DON QUIXOTE - ROYAL BALLET AUTUMN 2023

[Nogoat]

I realise I'm a bit of an outlier in terms of the extent to which I dislike of this production of Don Q; the emasculation of a vibrant, punchy orchestral score to what is flaccid, impotent mood music; gimmicks such as 'table-dancing' - which does little except break up the flow of the dancing and adds real physical jeopardy; the inspired enhancement/wanton contamination (delete as appropriate; no, on second thoughts, just delete the first one!) of one of the grand-old ballets by 'vocalisations'.

 
That last one particularly annoys me; OK, there's no specific prohibition of 'speech' in the definition of ballet, but that's because to me it's axiomatic of the medium. A bit like Wheeldon introducing 'ugly' feet as a mark of his style, so Acosta's worrying tendency to add vocals to his 'brand' of choreography ends up adversely affecting both the style and the experience.

And, yes, there will always be exceptions (eg Hilarion's call to dance in AK's Giselle, the scream at the start of Act 3 of Anastasia, the operatic interlude in Mayerling, and the poems in Façade) but these are integral parts of the original/early productions, not bolted on as a style choice to differentiate one production from another.

 

I couldn't work up much enthusiasm to post about the two earlier performances I've seen this run, even though there were things - good and bad - worth noting.

So I didn't post about the real danger in having Basilio act out his fake suicide on a table on which his cloak has been placed: in the first Magri/Sambe performance, Marcelino slipped on the cloak and almost lost his balance as he leapt up from playing dead.

And I didn't post about James Hay's superbly-observed portrayal of Gamache last Tuesday; OK, I tend to watch (from the Amphi) with the aid of binoculars, but I'm still trying to figure out exactly how he managed to make his eyes dominate the stage and the audience's attention!

Nor did I post about Magri's wonderful, rock-steady balances in the Act 3 PDD last Tuesday, and how gutted I felt when that supremely confident display was derailed at the end of the fouettes.

Or even how strange the atmosphere was in the unusually quiet and empty ROH leading up to to Tuesday evening's performance - no-one knew what to expect, and there were more unfilled seats than filled (very reminiscent of the post-covid, socially-distanced performances).

And then, suddenly, the Amphi was almost full - the 'exciting news' that the ROH had teased us with all those months ago turned out to be an 'excitable audience'; their excitement might have made the atmosphere crackle, but it seemed oddly misplaced.

Also odd was the sight of loads of audience members in the stalls with their backs to the stage; my initial thoughts were of first-timers taking selfies with the iconic curtains as backdrop, until I realised it was a very old-fashioned demonstration of an old-fashioned word - obeisance. Can we move on, please?

 

So, moving on, I went to yesterday's matinee for Osipova rather than the production, as I hadn't seen her dance since Cinderella all those months ago. In the same way that @Sim would pay to see Reece Clarke read from the telephone directory, so I would pay to see Natalia Osipova - though I might insist, in the true spirit of ballet, that it was mimed rather than read! And such are Osipova's dance/acting skills, I believe I would get my money's worth...

 

In previous runs, even with the considerable talents of the likes of Muntagirov, she'd been unable to spark this dire production back to life, but in Clarke she seems to have found someone who's on the same wavelength as her, someone who resonates with her - and together they lit up the stage (ably supported by most of the rest of the cast).

Good grief - I was even captivated by that bit at the start of Act 2, before the gypsies turn up; the bit that tries, unsuccessfully, to bathe in the reflected glory of some sublime music from La Bayadere.

In hindsight, the clue was in the rehearsal shown on World Ballet Day - they just seemed to work so naturally together. Tellingly, Osipova put as much into her acting as she did to her dancing - they are the two inseparable sides of the same coin to her, and illustrate just why she is such a phenomenal performer.
 
On the night, the deficiencies of the production were pushed into the background and I ended up enjoying a superb couple of hours watching engaging characters and superb dancing. And it wasn't just me; afterwards, we met up with a friend with an incredible depth of knowledge and experience watching ballet, and they were as equally impressed. 

 

Gary Avis is a treasure trove of talent. Last Tuesday, at the start of Act 2, his face achieved the most amazing feat of relaying to the audience the turmoil of consternation, confusion and concern of his imagination: he couldn't have been clearer if he'd vocalised his thoughts! Yesterday he repeated the trick with Lorenzo.

 

I've seen three different Gamaches in the three performances, and it speaks volumes about the calibre of the RB dancers that two of them - James Hay on Tuesday and Calvin Richardson yesterday - I would happily label 'definitive'. It's a fine line between 2D caricature and 3D character, but both stood on the right side.

 

I didn't find that with Sancho Panza; I felt Daichi Ikarashi gave a beautifully, er, rounded performance yesterday, whereas the others were more caricatures or even grotesques.

 

But at some level, everyone is there to see Kitri and Basilio, and the 'famous bits'. So how did that go?

Well, there were a couple of 'issues'. For those who remember her awful fall in the first season, there was a heart-in-the-mouth moment in the first act, just before the travelling fouettes past the matadors, when there was the start of a slip from which she rapidly recovered. My partner said as much to KOH on the way out at the interval and he nodded in agreement (but there again, he probably nods in agreement with all the punters - it's part of his job!).

In the Act 3 PDD I felt Reece finished his solo a bit awkwardly or too soon, which may be why Osipova seemed to start her fouettes slightly early, then hesitate then start again.

 

But other than that, I was so utterly impressed by the pair of them. He was so confident, so assured, and so darn good in delivering the acting and the technique that you would be forgiven for not realising it was his debut.

Osipova bounded on completely pumped up, snapped her fingers at the audience, and never slowed down from then on in; yes, like any athlete she puffed briefly after exertion, but I saw absolutely no evidence of fatigue - she seemed just as full of beans in Act 3 and the curtain calls as she did in Act 1.

I have noticed on occasion (though not sufficiently or accurately enough to draw firm conclusions) that when she is learning/developing a role from actually performing it (and she always seems to be developing roles, regardless of how familiar they are), her facial expressions reflect her concentration as well as those of her character and, as others have noted, this seemed to be the case yesterday.

Given how exciting yesterday was, I really don't know what 'extra' we are going to get next Friday, but I can't wait to find out!

 

I remain in awe of speed at which she conveys the narrative through her acting, the degree to which she does it, and the way she embellishes it with nuanced observation.

Emotions played across her face with machine-gun rapidity in Act 1 as fans flicked, shoulders rolled and flirting was noticed.

Just after the Act 1 entrance of the pair of them, she moves down then across the stage with a series of jumps - her leg goes up, her head rolls back and her arms go out in a celebratory explosion of  happiness that convulses her whole body. And all in perfect harmony with the music - quite extraordinary.

And the tiny things; when Basilio's leg refuses to play dead, she surreptitiously leans on it to keep it still.

There was also an unexpected depth to their relationship. She seemed to revel in a kiss from him, before realising that might be a bit too much of a come-on, so appears annoyed.

And at the start of Act 2, when Basilio suggests they might spend the night, er, resting together, she seems to weigh up the pros and cons before demurring.

 

I never thought I'd be looking forward to seeing this production again, but roll on Friday!

 

[Silke H]

4 hours ago, Sophoife said:

She and Vasiliev hammed up the dress rehearsal: fast, strong, and utterly joyous to watch. In the second one-handed lift he got her up, put his arm out, moved into arabesque, then rose on to demi-pointe. And held it. And held it. 

 

That used to be their "party-trick", they did that also when guesting with the Mikhailovsky Ballet in NYC in November 2014.  Their Don Q and Flames of Paris then were quite the show-off-spectacle 😆

[Silke H]

My notes on Saturday's matinee:

I very much enjoyed Ms Osipova's act 1 but thought that act 2, particularly the solo, is not really in her wheel house and she didn't look all that comfortable.  In act 3 Ms Osipova was again in her element and she delivered - even if some parts of the choreography had been adjusted!  However, I must admit, I agree with @Paco that I could clearly see in Ms Osipova's face how much effort she had to put in to execute certain jumps and other technical feats that used to come easy to her.  Her walking back on stage after each of her solos to take a bow like she was a farmer's daughter and not a ballerina playing an innkeeper's daughter was a sight to behold  🤭

Reece Clarke's Basilio debut was accomplished and his technique has improved so much over the last few years.  With his height (and long legs) his switch leaps looked most impressive.  But his Basilio characterisation was the sweetest yet cheeky and slightly cocky and even more noteworthy than his technical execution.  The way he adored Kitri and kissed her hand after that naughty ear-whisper in act 2 where where she hits at him...  And kudos to Mr Clarke for always being prepared to just go with whatever Ms Osipova unexpectedly throws at him, sometimes quite literally herself.

Fabulous debuts also from Annette Buvoli (Mercedes) and Lukas Brændsrød (Espada).  Theirs is another partnership I'd like to see more of, and I so wish Ms Buvoli was partnered by Mr Brændsrød for her Sugar Plum Fairy debut.

2 further lovely role debuts were Sumina Sasaki (Queen of the Dryads) and Mariko Sasaki (Kitri's friend).

So many debuts in that show.  And great ones at that.  A thoroughly enjoyable Saturday afternoon, spent at one of my favourite places in the world.

Edited November 12, 2023 by Silke H

[Scheherezade]

4 hours ago, Sim said:

Although when they first danced DonQ in London with the Bolshoi Vasiliev did it in performance and drew gasps and huge applause. I will never forget those shows!  

I don’t think that anyone who saw those early Osipova/Vasiliev Don Qs will ever forget them.

Theirs was the first Don Q that my daughter had seen and she remains convinced that she will be eternally disappointed with all subsequent performances. 

 

1 hour ago, Geoff W said:

I wasn’t overly impressed by Annette Buvoli as Mercedes

Mixed reactions to the Saturday lunchtime Mercedes ...

I have felt somewhat lukewarm to each Mercedes that I have seen this time round and, re-running the comparison theme, wonder to what extent that is down to the memory of Laura Morera’s firecracker performance in previous runs. 

[Linnzi5]

19 minutes ago, Scheherezade said:

Mixed reactions to the Saturday lunchtime Mercedes ...

I have felt somewhat lukewarm to each Mercedes that I have seen this time round and, re-running the comparison theme, wonder to what extent that is down to the memory of Laura Morera’s firecracker performance in previous runs. 

I have felt the same. In my opinion, though the dancing may be well executed in this run, Laura Morera's Mercedes is the definitive one for me and I have yet to see it matched.

Edited November 12, 2023 by Linnzi5

[JohnS]

Of the Mercedes I’ve seen so far this run, I’ve been most impressed by Itziar Mendizabal. I think she’s made more of the role and seems closer to Laura Morera than others.

[Scheherezade]

32 minutes ago, JohnS said:

Of the Mercedes I’ve seen so far this run, I’ve been most impressed by Itziar Mendizabal. I think she’s made more of the role and seems closer to Laura Morera than others.

I felt the same. The others seem to have been a little underpowered: too careful, too polite; lacking that element of hot-headed abandon that I would expect from a street dancer.  

[Blossom]

51 minutes ago, JohnS said:

Of the Mercedes I’ve seen so far this run, I’ve been most impressed by Itziar Mendizabal. I think she’s made more of the role and seems closer to Laura Morera than others.

Also thought this. 

[FionaM]

6 hours ago, Paco said:

then having this gala in Dubai last Wednesday (with Clarke)

To clarify … the show in Dubai was not a gala where Natalia was a guest.  
 

It was her own show entitled “Natalia Osipova Bloom Dance’ where she performed 5 pieces.  And all the other dancers performing are therefore her guests.  She can hardly not show up to perform at her own show sold entirely on her name!   (Of course if she had been unable to dance the show would have likely been postponed or even cancelled.)

FYI , she performed the following: 

- Dying Swan (as the finale) 

- Qutb with Jason Kittelberger & Joseph Kudra (choreo by Sidi Larbi Cherkaoui)

- Valse Triste, with Reece Clarke (choreo Ratmansky)

- R&J balcony pdd, with Reece (Choreo MacMillan)

- Ashes duet, with Jason (choreo Jason)

 

[Suffolkgal]

Slightly off topic but on the subject of dancers doing “their own thing”. Guillem really split opinion i remember with her extensions and so on - in my head especially in Giselle? It never did anything for me but some people hugely admired it all ... 

[capybara]

43 minutes ago, FionaM said:

To clarify … the show in Dubai was not a gala where Natalia was a guest.  
 

It was her own show entitled “Natalia Osipova Bloom Dance’ where she performed 5 pieces.  And all the other dancers performing are therefore her guests.  She can hardly not show up to perform at her own show sold entirely on her name!   (Of course if she had been unable to dance the show would have likely been postponed or even cancelled.)

FYI , she performed the following: 

- Dying Swan (as the finale) 

- Qutb with Jason Kittelberger & Joseph Kudra (choreo by Sidi Larbi Cherkaoui)

- Valse Triste, with Reece Clarke (choreo Ratmansky)

- R&J balcony pdd, with Reece (Choreo MacMillan)

- Ashes duet, with Jason (choreo Jason)

 

I have to say I was surprised that Osipova arranged her show, and was allowed to do so by RB management, on a date so close to her performance with her home company and a significant journey away.

 

Surely, when a dancer is employed by a company, that commitment should take priority? 

[FionaM]

8 minutes ago, capybara said:

I have to say I was surprised that Osipova arranged her show, and was allowed to do so by RB management, on a date so close to her performance with her home company and a significant journey away.

 

Surely, when a dancer is employed by a company, that commitment should take priority? 

hmm I’m sure Guillem, Nureyev etc had a different view and bargaining position.  
 

we don’t know which of Natalia’s commitments came first.  

Edited November 12, 2023 by FionaM
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[Dawnstar]

Having failed to make it very far into the 28th December evening performance, yesterday I made a second attempt at seeing the Hinkis/Acri cast. This time I took my mother with me, both for emotional support & because I didn't feel I could abandon her on her birthday in favour of going to the ROH for the 2nd year in a row! (Last year the unmissable attraction was Muntagirov's 2nd Rudolf.) It was fortunate I did as I don't think I'd have even got as far as the ROH otherwise as the trains were so stressful - we got to our local station only to find the train was cancelled so as the next train wasn't for an hour we had to dash home, get the car & drive into Cambridge - I spent the first half hour of the journey fighting having another panic attack. The trains this autumn have just been one nightmare after another. Fortunately by the time we got to the ROH I'd calmed down so I made it through the performance with merely lower level anxiety.

 

I know Hinkis doesn't seem to be very popular on here but I like her, particularly from an acting point of view, so I'm very pleased I managed to see her in a leading role, especially as who knows if she'll get to dance it again given she wasn't originally cast. I thought she gave a very good performance, considering it was only her 2nd go at the role, especially in terms of acting. Unfortunately she did have to stop & re-start in the fouttes but better that than risk a fall or injury if something's not right (I don't have the technical knowledge to be able to tell what caused the stop).

 

So far this run I've only seen the taller type of dancer as Basilio - Ball x 2, Muntagirov & Bracewell - so I found it interesting to see Acri as a representative of the shorter type of dancer. I find it amazing how different some choreography can look on the 2 different types. I thought he was excellent, both in terms of dancing and acting/stage presence. He was also a very useful "carrot" in getting my mother to accompany me, as he's one of her favourite RB dancers!

 

I thought Gasparini & Ella were fine but that I've seen better performances in both roles. I'm not sure she's ideally suited to Mercedes in terms of stage personality, though I realise that as she's now a First Soloist & in her 30s she can't keep on just doing Clara & suchlike "nice" roles for the rest of her career.

 

I absolutely loved Richardson as Gamache. Just the way he walked was hysterical! Such a contrast from his Espada. I do really enjoy getting to see the same dancers in very different types of roles & Don Q certainly gives lots of opportunities for the men in particular. Avis was again hilarious as Lorenzo; I prefer him in that role to the title one. I was pleased to get to see Julia Roscoe as Queen of the Dryads. She first really came to my attention 2 years ago being coached my Monica Mason as Myrthe in a Giselle Insight livestream but unfortunately she wasn't in any of the Giselle casts I saw & likewise I didn't see her Lilac Fairy last season so this was the first big solo role I've seen her do. Unfortunately something must have gone significantly wrong in the big throw lift at the end of the gypsys' dance because it basically didn't happen but at least both dancers stayed upright.

 

I'm currently sitting on the fence as to whether to brave another trip to London on 17th for the final Don Q (if I do I'll probably be the only person in the audience not there to see Osipova) but first to see the cinema encore tomorrow, which is mercifully near enough that no trains are required!

[Pulcinella]

On 08/11/2023 at 01:58, alison said:

Agree that the lighting was distinctly dingy, but I don't know whether that was my cinema or just what you have to expect when a staged performance is being broadcast live without additional lighting.  Perhaps they can adjust it for any stream/DVD, assuming that they have a good recording of the fouettés from the other performance.

I went to an encore showing this afternoon and the lighting was fine. Interestingly they had edited out Mayara's fall. I don't know if it was just that bit or they showed the whole of Act 3 from the other recording. I suspect the latter because there was nothing to indicate that the Royals were there, unlike at the beginning of Act 2. I spoke to the manageress of the cinema afterwards (it's only a small cinema) who I have got to know slightly. She must have heard me saying that the fall had been edited out because she asked exactly what had happened and told me they had been instructed to use a specific recording because of an "incident" and had wondered what that was.

[Linnzi5]

3 minutes ago, Pulcinella said:

I went to an encore showing this afternoon and the lighting was fine. Interestingly they had edited out Mayara's fall. I don't know if it was just that bit or they showed the whole of Act 3 from the other recording. I suspect the latter because there was nothing to indicate that the Royals were there, unlike at the beginning of Act 2. I spoke to the manageress of the cinema afterwards (it's only a small cinema) who I have got to know slightly. She must have heard me saying that the fall had been edited out because she asked exactly what had happened and told me they had been instructed to use a specific recording because of an "incident" and had wondered what that was.

Thanks for the information. I'm so glad they either edited it out or used the previous recording.

[capybara]

10 hours ago, FionaM said:

hmm I’m sure Guillem, Nureyev etc had a different view and bargaining position.  
 

we don’t know which of Natalia’s commitments came first.  

ALL outside commitments for a company member should follow discussion with the AD and, if the offer from Dubai came before the DQ casting, it should have been possible to agree more sensible timings at the RB.

 

I feel strongly that dancers owe their first allegiance to their company and its audience - the stars are well paid (aren’t they?) and enjoy all sorts of additional benefits including insurance, health and fitness facilities and support etc. 

 

I know that there is an increasing amount of guesting by RB Principals and Soloists and I think it’s great that their talent is being seen and appreciated across the world. But ……

[Silke H]

10 hours ago, Dawnstar said:

I'm currently sitting on the fence as to whether to brave another trip to London on 17th for the final Don Q (if I do I'll probably be the only person in the audience not there to see Osipova) 

That would be you and me then.  I'm going for the cast around Ms Osipova but not really for her.  Admittedly, I think Kitri is the only RB role I appreciate her in. 🤐

[Silver Capricorn]

46 minutes ago, capybara said:

ALL outside commitments for a company member should follow discussion with the AD and, if the offer from Dubai came before the DQ casting, it should have been possible to agree more sensible timings at the RB.

 

I feel strongly that dancers owe their first allegiance to their company and its audience - the stars are well paid (aren’t they?) and enjoy all sorts of additional benefits including insurance, health and fitness facilities and support etc. 

 

I know that there is an increasing amount of guesting by RB Principals and Soloists and I think it’s great that their talent is being seen and appreciated across the world. But ……

If the principal, at the peak of his artistic career, has 6 performances scheduled in his home ensemble for a period of 6 months, it is not surprising that he tries to dance elsewhere, and it is certainly not just a question of money.  In addition to hosting, the head of the local ballet discusses with Kevin O'Hare.

[BeauxArts]

I don’t understand the somewhat censorious comments about Osipova and her schedule. She, more than anyone, is best placed to assess what she can and cannot deliver in terms of fulfilling her commitments. For example, in April 2019 she dropped out of a performance of Don Q at the Mariinsky at a very late stage, leaving Vladimir Shklyarov and many Russian and international  fans in the lurch: she said she had to prioritise her RB commitments over guesting at the Mariinsky. Those of us who had hoped to see this stellar duo were still treated to a splendid performance, with Elena Evseeva stepping up (the performance is still available on YouTube).  I am sure KOH is aware of what his dancers are doing elsewhere, and no doubt he gives  them latitude because he recognises their careers are so short and the ROH cannot provide enough performances. 

[capybara]

31 minutes ago, Silver Capricorn said:

If the principal, at the peak of his artistic career, has 6 performances scheduled in his home ensemble for a period of 6 months, it is not surprising that he tries to dance elsewhere, and it is certainly not just a question of money.  In addition to hosting, the head of the local ballet discusses with Kevin O'Hare.

I’m not arguing with that at all - indeed, it is a (beneficial) consequence of the serious under-use of RB Principals by the RB.

HOWEVER, guesting needs to fit with ‘home’ commitments in such a way as to ensure that there is no detriment to scheduled Company performances.

 

Some ADs do indeed make contact with KOH but there are many commercial promoters out there as well …

 

Edited to add that I  remember well Osipova’s cancellation of her performance at the Mariinsky - good for her: she had her priorities right.

Edited November 13, 2023 by capybara

[Guest oncnp]

41 minutes ago, BeauxArts said:

I  I am sure KOH is aware of what his dancers are doing elsewhere,

 

I'm not..... and she suddenly became "ill"  for her RB performance as well and Nunez had to step in at the last minute.....

 

Edited November 13, 2023 by oncnp

[Nogoat]

37 minutes ago, BeauxArts said:

I don’t understand the somewhat censorious comments about Osipova and her schedule.

 

Indeed - and wasn't her on-stage partner also appearing with her in Dubai?

In this specific instance, it really is a case of 'tilting at windmills' as both of them were on peak form.

Like elite track and field athletes who jet around the world to appear in various competitions, they don't seem to suffer from what appears to us to be a very demanding schedule. In fact, there is an argument that they need regular performances at the various meets in order to maintain their competitive and performative edge.

 

[Benjamin]

Can someone please inform me what happened? I don’t really have the time to look through 2 Pages. My current presumption is that Natalia could make the RB performance? Sorry as I wasn’t there and need some explaining.

 

Maybe I’ve got it all wrong.

Edited November 13, 2023 by Benjamin
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[FionaM]

28 minutes ago, Nogoat said:

 

Indeed - and wasn't her on-stage partner also appearing with her in Dubai?

 

In fact, there is an argument that they need regular performances at the various meets in order to maintain their competitive and performative edge.

 

yes to first.  
 

and I agree with the need for regular performance.  Particularly from a physical point of view.   The demands of onstage show require a certain amount of rehearsal schedule also  to keep the body at that peak level.  
 

Both Natalia and Reece were not involved in the Anemoi/Cellist double bill and I don’t expect either are in the Dante project.  So they have much less rehearsal and onstage time at the RB this quarter than others do.  

Edited November 13, 2023 by FionaM

[FionaM]

@Benjamin It’s past history … during the pandemic.  There was a clash in Natalia’s schedule between Mikhailovsky theatre and RB performance dates.  (Not a direct clash but dates too close to each other).   We don’t know how that happened, but she didn’t show up in St. Petersburg for their performances, claiming illness and then also pulled out of the subsequent RB performance.  
 

Pre-Covid she regularly had performances elsewhere (Germany, Italy, Sadlers own shows, etc as well as Russia) that were very close to performances at RB.  It had not been a problem before.  
 

She’s not the only dancer to run a tight schedule.  Marianela and Vadim are in demand all over.   It cannot be easy to juggle schedules when requests come so far in advance.  

[Guest oncnp]

12 minutes ago, FionaM said:

@Benjamin It’s past history … during the pandemic.  There was a clash in Natalia’s schedule between Mikhailovsky theatre and RB performance dates.  (Not a direct clash but dates too close to each other).   We don’t know how that happened, but she didn’t show up in St. Petersburg for their performances, claiming illness and then also pulled out of the subsequent RB performance.  

 

Quite a bit more to it than that (she misreperesnted her illness and never denied the Mikhailovsky  director's statement) but  this has already gone way off topic.  

Edited November 13, 2023 by oncnp

[Sophoife]

Osipova was supposed to dance (special secret guest) with AusBallet pre-pandemic and told the company two days out that she wouldn't make it due to injury.

 

She was on stage elsewhere in the world on the day she had been due to be on stage here.

 

Not injured.

 

I doubt she'll be invited back.

 

Which is a shame.

 

She needs to manage or have someone manage her commitments better.

[FionaM]

 

1 minute ago, Sophoife said:

Osipova was supposed to dance (special secret guest) with AusBallet pre-pandemic and told the company two days out that she wouldn't make it due to injury.

 

She was on stage elsewhere in the world on the day she had been due to be on stage here.

 

Not injured.

 

I doubt she'll be invited back.

 

Which is a shame.

 

She needs to manage or have someone manage her commitments better.

David Hallberg was her closest performance partner.  Perhaps there is a chance for AusBallet now that he is AD.   
 

I agree with your assessment of needing to manage her commitments better.  
 

There were a number of occasions that she flew in to partner Sergei Polunin with less rehearsal time than him.  Including a famous time for the Taming of the Shrew in Munich where the performance was delayed in order for her to get to the theatre from the airport, dress and warm-up.  

[bridiem]

3 minutes ago, FionaM said:

 Including a famous time for the Taming of the Shrew in Munich where the performance was delayed in order for her to get to the theatre from the airport, dress and warm-up.  

 

Was this an emergency stand-in situation? If not, it's bonkers.

[Guest oncnp]

14 minutes ago, Sophoife said:

She needs to manage or have someone manage her commitments better.

A calendar?

[FionaM]

8 minutes ago, bridiem said:

 

Was this an emergency stand-in situation? If not, it's bonkers.

no it was scheduled.  Perhaps flights were delayed.  Nevertheless it shows the schedule was too tight.  (This was pre-Covid when flights were usually more reliable) 

Edited November 13, 2023 by FionaM
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[LinMM]

The trouble with having performances too close together these days is not so much the persons fitness to fulfil them but having reliable public transport!! 
There only has to be a delay or cancellation somewhere along the line to make what seemed a feasible journey almost impossible. 

[Sophoife]

22 minutes ago, FionaM said:

David Hallberg was her closest performance partner.  Perhaps there is a chance for AusBallet now that he is AD.   

 

She would not of course be dancing with him, and I understand she's very particular about her partners (which is reasonable, for someone in her position). 

 

To cover the costs for special guests here (flights, accommodation, remuneration etc) there's a specific philanthropy fund, and the people administering that haven't changed.