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Hoverfly: a life on the edge of the seat
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The Taming of the Shrew, Bolshoi Ballet, Thursday 4th August 2016 7.30pm, Royal Opera House Main Stage
Upper Amphitheatre Right, U64, £10 (standing) - this was the worst ticket I have ever bought and I will never be buying it again even if there is nothing left. It would not be worth it. I thought I would actually have to leave because I literally could not see the stage. The only reason I stayed was because I squeezed myself into a tiny gap between a seat and the staircase which was definitely not allowed! This, also, was only possible because only one other person on my row turned up. Be warned, theatregoers - this row of amphitheatre standing tickets has NO view of the stage, whatever the theatre claims!
Perhaps any Shakespeare play is too full of characters and complex plot devices to translate easily into silent theatre. Certainly, the ones we know and love (The Dream, The Winter's Tale, Romeo and Juliet) rely heavily on the plot already being very well known known by the audience. From the beginning of this ballet, I found myself regretting that I had not read the play. I really could not follow what was going on, and found myself frantically Wikipedia-ing during the interval, to little avail. However, it was a nicely put-together piece of dance, and, though baffling, very entertaining. The wonderful music of Shostakovich (I've often thought more ballet should use his work) was what really made it, with Maillot fitting his choreography around it like a tailor-made glove. It was very funny, often clever, silly but affectionately so, occasionally repetitive but usually engaging and frequently beautiful. The company is tight, flexible and strong and all have great energy and charisma. They can all - amazingly - act, and they have the sense of humour required to respond to this sort of piece in just the right way. With flattering sets and costumes to support it, this is another production that shows off the triumphs of the rejuvenated Bolshoi Ballet.
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BalletBoyz, Life, Friday 3rd June 2016 7.45pm, Cambridge Arts Theatre
Circle, row A, seat 29, £15 - excellent seat! Right up close, great clear view, only a tiny corner obscured

The BalletBoyz always strike the perfect balance of moving and comical, this piece reaching into the realm of the absurd, making the audience laugh aloud, but also touching on the sinister and the unknown in such a way as to cause a pleasant shiver. I don't think there is another company around who are as committed to their every movement as these dancers are, nor who manage to imbue every display of virtuosity with the emotion and genuine warmth shown here.
With all the positive aspects of the first piece but far more technical bravura, this piece smashes the supposed limits of wit and intelligence whilst also showing the company to have the abilities of circus acrobats, yet never falling into mere emotionless feats of gymnastics. I've not seen anything this clever or impressive in years. Book to see this company if ever you possibly can.
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1984, Northern Ballet, Friday 27th May 2016 7.30pm, Sadler's Wells Theatre
Second circle, side gallery seat 2, £12 - almost half of the stage is obscured by the angle, the light fixtures, and people's heads, I ached afterwards from twisting to see and would not choose to book here again

This ought to come with some kind of warning - 'read the story first'. I just wasn't sure about the whole thing; visually clever, fitting music, and with the scenario vividly realised (ballet is a perfect medium to express uniformity and oppression…) I still wasn't able to really care about what I was seeing. Even allowing for its brevity, the energy and mood did not really change or develop, though the first pas de deux between Winston and Julia was wonderful, and the moment at which they are discovered was briefly terrifying. O'Brien was also superb.
However, my sister, who loves the book and knows it very well, says this was the best thing she has ever seen and cannot stop thinking about it. According to her, it was completely true to the book - right down to the lack of empathy and emotion in favour of objective messages - and there were so many clever, subtle moments that she appreciated and I just could not see. She even recognised more insignificant characters simply, for example, by the way they were sitting.
It is amazing how prolific Northern Ballet have been in recent years. No one else is doing this sort of narrative choreographic project with such innovation or frequency. Even the company line-toeing panellists at the Royal Ballet's gender debate acknowledged that Northern Ballet is leading the way here.
I don't think it is really such a bad thing for an interpretation of a novel to rely on the audience having read it. It's not as if the story was incomprehensible. As a way of experiencing and enjoying literature, this is wonderful and I am so glad and impressed that it is happening. It's different, but equally valid and skilful. Go forth and enjoy this company's groundbreaking work. And read the book first. They clearly did.
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Frankenstein, Royal Ballet, Saturday 7th May 2016 7pm, Royal Opera House Main Stage
Orchestra Stalls Left, Seat U9, complimentary as student ambassador - lovely to be this close and central (this would be a top price seat, although it was the year's student performance so much cheaper) but a lot of heads in the way, I think I actually prefer to be slightly higher up and have a clearer perspective of the stage and a view of the orchestra

It might have been difficult for such a highly anticipated production to live up to the hype it has been getting for the past year. In some ways, it was impossible - I didn't leave feeling stunned and overwhelmed as I have done from Wheeldon's pieces - and yet I was so moved by this well-crafted piece of theatre that perhaps it was all the hype itself that made it seem lesser. The skill of the construction of this show struck me most - the extremely well-judged plot changes that not only tightened and clarified the narrative but also made it more symbolically cyclical. For example, Victor's mother is shown to die in childbirth, rather than of scarlet fever, which intensifies the dramatic ideas of birth, life and death which pervade this story.
The technical vision was excellent, the music incredibly atmospheric and the design inspired, from the mutating skull projection on the frontispiece to the beautiful growing glow of the fire at the end. I also liked the way in which, by the end, the costumes had become almost outlandishly gothic - this is science fiction after all.
It was the atmosphere that was created so well in everything in this production; it was genuinely sinister, the constant menace pervading everything so very vivid. Even the simple decision to show the creature watching Victor's family in secret so often sent a chill through the bones. It is easy to forget what a sad story this really is, when it is remembered simply as the quintessential horror story, but there are so many innocent victims and so many damaged lives. The highlighting of the plight - even without the creature's later involvement - of poor Justine was superb.
The whole company was splendid, without a weak link in any of the major characters - all committed to their challenging roles and emotion was there throughout. The three leads were fantastic, Campbell brilliant as always, McGorian's presence overwhelming as ever, Gartside very good though he had an odd moment of supreme awkwardness which I could not decipher: purposeful and brilliant acting, or a mistake?! As for the choreography itself, Liam Scarlett truly is the king of the pas de deux. It's so hard! And extremely powerful. The greatest moment, in my opinion, was the final pas de deux between Victor and the creature - it's thrilling to see this kind of strength and dramatism and I will certainly be hoping for more of this proper male/male pas de deux from Scarlett. Wonderful to see someone believe it possible, and not pander to the idea that male/male pas de deux must be somehow fundamentally different from the accepted style. Motifs of sexual creation were used throughout between Victor and the creature to great symbolic effect, which Victor kneeling over his creation to bring it to life and the creature then mirroring that as he mourns his dead creator. The corps scenes were most enjoyable, with the students in Ingolstadt a particular highlight - comic without ever quite falling into absurdity. Thomas Whitehead truly is one of the great character actors of our time. The solo moments from Victor, the creature and even little William were also beautifully done, and the piece even managed to make some more sensitively valid comments on the role of women at this time (something I think has been Scarlett's downfall in the past). Yet I still was disappointed by this stock image of prostitution as the most fun career a woman could have - blissfully happy prostitutes, peasants and servants is a problem modern ballets ought to try to address.
This piece follows the modern fashion for ballets that move faster, and call for more naturalistic acting and shorter, plot-driven scenes than the classics even of the twentieth century. However, like Wheeldon's story ballets and unlike McGregor's Raven Girl, there was enough dancing here to make it satisfactory, even if we could have done with even more of the sort of power that is glimpsed in that final pas de deux. Though Frankenstein does not quite yet have the heights of Wheeldon's full-length work, it is a hugely powerful piece and a great success for the company. How amazing to have another new full-length already. What a company.
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The Winter's Tale, Royal Ballet, Wednesday 13th April 2016 7.30pm, Royal Opera House Main Stage
Amphitheatre Left, seat B38, £25 (restricted view) - very good value seat, great view
Next year, the Royal Ballet celebrates seventy years at the Royal Opera House and nothing says enduring success for the company more than Christopher Wheeldon's two full-length works. This latest one remains, quite simply, a mind-blowing triumph. Beautiful, interesting, original, emotive and endlessly expressive, the choreography is a dream; I can only imagine how much the dancers must love getting their teeth into these deep and complex roles. Talbot's music and Crowley's designs fit so perfectly with the entire image one can only pray for more from this dream team.
A terribly sad story, Wheeldon draws out the tragedy of this ever-changing plot with the reminder at the end that Mamillius remains dead - a child who was initially shown to be so happy (very well performed by the little Toms). There is also a subtle parallel in the behaviour of Leontes and Polixenes - Leontes' madness is hardly worse than that which Polixenes intends to do to Perdita's adoptive shepherd family.
Though this second cast has not always the presence of the first, they admirably fulfill their parts. Nuñez plays a more delightfully playful, affectionate Hermione than Cuthbertson's saintly interpretation, her arrest after her happy smiles the most heartbreaking moment of the ballet. Mendizabel - again, well-cast - exudes an ethereal power that I cannot imagine Morera could have equalled. Hristov was also a revelation, commanding the stage with a presence I have never before witnessed from him, and sadly far outshining Gartside. Gartside did a good job, but he simply does not have that je ne sais quoi which draws the eye to want to follow him.
The breath of fresh air that is the second act was a joy to watch, Muntagirov quite breathtaking as ever and clearly having a wonderful time, Stix-Brunell supporting him very sweetly if not quite possessing the character to equal his. The surrounding company were particularly strong here, Whitehead and Acri leading a heartwarming corps of peasants.
I cried, I laughed, I marvelled. I fully believe Wheeldon's Shakespeare masterpiece will still be loved and performed when the company has been at the House for another seventy years.
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The Royal Ballet, triple bill of Wheeldon works, Friday 11th March 2016 7.30pm, Royal Opera House Main Stage
Balcony Right, Seat A65, £27 (restricted view) – this is actually one of the best seats in the house, amazing value
After the Rain
This is a very nice piece – some interesting shapes made, pleasingly flowing – but it is not truly striking until the concluding pas de deux, which is really beautiful – mainly due to Nuñez’s expressivity. While not life-changing, this is an enjoyable warm up for the evening’s programme.
Surprisingly simplistic and superficial, I was hugely disappointed to find a story with such potential told in such an unsatisfactory way. The whole thing felt as if it had been put together in a rush, and didn’t really manage to say anything, despite the obvious possibilities for meaning the story offers. It didn’t help that the synopis in the cast sheet was extremely poorly written. Cuthbertson’s final solo got closest to moving me, but most of the piece seemed to be a collection of Wheeldonian tropes with nothing underneath – all these dreams, imaginings, and flashbacks between different times are becoming tiresomely cliched. Though a pleasure to see some of the less frequently used dancers in main roles, none of them stood out except Clarke, possibly because the choreography of the piece did not really give them much opportunity to distinguish themselves, though the story suggested that it ought to have done. The can-can dancers missed a ripe chance to make a statement about the position of women and instead looked comical, and far too much fun. We ought to be beyond MacMillan’s three harlots of Romeo and Juliet by now. I always like a story ballet – and this wasn’t terrible – but this was certainly not worthy of Wheeldon’s usual genius. It did not help that bits of the story made me think of The Two Pigeons of the last two mixed bills, because it is not a favourable comparison!
Within the Golden Hour
Yes! At last. I loved every minute of this interesting and beautiful piece – it was like an exquisite dream. The music was brilliant and the casting was superb; what a partner McRae is! Stix-Brunell and Muntagirov’s pas de deux was particularly wonderful and I am tremendously excited now to see them in The Winter’s Tale, though it did strike me that Muntagirov still stands, walks and moves like a student. The men’s pas de deux was also marvellous.

Though perhaps a little worrying that the new piece was rather substandard, this programme nevertheless shows the versatility and talent of Wheeldon, and how lucky the company is to have him. A good piece, a mediocre piece and a stunning piece – well, that’s good enough for me to keep coming back for a while yet.
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Cinderella, Australian Ballet, Thursday 21st July 2016 7.30pm, London Coliseum
Balcony far left, seat B48, £15 (restricted view and leg room) - a good seat but slightly expensive for this position at the Coliseum. The railing is in the way but it's still a good view, a good value seat as theatres go
Ratmansky is very hit and miss and this, such a terrible shame for a good company that deserves so much better, is a miss by miles. Predictable and dull to the point of vague disgust, the company - all remarkably good actors - did their best with the cheap, easy, obvious humour, but it was not enough. Prokofiev's music can be difficult and while Ratmansky's choreography for the grand pas de deux sections can be glorious, it relies on the fact that these are the moments at which the music and the acting does the work; when the music is more challenging, it is a challenge to which he does not rise. The corps sections were boring and silly and wasted talented dancers but, surprisingly, the very worst thing of all about this shamefully poor piece of theatre was the design. I have never seen such ugly and ill-matched sets, childish and distracting lighting, and such hideous and unflattering costumes. I kept waiting - hoping - for it to surprise me, and for the awful shiny white suit of the prince to actually foreshadow the fact that Cinderella wouldn't want him after all, but sadly it turned out that she did, somehow, fall for a man who looked like a third rate Elvis impersonator, and who kept stools made to look like women's legs in an otherwise period palace. There was simply no consistency to any of it. The beginning, with the sharp humour of the hairdressers, promised so much but the piece continued to deliver nothing. By the time Cinderella was being sent off to the ball with a flurry of inexplicable 'dancing' (it was barely dance, often) planets in front of a risible and very confusing projection of moving lights, I was too bored to care, and just wished I could save my poor eyes from looking at their 'tutus' (they were really just bunched up messes) any longer.
I'd love to see the company again if they did something worthy of them, but this is not that piece.
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Royal Ballet, Saturday 28th May 2016 7pm, Royal Opera House Main Stage
Amphitheatre Right, Seat F59, complimentary for student ambassador - we were lucky enough to be given top price seats this time and this may be the best seat I have ever had (though I do miss being able to see dancers' faces)
Obsidian Tear
Well, what a disappointment. McGregor continues to be hit and miss, as this latest premiere treated us only to a sharp drop after the triumph of Woolf Works which seemed to suggest he still had something in him after all. This piece was boring, stilted, repetitive and full only of movements that seemed to be for the sake of doing something rather than standing still. I liked the concept and did feel as if I understood what he was trying to do, but it just did not realise the initial vision, so hypnotic in the rhythmic undulation of beautiful bodies. I did jump at the moment the dancer was dropped behind the stage, and the final pas de deux came close to being powerful, but it was mainly just annoying and dull. The costumes and set were ugly and the music unremarkable (though the skill of the solo violinist was breathtaking) - McGregor needs to stop relying on these extras to attempt to make his work vaguely more interesting.
The Invitation
What an amazingly ambiguous title, and what an amazingly surprising piece. It makes you expect something it is very much not, in so many ways. At some points so stylised, at others so natural, it was extraordinary - after the shockingly poor gender debate - to see this work, by the very man who created so many cheerful prostitutes, portraying such material so very sensitively. With an odd juxtaposition of the comic and the horrifying, we are immediately thrown into the vivid world of innocence destroyed, childhood ruined. Showing everyone with sympathy but never making excuses, it is hard to believe that this was created over half a century ago now, depicting, as it does, such harrowing events at least as well as much supposedly more 'enlightened' pieces do today. Believable and relatable, I wanted hours to recover after this spectacle.
The principals were stunningly good and spectacularly well-cast - I want to see Muntagirov and Hayward together in everything! Muntagirov always looks as if Christmas and his birthday have come at once, simply because someone has allowed him to dance, but he is also a subtle actor, worthy of his fellows. Enjoyable, empathetic, thought-provoking and heartbreaking, with a touch of the fantastic, this is an absolute must-see - a true gem of the repertoire, showing MacMillan at his best and most individual.
Within the Golden Hour
Never has it been clearer that this company's choreographer is really Wheeldon now, and not McGregor. This piece is also exactly what we needed after the trauma of the previous piece. The sheer skill of this is extraordinary - the energy developing potently, emotion and virtuosity put to equal test, motifs returning as the piece progresses. The music is thrilling, the visuals perfectly judged, the movement exciting and beautiful. I could have watched it over again straight away. How lucky we are.
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Pre-performance talk on gender in ballet, Saturday 28th May 2016 6pm, Royal Opera House Amphitheatre bar
Last week, I attended my first pre-performance talk at the Royal Opera House, on gender in ballet. Now, as many of you will know, this is my pet topic, so I know it would have been unfair to go in expecting a talk tailored for those who have done a whole thesis on the subject. However, the talk woefully underestimated its audience of enthusiastic amateurs and did not even touch the surface. Again, I am well aware that there was limited time for this most complicated of discussions, but I was hugely frustrated by the sense that the panellists did not so much want to debate the issue as sell their own company, and protect its reputation. Several people afterwards thanked me for asking what they had been thinking, so I know I was not the only one frustrated.
Rather than interrogate the status quo, the panellists preferred to tell me why sufficient progress was already happening, with examples that did not prove this in the slightest. Endless examples of sexually manipulated young women do not prove the existence of liberated, strong women. Endless examples of women who simply die for their men do not prove the existence of liberated, strong women. Furthermore, the example of the changing representation of men in ballet does not mean that the position is improving for women. Obviously, that is good, but as usual things are getting more 'equal' for men, but not for women. The fact that Frankenstein follows the relationship of two men does not erase the fact that Elizabeth Frankenstein has no character development, nor the fact that, nearly half a century after MacMillan created the cheerful, 'liberated' prostitutes in Romeo and Juliet, we are witnessing the exact same thing over and over again in Scarlett's ballet. It was even completely ignored that there are good examples of change happening, such as McGregor's Woolf Works, and when pointework was given as an example of the strict gender division within technique, nobody thought to mention that men sometimes do it too.
Sanjoy Roy could have been wonderful, were his points not ignored over and over by his fellows until he clearly lost the will to keep trying. Kate Flatt was also good, but only about her area and so needed better fellow panellists. The other two, however, were simply defensive about their job, or frightened to say anything remotely negative about it. They did not seem to understand that nuance exists - we can love, admire, enjoy and perform all the archaic classics without necessarily apologising for them.
Yet the most outrageous thing of all is something that is still making my blood boil, that I cannot believe was not challenged the instant it was voiced, and that is the suggestion, by Gary, the re-stager of this production of The Invitation, that the girl in the story may have partly incited her own rape. Apparently, I was told later, he didn't mean this at all, and merely phrased it badly, but the fact that no one quickly checked that at the time is utterly unacceptable and I am ashamed of the Royal Opera House and The Royal Ballet for allowing that to pass unchallenged.
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She Said, English National Ballet, Friday 15th April 2016 7.30pm, Sadler's Wells Theatre
Second Circle, seat A1, £12 (restricted view, 50% missing) - view really quite obscured, I have had better views sitting in the side galleries. After the first interval my neighbour didn't return so I moved across one and then it was fine. I very much approve of Sadler's Wells percentage estimation of the view from the seat - helpful
Broken Wings
This piece was so unexpected. New short works these days are almost always minimalist and understated but this was quite simply a huge vision. The set was as big a part as the choreography and the music, too, was so very different to what I have come to expect - visceral, tragic and uplifting, parts were almost Acosta-esque but there was a realism here, even in this magic realist world, that his pseudo-sexualised presentation of women does not have. Despite everything, this showed true 'girl power'. Though ambiguous, the story is not confusing; it felt more like a piece of art than anything else, as perhaps it should.
Rojo acts even down to the tips of her fingers, and Mukhamedov too was splendid. The skeletons were amazing - surprisingly, perhaps, for such a part, they had some of the best choreography.
Intensely clever and risky - who'd have thought we'd be seeing menstruation on the Sadler's Wells stage?! - I am so glad this could be made. What an achievement. This really is a piece of strong, real femininity - triumphing despite pain. Such a piece makes me wonder if there really is a difference to choreography by women. Women know women, and have a different view of the world. Does our historic lack of a voice make us feel able, or desire, to take more risks? Perhaps the difference is simply because of such history.
After such an explosion of originality, this was very disappointing. There was some really lovely choreography but it was all just a bit obvious and cliched, such as the moment in which Bufalá first saw Keesler and forgot about Summerscales. Again, the set was nicely done, but the cracks appearing across the backdrop was similarly obvious. There were some powerful moments - I quite liked the cradling of the curtains - and Summerscales was wonderful, but this piece is simply not doing anything new. The single point shoe just looked bizarre. Interesting that both these choreographers chose to use the 'giving birth' position during their pieces.
Fantastic Beings
Somewhere in between the two where originality is concerned, this piece was certainly of a type, and yet it was definitely nothing I had seen before. It asked a tremendous amount from the company - and got it. The company really is looking phenomenal, with the kind of commitment to virtuosity expected of ABT and lost sometimes by the cool Royal Ballet. ENB are no longer the poor relation. Not even competing by difference anymore, they present real competition. Rojo puts her money where her mouth is - not only investing in male dance and female choreography as promised but also in the sort of sets usually the reserve of the non-touring companies. She has made this company so exciting, doing such a lot for ballet and dance.
This piece was witty and exhilarating, with great power in the corps sections. But it was almost ruined by the sudden appearance of what looked like bear suits! Instantly jumping from brilliant to baffling it made the piece shamefully laughable - without them, it would have been breathtakingly good.

The variety of the whole programme reminds us all - though it ought to be obvious it is sadly usually not - that women can do what men do in this field as well. It reinforces Rojo's ENB as a company whose pieces ought to be seen if you possibly can manage it. They are hot news and rightly so - you want to be on the scene! What an individual; this certainly is her company. As I always end up saying, this was not only enjoyable but reassuring. The world of dance is in good health.
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Giselle, Royal Ballet, Thursday 31st March 2016 7.30pm, Royal Opera House Main Stage
Amphitheatre Left, seat F46, complimentary student ambassador ticket but usually £49 - fine, but quite far away for this price. Probably would not choose this seat myself.
Giselle is a beautifully constructed ballet, with the way the same musical themes and physical movements return in the ethereal second act, morphed into something suitably melancholy. It is always a challenge to make the often rather springy choreography into something appropriately ghostly and Mendizabel - her habitual coldness perfect for this role - rose to the challenge admirably. Her steely gaze at the audience was chilling, especially beside the downturned faces of the rest of the wilis.
Peter Wright's production is a strong one - the set and costumes especially lovely - though I do always feel as if this ballet could be lengthened rather. It is very short and the emotions develop almost unbelievably fast at times. It is the second act that makes it, the scenario in the woods truly spine-tingling. Nuñez and Muntagirov were both very good, though they did better separately than together at times. There were some lovely moments, but they could definitely have had a stronger rapport. Technically, of course, they were faultless, if playing it rather safe.
The supporting cast were a strong ensemble, without particularly standout performances. Overall, this is a beautiful production and the performers did it justice.
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Royal Ballet, Double bill of Ashton works, Thursday 28th January 2016 7.30pm, Royal Opera House Main Stage
Amphitheatre Right, Seat B79, £16 (restricted view) - not too far back and not too far to the side, a good seat at a good price though I did have to ask someone in front of me not to lean forward, which I hate doing
This is a wonderful piece, but it relies so much on the lead couple and these two just don't quite have the connection or the charisma for it. Zucchetti has his moments, but essentially he just does not have the ballon or the quickness of turns and feet to suit the Ashtonian demand. It is lovely to see Choe taking the limelight once again - quite back to her usual form, she has a particularly nice sense of timing and musicality, with lightning quick batterie that is just right for this. With a partner who actually looked her in the eye, she might really have been something memorable. Ultimately, they just seemed to be concentrating too much, not having yet found that abandon of going above and beyond technique that the fun cheekiness of this piece requires.
As for the rest of the piece's elements, the music is lovely and the costumes were nice enough, but the sets were terrible! It looked as if someone had forgotten to do them until the last minute and then run out of money and ideas.
The Two Pigeons
I love this piece. It is amusing and touching by itself, but tonight it did make me realise, again, that it is the charisma of the dancers that can make it go above and beyond and these two don't quite have it yet. Takada's technique is just beautiful, and Hay was so close to being a wonderful actor (his technique was still a little overly careful and yet rather rushed at the same time, though his quickness of foot is sometimes lovely). They are both sweet dancers and one can see them trying hard in just the right way that may mean they are truly wonderful some day, though I am not sure that they will ever be so together - they didn't quite click. Again, more real fun could have been had with this fun piece, it's a performance, not an exercise.
Magri was absolutely brilliant in this splendid role. Her gypsy men, though, could have had more pizazz - if this is Covent Garden's answer to ENB's corsairs, then they have quite a way still to go.
The music is sublime, the set is beautiful, only the costumes of the friends in Act I were in a rather garish colour scheme.
I think the final pas de deux was lovely, but the misbehaving pigeon was really so terribly distracting!
Ultimately, tonight showed promise, and some lovely choreography, but it also showed that a truly great night is only through truly great dancers (and also that I shall be booking again to see the superb Yudes at the earliest opportunity).
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Reviewing the best ballets from the cheapest seats. Cambridge graduate. Full-time ballet student. Based in London and Manchester.
Reclaiming and reinvigorating ballet for our generation: no, it doesn't have to cost the Earth; yes, it is fresh, still relevant and evolving; and yes, it is for everyone.