Nanarina

Hi Jemil, I think you have misread what I was referring to, from what I could see (the video would not play well) was in fact surely the Slaves variation from the famous pas de trios (deux as per Nureyev) what I am talking about is not in the original Petipa version as danced by the Kirov, it is an addition, using music as I have added to the orginal post, etc.

Madge in La Sylphide

There have been a number of different productions, where Madge has not only been played by a woman, but also by a man. So in a way their portrayal, will vary due to this. I can remember working with Ballet Rambert, in what must have been nearer to the Danish version, which was produced when the Company was unable to afford the fees for Taglioni and her Father.

In recent years Pierre Lacotte has revised the original production for the Paris Opera Ballet, which involved considerable research, in his production Madge is played by a Man. (DVD with Aurelie Dupont and Mathtui Ganio,) I do not get the impression Madge is anyway in love with James. To me she is a fortune teller and head of a coven who make spells and remedies In Act 1, when she enters the home of Effie to shelter, she tells the young couple, after reading their palms, they will never marry. But seems to favour Gurn's chances with Effie.

When James beguiled by The Sylph, follows her into the woods, he is desparate to catch her, and appeals to Madge to help him do so. Which she does by producing the fateful scarf. However, this is not without warning, as she firmly tells James how to use the scarf, and not to let it touch the Sylphs wings. In a way the Sylph submits to James, and tries to catch the scarf, but in his ignorance and desire to catch her, he accidently allows the scarf to knock off her wings. James is distraught, and weeps, tenderly holding the dying creature, as she is carried to the heavens by the other Sylphs, James sees Effie and Gurn making their way to church, broken hearted he turns to Madge, who reminds him of her warning and prophercy, and he falls to the ground in death. Madge almost seems to say " You were warned" but it is not evil or Mallicous.

with scorn, just the result of an old crone, who used her spells to help a desparate young man.

Share with us details of Alternative Pas de deux you have seen and like.

I will start the list with a very enchanting Pas de deux from Le Corsair In ABT's version (in the Grotto scene), after the famous Pas de trois, there follows a beautiful romantic PDD danced on the DVD by Ethan Stiefel and Julie Kent, it preceeds the drugged flower episode. It is full of spectactular lifts, tenderness, and the most magical expressive music. It is not in the Kirov version, so may have been an addition by Konstantin Sergeyev the choreographer(after Petipa) Although not in the league of the famous, it is most definately a strong contender to be my favourite. You can see a video of this on YouTube under American Ballet Julie Kent Ethan Stieful, in the Entertainment Section - Ballet. The music is from the Grand Pas in Drigo's Ballet, The Awakening of Flora. Do look it up, I am sure you will like it.

The topic got prompted by comments on the visible tattoos of dancers in the ABT City Center Season.

I'm also of an older mindset on this. A dancer I worked with in 1996 and again in 1999 showed up after that hiatus with a very colorful, very visible tattoo on his arm. I was so taken aback that even before I said hello, I burst out, "OH MY GOD YOU GOT A TATTOO. CAN THAT BE COVERED WITH MAKEUP?"

So body modifications - love 'em or hate 'em?

The results so far of the poll, speak for themselves. I do not like Tattoo or piercings, maybe it is myage and generation. I think it is totally out of place on a Dancer, especially in classical work. It is very hard to cover them, and as even a natural skin tone, is "whitened"out in things like Swan Lake or white ballets, these are definately a NO NO. It can even cause a problem if Dancers sun bathe, and get red or brown, spoils the overall impression. Imagine Odette with "my prince" tattoed on her arm.

Hi Folks, I am so glad you liked my post about the visit to Paris. I do apologise for making some of you feel "green!, I am sure your day will come. I am sorry but I am going to make you feel even worse !! Up to early 2008 Flybe our local airline, used to fly direct to Paris, only taking 55 minutes, the route has changed due to rising fuel and airport taxes, so to ensure their aircraft are full, the company now goes via Jersey. The current travel time of just under 2 hours actually includes 25 minutes, when the plane, waits on the trmac for passengers getting off at Jersey, and the ongoing passengers for Paris to board.

so it is an excellent service. They use Jet Prop aircraft that take about 75 people, and follow a green Eco-friendly policy , using low fuel consumption planes.

I am very glad other people found the Garnier very dark in its public area's, whether it is for preservation of the fabric, or just to create an atmosphere, it still is not really appropriate for people with sight or physical dificulties. In fact, in comparison to the UK, I found France rather lacking in access to public places of interest, to be below our standards, there was a serious lack of hand rails at steps and entrances.

The restuarant we went to was very close to the Opera Garnier, but I am very sorry, I do not know what it was called. There were one or two together, but it had blue chairs outside, and notices for "The Garnier Express Menu., If you can imagine standing at the front of the Garnier the traffic approaches it round the side on your left (one way) cross the road, and walk around the side, I think you went over a crossing, and bare right, the restuarants were on the left. (the side of the theatre would be on your right. It is hard to remember now, so I hope I have not mislead you. Perhaps some of our French members may reconise the details. (There were no other places with blue chairs in the vicinity.)

It was in the Art Deco style, with blinds and the blue furniture, then an area for meals and in the back, a bar. From the middle a flight of wide steps went up to the Ladies cloakroom. Hope the information helps.

I am very pleased to tell you all about my recent trip to Paris, it was very enjoyable, not only the visits to the Ballet and Opera, but also the sightseeing coach trip, cruise up the Seine etc.

My friend & I travelled from our local airport at Norwich in Norfolk, in the East Anglia region of the United Kingdom. The flight went via Jersey, and we were in Paris, Charles de Gaulle Airport, in just over 2 hours. After a taxi journey we reached our hotel, perhaps a little further out than we had imagined in Area 17. But still within fairly easy reach by Bus, Taxi or Metro from central Paris.

The first performance we had choosen to see, was Gustave Charpentier's Opera Louise, a modern adaption of the original, which tells the story of a working class family in Monmarte. Louise falls in love with their neighbour a Bohemein Artist, to which her parents object. After trials and tribulations love wins, and the couple are re-united. The music and choral aspect was really good, and the stage set very impressive. It opens with the two lovers meeting on a high metal staircase which goes from the full height of the stage, crossing from one side to the other. until it reaches the ground. To take part the Artiste's certainly needed a head for heights, to stand up almost in the "flys"on level with the Proscenium arch, without flinching was amazing!!! And to sing their Aria's was truly remarkable. It had been years since I had attended an Opera, and I enjoyed it very much.

The next couple of days, were spent shopping and sightseeing, I even managed to spoil myself, with some Givenchy perfume. The weather was also quite good, it rained a little, but not enough to spoil things. It was then time for a visit to the Ballet.

We decided to go to the Garnier earlier, so we could spend time looking at it's wonders. However, this proved to be a disapointment for me, it was very dark inside, with atmospheric lighting, just on the edges of the corridors, rather than in the middle.

As I suffer from very poor eyesight, it made it very difficult for me to see. Had I known I would have taken a torch, as it proved very dangerous to attempt to go on the stairs, so I had to wait while my friend went to the different area's of interest. I was able to see the lovely large blown-up pictures of the Dancers on the first level, which I enjoyed very much. We left in time to find a restuarant, to get a meal before the performance. We discovered a very nice place, just a short distance from the Theatre, where they served a excellent two course meal for 14e they called "The Garnier Express". It was very stylish and comfortable, and good value for money, considering it was in the centre of Paris.

No sooner than we had finished our meal, than it was time to go back to the theatre. Being in rush hour, and very busy, the traffic was horrific, and we took our chance with other people to cross the busy converging roads, climbed the stone steps at the front, then up into the foyer to collect our tickets, and take our seats. These were in the front row, a position I have to sit, to be able to see. Although they were on the end of the row, it was excellent for me. A wide platform extended each end of the orchestra pit, where some of the action took place. At times we could have touched the Dancers. It made it very intimate, almost as if we were in the scene with them.

I had waited to see the Ballet for two years, and my original choice of cast had been Aurelie Dupont, but this was not to be, as she was on Maternity leave. The Stars of the evening were, Agnes Letestu as Marguerite , who I am sorry to say is not my favourite dancer, she was to have been partenered by Herve Moreau, but he was replaced by Stephane Bullion. a tall dark haired young Man, who played the role of Armand, with feeling and an excellent technique. His expression showed a depth of feeling, and his exececution of the choreography was clean and precise. In the beautiful Pas de deux that John Neumeier has created, with their spectacular lifts, and demonstration of affection, he excelled as a supportive and emotional partner. I was quite surprised by Agnes Letescu, in her role as Marguerite, her portrayal was somewhat different to Aurelie Dupont, with the choreography appearing different in places, the steps and movements seemed different, but at the end of the day I went away having enjoyed the performance.

The rest of the cast, included, Dorothee Gilbert, (Prudence ) Beatrice Martel(Nanine) Delphine Moussin (Manon) Jose Martinez (Le Grieux)

Eve Grinsztajn (Olympia) Karl Paquette (Gaston Rieux) Laurent Novis (Le Duc) Simon Valastro Le Comte de N) Michael Denard(Monsieur Duval)

It was very interesting to see all these different Artiste's, many of who I had only seen on DVD, plus of course the Corp de ballet. One person who I admire very much as a Dancer is Karl Paquette, and I was very pleased to see him live. He has such an amazing presence and command on stage, plus a wonderful technique and style of his own. I must admit, I have a soft spot for him!!

The time went very quickly, the next evening it was back to the Opera Bastille. The journey in the taxi was a nightmare, it was in the rush hour, and we found ourselves taken advantage of, when the driver, thinking we did not know where we were going, took us a long way round, and over charged us. When I questioned the cost, he turned very abuisive, so we just paid up, and got out of the vehicle as quickly as we could. We had got to know the route, and found all the other drivers friendly helpful and fair. Luckily wer just made it in time for the performance, which was Signes, with Kader Belbarbi and Mary Agnes Gilot. This Ballet was certainly an eye opener, very modern, with bright colours and extreme stage effects, with moving scenery, and twirling shapes, which travelled across the stage. There was no orchestra, just recorded loud repetative electornic music, and not really my taste, as I am more of a Tradionalist. I like some modern Dance, but this is a learning curve. The audience certainly appreciated it, according to the curtain calls, and shouts of "Bravo". My friend hated it, so I felt a little let down, having been the person who booked the performances. But when it comes to selection you can only see what is in the Calendar for the time of your stay.

All in All, the visit was a success, and I still hope to get to see Onegin with Manuel Legris and hopefully Aurelie Dupont dancing the title Roles.!

Perhaps it will be third time lucky, and I will have another excuse to visit The Paris Opera.

I was recently watching excerps on YouTube, one of which feautured a lovely Pas de deux, danced by former POB Etoile's Dominique Khalfouni and her husband Denys Ganio, the parents of Matthieu Ganio, one of the current Etoile's. It was amazing how much Dominique reminded me of Aurelie Dupont, (or visa versa) the style of their lyrical movement, beautiful port de bras, and musicality, was so alike. I fully realise that their training must have been in the POB Ecole, perhaps even by the same teacher, maybe Claude Bessy, but to find two Stars who look so alike is quite rare. Their likeness was not just in physical appearance, but a reflection actually in the way they dance.

:foot:

I know that there has already been a thread about this topic (soft landings) long ago - but I still wonder about one thing: does a soft landing have a price?

I have noticed that for example many of the male dancers of the POB are landing with a very loud bump. I have experienced it both live and on dvd, and it is the case of both soloists and corps, even very good soloists like Nicolas le Riche. At the same time I must admit that the POB have some of the best "jumpers" in the world, and plenty of them! Nureyev, who was a very good jumper too, is said to have been landing quite noisily.

Sometimes when I see a very silent dancer I have the feeling that the effort to land silently somehow happens at the cost of the glory or the length of the jump.

Does anyone know about this problem? I have noticed that many people on this board know a lot about technique which I don't.

I honestly cannot remember Ruddi ever appearing to make a thump or noise when he landed, although he did take quite bad risks, in turns etc, I was either in the audience or in the wings at many performances. At times he seemed to stay in mid air, and mostly completed his landings by the skin of his teeth. The illusion was never spoilt, that is why he was revered so much, he created magic. Which does not go with noisy landings !!

I think I am correct in saying I remember at least with Freeds, Gamba and Porcelli, Dancers going to have their feet charted and measured, and a record and pattern made for their point shoes. :foot: When new shoes arrived they would all be named and numbered so the Shoe Mistress could ensure they were all stored in separate cubicles for each Dancer. In addition they had to be sprayed for protection against insects which cause damage. In their original state they would be made of pink satin, and would be dyed in the ROH workshop if a different colour was required to match a costume.

I still maintain it is up to the Dancer in question to ensure their shoes are correctly broken in, despite the make or type.

Thank you very much for your help, I had thought about the Companies you mention, so will look up their Site's and decide who to approach,

it will be one at a time, to avoid confusion or conflict !! I had already approached ABT and my work was not in their vein of things, but got a marvelous response from NYCB. Sadly they are fully commited for a very long time. The work is totally complete, but time is not on my side, as my eyesight is failing, and it causes problems with my Artwork. As I am full of idea's this is very frustrating !!! Thank you again Nanarina.

I find the sound of Pointe Shoes, and Male Dancers landing heavily , spoils the illusion, it is totally un-acceptable. Although the stage can sometimes be to blame, it is mostly the fact the Dancers have not prepared their shoes properly. It is a learned art, and actually takes quite a lot of time. Whilst as already mentioned the Pointe shoes do vary, a well broken pair, not only improves the shape of the foot, it prevents the noise that is un-welcome. I am sure that in the past especially in The Royal Ballet, we never heard the noise that seems to prevail nowadays. Most of the Dancers used Freed shoes. The case of noisy Male Dancers, is due to the control in their landing skills.

More often these days, Ballet Mats are used on the stages, which could have an effect on foot noise, one way or the other.

I would like to add to the comments made earlier about the Bolshoi in Le Fille de Pharoah, and add some other DVD's to this, The Paris Opera Etoile's, shows a rehearsal of Swan Lake, where the Dancers sound like a herd of Ponies, and plus Aurelie Dupont's shoes in the Neum. Sylvia Pas de deux, with Manuel Legris, in the final Act, are also quite noisy, it would be interesting to know what make shoes she wears.

However on a recent visit to see La Dame aux Camellias with Agnes Letescu, and M.A. Gilot in Signes, I did not notice the sound of shoes, maybe it was because Signes has very loud recorded music, and we were in the first row by the Orchestra for L.D.A.C.

:foot: All the same, I hate Shoe Noise, it ruins the performance for me. And makes me cross to think with just a little more care and preparation it would be greatly reduced or simply not there. If the two Madame's De Val. & Rambert were still alive I doubt if the problem would exist in the UK.

Would some of the American Members be so kind as to provide information about the top five USA Companies, their Artistic Directors and the kind of Ballets they peform, I am dis-counting ABT and NYCB. I have written three full length Ballets, with musical scores, designs and scenario's, one of which has been accepted for future consideration to perform in the UK. The other two, which are ready to be offered for consideration, include a fantasy legend based on the Cheyanne Native American Indians, and has been seen by a well known Co. Director, and

has been given his encouragement. It is an original full length major work, but I am unsure of what Company to approach. I have seen Houston Ballet when they danced Cleopatra in the UK, and also a DVD of Pacific North West Ballet, in George Balanchine's Midsummers Night Dream. But appart from that, I am not familiar with the other USA or come to that Canadian Companies. I honestly feel the storyline, and production would be best suited to a USA/Canadian Co. Your help would be most appreciated. There do not seem to be any Agents for this type of writing, and any way I prefer to contact and liaise with Companies direct myself.

Thank you Nanarina.

A British MOT Test is very strict, everything has to work within a regulated list of criteria, which if it is not met, the vehicle can be refused a certificate which means it is not allowed on the Road, until all the faults are rectified. In other words the Ballet had been well rehearsed, and came up to the required standard of peformance.

Hello I have just returned from Paris, where I visited the Palais Garnier and the Opera Bastille, I have to sit right in the front on the first 3 rows,to be able to see due to failing eyesight. I usually telephone and speak to the same person in the Booking Centre to ensure I get the right seats, due to the problems I have. I think I am correct in saying in both places, (at least downstairs) the seat numbering system, starts in the middle from seat one, increasing out towards the sides. JUST A WARNING FOR THOSE WHO HAVE NOT BEEN BEFORE, THE LIGHTING IN THE FOYERS AND ON SOME STAIRWAYS IN THE GARNIER IS VERY LOW MAKING IT DIFFICULT TO SEE IF YOU HAVE SIGHT DIFFICULTIES. iT LOOKS AS IF YOUR SEATS ARE GOOD, IN THE MIDDLE, ROW 23 IS STILL IN THE CATAGORY 1 SEATS. SO YOU ARE NOT MUCH FURTHER BACK.

nanarina, I think the Gypsy in the first Pigeons cast was Robert Mead rather than Donald Britton (that is if you mean the Gypsy girl's lover, rather than the young boy, who was Johaar Mosaval). I know it wasn't Britton because he was actually supposed to be doing the Young Man - I'd remembered it that he got flu or something, but I see that David Vaughan's Ashton book says he was injured on the day of the dress rehearsal. Either way, Christopher Gable took over. Britton was a very different dancer - older, tougher - and the ballet felt very different when he, and later Alexander Grant, Bernd Berg and others, took it over. It made the story less sweet but maybe a little stronger.

(I saw the dress rehearsal, at Covent Garden, and I remember they kept the curtain up at the end whilst they started taking photographs, and just brought it down as they began on those famous pictures of Seymour and Gable and the chair and the pigeons.)

I loved the early casts but Sarah Wildor's performances with Scottish Ballet a few years ago showed me new things in the last pas de deux - she was (is) a wonderful actress and she made it very clear that she wasn't just going to fall into the man's arms when he came back - he'd destroyed her trust and even though they were reconciled by the end you felt their relationship would never be quite the same again. It was as moving as any I've seen, but in a different way. And her two deep arabesques on the balcony before the man returns, so perfectly using, and extending, the music made those few seconds into one of my all-time Great Moments.

Hello Jane, Thank you for your details, I actually could not remembe the original cast of "Two Pigeons", so I looked it up in 1960/61 Dancing Times, Review, to be honest Donald Britton did not seem right, now you mention him Robert Mead comes to mind, and the other people you mentioned. Richard Farley also danced the Main Gypsy on tour as well. It is over 40 years ago, I can remember some things very clearly, but not others.

Let me take you on a journey into life with "Two Pigeons". One of my favourite Ballet's. and one I am hoping to see next year in Birmingham.

The first time I saw the costumes, I was reallY delighted, as they were so lovely. The designs were very clever, although you get a reasonable view from the audience, there is much more to them than you would realise. If we take the Girl and her friends first, on close

inspection you realise, their dresses rersemble, the shape of a Pigeon or Dove. The skirt is flared, with the bodice being strapeless, and joined at hip level. On the top of the bodice is a area of real feathers that spread out from the clevage accross the bust. These blend in with the colour which is different for each friend, while the main firl is in white, the others wear muted shades, that are seen in the plummage of an actual pigeon. They are so attractive in degree's of greys, mauves, pinks etc, the bodices were muted matching shades of velvet, again with the feathers on the tops, reflecting the skirts. The top skirt was chifon, and a srape weny from the middle front, and was gathered and pulled up to represent wings, with a long tail falling from the middle at the back. Even the young mans costume in grey and turquoise fitted in with the muted shades.

The Gypsy Boys, wore breeches of self patterned brocade with bolero's and character shoes, If I remember rightly they hae bare legs, and tops, with tanned arms and chests on view (very sexy !!) The required gold earring etc. The Gypsy girls costumes, were absolutely exquisite,

and a nightmare to look after. due to the way they were made, from layers of chifon squares sewn together and fixed from one corner, to give a ripling effect. When the girls shimmied or turned, the skirts that were flared with a series of deep frills. would swing out showing a ripple of the beautuful colours thEy contained. Beautiful to look at, but terrible to iron or launder. That was one set of costumes, we never used to let near the washing and Ironing ladies we employed in each town. I have stood for ages, ironing all the individual squares, that made the costumes what they were. From the top you just see one colour, but as the skirt moves, there was about four maybe six different shades of the top colour. Again the bodices were velvet, decorated with gold coins, and jewellery.

coin jewellery,

The main roles were created by Christopher Gsble as the young man, Lynn Seymour as his sweetheart, and the Gypsy Girl was Elizabeth Anderton (Jennifer Layland?) The Gypsy Boy Donald Britton.

nOW AS SOME OF YOU HAVE MENTIONED THE PIGEONS, BEING NAUGHTY, I can certainly add to that, they were more often than not, upto their antics, It could get a bit embarrising at times, and they were not house or should I say stage trained, there was one in particular that would do a whopsey down the front of the girls white dress, it had also been known to land on some-ones head. They did bot seem to like the Gypsy Boy, and poor Richard Farley in the Touring Company was singled out. Another time one of the hen birds layed an egg.I used to hate going into the wings during "Pigeons" when the Trainer was there with the birds, they were very tame, and if loose used jump onto your shoulder or head. For someone like me, who has a bird phobia, and does not like our feathered friends flying around me, I used to be scared stiff they would land on me.

Well folks get your hankies ready, as it seems LDP is making it;s mark on the world again, and will be performed regularly.

I hope this post will bring in a lot of response, but it will iake a lot to beat my entry for Le fille mal gardee, many thanks to you all, it is lovely to read your replies and news.

[i recently noticed in Dance Now, that Birmingham Royal Ballet are to perform this in 2009, if you have not seen it or know the story. It is a love story about a young couple,and well worth a visit. The boy falls for a gypsy girl, and leaves his sweetheart to find her. The amzing production actually features live white Doves, that fly and land by the Dancers, and their appearance makes him remember and return to his true love.Brilliant music, lovely costumes, and beautiful choreography. In fact Ashton at his very best.

And now for something completely the same, a classic Monty Python sketch, "The Village Idiot":

http://orangecow.org/pythonet/sketches/theidiot.htm

This sketch segued into "Test Match".

Gosh Mel where did you find that ? It could only be Monty Python, Spike Milligan, John Cleese etc. in every respect very clever idiots in their own right. They do not make them like this anymore, sadly, comedy has seemed to change over the years, just THINK of The Goons, It aint arf hot Mum, Open all hours, Black Adder, Heid Hi, ALL SUCH FUNNY tv SERIES.

Thankyou so much Mel for brightening up my dull rainy Sunday. Nanarina

So it's okay to laugh at Alain if he's a simpleton and not if he exhibits socially awkward behaviors we now lump together under a particular diagnosis?

I wasn't trying to imply that Ashton set out to create a character with autism, or any other diagnosis. This suite of diagnoses wasn't even in the public eye when Fille was created. To me, the possibility existed that in creating his character Ashton drew on a set of behaviors he had observed somewhere, that are very different from what we expect of most people in a particular situation, and that often cause a great deal of discomfort and not-very-nice laughter in response.

We call this type of thinking "a hypothesis". Then we seek information to confirm or deny it. So far, I have not heard anyone who is familiar with autistic-spectrum behaviors say, "No, I have seen these type of behaviors a lot, and Alain's behavior is not characteristic." All I have heard is "don't overthink." Well ... who among you has met a village idiot or simpleton? Read any studies about how village idiots acquire their status? Perhaps, just perhaps, village idiots comprise the set of people who exhibit socially awkward behavior and become the targets of derision. I can tell you as a school teacher that people find non-standard social behavior far more queer and laughable than mere lack of brains.

Hi Treefrog I think you need to understand the defination of the term "village Idiot" as it is in British Folk Law or Country life.

These poor souls, through no fault of their own, due to lack of social skills, or family standing, very often were un-educated simple folk, who actually were often made to bear the brunt of the villagers. We are talking in reality of a time say prior to the 1950's, when the people did not travel far beyond the boundaries of their own village. The result of which was much in-breeding. This often involved the poor un-educated labourers and a child would be born to a poor soul, who already had a large family of children. So this little one would have looked different and certainly acted differently. They would possibly been one of the youngest, and missed out on schooling and the same attention that their more able sibling'a would have received. As cruel and unkind as it was, they would be teased and made fun of by the Villagers, as a point of amusement, very often being put into the stocks because of their behavyour. There was not the knowledge available to the people within their closed worlds, and basically they did not understand the situation.

To give you an example, there was one such person, who lived in my village only 10 years ago. He was by the time I met him about 68 years old. The Son of a Brother and Sister, who was brought up by an elderly Aunt. After being taken away from his birth mother. He had no idea of how to keep himself clean, feed himself, or look after his home after the old lady died. He behavyed like a boy of 8/9 I would say, but a very simple type of person. He was at times quite a nuisance about the village, but we all tried to look out for him. He had some of the gestures and did some of the kind of things you see Alain doing. If told off (and sometimes he was very persistant, and needed it) but he would cry like a child. Sadly he was always getting into mischief, and mostly would do silly things that would just make you laugh.Without Mallice of course. I remember telling him to get wSHED AND CHANGED AND TAKING HIM OUT TO TEA ONE DAY, HE WAS SO THRILLED, BUT IT GOT A BIT OUT OF HAND WHEN HE DECIDED HE WANTED TO HELP THE WAITRESS, SO THAT NEVER HAPPENED AGAIN. He was a bit off around the ladies, and would turn up in some-ones kitchen, or had even been found sitting in an armchair in my friends sitting room. He was called Fred, and wanted to kiss people on the cheek, and also would give you a crafty pat on the behind. I certainly could see Alain in him.

We don't just laugh at Alain. And we don't laugh at him harshly. He's protected by his simplicity from understanding too much, and nobody dislikes him. As Glebb says, he has a dark moment of realizing he's been fooled -- but his spirits don't suffer long. We laugh at and with virtually everybody in the ballet that we like -- that's part of its charm, and maybe of its mysterious way of seeming to "say something about the human condition" -- la comedie humaine -- but in such a mild way there's no demand to take it seriously. We get to see the things they can't see about themselves -- there's a fair amount of comedy made by putting us in a position to see what's behind somene's back. It's funniest about Alain, but also when Widow Simone is falling asleep, and when Colas is hiding behind the sheaves and Lise's miming "when I am married" -- not to mention the cows who've got their behinds facing us directly in the Lancaster's hilarious scenery. But it's gentle comedy -- nobody's perfect, we see more of the big picture than any of them ever do, except perhaps Alain, who gets the bird's eye view when he's caught up into the heavens.

The very funniest thing I've ever sen in the ballet was David Bintley's nose -- which he made look enormous-- as he played Widow Simone one year when he was setting a ballet on SFB. Bintley sat in the cart on the way to the picnic, looking back and forth alternately at Alain the cretin and Colas the swain -- i.e., showing one profile, then the other, as the cart rolled across the stage -- Widow Simone was thinking, wavering, already on the way to agreeing to let her daughter marry the boy she loved. It was really wonderful, an awesome performance.

Oh! Paul, you make me laugh, and so many happy memories flood back of this super Ballet, It will always be a joy, and give the opportunity for the dancers to let their hair down, and do things they could otherwise not do in a serious or major work such as Swan Lake or Sleeping Beauty. I expect over the years in many different companies and productions of Fille, there have been a great many naughty fo-pas

slipped into the choreography.

{W}hen I have had occasion to ask the artistic staff about performing it, they expressed doubt that it would draw an audience because it has little name recognition.

Interesting, Understandable. But sad.

It raises an interesting question for Joffrey, and possibly others. How could one "market" this ballet to audiences? Many in the US especially are not not really familiar with Ashton any longer. I'm talking about companies outside the big, historic ballet centers.

Bart It seems a poor excuse to blame the fact of bad audience numbers on a name, people can be educsated to appreciate a good production. Sureley the powers that be, do not just relie on Company advertising, why would they not use the professionals in tis field. Makes one wonder what the Company Press Office is achieving. There could be articles in the press, TV appearances, ( in the case of "fILLE" ON chILDRENS/ART/CULTURE SERIES. BBC 1 here in England has "Blue Peter" for children and young people, it has a very good following, and Ballet Stars often appear on this.

Nanarina - Alain was one of the great gifts of my career! Again I can't believe my good fortune in getting that role.

I don't remember if it was in NY or LA but a critic wrote that my Alain was 'haunted by the ghost of Petrouchka' and I loved that review. Also Jerry Lewis complimented me on my portrayal of Alain!

I was also naughty once in a while in that same scene you described. My naughtiness had to do more with ballet technique but I did love the hugs.

I must say that though I often danced The Boy in Blue and Puck - Alain was not easier to dance even if it appeared easier.

Hi again glebb I can agree with you how demanding playing Alain is, it may look easy, that is down to the prowess of the performer

When we used to go to eat after the performance, the Dancer who had played Alain, was always as tired as the people who had danced Colas and Lise.

I take it you have read all the comments about the definitian of Alain's condition or what he suffered from. Do you ever feel that you were acting anything other than a simple village charater, who because of his place in life, was an easy target for people to laugh at ? I feel the subject has got too complex, even gone a little off topic. To me it is sumply Comedy.

Well, that's the thing, I wasn't thinking at all. It just seemed very clear to me. I'm wondering if there's anyone familiar with autism spectrum disorders who has seen Fille who had the same thought.

And, why not?

Lets not get too technical, Alain is jsut a simpleton in the Ballet, no more no less, he is to amuse and make the sudience laugh , albeit a little cruel laughing at his expense, perhaps something we would not do in real life.

I lucked into last-minute tickets for "Fille" at Paris Opera Ballet last summer. (Hubby, bless him, didn't blanch a bit at paying top dollar.) It was thoroughly charming, as everyone says. As it was a first for me, I cannot say if the French "got it" as well as the Brits.

I wonder if anyone else has thoughts about an observation I had: that the character of Alain is autistic or has Asperger's syndrome. It seemed a pretty dead-on characterization to me: socially awkward, fixated on his umbrella, and if I remember correctly, with awkward and stereotyped movements (although maybe I'm making that last bit up). I've heard him described as a simpleton, but it seemed to me there was much more to him than that.

Alain, in the early days of Ashton's version, was just a simple country bumpkin, the kind of person you could find in a very rural English village, where a considerable amount of "inbreeding" had gone on. When there was not a lot of movement between the outside world. Although he was the son of a Rich Farmer, he was very un-sophisticated, you only have to see how his Father twirls the curl on the top of his head, when he is disapointed. He is just like a child, riding his umbrella like a pony, wanting the flute, etc. The idea seemed to be that the role was to amuse and make the audience laugh. I never heard any suggestions in rehearsals or in conversations with Dancers who were to portray Alain, that the characrer was nothing more than funny, amusing in a way to entertain the ausience. I never got the impression there was anything darker or suggestive of a certain condiditon.