ami1436

I personally cannot see how Mr. McGregor can make the necessary sustainable contribution to the RB ballet, having seen his ‘populist’ work (with some members of the audience) at the Royal Opera House and Sadlers Wells and denounce his appointment as Resident Choreographer as wrong-headed and sending out the wrong message to the RB’s expensive seat core audience.

I'm not happy with the McGregor appointment, although I enjoyed Chroma rather more than DGV. That said, as much as agree the lament, I couldn't let this note pass - there's also an RB core audience that is NOT 'expensive seat'. Several of us here are some of them! Thta doesn't make us any less concerned with the RB, its history, and its future. And no, not all of us are those 'youngsters these days'.

quick notes...

The public announcement of McGregor's appointment, regardless of what was happening back stage, actually occurred 2 days *after* the *closing* night of the bill - not much there in the announcements then, to assist the ticket sales for the Bill.

The RBS *does* provide choreographic training, and some of this work has even been produced for the mainstage annual show at the ROH - it would be fabulous if this training was maintained more evenly through the company. I have not seen some of their 'First Nights' showings, so cannot gleam for myself what new choreography within the company is looking like at the moment...

And Alexandra, I hear you on the stats... (don't get me started.... Lies, damned lies, and statistics.....) But, I appreciate the ROH at least investigating what a portion of its audience thinks. There's also been surveys on Sleeping Beauty, Tosca, future improvements at ROH.......

Hmmmm.

All I can say now is that I'm awaiting with trepidation the announcement of the 2007-8 season.

A not-so-off-topic side note... lately the ROH has been sending out surveys (apparently randomly) about its programming, etc. I know others have received some about other bills, but I received one about this triple bill. There's room for comment, and loads of little circles to check - including how satisfied you were with casting, with the performance of the principals (!!!!), etc....

One of the questions was regarding how many performances one watches, how many have been new works, etc... Seemingly trying to guesstimate a relationship between those who liked/disliked the bill and new/regular viewers? I wonder if they'll publicise results... I'd guess not, but still....

Agreed, dirac! The article also mentioned that his contract is tied, timewise, to hers - that is, to end in 2010. The article also interestingly mentions that she 'might' hire someone else to work on narratives!

Okay, I apologise in advance if this is incoherent, especially next to everyone else's postings. I'm procrastinating, so the boards are a good place to be.....

I agree with Mashinka about the audience make-up for the Chroma triple bill. From both the amphi and stalls circle standing, one could see an audience full of what looked fairly 'typical' for the ROH....

And, for what its worth, the children and youth at the Coppelia matinee earlier in the year were just as vocal in their appreciation. In fact, I'd rather say that the adults at the Chroma bill were louder (!) (I found this most shocking and unusual for a British audience, but that is another story).

I agree with Leigh, in that I feel my main problem is with the title. What does a resident choreographer do? He's obviously not going to choreograph only for the RB, who knows how many works a year he is obligated to, and whether he will, or is meant to 'transform' the company or add another layer to its 'traditional style'.

I mean this as a serious question: what do we expect of a Resident Choreographer? What was Wheeldon's impact on NYCB? What are expectations for Possokhov (sp?) at SFB?

From the press release, it seems to me that Ms. Mason is looking at McGregor as not only a choreographer, but as someone who will be part of a larger strategy of presenting the company, and developing young *creativity*. Not dance technique, but hopefully fostering dance creation.

From the release:

Monica Mason said, "I am thrilled that Wayne wants to develop and deepen his relationship with The Royal Ballet. He will create new work, guide our young choreographers and already has plans for a major project with our Education Department. His special talent and his curiosity for new technology will enrich our creativity and assist the Company in embracing fully the exciting opportunities the 21st Century offers."

Wayne McGregor said, "I am absolutely delighted and honoured to accept this incredible opportunity from The Royal Ballet. I look forward to developing my creative relationships with all of the inspiring dancers currently flooding the Company ranks as well as building nurturing and engaging partnerships with the burgeoning choreographic talent in-house and the education and access programmes at large.

There's a heavy emphasis on coaching young choreographers, and the Education Department. bart, in a post above, inferred that this is a change to how the RB trains. It is not - although I easily understand why one might think so. The Education Department at the ROH puts on 'insight events' and ecuational events about ballet and opera. What the 'major project' might be, who knows, but if it is about movement and exploration, and (as an adult dancer, I hope), about including people in the process (ENB's Education Department does a FABULOUS job of this), power to them.

I think the crux of the matter lies in some of the first posts here, and reiterated above by Leigh. What is the advantage of having McGregor as a 'Resident Choreographer' as opposed to 'Permanent Guest Choreographer' or so? I'd say, from the release, it's probably in the guidance of young choreographers in the company (coaching for whom has said to be lacking), this education project, and 'technology' (whatever that exactly refers to). I still don't think this is the making of a 'new' company.

I do have my fears, still, about a stylistic shift to what beck_hen (I believe) eloquently called 'gumby ballerinas'. This is not to say that hypermobility/extreme flexibility hasn't been used by others at the RB (Monotones, anyone?) But, I'd hate for it to become the constant norm.

I just heard about this about an hour ago and still haven't fully got my mind around it. I liked Chroma, and do like what I've seen of Qualia... but it's all just so...well, for the Royal, out there.

I don't think that it should be read as a huge statement about the future of the Royal Ballet, as in some sort of abandonment of the past or so - I'm sure we'll have a huge number of Sleeping Beauty performances in all the years to come. But at the same time, I do wonder how much of an impact it will have on style - Qualia and Chroma highlight and *require* hypermobility... And (as those who know me know!), that's not a 'pathway to the future' or 'mark of the modern' that I'm even remotely happy with.

I do think it's an interesting, provocative, and exciting announcement. Beyond that, I'm still trying to figure out what I think of it!

Thanks! I actually own that version of the Nutcracker but so far have only watched the Sugar Plum Fairy gpdd (and yes, Collier sparkles. How I wish I had seen her live).

I'll have to make it the Nutcracker to watch this Christmas!

And, I'll definitely hunt - Ondine would be fab. Will have to wait til January, but I'll definitely report back.

volcanohunter,

Thank you! I've seen a few pictures of Almeida, but no clips of her dancing. I think next year I may go on a BBC archive hunt and report back should I find anything.

I'm a huge Jonathan Cope fan, based on what I've seen of him in his *last few years* of dancing... which led me to 'discover' Maria Almeida, only to see that there's very very very little information available about her, at least from what I've seen.

Cope said in another interview a few years ago that she is coaching and judging a bit, but did not say where. I will see if I can find that article.

Muchas gracias!

Ami

volcanohunter, I'd LOVE to hear about Almeida's Aurora (sorry for the OT).

I only started watching the RB about 3-4 years ago.... and unfortunately, despite her stellar technique, Bussell is just not one who grabs me somehow. She was, however, stellar in Raymonda Act III, and I have liked her in some neoclassical work.

I finally felt that I 'got' her at the last performance of the season, before she became a guest artist, dancing in Winter Dreams with Bolle. Here, we didnt' just see the steps done technically brilliantly, but art - words in motion. Brilliant stuff.

And then I left frustrated - thinking that if she could do that.... why I only ever saw it once.

I've seen others post similar so I hope it is okay - if not, slap me!

I am unable to attend this performance tomorrow, atlhough I am going to the matinee. It is the new production of RB's Sleeping Beauty, with Cojocaru and Bonnelli (Kobborg is injured).

It is Amphitheatre Left, B34, £11 (or best offer!). Starts at 7 PM, tomorrow, 28 October...

If anyone is interested, please send a PM before 9 AM (Uk time) tomorrow, and I'll leave the ticket for collection at the box office!

i forget how well (or not) the entrance was filmed w/ the more recent cojocaru/kobborg royal telecast in the UK. i seem to recall it was done well enough, but seemed not quite so riveting as collier's moment.

This seems a pretty accurate assessment to me. You can very clearly see the entrance.... but imo not as captivating, enchanting, WOW-worthy as Collier's...

Natalia,

I've been following this story with great interest, partly because the issues at hand intersect with my own work in other parts of the world. In any case, if anyone comes across news regarding how this is affecting the dancers, it would be welcome.

Ami

ps - random aside: you know those plastic rectangular 'market' bags that are really inexpensive? In West Africa they are called 'Ghana Must Goes' from the unexpected and quickly-executed expulsions of Ghanaians from Nigeria. Everytime I hear of expulsions like this I wonder what it might be like, packing up your most prized possessions in one, maybe two, Ghana Must Goes and upping and leaving in the same hour.

I'd add Royal's Ivan Putrov to the list - quick, sharp, clear, with great elevation and an appearance of no effort whatsoever.

Forgive me, for I am procrastinating, and probably asking something that has been covered here before.... apologies in advance.

I was struck by the following conversation on the thread about new dancers at the Bolshoi:

I find it rather alarming that the Bolshoi has to bring in male dancers from outside. In the past the company was always renowned for its male dancers. What's happened?

In my opinion neither Merkuriev nor Shpilevsky are outstanding dancers, though Merkuriev is the better of the two. Obviously the company can produce future female stars - just look at Osipova and Krysanova, so why aren't they producing top male dancers any more?

It's the school which doesn't "produce" them, Mashinka. The company can't groom any top male dancers if the basic potential isn't there. But Ratmansky has high hopes in Ivan Vasiliev. And with that name, he'd better be good

This has been a discussion regarding dancers at the Royal Ballet as well - both men and women, but recently more focussed on the men it seems, at least to my naive eyes. With recent 'imports' (Ansanelli, Lamb, Bonelli, Samodurov, even McRae) It's now a 'big deal' to have a RBS-trained student (Cuthbertson, Pennefather) rising through the ranks. While there are national funding arguments hoping to support 'national' dancers, there's also the question of whether or not the RBS is producing. It's probably felt more amongst the male ranks with the need for some taller men for partnering/princely roles - Pennefather has indeed been thrown in numerous times. McRae looks dashingly perky with Cojocaru.

Anyways, I digress.

Is the problem of 'producing' dancers one that's affecting a huge number of company-attached schools? Are they producing, as noted with the Bolshoi above, more suitable women than men...? Is this reflective of a general trend focussing on women's mobility and athleticism? A change in teachers? How big of a problem does this pose for the future?

I notice that the other YAGP winner, Polunin, is not on the roster - does anyone know if there's been an official announcement anywhere of where he is going? Usually, RBS publishes a liste in their summer program of where their students are going. It is my understanding that this list was missing this year.

Shpilevsky danced with them in London. Don't know about Merkuriev as I made it to less than a handful of performances... (insert disappointed sigh here).

Last night I saw Alexandrova as Kitri... Her Act II leaps into Filin's arms astound me. She is such a joyous dancer.

Osipova did the Grand Pas variation 1 - she's beautiful, light, tiny, young. Everyone is raving about her, and my friends have insisted that no one, anywhere, could top her Kitri.

SEE IT!

I saw it Friday night with the second cast - Yatsenko, (someone replacing Klevtsov as Pyotr and I don't know who and there was no announcement or cast sheet!), Shipulina, Skvortsov. I was upset not to see Lunkina and Alexandrova, but I just couldn't make it on Thursday.

Some might think this as OTT, but I've never enjoyed the Bolshoi so much. Even though I've seen them in Pharaoh's Daughter, despite the plot, I've always felt that when I saw the Bolshoi I was seeing 'serious' ballet, if that makes sense.

This was just as serious technically, beautifully executed... but, I've never seen the Bolshoi, either live or in person, dance so joyfully. (beside Alexandrova in Don Q). It was a true delight. Yeah yeah I have some minor quibbles here and there, some parts work better than others, whatever. A delightful score, delightful dancing, and happiness all around. I've never heard the Covent Garden audience have such a good time!!!! At the end the *very* stately people who could afford to have the seats in front of my standing place were waving back at the dancers, some practically dancing along, lots of giggling and guffawing, but not in the 'be quiet' sort of way.

Hopefully next time we'll get this as a weekend matinee! This is one for all ages I think, and I actually think it would keep both my dad and my brother awake - which is saying A LOT.

*sigh* - I'm still smiling from Friday night....

And The Rake's Progress?

There's drinking in Mayerling too, especially in the brothel... (I mean, it is MacMillan, there's a brothel scene....)

This is interesting, because the Royal Ballet has (very very very slowly and minimally, but nonetheless more noticeable this past season) recently started doing a bit more of 'mix and match' with a bit less of 'theme nights', apparently inspired by NYCB. I, as others above, enjoyed seeing some of the ballets in different contexts, and many were happy for the chance at avoidance....

When I saw the 'roster' for this, I was hoping that McRae and Cojocaru reprised the 'Stars and Stripes' pdd they did at Covent Garden's gala for Plisetskaya. One can dream.... seriously, they need to reprise it someday.

Nonetheless, McRae tap dancing live? Fabulous. A mega-star-super-talent-watch-me-know-cuz-if-you-blink-you'll-miss-it type guy.

I agree with Hans, and searching around, have so far found a page for Pennsylvania Ballet amongst others... and yup, some dancers as well.

I think though, for dancers - some would use them personally, some publicly for marketing. The line could be difficult to draw.

Mel Johnson really is an oracle.

I've been following this thread with interest, although I admit to quick reading....If I may pose a thought, with apologies if this is out there already, or if this is too personal.

Exclusion isn't just built on 'negatives' - exclusion in its many forms, also often has to do with 'positives'. Just think of enclaves. Yes, there's a sense of exclusion felt by *both* those who live in enclaves and those who don't. But also, within, a sense of community, commonness, etc....

Art - and I'd reckon, especially music and dance - are often tied to these communities. Yeah, so I'm one of the few South Asian dancers I know. This doesn't mean that my friends aren't interested in dance. They're much better folk dancers, Indian classical dancers, Bollywood dancers... some of them are fabulous Hindi/Sanksrit singers, play the tabla/sitar....

And this is all in the U.S. Similar questions about audience membership, artists/participants, could be asked here. In terms of participation, in some ways it can be compared to some of our talented dancers on BT4D, who come to a point where they are choosing between ballet and music, soccer... something. There's also a sense of 'connection' that many feel through their specific artistic expressions of their roots... Ballet will always be my first love, but there's something different that comes out of me when I'm folk dancing or a great bhangra song comes on at a party. That 'something extra' is beyond words.

I guess part of what I'm saying, is that while there may be structural modes at play, that serve to exclude, there are also positive networks that foster participation elsewhere, and thus a lessened desire to participate.

In terms of audience watching, the same thing could be said perhaps? Interests vary. The question could be a larger one of how to attract new audiences.

The audience members at Dance Theatre of Harlem performances at the Sadlers Wells are much different than the standard Royal Ballet audience, the audience at the Wells for the Royal Danish Ballet, which are all also quite different than the audiences for the Bolshoi and the Kirov, also at Covent Garden.

I think it'd be hard to get a fully mixed audience for every run of Swan Lake, or for that matter, Dougla. But, perhaps, over the course of a season.

In terms of participation/choreography, I'm hopeful, along with Mr. Johnson and Hans. As of this fall, the Royal Ballet will have 3 black dancers - Carlos Acosta, Eric Underwood, and a fabulous young artist from Columbia, trained in Cuba, whose name I keep forgetting unfortunately. Houston Ballet is another excellent example.... and heck, something like 16 years ago, when I was particpating in a local performance of Ballet Idaho's Nutcracker, a beautiful African-American woman was the Sugar Plum Fairy. Talk about a lasting impression on a young kid.

Well, very few companies have travelled to India, and very few schools have been set up - but from what I understand, the touring companies do very well. The Royal Ballet's touring company travelled to Bombay and apparently had good reception (this was when... 70s??? I can look it up if folks want?).

When I was there for a 7.5 month research trip I tried to find schools. Apparently there was an RAD-based school in Bombay and the Russian Embassy's cultural division supposedly runs classes in Delhi. I was far from either, I'm afraid.

While I was there Akram Khan's company came through Delhi to a good reception.

But there's loads of dance (if we aren't going to talk only about ballet), and it's somehow 'cooler' for guys to dance - they often perceive what they are doing as quite macho, whereas in the U.S. we'd probably think of some of it as rather effeminate/'too pretty for boys'. Bollywood obviously has a lot ot do with this. And you have classes for Bollywood dancing, classical Indian dancing, and folk dancing. And the boys are out there, whole heartedly, and they can MOVE.

The best part is that this seems to transmit all sorts of social/class boundaries. Of course, who goes where to dance during the festivals is a different matter... but everyone's dancing!

As it happens, I also work in West Africa. There's a simultaneous Muslim and Born-Again Christian revival happening, that seems to draw strict lines between 'religion' and 'culture' and tries to make religion culture, if that makes sense.

But, from BT4D, and my own inquiries after, there is definitely a small arts school in Ghana which does teach ballet. Run by an American, Christian NGO.

And then you have South Africa, completely different story!!!