across one another in the studio?

[MAB]

Saw Carmen for the first time this afternoon.  Probably the fourth balletic Carmen I've seen.  Nowhere near as bad as I feared and quite good in places, the comments I heard from others at the end were 100% enthusiastic, the kind of response that suggests the work is a big success.

 

Personally I didn't care for the orchestration, Schedrin's is much better, and I couldn't help thinking what with chairs and a bull, Acosta must have been influenced by the Alonso version.  I agree that much of the choreography was similar to what you might see in a musical, but here and there I detected some sparks of creativity that  makes me think Acosta might have the makings of a choreographer after all.  His aim is clearly to entertain and there is nothing wrong with that.  Bonnelli was superb as Jose and Acosta himself inhabited the role of Escamillo like a second skin.  Morera had an uphill struggle as Carmen, but that is because the female role didn't seem as well thought out as the male ones.

 

For those unfamiliar with the opera, I recommend getting the DVD of Placido Domingo and Julia Migines.  It is a film rather than a stage performance and the Spanish atmosphere beautifully conveyed thanks to filming in Seville.

 

Regarding the scene with the cards, Carmen reads them herself in the opera and I imagine the singer in the ballet is singing the same words in Spanish.  One of Carmen's pals is promised an overwhelming love affair, the other is promised a rich old husband who will die and leave her rich.  For herself Carmen sees death, first her own and then Jose's.

[alison]

There was definitely a "muerte" in there.  I'm not sure whether Spanish isn't a good language for opera, because the words didn't come over that clearly to me.

[Billyelliott]

We thoroughly enjoyed it - there was something for each member of our family to enjoy ! DS favoured the loud and modern viscera (which I didn't mind and appreciated the technical skills shown).

My 80 yr old dad preferred the 2 more classical duets and my mother and I loved the Carmen most of all , to my surprise ! It was such fun and was a multifaceted entertainment !

My youngest son - despite having a headache was transfixed throughout !

A splendid afternoon of entertainment mixed with culture for the whole family ????

I have to disagree with those that said Carlos is no choreographer ....we were entertained and the time flew by . It was a real treat . I imagine that the RB dancers had a lot of fun with this - loved the chairs with wheels and all the dancers were splendid but especially Bonneli Morera and of course Carlos (though DS was embarrassed but the raunchiness - typical 13 yr old .....)

Yes I would go and see it again - if it was part of another programme !

Edited October 31, 2015 by Billyelliott

[munchkin16]

It is rather sad to think that isn't it.

 

That's why I thought I might go to Acosta at Coliseum in December though these gala things are always a risky mixed bag; but, it will be more like seeing one more time the Acosta I remember, than this show- perhaps.

I went to the gala he did back in 2012 and really enjoyed it. My mum loved it so much that she's asked me to book the one in December for her birthday. We have tickets now so I hope it's as good as the last one! Tickets aren't that expensive either as far as I remember.

[Duck]

Loved Faun with Olivia Cowley and Matthew Ball tonight. From the four casts that I've seen in recent months for this ballet, I thought that those two portrayed the surprise element of seeing the other person most credibly. And the lighting was a joy - after Viscera, which I found too dark for most of it.

Edited October 31, 2015 by Duck

[JennyTaylor]

I saw the 2nd cast earlier this week and really enjoyed it. I almost didn't go after the first performance (I was working in Swindon so an effort) but was so glad I did.  As soon as Laura Morera came on stage I knew she was going to be outstanding and the male principal swap really worked. I would urge everyone who hasn't seen it yet to keep an open mind and to go and see it. I don't like negativity particularly when the dancers have clearly given 110% and yes, while some "editing" would probably be beneficial, there is much to admire here and to enjoy.

 

Otherwise - Vadim / Marianela were awesome. Vadim is so lyrical and makes the whole thing look totally effortless.

[alison]

 And the lighting was a joy - after Viscera, which I found too dark for most of it.

 

Viscera's lighting gave me a headache - like the lighting at Sadler's Wells often does.  And I'm sorry to say the piece still doesn't do a lot for me

[Coated]

After a third viewing of Carmen, I remain stoically unimpressed, and occasionally deeply unimpressed by the machismo tinged representation of sexuality.

[Geoff]

Just in case some people don't read the ROH's own comment pages (they can be hard to take, particularly when ROH staff post marketing language blah or patronise the punters, Kasper Holten being an impressive exception) in the interests of balance I thought it might be useful to quote one recent response to Carmen someone has posted. It is by an obviously knowlegeable if perhaps not entirely objective person, and so might interest people here (as I am one of those who thinks Acosta's Carmen is mostly junk, I am apparently automatically designated a "fuddy duddy" who is against "innovation" but nonetheless):-

 

Jakegee responded on 30 October 2015 at 8:55am

 

I wish to dissent with many of the opinions given above in criticism of Carlos Acosta's "Carmen". I was at both performances and the audience gave a most enthusiastic response at both. I felt the second one was better, since, in my opinion, Laura Morera was a much more accurate Carmen, and I felt Carlos better suited the role of Escamillo than Don Jose.

 

I did feel that it was occasionally a bit 'gimmicky', but no one can deny that it was wonderful dance, great theatre with a very simple but hugely effective set and lighting, and, above all, a wonderful piece of entertainment to end a very enjoyable quadruple bill.

 

It vexes me, and indeed annoys me, that it is always the same critics and reviewers who assume their roles as judges of what WE, the audience, must enjoy! As I've said above, the audience gave a huge response to "Carmen". Elena above decries "the fiasco that was Don Quixote" Get your facts right, woman, Don Quixote has been a huge success for Royal Ballet. Last year it packed the house for 16 performances in its second season and has had world wide acclaim.

 

Additionally, for those who say that Carlos Acosta is not a choreographer, remember that his "Tocororo" held box office records at Sadlers Wells for years (and perhaps it still does?) His choreography for "Guys and Dolls" at Chichester Festival Theatre has had great praise and is now about to tour.

 

Sadly the world of ballet seems to be too much influenced by the fuddy-duddies who will not accept anything outwith the realms of classical ballet, and cannot appreciate any change or innovation. The same critics shouted down Hofesh Shechter's "Untouchable" and Wayne McGregor's "Woolf Works" - but audiences LOVED them.

 

The goal and purpose of the Royal Ballet is to entertain audiences with a range of tastes, not just those few elitists who consider their opinions to be the final judgement. We other mere mortals must also be heard. I congratulate Kevin O'Hare on his courage to introduce new exciting pieces to the Royal Ballet repertoire. I visit the R.O.H. frequently and see every production at least once each season and rarely leave feeling less than happy. Yes, I do occasionally think " That one was not for me." However, the solution to that is not to attend that production in a future season. It is not my right, nor that of anyone else, to sit in judgement as to what audiences should watch.

 

"One man's meat is another man's poison", but too much poison is whispered and sometimes shouted by the few who consider their opinion to be gospel. I hope many others will share my view.

 

Thank you, Royal Ballet. Thank you, Kevin O'Hare. Thank you, especially, Carlos Acosta, for all your wonderful performances and dedication to your admiring audiences.

Edited November 1, 2015 by Geoff

[Sim]

What a ridiculous post. My first reaction was to go on the ROH site and write a riposte, but for someone like this it isn't worth it. Many of the 'fuddy duddies' to whom I have spoken about Carmen and who didn't like it are in their 20s and 30s. Some of the critics are very young as well. And some of us 'fuddy duddies' loved Chroma, Infra, Carbon Life, Woolf Works and many other such productions. How dare he make value judgements like the above? Just because some of us don't like Carmen it means we are 'fuddy duddies' and just want to see the RB mired in the past? This poster knows not whereof he speaks, methinks.

[bridiem]

I did think it was worth replying to that ROH post, so I have just posted this: 'Just to say that I agree with many of Jakegee's comments above, but 1) I love Hofesh Shechter and I loved Woolf Works but I still had reservations about Carmen, and 2) it's legitimate to question the quality of a work even if it has proved to be popular. So I don't think it's fair to label anyone who criticizes a new work as a 'fuddy-duddy'; it's often the people who go to ballet most often and/or have been going for the longest time who care most about it as an art form. That said, I enjoyed Carmen and thought it had a lot to recommend it.'

Edited November 1, 2015 by bridiem

[Vanartus]

I'll throw in my two penny's worth re Carmen. Saw second cast only but going to see Acosta "free" cast on 9th which will be interesting. Yes it's a mixed bag. Morera was great but could do with a killer solo to help define character. The best bits were better than I thought, some bits far worse. I reckon if it had been part of a "Acosta and Dancers with guests from the Royal" season at Sadlers or the Coli, people would have been more open to the Matthew Bourne type mix. It's a big ask to be part of a RB triple at ROH and expectations were too high. I'm mellowing because I was more negative immediate after showing, but you can't fault him for trying, but the work needs pruning, sharpening and the eye of a helpful dramaturg.

[capybara]

My reaction has mellowed now that I have seen the second cast twice and the third cast also. The interpretations of Laura Morera (Carmen), Federico Bonelli and Vadim Muntagirov (Don Jose) and Matthew Ball (Escamillo) gave the proceedings quite a 'lift'. But the pas de deux still feel over-long and there is much corps work (and the fortune teller scene) which could be pruned to advantage. Maybe, just maybe, there is a half decent ballet in there waiting to get out.

[Balletfanp]

I haven't been able to get to any of these (settling for the cinema relay), and there have been reviews of the first and second casts - I'd be interested in hearing about the third cast as well if anyone feels like writing anything?

[Jacqueline]

I was at yesterday's matinee.

In order, Viscera didn't do much for me. The dancers were clearly giving it their all but when it was finished, I just thought so what? The lighting was fashionably dingy, the men's costumes ugly and the whole thing spoke not a word to me. This is the third Scarlett work I have seen and I haven't liked any of them. Perhaps it is just that I come to realise I don't care for his style.

I was impressed by Nehemiah Kish in the pdd though. For me, he is particularly good in the more abstract pieces and he is an excellent partner.

I have always liked Afternoon of a Faun and I thought Underwood and Cuthbertson were wonderful together. I love the subtle wit of this ballet, with the preening and inability to take their eyes off themselves. Both dancers conveyed this little gem perfectly in my view. 

Nunez and Muntagirov were also wonderful in the Tchaikovsky pdd. Beautifully done,fleet of foot and lovely music. Another gem. I was thinking how lucky we are to have these fabulous dancers. Twenty or so all too brief minutes of pure class with Faun and the Tchaikovsky pdd.

I won't say too much about Carmen. I wanted to like it and I tried. But I am sorry, it is a stinker in my opinion. 

I am not sure what Acosta was trying to achieve. If it was entertainment and you like this kind of thing, then this is the kind of thing you will like. It seemed an uneasy mixture of incoherent story telling, one dimensional characters, some easy laughs - hey, all their clothes fall off etc and some dire musical style set piece fillers. The lady next to me 'loved it'. I couldn't wait for it to end. 

It certainly had every Spanish thing you could think of - except the Inquisition - and a mangled score with random castanets, reminiscent of the triangle in a school orchestra. The audience seemed to receive it well or be glad it was over, it was hard to tell what the applause meant. Acosta clearly has a great many loyal fans and has inspired a lot of affection. Many people love him no matter what he does, as shown by ticket sales. He is clearly very charismatic and has great stage presence. I am sure he will be remembered for all the wonderful performances he has given over the years and I hope Carmen will be quietly forgotten. As has been said, even the 'best' choreographers make mistakes. In my view, there is so much wrong with this one, that no amount of pruning, rearranging or whatever would rescue it. But if enough people like it as it is, why bother anyway?

Edited November 1, 2015 by Jacqueline

[Fonty]

I have been reading this thread with interest.

 

I am curious about one thing.  When someone is creating a new ballet, does anyone else come and look at it and give advice/opinions/suggestions?  Particularly if the creator is relatively inexperienced. 

 

I understand that sometimes it is impossible to know how successful certain things will be until they are performed live on a proper stage in front of an audience.  But does anyone come along and give it the once over before it gets that far? 

 

There seem to be recurring themes in all the comments made about new ballets recently.  The most common one being "It needs pruning."  So why doesn't someone come along before then, watch it, and say, "It's too long."

 

Or do they just wait and see what the reaction is from the ticket buying public or the critics?

[Jan McNulty]

Quite a few choreographers seem to use a dramaturg these days when creating story ballets.

[penelopesimpson]

That was a weird post on the ROH website.  I wonder what the poster's definition of fuddy-duddy is?  Clearly it is meant to be an insult so if I can summon the enthusiasm I'll respond in similar vein.

 

I am certainly not a teenager but I love new works.  Adored the Hofesh Schechter, can't wait for the return of Woolf Works and Winter's Tale is a triumph.  Raven Girl, though, should be written off as an expensive failure and not re-staged.  However, I was bored to tears with Acosta's Quixote and the second time around didn't stay for the last act.  It was colourful and full of folksy moments and if that's what people want then I guess the new Carmen has given it to them in spades and good for them.  

 

I have adored Acosta and RB will be the sadder for his departure but, just as for my money he is not at his best in Macmillan, I do not think choreography is his thing.  Maybe time will prove me wrong but the reviews seem to indicate that Carmen is a mish-mash of everything amounting to not very much and I don't think we need more like that.  If it had been anyone else other than Acosta, it would never have seen the light of day.  Maybe RB felt they owed it to him and that's okay.  But, please, no more puff pieces on the website telling us we're all a load of stick-in-the-muds.  We just know good dance when we see it.

[annamk]

This is a pretty disappointing mixed bill, following hot on the heels of Raven Girl/Connectome (which I wouldn't see again if they paid me) and a long long run of Romeo & Juliet - it doesn't make for an enticing season so far. 

For some reason I didn't find Viscera thrilling although with the fast pace music and dramatic lighting it felt as though it should be. Personally, I think it needed absolutely spot on timing in the corps sections and that didn't always happen in the two performances I saw. The choreography is quite busy, Fumi Kaneko draws your eye in one direction but there are distracting groupings of corps in your peripheral field of vision. Fumi and Leticia Stock were electrifying and Nehemiah Kish in the pdd with the latter was elegant. I found it unattractive to see the women in the body of the ballet partnered by such short men: Sambe, Zucchetti, Dyer, Acri, I guess I better get used to it because most of the upcoming male dancers seem to be tiny. 

The evening performance of Faun yesterday was terrific with Matthew Ball and Olivia Cowley. 

As someone already said Tchaikovsky pdd seems like it belongs in a gala, but who could pass up the opportunity to see Vadim Muntagirov making it look so effortless. For a tall dancer he's unusual in landing so softly and in his ability to get his long legs in perfect horizontal mid-air splits. It's a pity his performance won't be featured in the live relay. I could happily watch either Lauren or Marianela in the female role: Marianela seems technically sharper but Lauren's dancing has such a lovely lyrical quality. 

As for Carmen, I didn't enjoy it and I don't want to see it again. I agree with everything Luke Jennings said in his Observer review today. I think it's deeply depressing that it's part of a live relay and even more depressing to add another poor quality new work to the lengthening list of average or below average new works being commissioned at the RB. 

[Sunrise]

I have been reading this thread with interest.

 

I am curious about one thing.  When someone is creating a new ballet, does anyone else come and look at it and give advice/opinions/suggestions?  Particularly if the creator is relatively inexperienced. 

 

I understand that sometimes it is impossible to know how successful certain things will be until they are performed live on a proper stage in front of an audience.  But does anyone come along and give it the once over before it gets that far? 

 

There seem to be recurring themes in all the comments made about new ballets recently.  The most common one being "It needs pruning."  So why doesn't someone come along before then, watch it, and say, "It's too long."

 

Or do they just wait and see what the reaction is from the ticket buying public or the critics?

I vaguely remember when McGregor was appointed as resident choreographer that part of his job would be to guide young choreographers. I imagine Wheeldon has a similar role, so young choreographers like Scarlett and Charlotte Edmonds can benefit from their experience and advice. It must be more difficult to be critical with a star like Acosta, especially as this is being billed as a kind of final goodbye. It must also be tempting to think that the ballet might pull together when the sets and costumes are in place and after some bedding in. I'm really sorry to read that this doesn't seem to have happened. I do think it's important for companies to take risks and that failure is part of the process of developing into a success at anything. But I wonder if Acosta has thrown himself into creating large ballets without the kind of guidance and allowance for failure that other choreographers may go through.

[AnneMarriott]

I was at yesterday's matinee.

 

I won't say too much about Carmen. (snip) I couldn't wait for it to end. 

 

Sorry to say I didn't (wait, that is). For the first time ever I left while the performance was still in progress, leaving on tiptoe from my standing place without, I sincerely hope, inconveniencing anyone other than the St John's Ambulance man next to me.

 

 

I have been reading this thread with interest.

 

I am curious about one thing.  When someone is creating a new ballet, does anyone else come and look at it and give advice/opinions/suggestions?  Particularly if the creator is relatively inexperienced. 

 

 

 

There seem to be recurring themes in all the comments made about new ballets recently.  The most common one being "It needs pruning."  So why doesn't someone come along before then, watch it, and say, "It's too long."

 

. 

As for Carmen, I didn't enjoy it and I don't want to see it again. I agree with everything Luke Jennings said in his Observer review today.

 

It's worth having a look at Luke Jennings' review in the Observer today which covers this point in some detail.

[annamicro]

Thinking of major ballet companies and not one man bands, is it common for a choreographer (in Carmen particular case also not very experienced) to cast himself in the first night shows? And to cast himself in two different leading roles?

Reading your comments and the professional review, it's hard to not think of an excess of superficiality and (self)indulgence both from Acosta and Royal Ballet management.

 

Buying a ticket for new ballets, we take a risk and we cannot regret too much the wasted money; but, considering Jennings observations about funds, I hope that you have not paid it twice with also your taxes.

Edited November 1, 2015 by annamicro