janerobins

I would have to say Kathryn, that the pas' did look exceptional compared to the other stuff, but that was really the only classical looking ballet in the whole piece (Tivoli). I loved Rachel Read and her exceptionally strong partner (she is no light-weight l bet). I did enjoy Tivoli of course, and do remember (only l was a little kid) some of what they were doing on TV. Like the black and white minstrels?? ie the half boy girl tango. I saw som of those acts on those old variety shows years ago. I loved the tap, and the humour. Oh well, so it wasn't quite ballet. I really do look forward to a Murphy classical Swan Lake, and it would be excellent if they kept that piece (though with a few more clothes on).

Ok Alexandra, here is my review. I have done only one other (on the Tivoli, at another board that didn't get through the complex logon procedure). The only Giselle l have seen is on tape with Alessandra Ferri, who does an extremely fragile and believable Giselle. I often put this tape on to get the kids to sleep at night. By second act, they are gone. My dancing 11-year-old informs me that this is because she cannot handle the death scene at the end of act one. However, she handled it fine in the AB production. The main performers were: Giselle: Lisa Bolte Count Albrecht: Matthew Trent Hilarion: Robert Curran Myrtha: Olivia Bell Lisa performed this role well, and with much attention to narrative (? acting) detail. Lisa has been around for a while now, and though l was hoping to see Leeanne Benjamin, we (both daughter and l) were happy to see Lisa's Giselle. I have read a review that described Lisa as being too healthy looking to pull off a convincing Giselle. This may be true and l can see why. A more fragile looking Giselle is plausable. Her performance was touching, however, and she worked well with Matthew. I thought that some of the more demanding moves she struggled with, but she pulled off a credible performance, which was well received. Matthew Trent, our newest principle, is fast fitting comfortably into his demanding roles. I liked him very much in this performance, and is a dancer well worth watching. The cast were backed up by a very competent, albiet smallish crew. This puzzles me. Looking at the nightly cast, there are many names missing as they chop and change roles and shows continually. I wonder would it not have been better to use just a few really convincing people in their various roles for the season and stick to it, as this gives them a chance to really get to know their character well. Why all of this changing around? OK so, this give some of the new soloists a chance to perform a big one, but it show the public the bosses are not really sure who to put in the roles. I think with a bit more work, Lisa would have come across even better. This is all l have to say. I had more to say on Tivoli (by Graham Murphy), which is past now. However, l would like to say l am looking forward to seeing his new worked Swan Lake (for next year) after seeing his sizzling and intimate pas. in Tivoli, a 10 min. performance that was pretty steamy. The old Tivoli was like that l believe. ( a former theatre that was like a variety show which showcased ballet dancers as well as other acts, many half dressed) I wonder, with all the reworkings that Swan Lake gets, is there any attempt to rework Giselle? Is it possible even, like has been done with various Nutcrackers and Swan Lakes?

Hi, l don't talk much but watch these boards regularly. I am shocked at what happened in your country. It has taken me a good week to come to terms with this and start to talk. We have felt it all the way to Australia, with our hearts on our sleeve so to speak. We now wait, it seems, for America's reaction. (though of course it has begun). Have courage and l hope this comes to a quick resolution for everyone's sake.

Yeah Manhattnik, there is a Pavolova dessert here in Australia, and probably named after her. For interest, there is also a Melba sandwich, named after the diva herself. (l am not really an opera fan.) I suppose any favoirte artists had a lasting impression by the creation of these culinary delights.

OK, l have seen one ballet competition. I put my daughter in it because l thought she would gain some performance experience. After seeing it however, and changing schools since, l have changed my mind about them. It is not worth hanging around all day for. I am not against comps, as l do ballroom. It is just that these comps (here in Australia) don't seem as good as the Dancesport ones, of which l have seen a few. I guess comparison is the best way to treat an issue as this. In Dancesport, it is emphasized as a sport. Also, the strict rules and the endless grades the kids, and adults, have to work through mean that only the best usually make it to open company, at least in the amateur ranks. (they do not have a similar system in the pro. ones). This often means that an amateur who is in open class is often as good as a pro. A world class one can easily make it into the finals of a pro. comp. Back to the ballet. Does such a system exist, like the working through a number of grades? In fact, the higher the grade, the more one has to win to elevate to the next one. Also, l do not think that dancing to the same music all the time actually shows how much the dancer can adjust their choreography to the music that is given. Once again, in Dancesport, everyone dances to the same music. It is better that way, no? I don't see that happening in ballet, Jazz or tap comps. I think that young dancers need to be taught to be performers and artists first. The rewards come after many years of hard work, and the recognition. This is an indication of the dancers talent and dedication, not the medal, although a young dancer needs some form of encouragement. Perhaps what is needed is a new set of rules for comps. Jane Rob