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Ashton Fan

Senior Member
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About Ashton Fan

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    AVID THEATRE GOER
  • City**
    ILFORD ,ESSEX
  • State (US only)**, Country (Outside US only)**
    Essex

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  1. I am saddened by Scarlett's death but equally I am certain that everyone has the right to a safe workplace where they will be free from bullying and sexual harassment. The Royal Ballet/ RBS investigation seems to have been a protracted affair. We heard that Scarlett had been banned from the theatre and many months later a formal announcement was made that the company was severing ties with him. I think that the fact that they did not drop his staging of Swan Lake may well say more about the amount of money spent on it than anything else. I don't think that the decision to sever ties with him
  2. Perhaps I am being naive but this stage I interpret the Royal Ballet's silence as reflecting nothing more significant than the fact that the death of anyone in their mid thirties is unexpected. While I am sure that the management team has prepared any number of tributes for the deaths of major figures in the world of British ballet I don't think they would have anticipated this death. As far as company members are concerned it is just possible that most of them are still processing the news and coming to terms with it and as Janet has pointed out twitter does not provide the opportunity to sa
  3. I am sorry to learn of Liam Scarlett's death as he was a young choreographer who during a short career managed to create a number of striking dance works which plenty of people many years his senior who describe themselves as choreographers would have been pleased to have made. I can't help feeling sorry for his family. His death must have come as a real shock given his age. As far as the Times' headline is concerned I wonder what happened to the old idea that you should not speak ill of the death? But of course the paper is now a part of Rupert Murdoch's media empire and has been for man
  4. Reading through the names does not suggest to me that there is any great need to worry about the long term viability of the company. The dancers named are largely performers who have probably come to the conclusion that having reached a certain age and without any realistic possibility of further further promotion or of dancing in the foreseeable future the offer of voluntary redundancy represented an offer they would have been foolish to refuse. As the redundancy is voluntary the payment that each dancer will receive is likely to be quite generous and very useful for anyone who has been pla
  5. A new recording of de Valois' production of the ballet is due to be issued on the 23rd October 2020. The cast in the recording is headed by Nunez and Muntagirov with Avis as Dr. Coppelius. Although Coppelia was the first nineteenth century ballet the Vic Wells company ever danced it has had a somewhat patchy performance history since the company acquired its royal charter and became the Royal Ballet with lengthy periods of neglect followed by enthusiastic rediscovery for relatively short periods. Last Christmas gave audiences the opportunity to reacquaint themselves with the work and once agai
  6. The event held in October 2019 has been placed on the Foundation's website. It is of interest because a large part of the afternoon was devoted to coaching a section of Foyer de Danse which dates from the early 1930's when Markova was working in London and appeared at Rambert's Ballet Club. There is a film of this early Ashton work made by a ballet enthusiast which has tantalised people for years because it is clearly incomplete and many have thought it was too fragmentary to work on. On the basis of what was shown last October it seems that Ursula Hageli has solved many of the problems with t
  7. While I am not a great Cathy Marston fan the Cellist may be of interest as it was made on Cuthbertson, Ball and Sambe all of whom are on top form in their created roles. My problem with it in the theatre was that I thought it could have done with some serious editing and that Marston had wasted a large number of talented dancers who seemed to have little reason to be on stage except to populate it as moving scenery and occasionally to act as props. My main interest in this DVD will be in Dances at a Gathering which again provides an opportunity to see a lot of the company's dancers but this ti
  8. While I am not a great Cathy Marston fan the Cellist may be of interest as it was made on Cuthbertson, Ball and Sambe all of whom are on top form in their created roles. My problem with it in the theatre was that I thought it could have done with some serious editing and that Marston had wasted a large number of talented dancers who seemed to have little reason to be on stage except to populate it as moving scenery and occasionally to act as props. My main interest in this DVD will be in Dances at a Gathering which again provides an opportunity to see a lot of the company's dancers but this ti
  9. These are the latest Royal Ballet performances to be made available to a worldwide audience during shutdown. Romeo and Juliet is being shown today at 7pm London time and will be available for a further fortnight. Now I know that I often feel that MacMillan's Romeo and Juliet is in danger of being done to death and that I would appreciate it much more if it were rested for several seasons and replaced, say by Ashton's version, but this is a performance that I shall be watching as the leading roles are taken by Yasmine Naghdi and Matthew Ball. It was a revival of this ballet a couple o
  10. The latest Royal Ballet DVD will be issued on the 17th July 2020. It contains performances of three ballets which entered the company's repertory towards the end of the 1960's. Concerto has an interesting cast which includes Hay and O'Sullivan in the opening section and Naghdi and Hirano in the central section of the work. The performance of Ashton's Enigma Variations has the best cast that the company has mustered in years with Saunders as Elgar, Morera as Lady Elgar, Gartside as Jaegar and Hayward as Dorabella. In fact this revival was exceptionally well cast and coached with only one dance
  11. I don't see how anyone can do anything other than guess about when companies might be able to perform again. I believe that the experience from 1919 in Minneapolis and Saint Paul makes it clear that shutting down early means you come out of a pandemic much quicker and with much less. economic damage than you do if you delay shutdown. As both the US and the UK were slow to lock down we are likely to be stuck with the virus for much longer than say Germany which acted very promptly. Until we know what the real extent of the infection is and its rate of reproduction in our respective countries we
  12. Having pulled stumps on the ballet season some weeks ago I am surprised that the ROH has taken so long to officially abandon the remnants of the opera season. It will be interesting to find out when the management anticipates being able to open the doors again and what form the opera and ballet seasons actually take. At the moment i can't see much happening before Christmas. Given the number of dancers who were prevented from making major debuts in Swan Lake by the shutdown or made unscheduled debuts but never had the opportunity to dance with their advertised partners I suspect that "Lac" wil
  13. I wholeheartedly agree with your concerns about the wisdom of donating ticket money to the ROH. I suspect that it will be more than a handful of regulars who are faced with the problem you described. There are quite a lot of regulars who seem to be just hanging on at present. The economic landscape is likely to be very different when the lock down is eased . Jobs in some sectors will be lost while those like teachers who work for the state could easily find that the government decides that the aftermath of the lock down presents a wonderful opportunity for salary and wage cuts. Such actio
  14. A cursory glance at the Royal Opera House website makes it pretty clear that the opera and ballet seasons have been brought to a premature close. I don't expect any early announcement of what the 2020-21 season will look like for either company as I imagine that both companies are currently revising their original plans and devising seasons which will sell without any effort on the part of the marketing department as its objective will be to deal with the losses which the truncation of the season has caused. The ROH has been trying to persuade people to donate the money that they have spent on
  15. I am not sure that I gained a lot from seeing Bathilde and the Duke of Courland arrive on horse however authentic that may be theatrically and socially. It was interesting to encounter a sympathetic Bathilde rather than the cold and aloof creature one is used to seeing in Bow Street. I know that this is an attempt to capture something of the flavour of the ballet as a nineteenth century creation and it is almost certainly authentic but I am not sure that Hans/ Hilarion's characterisation as a peasant clod adds much to the mixture. However I suppose that if Bathilde is to be played more natural
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