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I have just come back from the second performance of Beyond Ballets Russes Second Programme. I am feeling very exhilarated.

 

The corps de ballet is simply breathtaking. I have waited twenty years to see the ENB corps return to this scintillating form. Suite en Blanc is a feast of virtuoso dancing from principal after principal. Rather than picking out individual performances, I am revelling in the memory of the wonderful corps. They are so together, so sparkling and projecting so well into the audience. Time and again, my eye was distracted from the principal in front by a line up of dancers behind with perfect spacing, every single arm in exactly the same position, every movement perfectly synchronized. It takes years of hard work to build up this level of discipline and co-ordination. It is so rewarding for the audience, when this magic is achieved.

 

Thanks to Maina Gielgud who has staged this work so beautifully for a second year running. Her sense of style and mood is impeccable. Thanks also to the ballet staff, Ros Whitten, Jane Howarth and Antony Dowson. I have watched (and heard) Ros Whitten in action at rehearsals. She is tireless, dogged – no detail is missed, no fault is too trivial for correction – she is a true completer/finisher – firm with the “ladies”, yet fair and considerate. The company is so lucky to have such a solid team of ballet staff.

 

I have also been thrilled by Eagling’s new ballet, Jeux. Wayne Eagling is such a thoughtful and interesting choreographer – all the more so because he quite often has to make ballets to order, rather than because the theme or music particularly appeals to him. Jeux has quite a difficult score; Debussy’s last orchestral work is better known in the concert hall than in the theatre. Eagling has faced up to the music and developed his own take on the original scenario, by showing Nijinsky, the choreographer, struggling to choreograph the music. There are humorous references to the tennis match of Nijinsky’s original, but the choreographer soon becomes absorbed in a pas de trois with his two leading ladies. It is as if he has lost touch with reality and is living the dream of his own ballet. Meanwhile a second group of three dancers plays a tennis match in semi-shadow at the back of the stage, using a barre as the tennis net. Eventually this second pas de trois is drawn into the dreamlike action front stage, echoing the first group – until a sudden change of lighting returns the choreographer back to reality – seated beside his piano, struggling to create the movement to the music. Finally he is visited by the sinister figure of Diaghilev, or was it the Chairman of the Board?

 

Eagling’s choreography is full of interesting movements, contrasts and dramatic conflicts and resolutions. Eagling has created a wonderful dramatic role for Dmitri Gruzdyev, who demonstrates his long and deep experience of the stage in a rounded performance, full of dramatic insight – as he travels from creative block, to dreamy distraction, to frustration and despair. Like many good (? great) choreographers, Eagling has created a ballet, which seems semi-autobiographical.

 

The lighting is stunning. The design is so simple. ENB deliver convincing value for money with their designs – an object lesson for other companies, which indulge in unnecessarily extravagant designs, that can swamp the choreography.

 

This ballet comes as a timely reminder of Eagling’s skill as a choreographer – one of the select band of convincing British choreographers post-MacMillan. He has given ENB a beautiful chain of ballets, Resolution, Men-Y-Men and The Nutcracker. Let us hope that he will use the extra time available to him next year to focus on choreography and make more beautiful ballets. I cannot wait to see Jeux again on Saturday.

 

Finally a brief appreciation of Vadim Muntagirov’s bravura performance as the Handsome Young Chap in Le Train Bleu – not only his technical aplomb, but his sunny personality and winning humour. He dominates the stage and draws in his audience. How this company has enabled him to develop into such a confident artist, after the initial shyness of his first season! It is a tribute to Vadim and all those who have helped him – and Vadim’s performance is also a worthy tribute to Anton Dolin, the work’s creator.

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I saw Programme 2 last night. Suite en Blanc was worth the price of the ticket alone. It's an exquisite ballet and is now one of my very favourites. When the curtain went up on the opening tableau the audience applauded. It's just the loveliest ballet and there was some very fine dancing (and a few tentative steps from some of the ladies but to be fair there's nowhere to hide in this ballet). Apollo was very well danced and I was impressed by Konvalina whom I had not seen before. He's a great addition to ENB; he's somewhat similar to Vadim and this will prevent Vadim from getting overburdened and stop him from getting cocky (not that there's any evidence of this happening so far)! Jeux and Le Train Bleu were great fun and well danced. Vadim had just the right amour of swagger in his solo. Boy can he command that huge stage!

 

In short, this well thought out programme shows the best of ENB and Suite is unmissable. There were eight principals performing last night but, in accordance with ENB's philosophy of giving opportunities to young dancers, there were also some corps dancers on show as well.

 

Congratulations to ENB!

 

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Regarding Vadim, ENB's gain is the RB's loss (they didn't offer him a contract). I wouldn't be surprised if the RB offered him a contract in the next year or two. It would be sweet revenge if Vadim went in at a senior level, overtaking his classmates who were taken on by the RB. I'm saying this! Nothing that I've seen or read about him suggests that he would even have such a thought! He obviously has a great deal of personal loyalty to Daria (and rightly so) and his partnership with her may be the one thing that keeps him at ENB now that Wayne (to whom I'm sure he also has a lot of loyalty) is going. I wonder what Vadim would be doing now if he had gone straight into the RB on graduating.

 

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Some pictures from the ENB Ballet Russes (prog 2) photoshoot...

(Suite en blanc to follow)

 

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Apollo and Terpsichore (Zdenk Kondilova & Daria Klimentova)

© Dave Morgan. Courtesy of DanceTabs / Flickr

 

 

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Apollo - Three Muses - Begona Cao, Daria Klimentova, Anais Chalendard

© Dave Morgan. Courtesy of DanceTabs / Flickr

 

 

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Jeux - Fernanda Oliviera, Dimitri Gruzdyev, Elena Glurdjidze

© Dave Morgan. Courtesy of DanceTabs / Flickr

 

 

See more...

Dave Morgan's ENB - Beyond Ballet Russes programme 2

Courtesy of DanceTabs / Flickr

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Good to see these great photos of Jeux to remind me, I saw opening night and loved it, Dmitri Gruzdyev was outstanding as Nijinsky, wonder who else will dance it, I'd like to see Anton Lukovkin. Very evocative of the original and a brilliant surprise ending! A really good programme altogether, Vadim Muntagirov funny in the Train Bleu solo, and some outstanding dancing in Apollo and Suite en Blanc, especially Elena Glurdjidze as Cigarette, Ksenia Ovsyanick in the Romantic pas de trois after her long stint in Firebird, and Nancy Osbaldston showing some strong technique in the pas de cinq.

 

I would go again tonight and get a much better seat for £10 than my £40 pre-booked ones(sore subject) but have to save my energy for tomorrow's 2 performances!

 

 

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Just had a quick look, and tomorrow's Links will carry at least 6 very enthusiastic reviews of Programme 2. What with that, and the cheap tickets now available, I'm much put out that circumstances prevent my getting to see it! (And it sounds as if Begoña is great in 'Apollo." Aaargh!)

 

Begona was absolutely scrumptious; and did two roles (last night and tonight she was an unexpected Terpsichore replacing Fernanda Oliveira, whereas the rehearsal (and opening night I assume) Calliope). And for just a tenner! My, my. Whilst this was great for my wallet, as I was in the Stalls tonight (Saturday that is) and Dress Circle before that, as others have said it is sad that such a TERRIFIC bill wasn't more popular.

I love Apollo, and I think the ENB casts i've seen perform it have certainly done it justice. For the vast majority though - it was 'Suite en blanc' that was the crowd pleaser - and I certainly can't blame them, as I loved it too! Especially the Sieste section, 'Cigarette', the pas de deux and 'Flute' - which was utterly marvellously danced tonight by Daria Klimentova (in both, accompanied by Vadim Muntagirov in the pas de deux). Jeux was also enjoyable, though I wasn't keen on the lighting, as the cast seemed to drift in and out of bright or dark (or black) patches. Loved the choregraphy though - and the joke at the end with the returned tennis ball.

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ZxDaveM, just for clarification, Daria did dance last night? I ask this because she fell towards the end of the afternoon's performance and earlier had looked a little ill at ease (normally she always looks so happy when she is dancing with Vadim). Vadim gave a very assured performance in his debut as Apollo. He has tremendous stage presence as well as the terrific technique that everyone talks about. The three Muses also danced well in their debut performances. Nathan Young's gymnastic moves in Le Train Bleu were well performed but he didn't have quite the same bounce and swagger as Vadim had had; it was an exciting solo for him as he is still in the corps. Suite was as beautiful as ever. I'm so sorry that I'm not going to be seeing it again as I'm off to see the outlaws today. Who knows when we will see this ballet again in the UK. Vadim got huge applause for his Mazurka solo from a rather muted audience. There was a poor audience yesterday afternoon; it was possibly even worse than Thursday evening. The Balcony was closed and the Upper Circle was not even half full. I feel so disappointed for the company. In contrast, I'm sure that the ROH was full yesterday for the fourteenth or whatever it was performance of R@J.

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I thought the matinee was one of the best performances I have been to for a while, Vadim Muntagirove has matured a lot in the last few months, he was superlative all afternoon, in Apollo (his debut) then Mazurka and pdd, and the solo's in the coda, and he was still dancing in the evening, the Train Bleu solo and partnering Daria again!

 

Lovely performances too from Begona Cao in Apollo, Dmitri Gruzydev in Apollo, Ksenia Ovsyenick looking very chic and French in Suite, from everyone really, the matinee was especially memorable for confirming what a huge, huge talent Vadim has, and a pleasant personality to go with it, ENB have done so well in nurturing him.

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Just a few words about the BBR Programme 2. I saw the matinee yesterday and really enjoyed it. The programme started with Apollo, which has never been one of my favourite Balanchine ballets. However, I always like seeing it nevertheless just to observe the different interpretations possible. All four dancers were making their debuts in this ballet, and very assured they were, too. Vadim Muntagirov was a noble but playful Apollo, bounding around the stage in the first flush of youth and wonder. Erina Takahashi made a delightful Terpsichore, beautifully supported by Senri Ku as Polyhymnia and Adela Ramiriz as Calliope.

 

Act 2 opened with The Handsome Boy from Le Train Bleu. This short piece was originally choreographed to show off the virtuosic capabilities of Anton Dolin (who went on to become one of the founders of the company), and Nathan Young did his memory proud. He really looked like he was enjoying himself, and the audience certainly enjoyed it too. A shame it is so short because I could have continued watching him for much longer!

 

Jeux was, for me, an interesting period piece, very well danced and with costumes and hairstyles that really reflected the era. However, I did find my attention wandering sometimes and kept having to remind myself that Dimitri Gruzdyev had not wandered in off the set of West Side Story by mistake. Gruzdyev is in fine form and produced some excellent dancing here.

 

The programme closed with Serge Lifar's Suite en Blanc, which I missed last time round, so this was a first viewing for me. I loved it. I loved the way it is a homage to the classical ballet that had gone before it, but also a nod to the neo-classicism which was to come with Balanchine, et al. I loved the panache and sheer joy with which it was danced by everyone involved (I don't have time to go through each solo, but I can say that they were all impressive), and really hope it stays in ENB's rep.

 

Despite the financial and artistic uncertainty that the company is going through at the moment, they are confident and a jewel in England's ballet crown. They have a very important ballet heritage to pass down. They work so hard, they tour around the country, they give us some very original mixed bills as well as the classics, they have introduced all kinds of initiatives and new ways of taking ballet to new audiences.....they deserve better than what they are having to deal with now on all fronts; I hope their problems, both financial and otherwise, are sorted out soon so that they can just concentrate on bringing us the high quality dancing which so many people appreciate and enjoy.

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And just another thought....I too was very disappointed at how badly these performances have sold. I was sitting in row H of the stalls; the ticket cost £10 because they had to take desperate measures to sell them. Although many serious dance lovers often bemoan the fact that the large companies keep doing SL, SB, R&J, Nut, etc., the cold fact of the matter is that it is these ballets that sell out the big houses, especially outside London. When ENB took Manon around the country a few years ago, despite it having had excellent reviews, it sold really badly. So it is the money the companies make from the old war horses that allow them to take the risks that we regulars like to see, but unfortunately not enough of the occasional dance-goers do. I just hope that a time doesn't come when companies stop trying to do something different because they can't afford to have half-empty houses. There is another thread talking about how to get people to go along to these 'dances with a difference', and I hope that this dilemma is solved soon.

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We took advantage of the £10 offer too. Like others, though, I have reservations on such deep discounting and what it will do for ENB's future ticket sales at the Coliseum. You can fill the house but goodness knows at what long-term cost.

 

I suspect the reason all this has come up is that while the 2 Russes bills are appealing to fans they don't capture the wider public imagination - sadly what does is Swan Lake and Romeo and Juliet etc . Anyway you don't often see mixed ballet bills at the Coliseum (other than perhaps Mariinsky/Bolshoi) and then only for 2 or 3 nights tops. Given all the difficulty in filling seats I think this season would have been better at Sadler's Wells or another smaller theatre. Or possibly 1 week a blockbuster and 1 week Russes, thought even 1 week might be too much at the Coliseum.

 

Anyway I'm glad we got there. The company may have lost its natural Apollo in Tom Edur but it was a strong performance, led out by Gruzdyev, of a work that still seems so modern and gives goosebumps. And closing out with Suite en Blanc is just terrific - it showcases the company well and makes you smile at life.

 

We got Nathan Young dancing the Le Train Bleu solo - no idea how he compares to Muntagirov but it was a fun bit of froth worth keeping for a gala or two. The premiere was Wayne Eagling's Jeux which sadly did not connect with us on any level - if a great score to listen to. I just found it awfully confusing. Others liked it and Eagling has a following keen to see him stay as Director. It's not for me ( I look forward to a change) but if you support him and want to try to get him reinstated then Kenneth Leadbeater has started a Government e-petiton at: epetitions.direct.gov.uk/petitions/32127. Have to say it's probably a bit late and the new director is inevitably already chosen. Whoever it proves, I hope they come up with bills that please fans and sell the Coli out at full price.

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Wayne Eagling has done it again! He has created a work of such originality and beauty that I am hungry to see it again. And with its thinly-veiled eroticism (surprisingly missing from last weeks’s “L’apres-midi d’un faune”), superb design, a ravishing score by Debussy, and, of course, world-class dancers, for me it embodied all that Diaghilev’s Ballets Russes delivered. Wizzy Shawyer’s chic dresses for the girls suggest post-WWI Chanel rather than the plain tennis dresses from Paquin used in Nijinsky’s version and allow greater freedom of movement. These are complemented by the flattering ‘Marcel-waved’ wigs cleverly created by Craig Forrest. Incidentally, Diaghilev wanted to set the ballet in the ‘future’ of 1920 so that he could have a dirigible floating across the back so the costumes seem particularly appropriate! The whole piece was bathed in atmospheric lighting designed by David Richardson and bravo to whoever threw the tennis ball across the stage perfectly in that thin strip of light! Eagling has cleverly woven the iconic poses from the few photographs of Nijinsky’s ballet into an expanded version, adding two men and one woman to the original trio. His choreography resonates with the influence of Nijinska’s “Le Noces” which he would know intimately from his RB days and which is a stroke of genius as Nijinska herself admitted in her memoirs that her choreography for this ballet was inspired by her brother’s “Jeux” and ‘Sacre’. And yet the piece is original Eagling, obviously created for the formidable talents of his dancers, in particular Dmitri Gruzdyev who appears to represent the tortured soul of Njinsky the choreographer. Having not seen any rehearsals and only the two Saturday performances, I don’t feel qualified to comment in detail on the choregraphy but, suffice it to say, it is a work I hope is kept in the ENB repertoire as I am sure each viewing will reveal new delights. And the appearance of Daniel Jones as Diaghilev in his iconic top hat and greatcoat was a moment of pure theatrical magic! By the way, no previous knowledge of the Ballets Russes is needed to enjoy this intriguing work.

 

“Jeux” was showcased between Balanchine’s “Apollo” which the company performs superbly. At the Saturday matinee, the performance was so assured and flawless, that it belied the fact that all of the dancers were making their debuts in these roles (Vadim Muntagirov towering above the dainty muses of Erina Takahashi, Adela Ramirez and Senri Kou). In the evening, the talented Miss Takahashi changed muses, appearing alongside Daria Klimentova (bringing out all the wit of her Calliope solo), and an uncredited Begona Cao replacing Fernanda Oliveira, who excelled in the pas de deux with Dmitri Grudyev’s magnetic Apollo (apologies to Dmitri for the idiot in front of me who hadn’t turned off his mobile phone!). The evening ended with “Suite en blanc” which is a true showcase for the company’s talent across all ranks. I was only able to see the matinee performance and was impressed by all the soloists but would like to give special mention to Desiree Ballantyne who floated through “Sieste” along with her delightful companions Senri Kou and Kei Akahoshi, and to Crystal Costa for her amazing set of jumps in the “Pas de Cinq”. The runs on pointe across the stage by the girls of the corps de ballet were particularly exquisite and the boys series of jumps were exhilarating.

 

Interestingly, this was an all black-and-white programme except for the splash of colour provided by Chanel’s swimsuit for the handsome young man’s solo from Nijinska’s “Le Train Bleu” (shame we could not have seen Picasso’s magnificent frontcloth for this ballet). This was danced with amazing ballon (not to mention acrobatic skill) by Nathan Young at the matinee and Vadim Muntagirov who not only did some ‘no hands’ cartwheels but danced with a cheeky grin that was a pleasure to see. All praise to Antony Dowson for staging this gem.

 

For those of you who took advantage of the £10 tickets, you certainly got your money’s worth and then some!

 

I haven’t had time to read any press reviews yet so will be interested to see if any agree with me about Programme Two.

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ZxDaveM, just for clarification, Daria did dance last night? I ask this because she fell towards the end of the afternoon's performance and earlier had looked a little ill at ease (normally she always looks so happy when she is dancing with Vadim). Vadim gave a very assured performance in his debut as Apollo. He has tremendous stage presence as well as the terrific technique that everyone talks about. The three Muses also danced well in their debut performances. Nathan Young's gymnastic moves in Le Train Bleu were well performed but he didn't have quite the same bounce and swagger as Vadim had had; it was an exciting solo for him as he is still in the corps. Suite was as beautiful as ever. I'm so sorry that I'm not going to be seeing it again as I'm off to see the outlaws today. Who knows when we will see this ballet again in the UK. Vadim got huge applause for his Mazurka solo from a rather muted audience. There was a poor audience yesterday afternoon; it was possibly even worse than Thursday evening. The Balcony was closed and the Upper Circle was not even half full. I feel so disappointed for the company. In contrast, I'm sure that the ROH was full yesterday for the fourteenth or whatever it was performance of R@J.

Yes Aileen, Daria did dance in the evening performance. I saw her just before this, by which time she could laugh about her tumble in the afternoon. Luckily she did not hurt herself but was just rather shocked to find herself on the floor after that wonderful series of pirouettes and didn't quite know how she got there!

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Regarding Vadim, ENB's gain is the RB's loss (they didn't offer him a contract). I wouldn't be surprised if the RB offered him a contract in the next year or two. It would be sweet revenge if Vadim went in at a senior level, overtaking his classmates who were taken on by the RB. I'm saying this! Nothing that I've seen or read about him suggests that he would even have such a thought! He obviously has a great deal of personal loyalty to Daria (and rightly so) and his partnership with her may be the one thing that keeps him at ENB now that Wayne (to whom I'm sure he also has a lot of loyalty) is going. I wonder what Vadim would be doing now if he had gone straight into the RB on graduating.

Last year I treated myself to a trip to Prague to see Daria and Vadim guesting in another production of "Giselle". I had a lovely chat with Vadim and he is very happy at ENB. Let's hope the new AD will keep up Wayne's policy of allowing guesting like this to keep up the morale, particularly of the principal dancers who find their number of performances much reduced (with the exception of the mixed bills) once they have been promoted to this level because they are no longer expected help out in corps de ballet work.
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Yes Aileen, Daria did dance in the evening performance. I saw her just before this, by which time she could laugh about her tumble in the afternoon. Luckily she did not hurt herself but was just rather shocked to find herself on the floor after that wonderful series of pirouettes and didn't quite know how she got there!

 

Oh thank goodness for that I really thought Daria had injured herself after she did not take her individual curtain call and had disappeared on the final curtain raise on the whole company.

 

It was a fantastic afternoon's ballet and well worth £10!!! Suite en Blanc is now a must see again for me loved it to bits! I would dearly have loved to see more of Train Blue it was SO short! Based on that performance, I think that Nathan Young would make a brilliant job of Le Bourgeois as well. I saw Vadim for the first time yesterday and really liked him in everything he did - he was great and seems so at ease with it all - I like his height as well, it was perfect for Apollo and SenB can't wait to see more of him. ENB have a gem of dancer there for sure.

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For those of you who took advantage of the £10 tickets, you certainly got your money’s worth and then some!

 

I haven’t had time to read any press reviews yet so will be interested to see if any agree with me about Programme Two.

 

yes, almost guiltily for the tenner ticket - and very yes, about Prog 2. It was fab!

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We took advantage of the £10 offer too. Like others, though, I have reservations on such deep discounting and what it will do for ENB's future ticket sales at the Coliseum. You can fill the house but goodness knows at what long-term cost.

 

Sadly, even with the £10 offer, they haven't been able to fill the house. This afternoon, not only did they have to close the Balcony, they had to close the Upper Circle as well! What a sad situation.

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Hugely depressing. But then Sunday performances aren't always easy ones to sell.

 

And if anyone is still harbouring guilt at spending so little, there's always http://www.ballet.org.uk/editorial.php?ref=donatetoenglishnationalballet :)

 

particularly of the principal dancers who find their number of performances much reduced (with the exception of the mixed bills) once they have been promoted to this level because they are no longer expected help out in corps de ballet work.

 

But, Irmgard, with the exception of Muntagirov (and possibly Cao), the other principals have been principals for years. It'll have been a long time (over a decade in the case of some of the most senior) since they've danced in the corps, if ever.

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I'm not an ENB regular but I was keen to see this programme especially Suite en Blanc since I missed it last time the company danced it and it had such great reviews. I went to the Saturday matinee and I was really impressed; the standard is very good indeed (the company across the paizza could take a few leaves out of their book particularly as far as corps work is concerned). Vadim M was excellent (in Apollo and Suite en Blanc), charming and with superb technique, it was hard to believe it was his Apollo debut. Suite en Blanc was absolutely lovely. Some friends (also non regulars) went on Sat eve on the £10 offer and were as enthusiastic as I was. What a pity it sold so badly.

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Hugely depressing. But then Sunday performances aren't always easy ones to sell.

 

And if anyone is still harbouring guilt at spending so little, there's always http://www.ballet.or...hnationalballet :)

 

 

 

But, Irmgard, with the exception of Muntagirov (and possibly Cao), the other principals have been principals for years. It'll have been a long time (over a decade in the case of some of the most senior) since they've danced in the corps, if ever.

I’m sorry, I was trying to be succinct but I guess I should elaborate. Dancers up to and including senior soloist level are required to dance in every performance, as necessary, either in the corps de ballet or in a solo or both. From my own experience with “Giselle”, non-principals could be making their debuts as Giselle and Albrecht in the afternoon and then back in the corps de ballet in the evening. They have an average of six or seven performances a week or, in the extremes of ‘Nutcracker’, ten performances a week. As soon as they are promoted to principal, this is no longer a requirement, although one exception I can think of is “Swan Lake” at the Albert Hall last year when Begona Cao and Sarah McIlroy appeared as Big Swans – and what a luxury for the audience! – which meant they had to participate in the corps work for the white acts. So, most of the time principals only get one or two performances a week, and sometimes, if they are not cast at all (I don’t remember Arionel Vargas in the Beyond Ballets Russes programmes), they need to be able to guest to keep their bodies in peak condition as just doing class is not enough. This was a problem for Wayne Eagling last year when Mr. Bonnino vetoed all the principals except Erina Takahashi and Begona Cao for the Roland Petit programme – he suddenly had seven principals with nothing to do during the rehearsal period and week of performances and not enough notice to get them guesting elsewhere. There are some ADs who don’t allow guesting anyway so I am just hoping that the new AD for ENB carries on Wayne’s policy of allowing guesting so that dancers like Vadim don’t start looking elsewhere for a permanent base!

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