Nureyev: Legend and Legacy, September 2022 - and stream on Marquee TV

[JennyTaylor]

I was there last night and thoroughly enjoyed the evening, though slightly irritated that it overran massively. 

 

Yes, Cesar Corrales was fabulous. The power, the intensity, the technique.........and it was great fun!   Loved it. 

 

In complete contrast, but equally fabulous were Will Bracewell and Francesca Hayward in Giselle, especially when it must be so difficult to capture the atmosphere of the ballet from scratch.  Yes, Francesca was a touch wobbly at the start but it was so beautiful and Will danced with intense elegance and grace.  Wonderful. If only he'd been cast in the RB's last Giselle run. 

 

I felt very sorry for Guillaume Cote who opened the bill. The lighting did him no favours and he had to follow on from what seemed to me to be somewhat bizarre comments by Monica Mason about Nureyev's poison.  At the time I could only suppose that she was alluding to something of which I had no knowledge, but the fact that she used to word twice, really jarred on me.  So, I was still dwelling on that when Cote started to dance. I think he was given a raw deal. 

 

Yes, the stage did seem very small, but at least we had a live orchestra.  The size of the stage did detract from some of the dancing though.  It reminded me of when I went to see a performance of Swan Lake at Tonbridge Wells theatre. The less said about that, the better, but not what I expected from Drury Lane. 

 

I'm always interested to see new dancers and was particularly impressed by Frola. His footwork was superb and he really stood out in what was a star studded evening. 

 

Really underwhelmed by the Sleeping Beauty pdd and solos.  Vadim was hampered by the stage size, but nevertheless, his usual self.  However the Grand pdd for me seemed underperformed, too slow, hesitant and lacking in any sparkle whatsoever. Natascha Mair seemed to perform only the simplest of steps.  Is this me - or did anyone else feel this? 

 

It would have been good to have more interviews about Nureyev, just to give the evening further insight and interest, but highly recommended even so.   

 

 

[JennyTaylor]

11 minutes ago, Fonty said:

 

With regard to Don Juan, it also showed Nureyev's ability to work a particular garment.  I refer, of course, to the cloak. 🙂

 

 

I thought the cloak and hat so wasted. The hat was thrown off at the start, and after one amazing twirl, the cloak followed in the same direction. Such a shame. 

[San Perregrino]

The stage is laden with the fixed set for ‘Frozen’ and so it has been draped in black to conceal it. 
i dont mind the orchestra at the back of the stage and I wonder if indeed there is enough room in the pit to accommodate them. 

[Emeralds]

7 hours ago, Dawnstar said:

 

When I asked the FOH staff I was told that curtain call photos weren't allowed, so of course I didn't take any. I now feel rather cheated if people were allowed to take photos who were sat elsewhere in the theatre. They should be consistent as to allowed or not allowed. And I can't even see Rob's photos, since Instagram kicked me off earlier this year.

I didn’t ask and others had their flashes going off at the end, so I took several at the end (no flash) and I tried to keep my phone dimmed and do it very quickly, more out of concern for those sitting behind me in case it was distracting than whether FOH staff might disapprove. I was right in the middle of a row so either the ushers couldn’t get to me or didn’t  even see it. The two ladies behind didn’t mind, and even asked me to take a photo on their camera for them at the end and started chatting animatedly to me!

 

Maybe the FOH staff misunderstood and  thought you were intending to take photos after every pas de deux, which admittedly could be distracting. But when the whole programme is over it should be fine- and posting your photos online could result in more revenue for the theatre which benefits the FOH staff too. 

Edited September 6, 2022 by Emeralds

[AnneL]

My reactions to today’s matinee: the programme mixed familiar gala fare with less well-known items. Of the latter, I was most impressed by the Flower Festival in Genzano PDD. We do NOT get enough Bournonville to see in London, in my opinion, so this was a real treat. Great footwork from Frola especially. As the programme alludes to, Nureyev admired and appreciated the Bournonville tradition, so it was a great choice.

Also in the first act, the Gayane PDD and the Laurencia pas de six both connected us to Nureyev’s Soviet heritage. I liked the Khachaturian music for the first of these, and the semi-folk dance feel to some of the steps. The pas de six was danced energetically by the cast, and enjoyable, but the choreography seemed to me slightly derivative of Don Q with its Spanish style flourishes. Nevertheless it was entertaining.

Of the more familiar pieces, the Giselle extract was particularly meaningful to me as I actually saw Nureyev dance Albrecht (with Fonteyn as Giselle) and seeing it danced never fails to bring back that memory. The Sleeping Beauty PDD and the Le Corsaire one were as enjoyable as expected. 
I didn’t find the Don Juan excerpt incredibly interesting, although it was beautifully danced.
I think if I was curating a Nureyev gala, I would include an extract from Marguerite and Armand and something from his version of Romeo and Juliet, which Muntagirov referred to in his recorded interview for the gala. Maybe we should all suggest our fantasy gala items! 

[maryrosesatonapin]

38 minutes ago, JennyTaylor said:

Really underwhelmed by the Sleeping Beauty pdd and solos.  Vadim was hampered by the stage size, but nevertheless, his usual self.  However the Grand pdd for me seemed underperformed, too slow, hesitant and lacking in any sparkle whatsoever. Natascha Mair seemed to perform only the simplest of steps.  Is this me - or did anyone else feel this? 

 I agree, Jenny. I thought Cote's dancing was uninspiring and wished that Marchand or Louvet had been able to make it - but of course, it was good of him to step in at the last minute.  And as for Natascha Mair - why ever was she chosen as Muntagirov's partner?  Pedestrian doesn't cover it. These were the weakest links in an otherwise brilliant evening, for me.

On the subject of disappointments, I have to mention Naghdi's fouettes - I don't think I have ever seen a dancer travel so much!

 

On a happier note, I was imagining how Marianna Tsembenhoi must feel dancing alongside such great dancers as Osipova and Choe in the pas de six from Laurencia.  But although very much the junior of the trio, she looked completely confident and danced beautifully.  That girl will go a long way.  (Ella and Ikarashi were very sharp and well-rehearsed too.)

[Emeralds]

Pluses of the programme:

Such a wonderfully curated show. Nehemiah Kish has done a brilliant job programming only items that were either performed by Nureyev or staged by him, and how lovely to see excerpts from ballets we don’t see often (or ever) in Britain- Gayane, Don Juan, Laurencia,  Flower Festival in Genzano.

 

I was also impressed with the level of detail and commitment eg sending over the costumes from Nureyev’s production of Sleeping Beauty all the way from National Ballet of Canada (I recognised them from photos of the company in ballet books) and not taking the easy shortcut of using a standard solo from Raymonda or Don Quixote, but the fiendishly difficult solo that Nureyev made to Tchaikovsky’s beautiful entr'acte music (violin solo beautifully played by Robert Gibbs) that is often cut from many productions  (kudos to Guillaume Cote for doing it without scenery to help set the mood, and having to go first!) 

 

I think artistically it was most satisfying themed gala I’ve seen. It’s not always easy to persuade your mega stars to perform a piece that is consistent with the theme, eg I’ve seen many galas that were supposed to be themed (eg Ballets Russes, Plisetskaya, Nureyev) containing items that had nothing to do with the theme (or only the most tenuous link)! Well done to Kish and the dancers for believing in it and sticking to it (it was also a delight to see Osipova performing the role of Laurencia again with that iconic solo with the grand jetes - a role she performed so well with  the Mikhailovsky Ballet.)

 

I hope Nehemiah Kish will do another gala and hopefully not be put off by any of the negative feedback as overall audiences were very happy with the show. Actually I haven’t yet seen or heard anyone say they didn’t like it. I also wonder if he might consider organising galas with his wife Yuhui, who helped organise Emma Maguire’s tribute gala for her late mother, which was another beautiful and artistically successful production.

 

Wonderful to see guest dancers I’ve never seen here eg Ivenko, Trusch, Praetorius, or who have not performed in London for some time eg Salenko, Cote, Makhateli, Parish. I do hope some company (Oh ENB....?) will invite them back as guests. Ivenko and Makhateli were so delightful in Gayane. I’d love to see them in Coppelia, Le Corsaire or Nutcracker....anything really, whether as a partnership or partnering other dancers. 

 

Minuses:

Oh dear oh dear- what in the world has the Frozen director done to the Drury Lane stage? It’s virtually a postage stamp compared to what it used to be when the theatre hosted 42nd Street, Charlie and the Chocolate Factory etc etc. In the interview by The Times, Kish said the Frozen team would not allow them to use the orchestra pit, so the Royal Ballet Sinfonia have to be squeezed onto the stage behind the dancers. The stage was smaller to begin with and now it’s positively minuscule. Kudos to Corrales for being able to change his manège of jumps around the stage into two circles, but when Parish finished the first of Solor’s leaps, he had no space left to move, and poor Vadim almost fell off the stage at the end of his solo as it was so tiny. 

 

Having the orchestra at the back: I’m in two minds about this. Normally I would love to see any orchestra and even buy tickets high up and a bit to the side so that I can see the orchestra too. But as the stage was so small, lighting them had the effect of distracting from the mood and story the dancers were creating, and giving it a sort of “school recital” effect (not in a good sort of way). I can block it out when watching great dancing, but when it came to the story roles eg Giselle, Sleeping Beauty (solo), La Bayadere, etc it made it harder work for the dancers. And someone needs to have a look at the “night club/bordello” lighting they gave the Laurencia pas de six- it’s supposed to be a wedding celebration, not a stag night! 😂

 

The interesting question about whether to light the orchestra or hide them during the dancing eg with lighting effects, can be answered thus: when they were temporarily hidden for part of Don Juan, it actually improved the appearance and mood  onstage considerably, as we could appreciate the unfolding drama without any distraction.

 

I accept this is an unusual situation for any gala organiser to have to deal with and in a large hall or space (eg Birmingham’s Symphony Hall or Royal Albert Hall, where the orchestra is part of the action in BRB’s Music and Dance evenings and in Wheeldon’s Cinderella during the Ball scene respectively), it’s not so problematic having no orchestra pit.  

 

I enjoyed the second video where the various dancers talked about their experiences as scholarship students of the Nureyev Foundation or of their inspiration from Nureyev. I thought the first video of Fiennes and Mason (even though I am an admirer of both) was less great and would probably have been better not shown and printed as transcripts in the programme, or simply shortened to a brief welcome. It does go on a bit too long, especially when they start looking down to use notes in their hand! (bearing in mind some patrons have trains to catch). Also, when compared to the performers talking eloquently without notes or cue cards, the first video doesn’t look so great. 

 

But these are minor quibbles. I loved the show immensely. And the patrons seated around me agreed too. (I am actually feeling very tempted to go back and watch it again next week, even though I would have to leave halfway through ...)

 

Thank you Nehemiah, Elena, Natalia, the rest of the repetiteurs, RB Sinfonia, David Briskin, and all the brilliant dancers! 

Edited September 6, 2022 by Emeralds

[capybara]

Natascha Mair had danced an amount of Nureyev’s choreography in Vienna. Nehemiah Kish seems to have been making some of his dancer selections as well as his repertoire choices with various connections to Nureyev in mind.

[Emeralds]

Natasha Mair’s steps seem consistent with the standard Aurora solo in Act 3 (which is an easy solo compared to other grand pas de deux, eg Don Q or Black Swan....maybe it’s to compensate for the nerve wracking  Rose Adagio!) It’s the same steps for Aurora as those from another production of Nureyev’s I’ve seen previously. I thought she and Vadim made a lovely partnership for this pas de deux. I agree she’s less of a virtuoso dancer like say, Osipova, and more of what I call a graceful dancer or one who can evoke a mood. I would cast her as Clara/Aurora/Lise rather than Odile/Kitri/Medora. The only negative bit was the tiny stage which I thought he was going to fall off at one point. 😮

Edited September 6, 2022 by Emeralds

[Dawnstar]

1 hour ago, JennyTaylor said:

I'm always interested to see new dancers and was particularly impressed by Frola. His footwork was superb and he really stood out in what was a star studded evening.

 

You haven't seen Frola before? You've been missing out! I first saw him in ENB's Manon in January 2019 purely by luck - at that time I didn't know who anyone apart from Cojocaru was on ENB's roster - and since then have made sure I book for him each time I've seen ENB. i think he's absolutely fabulous.

 

1 hour ago, Emeralds said:

Maybe the FOH staff misunderstood and  thought you were intending to take photos after every pas de deux, which admittedly could be distracting. But when the whole programme is over it should be fine- and posting your photos online could result in more revenue for the theatre which benefits the FOH staff too. 

 

No, I specifically said curtain call photos at the end & also I was asking in the interval so it must have been obvious that I didn't want to take them after every item when half the programme has already happened. A man sitting 2 seats down from me had his phone out taking photos after every single item without the FOH staff doing anything. It does annoy me that I'm effectively punished for asking & the abiding by what I was told when it sounds like no one else was.

 

51 minutes ago, AnneL said:

Maybe we should all suggest our fantasy gala items! 

 

I did start wondering last night if the Corsaire pdd is a compulsory item at all ballet galas. This is the third one I've seen & it's the only piece that has appeared in all three!

 

20 minutes ago, Emeralds said:

I was also impressed with the level of detail and commitment eg sending over the costumes from Nureyev’s production of Sleeping Beauty all the way from National Ballet of Canada

 

I rather wish they hadn't gone to that effort as I didn't like those costumes much! I thought Aurora's tutu decorations quite ugly & didn't like the epaulettes on the Prince's jacket.

[Dawnstar]

55 minutes ago, maryrosesatonapin said:

 I agree, Jenny. I thought Cote's dancing was uninspiring and wished that Marchand or Louvet had been able to make it - but of course, it was good of him to step in at the last minute.  And as for Natascha Mair - why ever was she chosen as Muntagirov's partner?  Pedestrian doesn't cover it. These were the weakest links in an otherwise brilliant evening, for me.

On the subject of disappointments, I have to mention Naghdi's fouettes - I don't think I have ever seen a dancer travel so much!

 

On a happier note, I was imagining how Marianna Tsembenhoi must feel dancing alongside such great dancers as Osipova and Choe in the pas de six from Laurencia.  But although very much the junior of the trio, she looked completely confident and danced beautifully.  That girl will go a long way.  (Ella and Ikarashi were very sharp and well-rehearsed too.)

 

I thought Mair was okay as Aurora but she did look to make some sort of error, maybe a slip or trip, during her solo last night & it also felt as though the fish dives were rather cheated, as she didn't raise her second leg until after she was into position so it wasn't really a dive.

 

I was just relieved Naghdi got through her fouettes alright, as when she did the same pdd at the Fonteyn Gala there was a definite technical glitch at that point!

 

In terms of how dancers looked in Laurencia, did anyone else think that Osipova looked like she was really, really enjoying herself? Maybe it's just because the other things I've seen her do have mostly been more somber works but last night she just looked so happy to be performing.

[Tango Dancer]

2 minutes ago, Dawnstar said:

 

You haven't seen Frola before? You've been missing out! I first saw him in ENB's Manon in January 2019 purely by luck - at that time I didn't know who anyone apart from Cojocaru was on ENB's roster - and since then have made sure I book for him each time I've seen ENB. i think he's absolutely fabulous.

 

I entirely agree, he's amazing.  I saw him in their Cinderella and Le Corsaire and he was lovely in both.  He was also really good in the Ukraine gala where he danced Corsaire bits with Mayara Magri and they seemed to have really good chemistry.  He's a lovely dancer, really strong in the jumps and with great musicality and interpretation.  I always try and book for his performances if I'm going for ENB.  

[DelphiumBlue]

Thanks to reading about the Nureyev gala on this forum I was able to take my (somewhere in her 80s) mother  to this afternoon’s performance. She was overjoyed at being able to access live ballet again after so many years and we both enjoyed every minute

( even the introduction video - just about).

Mum described the gala as being like a box of chocolates with everyone a favourite. It gave us the chance to see  choreography and pieces that were new to us ( and unlikely to be staged in London anytime soon) as well as more familiar work. And of course, being able to see so many dancers on my ‘wish list’ at once was amazing . 
We loved being so ( relatively) close to the stage in the C row of Grand Circle and reading about why the stage area was so small here 1st of all was helpful. 
As for curtain call photos and the ushers, perhaps that  reflects how they are briefed for the Frozen performances.   Someone in the row in front of us did have her phone out then and the usher did ask her very politely to stop. 

 

 

[Rob S]

17 minutes ago, DelphiumBlue said:

As for curtain call photos and the ushers, perhaps that  reflects how they are briefed for the Frozen performances.   Someone in the row in front of us did have her phone out then and the usher did ask her very politely to stop. 
 

 

A camera with the backscreen turned off is the answer. I took some of each of the second half pieces tonight with no tap on the shoulder

Edited September 6, 2022 by Rob S

[li tai po]

The Corsair pas de deux may be standard gala fare these days, but it was unknown in the west until Rudolf danced it at the Royal Opera House with Margot in 1962.  The complete Corsaire was not seen in the west until the Kirov Ballet brought it to the Royal Opera House in 1988.

 

Rudolf brought spectacular virtuosity to the Corsaire pas de deux in 1962, at a time when male dancers in the west had not achieved that level of athleticism.  Partnering was a greater part of their role in those days and Rudolf's performance lit up the audience and indicated the possibilities of the male virtuoso dancer - so this pas de deux was an iconic moment in Rudolf's London career and very appropriate for inclusion in this gala..

[alison]

It's been very interesting seeing this programme from the "top and bottom" of the theatre!  The balcony is very high up, but unusually close to the stage (for those of you who know it, think the balcony of the Bristol Hippodrome, only possibly closer), which can give an odd impression of the dancers, but it did make it clear just how much the dancers, Corrales and Muntagirov in particular, were having to rein it in due to the small area available for dancing.  Sitting in the stalls, though, you might not have any clear idea how small the stage is - although seeing the dancers close up can be a real treat in itself, and it did feel as though they were coming dangerously close to the edge of the stage, although I suspect they weren't actually that close.  (Can I just say how much I'm looking forward to seeing William Bracewell in Giselle, once he gets the chance - although I imagine that will be a couple of years away yet, since it was only in the rep last season?)

[Jan McNulty]

7 reviews are included in Today's Links (along with lots of other items):

 

 

[TurningPointe]

On 05/09/2022 at 21:08, Mary said:

Corrales was on fire

He was indeed.  His ‘Corsaire’ absolutely stole the show.  It was a huge responsibility and a very fitting tribute to Nureyev’s passion and technique.  Vadim Muntagirov delivered a very elegant Prince in ‘Beauty’ grand pas de deux.  He was solid technically and received a well-deserved large ovation (Monday eve).

[Sim]

Interesting to read all the reviews on the Links page (thanks Jan).  As always some very differing views, but a few were consistent with their praise across the board, e.g. Frola/Praetorius in Flower Festival, Cojocaru/Trusch in Don Juan, and Corrales/Naghdi in Corsair (as I said a couple of days ago, I am really glad this partnership is flourishing).

 

I will try to get to the last performance but if I can't, it has been really interesting reading this thread and the reviews in the papers. 

[Henry]

At the gala, it seemed very clear.  "No cameras & No mobile phones" means no cameras & no mobile phones.  I don't understand these people who somehow think this doesn't apply to them.  

[Emeralds]

30 minutes ago, Henry said:

At the gala, it seemed very clear.  "No cameras & No mobile phones" means no cameras & no mobile phones.  I don't understand these people who somehow think this doesn't apply to them.  

Actually, there was no announcement or notices on Tuesday afternoon  (although for first nights eg Monday, and special occasions eg royal command performances, it is accepted that a bit more formality and decorum should be accepted from everyone) so actually there was no rule nor request certainly at that particular show.

 

You know, quite often it is the staff themselves who take photos and videos on their cameras and mobile phones while in the audience- from dancers to coaches to directors. At many farewell performances, the dancers’ former colleagues are often seated in the audience if not dancing and filming or photographing their friends’ curtain calls or speeches. Obviously, NOT during the actual performance.  

 

The main thing is that you do it with the minimum of distraction to those behind you and beside you- ie not holding a large tablet aloft for ages, having a mobile phone with a bright screen in front of you for a long time, or cameras that whirr and click repeatedly (as someone once did at the Royal Albert Hall durIng the performance - and sitting in someone else’s seat - until she got told off). 

[JNC]

I can’t see how curtain call photos can be prevented - for me I think the rule is during the performance (which includes the applause between the acts) no photos/phones.

 

once the performance has finished then it’s fine - although would still be considerate of not blocking others’ views of curtain calls.

 

I don’t think photos should be taken at the end of each piece as this can blur into people thinking it’s ok (for example) to taking a photo at the end of maybe a pas de deux during a full ballet, or within the gala context they can’t put their phone away in time for the next piece which means it is distracting noise/movement/light for surrounding audience members.

 

Not to sidetrack too much but it does frustrate me a little when dancers share on Instagram videos that someone has clearly taken of them during a performance. This almost rewards them for bad behaviour and makes it seem ok! (Obviously fine to take and share lovely curtain call pics.)

 

It’s good to see the reviews are on the whole broadly consistent. I did find Charlotte Kasner’s praise of the Entr’acre and Bayadere pdd whilst critical of the Giselle pdd very interesting - shows how differently people interpret things! I was much more aligned with the FT and Guardian’s reviewers! But overall it seems everyone thought a good night on the balance of things, which is good. 

[Rob S]

 

 

From last night’s performance. 

 

[Henry]

At yesterday afternoon's gala in the stalls, staff walked to the stage end of the aisles, beside the orchestra pit and held up large signs saying ""No cameras & No mobile phones".  Of course, there isn't a photo to prove this...

[zxDaveM]

34 minutes ago, Henry said:

At yesterday afternoon's gala in the stalls, staff walked to the stage end of the aisles, beside the orchestra pit and held up large signs saying ""No cameras & No mobile phones".  Of course, there isn't a photo to prove this...

 

it would be joyous irony if there were...

[alison]

As they did on the first night.  Trouble is, without an audible announcement, people don't necessarily notice them.

[Odyssey]

I don’t understand why taking a photo during the curtain calls at the end of the performance is an issue. 

[Emeralds]

So, hmm, there must be some weird reason why they don’t wish Stalls patrons to take photos. No similar signs in the Royal Circle, Grand Circle or Balcony. And no announcement. (Theatre Royal obviously owns a microphone as Frozen is full of them.) So presumably the request/rule only applies to people who are not visually impaired and who are not non-English speakers/readers. And doesn’t include people who were in the restroom or the bar before the show and during the interval. Very strange. 

 

I think this is discrimination against Stalls patrons who don’t use the toilets or the bar, and who read English. 😂 

 

It’s also a badly worded request, especially since you obviously need your mobile phone to get in as your tickets are on them. And clearly, it’s ok to use cameras and mobiles during the interval, just not during the show. 

[Rob S]

Shortly before the start people did hold up no cameras, no phones signs...to the left of the sign was what looked like very small print (unless it was just a pretty pattern (not a QR code)...I assume this is a list of exceptions which includes people that know what they're doing...or it may be 'No shouting Bravo!!! in the ear of your neighbour'

[Emeralds]

Just going back to the show, I was going to add that William Bracewell had some lovely touches during his solo where he seemed to slow down his turns at the end to portray sadness or remorse at his betrayal of Giselle, which was a lovely touch. Often, the Act 2 solo is just performed as “Myrtha forces Albrecht to dance so that he’ll die of exhaustion , Albrecht tries to resist her power, fails, and spends the whole solo and pas de deux fighting exhaustion and the compunction to dance”.  And it’s a very valid interpretation. But Bracewell’s little details made it very refreshing and interesting interpretation to watch. I’d like to see his Albrecht in the full ballet one day too. 

 

I thought Yasmine Naghdi was also delightful in the Corsaire pdd- a different sort of virtuosity to Cesar’s but also stunning. I notice they didn’t try to copy Fonteyn and Nureyev’s actual pas de deux exactly as a) Nureyev’s solo is actually easier than Cesar’s but was pretty spectacular in its time, b) don’t think the gold trousers Nureyev used are in any production so it would have been a bit expensive to make a new pair (Cesar looked like he was wearing the ENB design). Yasmine’s solo was, on this occasion, the more frequently used ENB/Gorsky version rather than Fonteyn’s (which was the Queen of the Dryads solo from Don Quixote) and she was magnificent in it. No issues with the fouettés on Tuesday- whether double or single - nor the triple pirouettes. Wowzer! 👏 Another reason why I enjoyed the show so much was that I was sad to have missed Cesar’s Ali when he was at ENB, having only managed to catch him as Birbanto (he was spectacular in that role too), so it’s a long held wish ticked off now. Yay! 😊

[Bluebird]

38 minutes ago, Emeralds said:

So, hmm, there must be some weird reason why they don’t wish Stalls patrons to take photos. No similar signs in the Royal Circle, Grand Circle or Balcony.

 

Those signs were held up in the Balcony Monday night.  They were held up before the performance and also at the end of the interval.

[maryrosesatonapin]

17 hours ago, Dawnstar said:

id anyone else think that Osipova looked like she was really, really enjoying herself?

Yes!  She always puts her heart into whatever she's dancing but she really seemed extra inspired on Monday, beaming hugely, flirting with the audience and reaching great heights (literally in her jumps).

[PaulS]

1 hour ago, Emeralds said:

So, hmm, there must be some weird reason why they don’t wish Stalls patrons to take photos. No similar signs in the Royal Circle, Grand Circle or Balcony.

I was at the Tuesday matinee. There were chaps standing in boxes on either end of the Royal Circle holding up signs both before the show and at the end of the interval.