Nanarina

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.

In the UK when in the Cornfield scene pas de deux Lise balances on one pointe, holding the eight ribbons, there used to be a great re-action from the audience. But on the whole Ashton created technical brilliance in a quiet manner, the main applause came at the end of the scene or performance, not generally to disrput the performance.

I heard that this was the case at the POB, it was not very popular, peopel got the impression it was more for children, which is as we all know not the case. It is a wonderful opportuinity to see something charming and light hearted'

What a shame, why do you think they have not performed it again ? I like Ethan Stiefel, he is excellent, not quite so familiar with Ashley Tuttle, what would you think about Paloma Herrera as Lise ?

Beautiful memories Nanarina-(BTW, i love your screenname ). I grew up watching "Fille" in regular basis in Havana. It's still a highly appreciated ballet among cuban balletomanes, and Mme. Alonso keeps presenting it every year, non stopping. Particularly one Principal Ballerina of the 70's-80's, Maria Elena Llorente, was well known for dancing the role-(which in Cuba i knew by the name of Lissette, her counterpart as Colin). This production is Mme.'s own revival dated from 1952, and it's still in active repertoire. http://translate.google.com/translate?hl=e...D1%26ie%3DUTF-8 Cuban...... Lets hope it continues to be performed for many years to come. My thoughts on it's "English essence mainly concerned certain contenental companies.

Hello glebb I expect you really enjoyed dancing Alain, it is such a comical role, but very clever the way "Sir Fred" used the steps, to make him what he is. I love the way he shoots his arm up to match Lise's arabesque, and conducts with the flute. No doubt you did not stray from the original choreography and mime, not like some of the dancers on tour. Often certain girls in the corp de ballet, found Alain thought it was amusing for them to get their posterers pinched, and on one occasion at the end of a tour, a certain dancer named John Sale (a close friend) had discovered a joke shop in the town we were performing, and he had a large plastic spidar in his pocket, and a big spot on his cheek, much to all the performers amusement. The bosses had all left the theatre, so they got away with it !!

Thank you to Mel ane Paul for your posts, I have such happy memories of "Fille" and I will explain why. I was aware of the connection between the mime scene and Kars. also how John Lanchberry had discovered the musical score. In 1960 I was nineteen years old, and had just started my Apprenticeship at The Royal Opera House, Covent Garden. The first production I worked on was in fact "Fille" for it'S Premier the same year. I had to learn the Costume and prop schedules, which I completed, after then I found myself helping at fitting sessions costume parades, and a photo call. In the meantime, I had also become a dresser for the Ballet, and as part of this I learnt the quick changes. Due to illness of one of the Senior dressers who worked on the top floor, I found myself seconded to the Ballerina's level, and put on the spot, literally dropped into it, I suddenly had to undertake my first quick change in the wings. I had always done my upmost to learn everything I could, so I was soon in demand, as it turned out I was very quick and reliable in helping the Dancer's change their costumes. I went on to learn all the Ballet's in the Repertoire, the very comprehensive Costume Lists, as well as becoming a Costumier. I stayed at the ROH until I was over 21 years old, and then transferred to the Touring Company, again stepping in due to staff illness. Actually, I never did return to work in "the garden", only when our Company performed there, when the resident Co. were on tour. I ended up in charge of the Ladies Wardrobe, on tour. It was quite a hard, but rewarding life, with Monday to Saturday nights, two matinee's, and travelling on Sunday. But I loved it, we were a big happy family, enjoying friendship and got to know each other very well. In some of the big cities like Liverpool, we would go with members of the Orchestra to rehearsals of the famous Orchestra's, or visit places of interest on our day off. Fille mal Gardee was a much loved and regularly performed favourite all over the UK, and even abroad. The Touring Company began well thought of, and some later stars of the Royal Ballet made their debut in it. The orginal cast in London had been Nadia Nerina (Lise) David Blair(Colas), Alexander Grant(Alain), Stanley Holden(Widow Simone) Lesley Edwards(Farmer Thomas). Our Dancers to portray the roles equally as well were, Lise - Doreen Wells, Shirley Grahame,Brenda Last, Colas - David Wall, Gary Sherwood, Michael Coleman, Widow Simone - Ronald Emblem, David Gordon,Brien Shaw, Alain - John Sale, Gary Grant, Farmer Thomas Henry Legerton ( To the best of my memory). The roles Sir "Fred" created were unique, Widow Simone was essentially based on a Pantomine dame, Lise her wayward naughty daughter, was a truly comic role, and Alain her reluctant simple but rich groom, (her Mother's but not her choice), was extremely funny, and would often have the cast in fits of laughter. Which was perfectly acceptable for this humorous delightful ballet. The choreography included wonderful variations featuring wide pink satin ribbons, used to marvelous effect, from the Lovers knot, made by Lise and Colas, to the shapes the friends made to support the cornfield pas de deux, and a brilliant pose on one point, Lise makes, holding eight ribbons, when the other girls turn her on the spot, which never failed to get huge applause from the audience. The corp de ballet boys and girls dances contained traditional national dances, Morris, stick dances, a full size maypole, and the much loved clog dance where Widow Simone shows off her over zealous skills and nearly comes unstuck. Alain with his red umbrella, with it's ducks head handle, that uses as a horse, when the charming little white shetland pony, appears, and later during the storm, he is swept up high as the wind and rain catch him. The famous mime scene, where Lise dreams of being married to Colas and having his children, after being locked in by her Mother when she has yet again tried to sneek off with the villagers, and the shock and embarresment she experiences when she learns Colas has hiden behind the hay bales and seen her. This ballet is so essentially English, I wonder how other companies abroad, cope with the role portrayal. In recent times The Australian Ballet have made a DVD, which is very close to the original, which is well worth buying. However, The Paris Opera Ballet have also performed it , and I sincerely wonder what they make of it. I do not doubt their technical ability, this side of the production should not be difficult for them, but I do question the authenticity of how they would create the so very special roles of the main character's. I just cannot picture some of the Etoile's getting anywhere near the humerous and charming characters. I suppose the only way to find out, is to attend a performance, and hope I would not be disapointed, having been so closely involved with the original production. Has anyone seen "Fille" recently? if so, what did you think?

Sir Fred. Ashton's revival of this old French ballet in 1960, was a joy to behold. It was one of those productions you left the theatre in a happy mood, and felt comfortable in taking a young person to see it for their fist introduction to Ballet. It was simply really charming.

Hello Estelle, Thank you for your post, that was the site I too confirmed suspitions after seeing Aurelie in Romeo and Juliette and a photograph taken in Germany in November, which bless her, she looked "interesting" in. It has since been anounced I think by Aurelie herself, (C'est une Fille) It's a girl? on Skyblog Aurelie Dupont, as well as mentioned on the Forum dedicated to her. I agree with you about the photograph, it does not do her justice, there are much better ones of her available, If you are interested there are a lot of lovely ones on dance.net, and also on the Skyblog, well worth a visit. I wish them both the best of luck and congratulations. However, I am interested because I want very much to see her dance Onegin with Manuel Legris, if she is back, and is hopefully cast for it.

Thank you for the details about the books, I will have to try and get hold of a copy. Just hope I can see to read them, as my eyesight is rather poor now. You mention a version by David Blair, I think that must have been the one performed by the Royal Ballet as well, I can remember Von Rothbart losing his arm, pulled off by the prince, which resulted in certain Dancers over playing his death throws. As he was rendered (h) armless., sorry, but the memory of a certain performer brings amusement.

What wonderful news, I hope to be able to go and see Manuel Legris in Onegin, it will be my last opportunity. I wanted to get to see him live, but have not been able to do so before. It means a special trip from the UK, and as I am going in July to see Dame aux Camellias and Signes, it will be another date for my Diary, even if it is only a quick trip. It would be superb if Aurelie Dupont was back for Onegin, and to see them dance together again. before he leaves. The chemistry that exists between them in performance would be very memorable I am sure. Hopefully the casting will be released in good time to book. Do any of our French Members know when Aurelie is expected back ? Is she a new Maman yet ?

Over the years there seems to have been a number of different finale's to Swan Lake, which can involve all three of the main characters. The death of the Prince and Odette, or just one of them. And Von Rothbart, he has seemed to meet his end, in different ways. Can the members of the Forum post their findings, plus also possible details of the very original early production by Petipa.

Sir Frederick Ashton's Sylvia has again been revived for The Royal Ballet in the last couple of years. It is a wonderful full length version, with excellent scenery and very attractive costumes based on the original one's. It was shown on Brirish TV, then afterwards released on DVD. The Dancers are Darcey Bussell and Roberto Bolle. Well worth looking out for. Plus of course the full musical score played by The Royal Opera House Orchestra.

:tThere is a Kultur video of Altynai Aslmuratova with Darcey Bussell and I think the Royal Ballet in La Bayadere, it is the full version, when the temple falls into ruin as the last act. I also loved her, and saw her dance in London with The Kirov in Bayadere and also with English National Ballet as a Guest at the Royal Albert Hall, in a special production of Swan Lake, staged in the Promonarders arena. It was a Gala attended by Princess Diana.and was amazing. There was a huge cast, possibly 50 Swans.

The former posts really made me laugh. In most circumstances if the disaster is not serious, the Dancers are up for a laugh, and some amusing things can happen. Whcih at the time may not seem funny, but on reflection certainly are. Just a few I can remember. A very large lady (Wardrobe Staff) misses the back cloth, and walks in full view of the audience, carrying a number of Tutu's, accross the stage. Carabosse wheeled carriage, this time the Prologue of Sleeping Beauty, The bad fairy played by a rather camp Male Dancer, falls out of the vehicle, when it is pulled round too fast and tips up. Something to be seen. Le Fille mal Gardee - Alain with a boil on his nose, and a horrid big black spider, in his pocket, which he delights in showing the girls. plus a non stage trained Pony , that is likely to do a whoopsy any time, so that the dustpan and brush is needed much to the audiences amusement. The Conductor arriving at the orchestra pit, when there was no one there. More Serious Margot Fonteyn being dropped from above the head of an up and coming Danseur, a member of the Corp de Ballet getting kicked in the head by the Widowe Simone during The Clog Dance in Fille. Scenery falling down, or catching fire. Lights exploding. All in a days Ballet.

:smilie_ Was she powered by the beverage, it seems perhaps she could not stand on two feet !!!!

Well, Well, Well...... This is where one gives away their age.... Lets go back in time .... Donald Mc Cleary, tall dark and very handsome- David Wall with his lovely Auburn hair and good looks, plus being a super guy and really good friend. Ruddi Nureyev of course, when he was younger. Back to today... Roberto Bolle ... Jeremie Belingard (pob Etoile also a model for Gaultier Men's products) See him in Marie Claire adverts. He is gorgeous, also plays in a group. He is spoken for being Aurelie D's boyfriend. Such a lovely couple.

Agents for Dancers. I know of one such agent, based in France (I think) he is called David Sequest, and he has his own site on the internet.. where he puts future events he has arranged for his clients, one of whom is Aurelie Dupont the Etoile from the POB, she danced in different Countries prior to going on Maternity Leave, including, La Scale, Milan, Bejing, Hungary and other venues.

I seem to remember seeing or reading about a Bureau or Agency in Russia, where the Dancers have to go to get paperwork signed for permission to guest with other companies or travel abroad. I do not know if these rules still apply in 2008.

I think the dancer you refer to actually appeared as Tybalt. For those interested here is a link to some performance pictures on Birmingham Royal Ballet's web site. http://www.brb.org.uk/masque/bin/masqueweb...ry&urn=8323 I will amend my post. It would be great if a DVD was available. Thank you so much for the Link to BRB site and the Ballet Hoo dancers. Sorry about my error re character

This is a most interesting point, if anyone from the original Royal Ballet Touring Company reads this post, no doubt it will bring back memories. There were two main Conductors, who were employed at the time, Ashley Lawrence and Terence Lovett. Ashley was a lovely person, quite refined, quiet and very considerate. Whilst Terence was also a good guy, he could be a bit bombastic. His nickname was Terr ar.... Terry. He was the vain of the dancers, and if the mood took him, he could end the performance minutes early. Especially if he fancied a bevy at the local hostalry !!! Many times my job meant I had to be in the wings, where I witnessed his break neck baton twirling., and it was obvious how much effect it had on the dancers and of course the length of the performance. The pace was often varied, and from what musician friends in the orchestra would comment, there was an element of humour in his representation of the score. Often to the cost of the dancers I am sorry to say. It seemed he was determined to do his own thing, despite discussion on their preferred tempi with soloists and stars alike. I remember him as a short plump jolly man, always in a hurry.

Hello everyone, thank you for your feedback on my post about Tutu's. I think the first style that appeared were "Russian type skirted Tutu's," rather than the flat plate like shapes we see later. The earliest costumes were knee length, if you look at old photographs or paintings such as Degas. And yes, they did appear from the time the first major productions were choreographed by Petipa. I have not seen NYCB Symphony in C., but would love to. However, it means a trip to London. I wish some of the visiting Companies would visit the provinces more often. As far as I can remember the Tutu's at the Royal Ballet, were made in the Opera House workshops, by their own staff. These were made to the same basic pattern, and any difference in style or decoration was put on to the basic shape. So each costume would be identicle for every dancer. The stars and soloists still had the same basic pattern, but there were two Costumiers who made Margot Fonteyns Tutu's and also some of the other Ballerina's. It was quite rare for costumes to be made "out of the house",though boots and shoes were often made by Freeds, or anoher reconised maker. and of course the pointe shoes.

The Dancers Tutu, can vary a great deal, and by looking closely at the design and style used, you come to realise that there is a difference between Countries and Companies. From Russia to America, France and the United Kingdom, not forgetting the many productions from elsewhere, there seems to have been a distinct difference that has appeared in recent years. With the availibility of synthetic nets and other products it is possible to be able to design and make easy to manage costumes. The first tutu's were made of Tarleton, that had to be washed, starched, and ironed dry to become stiff enough to hold it's shape. I can remember working with the Bolshoi, then the Kirov in the early sixties, and they were still quite primotive in their costumes, only using the poorest decorations. and hand dyed white basic type Tarleton (muslin). It was hard work, as by then most of our Royal Ballet Tutu's were made of "modern" nets. Over the years the basic shape and pattern of the standard Tutu has not changed, the major difference being the wider availibility of fabrics to choose. You may get a particular designer do something different, which neither gives the correct support or comfort to the dancer. In fact some Tutu bodices which do not have the correct panels, which should total 10=12 panels per bodice to give a flattering fit to the danceer. Some of the modern tops which only have darts to give it shape, do not give comfort and the right flattering shape. They may be quicker and easier to make, but the end result is no where near as good as the tradional type. This brings us to the main basque on which the base sits. This consists of a petersham waistband, that joins onto the top of an inner basuqe, cut on the cross, this is doouble material, part cotton, underneath, and on top the same material used for the bodice. The panty section is made of soft rayon net, which is stronger and thicker than the top net. Onto this is sewn up to 25 layers of tight frills, which are fixed about 1 inch appart, increasing from half an inch wide to the desired length of the top layer. At intervals we placed Tutu Ties, made of the full strands of embroidery silk, which was threaded through the layers of the net, to safe guard the boys fingers, when lifting. . and of course to hold the layers in shape. The bottom of each frill would be shaped in scollops or like a triangle, which if you were clever, could be cut without a pattern quickly by hand with a pair of very sharp scissors. (And I had the scars to prove it!!) When the costume had reached this point the decoration would be sewn on but only in a certain way, as you had to remove it sometimes to wash the Tutu, and dare not ruin it . Beautiful embroidery with Gold thread on ,jewels and sequins can be quite fragile. Y ou had to know exactly what you were doing, or disaster could strike. The whole costume would be hung up, from the crotch, with the frills facing downwards. They were stored and travelled laying flat in specially made 3ft square cases, with a lid. In recent times I have noticed that the Russian Tutu's have ugly plain panty sections, with no attractrive frills to cover the undneath of the costume, all you see is like a leotard bottom. Ver distracting leaving a hard line not at all pleasing to the eye. ( or at least not an experienced designer, costumier's and Wardrobe Mistress's eye !!) Have a good look at Tutu's today, and see if you can spot the difference ? Maybe compare the Companies and Countries............ :flowers:Nanarina 0

I could not have put this better myself, also it is possible to see them in the UK, hopefully even on tour in the provinces. There are some good theatre's that regurlarly promote Ballet. The only problem being the size of stages.

irina Chistyakova I saw her dance Gamzatti against Alytnai Aslmurt. in La Bayadare live in London. some years ago, she was a dancer I liked and felt she had not been given the opportunity to make the top rank.