Royal Ballet's Giselle - Autumn 2021

[Sebastian]

18 hours ago, Fonty said:

That's interesting, @Jamesrhblack The article I read said that Gautier, inspired by Heinrich Heine's poem about the Willis, envisaged a story about a young girl, betrayed by her betrothed, who dies of a broken heart.  Apparently there was also another poem that influenced him about a young Spanish girl whose passion was dancing, but was in frail health, and after attending a ball catches a chill and dies.  He combined the two stories for Giselle.  

 

Heine's original summary of the Wilis:
 

‘There is a tradition of nocturnal dancing known in Slav countries
under the name of Wili. The Wilis are affianced maidens who have
died before their wedding-day; those poor young creatures cannot
rest peacefully in their graves. In their hearts which have ceased to

throb, in their dead feet, there still remains that passion for
dancing which they could not satisfy during life; and at midnight
they rise up and gather in bands on the highway and woe betide the
young man who meets them, for he must dance until he drops dead.

Attired in their bridal dresses, with garlands of flowers on their
heads. and shining rings on their fingers, the Wilis dance in the
‘moonlight like the Elves; their faces, although white as snow, are
beautiful in their youthfulness. They laugh with a deceptive joy,
they lure you so seductively, their expressions offer such sweet
prospects, that these lifeless Bacchantes are irresistible.

 

Thanks Fonty. Some of us tackled this in some detail back in 2017, when ENB mounted their production, see these posts and the subsequent discussion:

 

English National Ballet: Mary Skeaping's Giselle, London Coliseum 2017 - Page 4 - Performances seen & general discussions - BalletcoForum

 

https://www.balletcoforum.com/topic/14339-english-national-ballet-mary-skeapings-giselle-london-coliseum-2017/?do=findComment&comment=200100

 

 

 

Edited December 6, 2021 by Sebastian

[Sim]

14 hours ago, bridiem said:

The sword plays a prominent role in the mad scene, and I think it's also of dramatic and psychological significance that it's Albrecht's sword she uses. So dying of a broken heart (alone) doesn't really fit in with the choreography of this production (and certainly not with the stated scenario). I personally think she dies of a combination of a broken heart and a self-inflicted stab wound. But without a post-mortem, we'll never know... 🙂

It’s interesting hearing Sarah Lamb’s thoughts on this in the clip I posted above.  

[Jamesrhblack]

17 hours ago, Rina said:

 

He discusses this in his autobiography Wrights & Wrongs: My Life in Dance. In his production in Stuttgart he left it to the audience to decide but in subsequent productions for the RB he came down firmly on the side of the suicide theory. He was not pleased with Sylvie Guillem who took a different view!

 

An aspect of Giselle which intrigues me is that many of its images point to the hidden presence of the god Dionysus: the vine-dressing and grape harvest, the disguise, the madness, the dance, the hunting, the sense of mystery and underworld in Act 2, among many other features. I'd be interested if anyone has noticed this/ written about it. 

The Dionysian element is interesting indeed.

 

Although I’ve been watching Giselle for over fifty years, something struck me at Friday’s performance for the first time.

 

At the conclusion of the Grand Scene of the Wilis before Giselle’s apparition the entire company led by Myrtha unite in, I think, three a la seconde leaps side to side.

 

At the conclusion of the Waltz section (a musical interpolation according to the notes on the Bonynge Monte-Carlo recording), Giselle leads the company in the same step over the prone Albrecht.

 

One of the tensions of this Act is the tug between Giselle’s obedience to Myrtha, her love of dancing and her compassion for Albrecht. The choreography gives you a real sense that that this Dionysian love of the dance is gaining the upper hand. I’ve long been intrigued by the way in that Giselle, even though Albrecht is obviously exhausted, literally beckons him to continue dancing with her. 
 

I’m probably reading too much into this and it’s simply a choreographic structural repetition, but can it been seen as Giselle giving into dancing ecstasy and about to claim her Wili wings with her first “kill.” It’s not only Albrecht who is “saved” by the bell.

 

Of course, it’s over in a moment…

 

[Meetmeatthebarre]

One final thought on this run. I've been absolutely captivated by Alix van Tiggelen during Act 1 - her upper-body carriage and expressions just radiate joy. I've not been as regular at CG for a few years having lived abroad and then lockdown, and was shocked to discover that she's only just joined as an Aud Jebsen young dancer! 

 

I was also delighted to see that she was wearing tonal tights and pointe shoes in Act 2 on closing night - something I hadn't noticed in the last two performances but may have missed? There may no longer be open "debate" over whether black dancers "belong" in an all-white Swan Lake corps, yet the controversy over Precious Adam's pink tights is barely three years old; Lopes Gomes of the Berlin Staatsballett has spoken about being asked to "whiten up" for Swan Lake in the past year; I think it was Dance or Pointe magazine that wrote about "brown bagging" for female dancers in the ballet world, even with the increased diversity in the recent decade or so. 

 

For what it's worth, after that brief moment of realisation, I went straight back to admiring the beautiful uniformity of the Wilis. The friend with whom I attended didn't even notice. 

[Rob S]

27 minutes ago, Meetmeatthebarre said:

One final thought on this run. I've been absolutely captivated by Alix van Tiggelen during Act 1 - her upper-body carriage and expressions just radiate joy. I've not been as regular at CG for a few years having lived abroad and then lockdown, and was shocked to discover that she's only just joined as an Aud Jebsen young dancer! 

 

I was also delighted to see that she was wearing tonal tights and pointe shoes in Act 2 on closing night - something I hadn't noticed in the last two performances but may have missed? There may no longer be open "debate" over whether black dancers "belong" in an all-white Swan Lake corps, yet the controversy over Precious Adam's pink tights is barely three years old; Lopes Gomes of the Berlin Staatsballett has spoken about being asked to "whiten up" for Swan Lake in the past year; I think it was Dance or Pointe magazine that wrote about "brown bagging" for female dancers in the ballet world, even with the increased diversity in the recent decade or so. 

 

For what it's worth, after that brief moment of realisation, I went straight back to admiring the beautiful uniformity of the Wilis. The friend with whom I attended didn't even notice. 

 

Do you mean Marianna Tsembenhoi? 

Edited December 6, 2021 by Rob S

[Meetmeatthebarre]

21 minutes ago, Rob S said:

 

Do you mean Marianna Tsembenhoi? 

I thought it looked more like Alix in absence of a full cast list and being pretty far back, but would love to be corrected and give proper credit. 

[Anna C]

Both Alix and Marianna are Aud Jebsen Young Dancers; Marianna is in her second year (last year’s AUYD contracts were extended), so in theory it could have been Alix if she has been dancing in Giselle (we know Marianna has, with great success):  

[capybara]

25 minutes ago, Rob S said:

 

Do you mean Marianna Tsembenhoi? 

 

Just now, Meetmeatthebarre said:

I thought it looked more like Alix in absence of a full cast list and being pretty far back, but would love to be corrected and give proper credit. 

Alix is driving the sleigh in most performances of The Nutcracker, if you want to ‘check her out’.
I’m pretty sure you are thinking of Marianna in Giselle where she has been very prominent.

[Rob S]

Marianna has been in 

5 minutes ago, Meetmeatthebarre said:

I thought it looked more like Alix in absence of a full cast list and being pretty far back, but would love to be corrected and give proper credit. 

 

Marianna has been in all the Act 2s I saw and wore tonal tights. She also matches your Act 1 description....and although I wasn't there was in the closing performance 

Edited December 6, 2021 by Rob S

[alison]

1 hour ago, Meetmeatthebarre said:

I was also delighted to see that she was wearing tonal tights and pointe shoes in Act 2 on closing night - something I hadn't noticed in the last two performances but may have missed?  

 

You most certainly did miss - she's (Marianna T., not Alix) been wearing them throughout the run, although how noticeable they are depends greatly on where - and probably how high up - you're sitting.

[bangorballetboy]

I saw Giselle in this run from a number of places, including the Grand Tier, Stalls Circle standing and the front row of the Stalls. In none of those locations did MT’s brown tights and shoes cause any distraction for me from the overall visual effect in act 2.

[CCL]

I noticed MT during the evening performance on Nov 20th for her very natural acting and beautiful dancing. I was extremely impressed by her and hope to be able to see her dance again soon 

Edited December 6, 2021 by CCL

[alison]

I'd noticed her all through the run for the very same thing  She seems to have a vibrant stage personality, and I expect her to go far.

[art_enthusiast]

2 hours ago, Meetmeatthebarre said:

One final thought on this run. I've been absolutely captivated by Alix van Tiggelen during Act 1 - her upper-body carriage and expressions just radiate joy. I've not been as regular at CG for a few years having lived abroad and then lockdown, and was shocked to discover that she's only just joined as an Aud Jebsen young dancer! 

 

I was also delighted to see that she was wearing tonal tights and pointe shoes in Act 2 on closing night - something I hadn't noticed in the last two performances but may have missed? There may no longer be open "debate" over whether black dancers "belong" in an all-white Swan Lake corps, yet the controversy over Precious Adam's pink tights is barely three years old; Lopes Gomes of the Berlin Staatsballett has spoken about being asked to "whiten up" for Swan Lake in the past year; I think it was Dance or Pointe magazine that wrote about "brown bagging" for female dancers in the ballet world, even with the increased diversity in the recent decade or so. 

 

For what it's worth, after that brief moment of realisation, I went straight back to admiring the beautiful uniformity of the Wilis. The friend with whom I attended didn't even notice. 

 

I think you do mean Marianna Tsembenhoi. I've sat quite close to the stage at every performance I've been to and I definitely recognise her face (also I believe Alix van Tiggelen's hair colour is different).

Strange though, as I recall seeing Alix van Tiggelen in the Giselle World Ballet Day rehearsal for the Wilis, but I don't recall seeing her on stage within the corps at performances. I've gone to about four-five performances and believe I saw Marianna Tsembenhoi every single time, but not Alix.

Marianna seems very talented - she definitely stands out amongst the corps, I noticed that she's in the front quite a lot during the Act 1 peasant dances as well. It's amazing to see her in tonal tights and pointe shoes, which she has worn every time - it feels as if there's finally some diversity emerging within ballet at long last, and dancers are able to embrace their uniqueness rather than having to hide it. The same is demonstrated by the cornrows Joseph Sissens showed off in the Dante Project - amazing to see, it made me notice him straight away, along with his amazing dancing of course.

I know that many dancers with a naturally darker skin tone prefer tonal coloured tights and pointe shoes as it extends their natural line, rather than cutting it off (I believe Michaela dePrince was quite detailed about this in her memoir 'Taking Flight'). Interestingly, I've noticed that Francesca Hayward hasn't worn them for Giselle, though I believe she has done so in the past for different performances? Not too sure.
 

Edited December 6, 2021 by art_enthusiast

[bangorballetboy]

8 minutes ago, CCL said:

I noticed MT during the evening performance on Nov 20th for her very natural acting and beautiful dancing. 

 

+1

[LinMM]

They are both very talented young dancers with striking looks but think Marianna has been around for longer. She certainly stood out in one Piece at the RBS performance a few years back now. 
I have met Alix and her mum once ....I’d hazard a guess she is taller than Marianna though probably not enough in it to notice in a group on stage. not sure I’d put money on it though! 


 

[Fonty]

37 minutes ago, bangorballetboy said:

I saw Giselle in this run from a number of places, including the Grand Tier, Stalls Circle standing and the front row of the Stalls. In none of those locations did MT’s brown tights and shoes cause any distraction for me from the overall visual effect in act 2.

 

I noticed them, and yes, I found them distracting in the second act. 

[maryrosesatonapin]

I noticed how delightful a dancer Marianna Tsembenhoi was in several performances - she just has that extra sparkle in every movement.  Having said that, I was puzzled by the logic of her wearing brown/tan tights and shoes as a Wili (they toned in well when she wearing the peasant girl's costume, though).  All the Wilis except for her were wearing white shoes and white tights, and like @Fonty I did find them distracting in the second act.  The reason I use the word 'puzzled' is that none of the dancers have naturally white legs or feet; just various shades of pink or tan.  But they are Wilis so have ghostly-coloured garments: dress, tights and shoes.  I would hate for ballerinas to have to disguise their true skin colour on their arms and faces, but for the sake of the corps aesthetic I would have preferred white tights and shoes throughout.  

Edited December 6, 2021 by maryrosesatonapin

[emmarose]

43 minutes ago, art_enthusiast said:

 

I think you do mean Marianna Tsembenhoi. I've sat quite close to the stage at every performance I've been to and I definitely recognise her face (also I believe Alix van Tiggelen's hair colour is different).

Strange though, as I recall seeing Alix van Tiggelen in the Giselle World Ballet Day rehearsal for the Wilis, but I don't recall seeing her on stage within the corps at performances. I've gone to about four-five performances and believe I saw Marianna Tsembenhoi every single time, but not Alix.

Marianna seems very talented - she definitely stands out amongst the corps, I noticed that she's in the front quite a lot during the Act 1 peasant dances as well. It's amazing to see her in tonal tights and pointe shoes, which she has worn every time - it feels as if there's finally some diversity emerging within ballet at long last, and dancers are able to embrace their uniqueness rather than having to hide it. The same is demonstrated by the cornrows Joseph Sissens showed off in the Dante Project - amazing to see, it made me notice him straight away, along with his amazing dancing of course.

I know that many dancers with a naturally darker skin tone prefer tonal coloured tights and pointe shoes as it extends their natural line, rather than cutting it off (I believe Michaela dePrince was quite detailed about this in her memoir 'Taking Flight'). Interestingly, I've noticed that Francesca Hayward hasn't worn them for Giselle, though I believe she has done so in the past for different performances? Not too sure.
 

 

 

I noticed Marianna in both acts of Giselle for the reason of her talent and not her tights or shoes. She really is a beautiful dancer with gorgeous and expressive arms and hope to see her continue to grow at the RB and enjoy seeing her career. 

 

I'm also enjoying the diversity within the RB and like the fact they are not being suppressed into previous norms. I really like Joseph Sissens and think he's a lovely dancer, during lockdown he grew his hair and it looked so lovely, I did think he may have to cut it on coming back, so it was great to see him with his cornrows in Romeo and Juliet too (and I believe in the Nutcracker too). I love the celebration of diversity.

[emmarose]

12 minutes ago, maryrosesatonapin said:

I noticed how delightful a dancer Marianna Tsembenhoi was in several performances - she just has that extra sparkle in every movement.  Having said that, I was puzzled by the logic of her wearing brown/tan tights and shoes as a Wili (they toned in well when she wearing the peasant girl's costume, though).  All the Wilis except for her were wearing white shoes and white tights, and like @Fonty I did find them distracting in the second act.  The reason I use the word 'puzzled' is that none of the dancers have naturally white legs or feet; just various shades of pink or tan.  But they are Wilis so have ghostly-coloured garments: dress, tights and shoes.  I would hate for ballerinas to have to disguise their true skin colour on their arms and faces, but for the sake of the corps aesthetic I would have preferred white tights and shoes throughout.  

 

Would it not look odd though? The arms and face and chest being one colour and the legs a completely different one?

[art_enthusiast]

14 minutes ago, maryrosesatonapin said:

I noticed how delightful a dancer Marianna Tsembenhoi was in several performances - she just has that extra sparkle in every movement.  Having said that, I was puzzled by the logic of her wearing brown/tan tights and shoes as a Wili (they toned in well when she wearing the peasant girl's costume, though).  All the Wilis except for her were wearing white shoes and white tights, and like @Fonty I did find them distracting in the second act.  The reason I use the word 'puzzled' is that none of the dancers have naturally white legs or feet; just various shades of pink or tan.  But they are Wilis so have ghostly-coloured garments: dress, tights and shoes.  I would hate for ballerinas to have to disguise their true skin colour on their arms and faces, but for the sake of the corps aesthetic I would have preferred white tights and shoes throughout.  

I see your point about how it might distract from the uniformity of the corps (though for me the most important thing is the synchronised movement, which they executed perfectly). However, I saw it as a positive move which made me feel that the Royal Ballet has taken steps to encourage dancers to be confident in their diversity.

After attending Marcelino Sambé's insight event a few weeks ago, I'm reassured that diversity in ballet seems to be increasing gradually but, as Sambé said, they definitely have a long way to go. (He reminisced about having to whiten his face for the Nutcracker Chinese dances, which is no longer encouraged at the RB, according to him.)

I think that by allowing the tonal tights/shoes, a firm statement of support for racial diversity was made, whether intentional or not. This added to my enjoyment of the performance, particularly as a younger ballet fan who was never able to see herself represented in the 'ballet world', when first introduced to it as a small child.

The amount of horror stories I've heard regarding the experiences of dancers of colour would be enough to put anyone off from pursuing a career in the industry. The more that can be done to encourage participation from all ethnic groups, the better.

[art_enthusiast]

13 minutes ago, emmarose said:

 

 

I noticed Marianna in both acts of Giselle for the reason of her talent and not her tights or shoes. She really is a beautiful dancer with gorgeous and expressive arms and hope to see her continue to grow at the RB and enjoy seeing her career. 

 

I'm also enjoying the diversity within the RB and like the fact they are not being suppressed into previous norms. I really like Joseph Sissens and think he's a lovely dancer, during lockdown he grew his hair and it looked so lovely, I did think he may have to cut it on coming back, so it was great to see him with his cornrows in Romeo and Juliet too (and I believe in the Nutcracker too). I love the celebration of diversity.

Yes - loved his cornrows! And his natural hair in the Ashton Insights event. It was great to see the ROH hair and makeup artist post about this on Instagram as well.

I agree that it's definitely the talent you notice first, of course. Both Marianna and Joseph seem to be amazingly natural and expressive dancers, it's great to watch them both showing their enjoyment of dance.

Edited December 6, 2021 by art_enthusiast

[maryrosesatonapin]

8 minutes ago, emmarose said:

 

Would it not look odd though? The arms and face and chest being one colour and the legs a completely different one?

But all the dancers had a different colour on their legs.  To me, tights and shoes are garments the same as their dresses.  However I did think @art_enthusiast's comment above 'I think that by allowing the tonal tights/shoes, a firm statement of support for racial diversity was made, whether intentional or not. This added to my enjoyment of the performance' was excellent and realise that putting up with a slight lack of uniformity is well worth it if it helps people of all colours to feel included in ballet (whether on stage or in the audience).

 

[Pas de Quatre]

I noticed Marianna some time ago - she has lovely épaulement and upper body generally, with an expressive face.  To me it seems entirely natural that she should wear tights and shoes that match her skin tone in the first act.  However, I feel that a more ghostly feel is needed for the 2nd Act.  Throughout the world, ghosts are portrayed as white and grey, with white paint and decoration being applied to the skin of both male and female participants in ceremonies and celebrations.

 

When I was a classical dancer, (I am mainly Anglo Saxon with a bit of Irish and Spanish) we used to have two colours of tights, light tan to match our skin tone (or a darker tan) for demi character and character, and classic pale pink, which had nothing to do with skin tone, purely for certain classical works.  Why and when the light tan disappeared and pink started being worn for everything is a mystery!

 

Joseph Sissons was amazing when I saw him at Althelhampton in September and the corn rows just looked so right.  Much better then the flopping locks that some male dancers sport.

[LinMM]

I have no idea whether Marianna was dancing on the night I went (Nov 19th) 

but am sure would not have found the colour of her shoes at all distracting unless wearing bright red or similar! 
The skin toned pointe shoes are quite subtle anyway. 
In class I usually wear skin toned shoes instead of pink as a white Caucasian but often wear black shoes if wearing black tights etc. 
However I would wear whatever the artistic needs of a Piece was if on stage in a performance if any particular look should be required. 

[Meetmeatthebarre]

2 hours ago, capybara said:

 

Alix is driving the sleigh in most performances of The Nutcracker, if you want to ‘check her out’.
I’m pretty sure you are thinking of Marianna in Giselle where she has been very prominent.

 

2 hours ago, Rob S said:

Marianna has been in 

 

Marianna has been in all the Act 2s I saw and wore tonal tights. She also matches your Act 1 description....and although I wasn't there was in the closing performance 

 

Thank you both and to others! Have corrected my notebook. 

22 minutes ago, art_enthusiast said:

I think that by allowing the tonal tights/shoes, a firm statement of support for racial diversity was made, whether intentional or not. This added to my enjoyment of the performance, particularly as a younger ballet fan who was never able to see herself represented in the 'ballet world', when first introduced to it as a small child.
 

 

This. My childhood friend and I were the only two non-white dancers in our ballet school - even in the mid 1990s. It may have been different were we in a major city, but this was a smaller town where our families were also two of the only non-white families, and just before the internet was widespread enough to find role models outside of one's immediate surroundings. My parents were happy enough to pay a little a week to keep me in classes when it was just a fun thing that young girls did, but not when both dance and academics got more serious. They were terrified that school drama clubs might mean I harboured a desire to be a professional actress: I distinctly remember being asked, "when have you seen anyone who looks like you on TV?"

 

Well - now more children and their parents can point to one of the world's biggest stages and say, "yes, there is someone who looks like me, and I might be able to be there too one day."

 

Edited December 6, 2021 by Meetmeatthebarre

[emmarose]

15 minutes ago, maryrosesatonapin said:

But all the dancers had a different colour on their legs.  To me, tights and shoes are garments the same as their dresses.  However I did think @art_enthusiast's comment above 'I think that by allowing the tonal tights/shoes, a firm statement of support for racial diversity was made, whether intentional or not. This added to my enjoyment of the performance' was excellent and realise that putting up with a slight lack of uniformity is well worth it if it helps people of all colours to feel included in ballet (whether on stage or in the audience).

 

 

But the difference between a white persons skin tone and tights is minimal, so it doesn't actually notice, but it would be quite different with a person of colour, it at least tones with their skin tone. 

But yes, it's a small price to pay if it does offend or distract if it makes the dancers feel comfortable in their environment and she seemed VERY comfortable up on that stage, she looked at home out there.

[emmarose]

18 minutes ago, Pas de Quatre said:

I noticed Marianna some time ago - she has lovely épaulement and upper body generally, with an expressive face.  To me it seems entirely natural that she should wear tights and shoes that match her skin tone in the first act.  However, I feel that a more ghostly feel is needed for the 2nd Act.  Throughout the world, ghosts are portrayed as white and grey, with white paint and decoration being applied to the skin of both male and female participants in ceremonies and celebrations.

 

When I was a classical dancer, (I am mainly Anglo Saxon with a bit of Irish and Spanish) we used to have two colours of tights, light tan to match our skin tone (or a darker tan) for demi character and character, and classic pale pink, which had nothing to do with skin tone, purely for certain classical works.  Why and when the light tan disappeared and pink started being worn for everything is a mystery!

 

Joseph Sissons was amazing when I saw him at Althelhampton in September and the corn rows just looked so right.  Much better then the flopping locks that some male dancers sport.

 

How are ghosts who are not white handled though? And she's not making her skin white on top, so her legs would then match her upper body.

[Fonty]

1 hour ago, maryrosesatonapin said:

I noticed how delightful a dancer Marianna Tsembenhoi was in several performances - she just has that extra sparkle in every movement.  Having said that, I was puzzled by the logic of her wearing brown/tan tights and shoes as a Wili (they toned in well when she wearing the peasant girl's costume, though).  All the Wilis except for her were wearing white shoes and white tights, and like @Fonty I did find them distracting in the second act.  The reason I use the word 'puzzled' is that none of the dancers have naturally white legs or feet; just various shades of pink or tan.  But they are Wilis so have ghostly-coloured garments: dress, tights and shoes.  I would hate for ballerinas to have to disguise their true skin colour on their arms and faces, but for the sake of the corps aesthetic I would have preferred white tights and shoes throughout.  

 

I agree with this.  I have no problem at all if the person is a soloist.   I can understand the idea that it helps with the individual dancer's line.  However, when it comes to Corps work, I focus on the legs and feet, and if one pair of shoes is a different colour to all the others, then for me it stands out.  

I don't have a problem with dancers with different coloured arms, any more than I am bothered by dancers with different coloured hair.  I find the stage lights on the upper body tend to make everyone look pale, no matter what tone their natural complexion happens to be.  

Edited December 6, 2021 by Fonty

[LinMM]

I think many of us older bods on here who were into Dance etc when younger  were met by a very similar  response from our parents    Meetmeatthebarre!! 
Once it looked like we might be being serious about being a “ballet dancer” it was very much stressed that it was better to concentrate on academic studies etc as that sort of career was considered rather precarious ( unless you happened to come from a family already connected to the Theatre or Dance) 

Most people back in the 50’s could only have contemplated such a career if lucky enough to win a scholarship to a good school.  You had to be good of course to win a scholarship but there were not that very many of them! 
Luckily today access to good Dance schemes outside of vocational school is much more widely available and happily more inclusive as well. 
 

[capybara]

At ENB, Precious Adam’s has, for some time, worn tights and shoes which match her skin tone when she has a soloist role or each member of the corps can appear as an individual. For corps sequences where a unified look is thought to be more appropriate, she has donned the same whitish tights and pink shoes as her colleagues.

[Lizbie1]

Like most people posting here I didn't pay it much heed.

 

However - and I hesitated a lot before posting this! - I was recently at a performance of the Rake's Progress, the very famous production by David Hockney. The whole conceit of this production is that the designs evoke Hogarth's engravings, with stark black and white being the basic palette, if you can call it that. In one scene the chorus were costumed in black and white and wore thick white make up on their faces and hands except for one black chorus member who wore standard stage make-up. (For the avoidance of doubt, the make-up on the rest of the chorus could in no way be said to look natural!) The effect was that that one chorus member very much stood out from the rest, and while it didn't "bother me" as such, it made it clear that there is a compromise involved. I happen to think that this compromise is worthwhile if the chorus member in question prefers it that way, but others' mileage may vary, as it will with Giselle.

[Tango Dancer]

On 05/12/2021 at 18:31, Meetmeatthebarre said:

Slightly off-topic, but I had the absolute honour of taking class with Vadim today. Seeing his perfect turnout up close is unreal, and what an absolutely lovely person as well. But there was an unexpected substitute teacher for the class I took just before that - Kevin Emerton, who has danced the Leader of the Hunt, Wilfred, but also... Hilarion. So I took class with both Hilarion and Albrecht on the same day!

 

I did that class with Vadim as well (online though).  I thought he was a wonderful teacher, so nice and supportive.  The class was above my level so I found it challenging  (and I'm glad I was online with the camera off so nobody could see me making a proper Horlicks of it in places) but I learnt so much from it and as you say he seems like such a nice person.