46 replies to this topic

[Alymer]

From a quick reckoning I calculate that MacMillan's Romeo accounted for 18% or the Royal Ballet's performances this season.  A triple bill which included two of his ballets accounted for a further 6%.  If Lady MacMillan holds the rights to these works and then tells the Board of the Opera House (of which incidentally she has been a member), that she will probably withdraw the rights, then it's disingenuous to say the least to pretend she does not have considerable influence over their decisions.

But perhaps more interestingly, what would have happened if she had carried out her threat?  The ballets would not have been lost as they are notated and several are in the repertories of companies other than the Royal Ballet.  At the very least it would have resulted in a major re-think as to what the company should be doing, and might have brought about the 'up-dating' the Board claimed it wanted from Dowell's successor.

And a final thought with regard to the Acosta interview:

Quote

"So if you are going to be in a room and correct my Don Quixote, a role I know a great deal, you need to know it better than me

I'm sorry to learn that he's not prepared to accept correction.  It might account for some of the performances he's given in London this season.

[Mel Johnson]

I agree.  That's a distinctly not-ready-for-prime-time attitude on the part of a dancer.  It's obvious Mr. Acosta has never had a ballet master along the lines of Antony Tudor, who would have you wondering if you knew your own name after a couple of rehearsals.