ami1436

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!!!

Of the many many Manons I've seen in the past 5 years at the ROH, Guillem was the only one not to wear tights. I too am perplexed about Chloe. In fact, when Daphnis and Chloe was on a few years ago Clement Crisp also bemoaned the lack of tights. It doesn't bother me at the end of Manon - and when it's Guillem she seems to be very very careful about matching tones, etc. I'm looking at the poster of her in this right now and it appears that her pointe shoes and elastics (no ribbons) have been pancaked to match, then dirtied up for the whole jail/swamp effect? In class, I'm one of the no-tights in shoes brigade I'm afraid (Hans! Close your eyes!) Have typically been like that with ballet flats, but it's a recent (as in past few years) with pointe - started because I wanted to toughen up my sensitive feet a bit... but I agree about on stage what it does for line...

Natalia - So glad you were impressed with Yuhui Choe - she's been on my 'one to watch' list for years! Gorgeous arms, I want to see her do some more Ashton. I agree with Koshka on the sets. The only way that I could get it to work for me was to think about it in a hazy-imagination type thing - Almost like you're transported to this sepia-coloured world of a fairy tale, that you know is big and grand but you can't see the details because you're so enchanted by the people/things you see there... does that make sense? Did anyone see Ansanelli both in London and in the U.S.? Did she grow into the role more? I hate to say it, because I like her a lot, but she just did not work for me at all as the Lilac Fairy. For me, for Sleeping Beauty to work, you need to believe wholeheartedly in the benevolence, humbleness, graciousness, generousity, and elegance of the Lilac Fairy. And I think Nunez gets this hands down. I think Sarah Lamb has become increasingly ghost/waif-like over the past year. When she came to the Royal she seemed notably different in some of her 'debuts' here - like in Swan Lake pas de trois. Maloney really waved at the queen as Bluebird??? Wha???

Natasha Oughtred is brunette - there are pictures on http://www.roh.org.uk, if that helps. It is my understanding that Lamb's promotion is effective from the start of the 2006 season this Fall. Glad folks are enjoying!

Thanks all of you for your thoughts from across the pond! For those of you seeing multiple casts, I am very interested in hearing your opinions of how the Nunez and Cojacaru Auroras differ! In terms of the men, the ABT principals mentioned are that - principals. The RB dancers noted are not of that rank - but still, I think it would be hard to beat the manpower at ABT!!! There is constant talk here of the 'dearth' of male up-and-coming principals. Sasaki was one of the first RB bluebirds I ever saw a few years ago (in the Makarova production), and he flew. In other things I saw of him that year, his elevation was quite good (I mean, he's know Carlos 'Gravity? What Gravity?' Acosta, but he was notably higher than the others). I recall that he was injured at some point, but can't remember when - still, I'm surprised - and wonder if it will change/improve as it goes... He seems to be a reliable partner to me. Harvey is one of those who wavers to me. There's some things I've seen him in, in which I thought he was excellent. But others... not so much. Sometimes I think he's still 'finding himself' in a performance, if that makes sense. Has Iohna Loots done any of the Fairy Variations (Songbird?)? Laura Morera has been looking fabulous this past season in general. Oh, and those of you seeing Yuhui Choe, we *must* compare notes. I missed her Florine (which I think she did here with Zachary Faruque), and am dying to hear more about it! -Sidenote... in terms of getting to the Kennedy Center... I used to live right next to it and we still had troubles getting to it! And if coming in from eslewhere, we sometimes found it easier (quicker) to park elsewhere or take the subway in - and either way catch the shuttle from the Foggy Bottom metro!.

Jonathan Cope and Maria Almeida (I was waiting for someone to put that up, then I realised that I'm probably the only ridiculously obsessed one) - both former RB principals.

Thank you both, Buddy and Natalia, for such lovely reviews. When I've seen Pavlenko live, it's been mainly in Neoclassical works... I would have loved to see this. I have this stupid summer schedule which means I'm missing the Kirov in the U.S. and London... argh! But again, thank you! (and a p.s. - my opinion is that Cojocaru's Giselle 'grew up' this season. Remarkable, and helped by a remarkable partnership.)

Well bart, I'm more of a BT4D poster, but I'll drop in here because you mentioned something I was thinking about... I think there are many others here more knowledgeable and articulate than I, so I hope this makes sense and feel free to correct! Anyways......Oppositional torsion. I like that term! I was thinking about the spiral in class tonight - just got home. This teacher is huge on how we 'make' movement and the processes involved, and today we were working on a certain arabesque a terre position - and the spirals that it creates through the vertical plane of the body to create the epaulement. Or the movement of the shoulders/upper bodies facilitates the entire process of the larger movement... I don't know if that makes sense at all? I think epaulement is one of those things that is often not used in class enough, or if it is, it is often in cookie-cutter fashion - when the arm is here, the head here, the eyes here, this incline to the head, etc.... In reality, there are many more variations, and it is not about the position itself, but the *process* of making that position. One of the revelations I had with this teacher a few years back was that you don't have to 'present' front. I remember being at an Insight Day at The Sadlers Wells last year, with the Forsythe Company. Forsythe (and the others who spoke on him) essentially said that epaulment was the center and the foundation of dance... I can't find my notes right now, and I'm also not someone who feels familiar enough with Forsythe and his approach to technique and dance to comment on how he uses epaulement in practise, but it might be interesting in light of the Kirov's current tour in the U.S.

Redhead probably Kondaurova?

This is interesting - The Forsythe programmes in London last year didn't do too badly (although they weren't Swan Lake), and many people *loved* them. I was not one of those many. Some of it was too 'neat'. And, unfortunately in my eyes, some dancers seemed so concerned with throwing their leg up behind their ears as often as possible that it actually ruined it - even for the high extensions seen in some of this work. Particularly, I hated how the front leg in grand jetes were thrown so high that the jump never seemed to take off and just landed flat - ka-clunk.

In the insight events/masterclasses I've been to, the Royal Ballet dancers have all mentioned how Ashton wanted them to bend, and then bend more. The masterclass where Nunez was learning the Act III Pizicatto solo Monica Mason had her demonstrate the sisonne ferme section - 'upright as normal', and then 'as Ashton wanted it' - huge, bending difference! And yes, regarding Cojocaru, and I think with her it's also a lot about port de bras - I was just thinking last week what a transformation has occured in her arms - their almost floaty now, but not in a hyperbolic way. They've always been gorgeous, but there's a slight difference - almost more natural, and to me it appears to create the impression of a huge transformation.

And I'd completely agree regarding Nunez. She's one who can crank out the turns and do all the tricks but she has a lovely, easy, generous, flowing quality to her dancing, including epaulement.... Off the top of my head, Royal Ballet dancers I'd include as having the 'upper-body expressiveness' would be Nunez, Morera, Yoshida, and the young but effervescent Yuhui Choe.

Yes - I've seen Acosta do the double barrel turns in Ashton's Rhapsody as well - the barrel turn crossed with rivoltade is an apt description Leigh - this seemed to be *more* than a double barrel turn - and indeed was in hyperspace. The man could've taught Michael Jordan a thing or two back in the day. Gravity? What gravity? Whoop-de-doo indeed. I tend to call these moments 'WHOA! What the...'

More soon (I promise Leigh!), but a question first - the jump that Acosta did in the coda of Corsaire - wha??? I was too consumed thinking 'whoa' to even comprehend remotely what he did. I've seen him do Corsaire before, but not with this... am wondering if he added it during his recent stint with ABT? And thus maybe some more people here have seen it? It probably doesn't have a name... but if someone could even just describe it I'd be very appreciative!

Wow, I missed this when I read the list, thanks tango49. I completely agree regarding Nutnaree. Stunning is an apt word to describe her.

richard53dog - am so jealous of the casts you will be seeing as well! Have only made it to one cast this run, unfortunately....

Leigh! I'm amazed. The time you took from Heathrow to Covent Garden, even Marble Arch onwards, is amazing... It sounds like everything went perfectly. I'm one of those folks who if something can delay me, it will.... am very jealous, and looking forward to comparing notes! Welcome, anyways, and you're in luck as the weather is *supposed* to be nice this weekend!

Hi Leigh...! I'm having to give up a Cojocaru ticket for that night! Haven't seen her in this since 2003!!! Could not stand seeing that production again.... TOO PINK. (And I really, genuinely, like pink!). Anyways. As you know, I am a stalls circle standing-aholic. In other performances I've been to, if there is not an intermission but a 'pause' with dim house lights (or not!), they usually let folks into stalls circle standing... I think if it was Balcony or Amphi standing it might be a *bit* more tricky. Especially considering that it is a hike up to the back of the Amphi!!! Usually, stalls circle standing (and most standing) tickets are bought far in advance, and quite often by 'friends'... As far as I know, the 'day seats' are back of the amphi/sides stalls circle, and maybe some slips and standing areas in the slips???? I don't remember exactly. But yes, all seats/places numbered (although sometimes that doesn't stop people from crowding... I've overheard people saying 'but she's just small - she can't need that much room and then trying to crowd me further over.... ) Looking forward to your thoughts though, as always... eta: I quite often end up checking a *big* backpack if I've come up for the day to use the libraries or go to class or both........ No problems - but these days they do seem to be a bit more wary, especially of large items (although I've never seen them refuse - but I agree with GC, worth ringing to check). They usually take the bags, etc at the end of the coat check - G/H area.

Elite Syncopations was performed in last Easter's Tsunami Gala - which was broadcast in the UK over Christmas.

Did anyone go to the Saturday 1 April *evening* performance? My family went to this and I've heard a bit about it (my dad had a favourite variation, which is simultaneously shocking and pleasing!)... They've promised me 'reviews' but apparently taxes came first!

Regarding R&J, at an Insight event about a month ago I was stunned to learn how many wigs there are - When Juliet's hair is up in the ballroom? A wig. I didn't take notes, but there's an enormous number of wigs for the Royal Ballet - I think many more than we'd ever guess.... Monica Mason's hair was mentioned earlier - yeah, it's short, but definitely not close to a buzz cut. Ansanelli's hair is still long (and has inspired my latest ballet bun...) - but people are right about Marquez's hair, and I'd say, Tamara's. Seriously, those women need to do some conditioner adverts. I'd buy whatever they use.

Carbro - my *very limited* understanding is that some of the name changes here in Britain have to do with Arts Council grants and funding as well.... maybe someone more in the know than I can provide details???

Hmmmm... I think most likely yes for Act I bday party beginning but not sure about Rose Adage... however this is one strong gal. Interesting what you've seen her in - she's such a bright, sunny dancer. I really like her in happier roles, like Lise or even Sylvia or Lescaut's mistress. But then she gets these darker, sexier roles too - like the 'evil girl' (cannot spell name right so am not going to try) in Daphnis and Chloe. That said, I was happily surprised by her Myrtha. She brought a bit of warmth and loss to the role - it was a very interesting interpretation!

Glancing through the programme from this year (where Clara still did join in) - there doesn't seem to be any 'claim' made to reconstruction either. Cojocaru is no longer dancing Clara! (Although sometimes she still looks younger than Clara!). Although I've only seen the Royal's Nutcracker live once or twice, it strikes me that it may be more important to pay attention to the cast for Clara and the Nutcracker, rather than anyone else. Steven McRae practically stole the show (or maybe even did!) in the latest performance I saw. Interesting about Yoshida, Hans, as I tend to find her one of the most accurate and placed dancers at the Royal. That said, her magic and mystery is quite often subtle and classy, which doesn't gain full expression via recording. She positively sparkles in most Ashton.