Just one John Ross picture from an album of 30 taken in the last few days.



Anthony Dowell and Wayne Sleep


RB - Cinderella - Dec 04
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© John Ross

‘Cinderella’

Royal Opera House-
2 December 2004

A performance dedicated to Dame Alicia Markova CBE (1910 – 2004)

This first night of ‘Cinderella’, the third installment of the Ashton 100 celebrations, was preceded by a brief statement from Monica Mason, sadly announcing the passing of Alicia Markova earlier in the day and dedicating this performance to the Vic-Wells’ original Prima Ballerina. Dame Alicia had been born on the 1st of December and she died on the 2nd, with 94 glorious years in between.

It is one of fate’s gentle ironies that one of the very few Prima Ballerina Assolutas should pass from this world on a day where that evening’s performance in dedication to her should be danced by one of the most prodigious talents of this generation. I would like to excise the words ‘one of’ in the preceding sentence but I’m mindful that Markova was, herself, very ill-at-ease when described as ‘..very possibly the greatest (dancer) that has ever lived’, since she felt that it was much too much to live up to. In any event, I cannot imagine a more fitting ballerina to dance this dedication and Alina did Alicia proud.

A year ago, I felt that Alina Cojocaru was almost the perfect Cinderella. I was left with just a few question marks in relation to her performance in the second Act, particularly the emphasis on balance and line in the adagio movements. Her Act I focus on childish innocence rather than downtrodden drudge seemed to me to echo Ashton’s intentions. If anything, the demarcation is now even stronger and it certainly plays to Alina’s strengths. Any reservations I had previously about her Act II performance have been entirely blown away. Her entrance in that famous head-high, downstairs descent on pointe brilliantly and unerringly achieved the immediate princessly-grandeur to contradict her previous life by the kitchen hearth. Alina has always had the mastery of the fast “Pavlova” steps, so beloved by Ashton. She has this skill in common with many other contemporary ballerinas but very few can attack an allegro tempo in the same consistent, apparently effortless and unhurried way. I saw a greater maturity in her magical presence at the Ball: a clarity of balance and line on a par with Yoshida at her best, coupled with a dreamlike manifestation of the fairytale, romantic image. Here is a would-be Princess capable of capturing the heart of the most cynical Prince.

Alina has the great fortune to enjoy the synergy of a sensitive and supportive partner and Johan Kobborg was also in excellent form: presenting his ballerina to enable, enhance and enrich her own sparkling performance and attacking his variation and solos with controlled ebullience – he has that special talent to appear to spring that inch or two higher, hang that moment longer and bend that little bit more.

Vanessa Palmer replaced the injured Isabel McMeekan as the Fairy Godmother and reprised her excellent performance from last season: I especially enjoyed the delicacy of her bourrées in the final Act and she has the inherent, elegant flexibility that dictates so much of Ashton’s style. There was also a first-class line-up of Fairies and Prince’s friends. Christina Elida Salerno was simply divine as Fairy Spring with an elegance of line and movement (watch out also for Bethany Keating in the second cast since she is perfectly suited to this role) and Laura Morera has a well-deserved monopoly of the pointy, staccato dances, exemplified by Fairy Autumn and the Fairy of Temperament. Lauren Cuthbertson appears to be equally at home as Summer and Winter. My only disappointment amongst the supporting dancers was the rather one-dimensional reading of Marianela Nuñez as the ice fairy but this is perhaps understandable given her wonderful performance as ‘Sylvia’ on the previous night. Is it possible to get a better group of Friends that Harvey, Sasaki, Soares and Watson? I doubt it and I feel sorry for the second cast having to match their near-perfect symmetry in the pas de quatre.

As before, the only negative for this ‘Cinderella’ lies in the wholly OTT and vulgar antics of Dowell and Sleep as the Ugly Sisters. It has always seemed to me that Ashton got the balance wrong in that pantomime wins over ballet in terms of the sisters’ antics encroaching too much into the performance. It would be nice to think that this was just the dancer’s ego defeating the choreographer’s sense but since Ashton originally intended women for the parts, we don’t even have this indulgence to blame!

There is scope for great humour and parody with the ugly sisters and I don’t, in any way, object to that. Sir Anthony Dowell does more with the dominant ‘Helpmann’ role than Wayne Sleep is able to coax from the ‘Ashton’ sister. The latter often appears to be no more than a precocious child being bullied by a more domineering sibling, whereas others have achieved a more complex interpretation of cunning intentions being constantly thwarted. Whilst these great dancers will rightly continue to draw in the audiences, I suspect that there will be much greater reward in the subtler, comic characterizations of Alastair Marriott and Jonathan Howells. Oh, and please, please somewhere down the line let’s lose the ridiculous Napoleon and Wellington costumes for the two suitors. Why? Is it a fancy dress ball? Surely, the point is just that one is little and one is large? Also, there appears to be absolutely no point to the jester other than as a virtuoso intermission (danced here with gusto by José Martin) and it seems to me that this wasn’t the only point to the part.

This Prokoviev score has never been amongst my favourites, although it has some wonderful moments, not least in complementing the fairytale ending. It was once described to me as “stepping into a warm bath” which somehow seemed very appropriate. There’s nothing to dislike and it engenders a nice, warm feeling but that’s about it. However, credit should be given to Boris Gruzin who seemed to find exactly the right tempii for the dancers’ needs.

This was a sad day, in which a gradually fading light was finally extinguished, but – if we believe in these things as most people who love the ballet surely must – the day turned to night with one new star burning brightly on the Covent Garden stage and another new star twinkling somewhere in Paradise.

Graham Watts

I thought Alina Cojocaru was perfect in every way as Cinderella; her performance has developed so much since the first night, and every movement and gesture was just right. Both she and Kobborg were radiant and seemed utterly entranced with each other while dancing the pas de deux. A superb performance, and much is due to the sensitive conducting of Boris Grusin.

Indeed a worthy tribute from the modern generation to the first star of the Royal Ballet.

In several productions that I have seen, the sisters literally overwhelm the rest of the dancers and underwhelm the audience - well, at least me, for one.

It's a tentative line. A tape I have of Ashton and MacMillan with Fonteyn and Somes, seems to hit it about right. I think the fault I find with this ballet in general is that the two protagonists have precious little dancing to do. Well, perhaps, it is just that I want more for them to do.

I see much of what the sisters do as "filler" material, taking up time (often much too much of it) long past establishing their characters.

Another problem for me is the father. He is either played as a tyrant who allows Cinderella to be mistreated, or he is a total weakling - to the same effect. Or he is non-existant. In any case, it is an unsatisfactory role.

Having seen Alina this past summer, I can well imagine that she would be wonderful in this role and your terrific review allowed me to see through your eyes, that she did indeed triumph.

Secondly, Joanne, I do agree with you about Lauren and Laura and your description of them as Summer and Autumn is just perfect. I also very much liked Lauren's interpretation of Winter in the DR which may account for a slight disappointment with Marianela's performance - I agree that she was being frosty but it just seemed to be a very flat interpretation.

Also, I don't want to be Scroogish about the Sisters - I appreciate that this is a pantomime/ballet and it was obvious that most people enjoyed their antics but I suspect that they would get even more laughs if they had started to throw custard pies at each other and so on! There has to be a dividing line and I think that they step over it ..... a few times! Having said that, I would also add that if a few hundred people come to see them and enjoy ballet as a result then it is worthwhile - so long as they don't think that ballet is always like that!

Finally, I usually check all my references and sources before posting because my memory gets worse as the years roll by (!) - on this occasion, I realise that I have forgotten to count since this is clearly the FOURTH part of the Ashton 100 celebrations! Since I have seen each bill at least three times I can have no excuse for omitting one of them!

Graham

Thank you for having pointed out that: I was shocked by Alina’s easiness, calm and simplicity in that very difficult movement, that seemed to last an eternity...and we have also to consider how high were her developpe and her sparkling arabasque!
I have it still in my eyes: a true gem in an absolutely wonderful performance.

Anna

I think she must be having some problems with her feet - she has terrible lumps and bumps on them, bless her. Hence the packed point shoes (and so the noise)

But what made it for me, was the 'dream team' as the Season Fairies. There was Iohna Loots as Spring; Lauren Cuthbertson as Summer; Deidre Chapman as Autumn, and the divine Sarah Lamb as Winter. The latter looked particularly scrumptious. And Caroline Duprot was one of the other fairies in the corp - so all 5 of my 'dancers that caught my eye' were on stage at the same time! You can imagine how pleased I was - but then I had trouble knowing who to watch...

Lauren had a particulalrly busy day today actually, as she and Edward Watson were doing the Ballet Insight Day in the Linbury in the afternoon, demonstrating a variety of techniques, from true classicism, through to modern stuff by wheeldon (who still maintains the use of classic ballet steps in his choreography). For interest - she did a solo from La Bayadere (sp?), followed by Ed doing the dance competition solo from Daphnis and Chloe. They then reprised their stunning pdd from R&J (bedroom scene), ending with one and a half run throughs of a pdd from Wheeldon's Polyphonia. This must have been particulalrly nerve racking, as wheldon himself was there to discuss the choreographer's role once they'd finished! A very interesting day, for the likes of us newbies.

Sounds like a very interesting day for anyone! Glad you enjoyed it.

I went and loved it - will tell you all about it on Sunday next. I also took copious notes so I might consider posting something when I get my confidence back. Hope you enjoyed your holiday.

If so, I am pleased to hear Paul got a big role!!

Yumi

In Short
A Christmas winner for the family with a sensible story and not a nutcracker in sight. Fairies abound, Cinderella gets her man, gorgeous music and ugly sisters to please the dotty Gran in us all. A shame about the uninspiring design.

Background
A work that has been wooing people since 1948 and from a wonderfully prolific period of Frederick Ashton's - Symphonic Variations and Scenes de Ballet, his great masterworks, both date from this time. This is Prokofiev's finest ballet score too, if composed in the depths of the war it's full of vitality.

Design
David Walker's much-loved and delicate designs were replaced last season by rather less tasteful versions from Toer van Schayk (sets) and Christine Haworth (costumes). A year on and they still jar - if David Walker was Farrow and Ball then the new designs are B&Q. That said I do think the ball-gown designs for the Ugly Sisters have an appropriate ill-judged look and the ballroom set itself is wonderfully three-dimensional. But the fairies (normal and seasonal) make me shudder with their 'My Little Pony' colourways.

Choreography
Ashton's first full-length work and a good piece particularly in its movement for the fairies. The corps is rarely given such inventive and distinguished work and it must have been a revelation when first unveiled. The Seasons' variations, short and challenging, also enthrall with their diversity and the charm of their children-attendants. However the piece takes a fair while to get into its stride and we have to endure the Ugly Sisters' squabble over the scarf. I've never seen any partnership rise above the "two blokes desperately trying and failing miserably" feeling. It's not the dancers' fault - what Ashton asks for is beyond anyone who doesn't have six clear months to rehearse.

Dancers
Wayne Sleep and Anthony Dowell were the opening night Ugly Sisters and their characters have developed a lot since their debuts last season - for the better in my book. Sleep knows how to entertain and his comic additions please people if I suspect Ashton lovers of taste and discrimination will want little of such common vulgarity. For myself I welcome the injection of panto, given I think Ashton's Ugly Sisters choreography doesn't work for itself.

Alina Cojocaru was Cinderella and for the first time she actually "got to me" as a principal rather than as a young and incredibly talented dancer. Here was poise, assurance, control and strong acting. Quite wonderful to behold and with a strong Prince in Kobborg. The Fairy Seasons all looked well-cast if Winter seemed rather grumpy about life.

Does it Work?
Yes - a pleasant coupling of panto and serious hi-art. But it would be better in the old designs.

On this revival there are a few costume changes, notably a much better one for the Ashton sister in Act I, and the orangey glow seemed to have been toned down in the last scene. The first scene still looks too empty, and I'm not sure what they can do there.

...and I wonder if the designs seen in the 65 production were criticised by those who remember the original 1948 designs? To a degree new designs are always difficult to introduce.

Hard to say. I saw it first so long ago that I can't remember either cast or production (don't think it was the RB's) but I have always loved the music which I know from recordings. I have now seen the current production in rehearsal and I have the DVD of the Dowell-Sibley version. To be honest I don't see huge differences between the two and I don't dislike the design of either - they both seem a little subdued except for the sisters' costumes.

I'm hoping to see it again on Friday with (Rojo-Cope). Has Tamara danced Cinders before? How different is her interpretation?

And I'll be going Friday to see Tamara too. I think she'll make a marvellous Cinders!

I agree. Dowell in his prime is wonderful to behold: the heavenly twins indeed.

A few differences from the current version. Cinderella's entry in Act II is handled differently: there are more stairs and she's only on pointe for the last three. The choreography of the midnight scene looks different and the change from ballerina to raggedy is more cleverly done now. Also the linking scene at the beginning of Act III isn't there in this 1964 version.

Pity that the image quality (even on DVD) isn't too good. It's about time for a new one.

ebay here i come! :¬)

Oh - and Tamara was FABULOUS as Cinderella. Quite understandable that the Prince fell in love with her at first sight!!!

Yes! Whenever there's a new version of something, there'll be someone seeing that ballet for the first time for whom that production is the one by which they will judge everything.

The evening was also enlivened by some astutely performed cameo roles - Tuifua as the subtly camp hairdresser (watch his pose and his face at his First Act entrance) and Jose Martin as the Dancing Master.

It was a shame then that with all that bubbling underneath, Saumodurov was not able to add any character to the role of the Prince and gave a rather inarticulate performance.

The experience was weird - particularly coming so soon after Sylvia. That work and the company's performance of it really revealed the felicities of Ashton. Cinderella in this performance looked the inferior work - the production and designs really cheapen the piece. I was no fan of the David Walker designs but that production had more magic.

There seemed to be an unease with the performances - the stars and friends a shade out of synch, though seeing this from stalls circle doesn't help - the stars formations looked a bit lumpy - above is better.

Weird too that the first scene didn't drag - maybe the bright lighting helped. Thought Dowell and Sleep had gone a long way to finding some character for the sisters. Maybe in another 10 years they will have something in their own right. Sleep's is the more incomplete performance.

(Their performances provoked some strong laughter around me - amongst obviously not knowledgeable ballet goers).

Christopher Saunders as the father did not register at all.

Don't think the seasons really got it - rather a smugged impression. Salerno as spring looked to have a very stiff back though she got most applause. Nunez still looked grumpy as winter. Confused by the cast change for the other two so won't comment.

(As contrast - the 1997 reviews said the seasons were as well danced as can expect these days but was very impresses then by Gallie, Valtat, Roberts, Yanowsky. They seemed to have more fizz and energy).

Thought Rojo did very nicley with the broom and the mood of this scene - but otherwise I was disappointed. Her coach departure and arrival at the ball went for little (is it the designs?) - and though strong her circling of the ballroom seemed to lack wonder - maybe just technically too strong.

Cope looked pretty interested in proceedings - good elevation in act two.

Liked Jose martin as the jester - technically very good and thought a real wistfulness came over which surprised me given the comments last year.

Good to have an impromptu meeting with others by the piano - will enjoy hearing the diversity of impressions.

The cast changes were not too complex - Lauren Cuthbertson was out and replaced as Summer by a radiant Sarah Lamb. She, in turn, was replaced by Marianella Nunez as Fairy Winter. She certainly looked frosty, which is as I would have imagined Winter to be, but she also looked uncomfortable. She did, though, finally get to dance with Thiago Soares, who even in the smallest role of a friend of the Prince exudes style elegance and allure in all that he does - and just watch his arms!

Dowell's Sister is much more finely tuned than last year, and quite funny. Sleep remains irritating. But that doesn't really matter because this ballet is stuffed with such glorious cameos that you can take your mind off it all. Especially when you have such a brilliant Dancing Master as Joshua Tuifua (am I beginning to sound a bit Josh Tuifua mad?) who in my opinion, very nearly stole Act 1.

It was also lovely to have an impromptu "Get-Together" by the piano - I should definitely wear that bandana more often!

I had read a lot of criticism of Dowell and Sleep but I really enjoyed their performances. I think a bit of 'broad' humour is not out of place in this ballet at all and they carried it off with great panache.

The rest of the cast demonstrated the enormous strength in depth at the Royal Ballet (Soares and Watson as 'friends of the prince!). I was particularly taken with Jose Martin's athletic jester and (as Ian Palmer has reported) Joshua Tuifua's gorgeous dancing master. After his excellent Eros in "Sylvia", Tuifua has become for me a dancer to watch out for.

Initially I was a little disappointed with Tamara Rojo. She just didn't move me in the same way as when I saw her in the role last year but as soon as she started dancing with Cope I realised that the problem was actually in the relationship between Cinderella and her father. These scenes had particually touched me previously but can't remember who was the father then.

I was looking forward to seeing Sarah Lamb dance Fairy Winter after reading reviews here but thought she made a nice job of Summer - I could almost feel the sun's heat.

I also still found Sleep's sister very anoying - possibly even more so than last year but was pleasently suprised by Dowell's which I felt had almost reached a comfortable pitch.

Finally I was also very impressed by Jose Martin's jester. His interaction with the rest of the dancers was outstanding and he really seemed to be an essential part of the whole performance rather than an isolated dancer.

This is the first time I have posted comments on a performance as I do not get to watch very many and so do not therefore feel very qualified to make judgements, but I was so suprised by my own reactions to the performance (the dancers who I enjoyed most were very different to those that I had assumed I would be watching closely based on previous performances and comments read here) I thought I would make a few personal observations.

Hi Paul...please can you explain the above sentence?...what's wrong with laughing?........do we have to watch in silence and only applaud in appropriate places?

I was at the same performance as you.. my very first visit to ROH also sitting in stalls circle... obvoiusly as my first visit I found the evening enchanting... the dancing executed perfectly by Cope and Rojo ,the jester exciting..however the icing on the cake for me was Dowell in particular...The part is larger than life and both sisters are the clay feet of the piece, bringing into it a down to earth quality..........Dowell was funny, brilliant,with great timing and great stage presence...........I thought he knocked everyone else into a cocked hat !!...

Lighten up,relax, "hang loose" (as they say in Hawaii)

Merely it was a surprise to hear laughter - given the many comments over many years that the step sisters do not provoke any humour.

Mele Kalikimaka and Hau'oli Makahiki Hou to everyone.

Oh gosh no.

As a PS, for the first time that I can remember, the main curtain misbehaved at the calls. While there was obviously some concern amongst the dancers, the grace and professionalism with which they handled it was terrific and I applaud them and the stage crew for saving the end of evening.

What did they do to save it?

Marriot and Howells were quite delightfully dotty as the Sisters, and much less grotesque than Dowell and Sleep.

With the curtain problem there was inevitably a little confusion. However Marquez and Putrov did come alone to the footlights for a solo bow, and she left her bouquet there. I suspect there might have been more solo bows, but the applause stopped very suddenly as the dancers were seen leaving the stage in the dark, and the house lights came up. In the "old days" we were perhaps more insistent, and it was almost de rigeur for the principals to have at least one call with the house lights up. Applause is not what it was!

Here is the link :

http://info.royaloperahouse.org/PerformingSpaces/Index.cfm?ccs=596&cs=1623

Hope this helps :

Cinderella Darcey Bussell
The Prince Jonathan Cope
Cinderella’s Step-Sisters Alastair Marriott, Philip Mosley
Cinderella’s Father William Tuckett
The Fairy Godmother Vanessa Palmer

ACT I Scene 1

Old Beggar Woman James Wilkie
The Dancing Master Jonathan Howells
Two Fiddlers Mark Greensill, David Hanesworth
A Tailor Johannes Stepanek
Dressmakers Vanessa Fenton, Francesca Filpi
The Shoemaker Michael Stojko
The Hairdresser Joshua Tuifua
A Jeweller Kenta Kura
The Coachman Erico Montes

ACT I Scene 2

The Fairy Spring Christina Salerno
The Fairy Summer Gillian Revie
The Fairy Autumn Laura Morera
The Fairy Winter Sarah Lamb

ACT II

The Jester Jose Martin
The Prince’s Friends Gary Avis, Bennet Gartside,
Martin Harvey, Edward Watson
Suitors Ludovic Ondiviela, Rupert Pennefather

ACT III

The Entire Cast

If so I'm sure that Gillian Revie was The Fairy Godmother and Joshua Tuifua was the dancing master at that show. There was an announcement at the start about changes and Joshua was one of the announced ones but Gillian Revie was in the cast sheet as Fairy Godmother.

Thank you both, Elise and Shirley, for putting up all the cast details for me - it's very kind of you. Just one thing - if Gillian Revie was the Fairy Godmother, who danced the Summer fairy? And was the substitution due to injury or illness?

Whoever dances on the 14th, though, the scheduled lineup looks terrific - particularly the Prince's friends. I'm really looking forward to it.

Any comments on performances? How was Darcey, for instance?

Thanks again.

My apologies, I should have made it clear in my post that this casting is for the 14th Jan as Linda requested.

The casting looks absolutely first rate. My only question would be - when will Acosta ever be offered this role ? I'd love to see what he would make of the pas de deux in particular.

I think this is a "heads above the parapet moment" in a way, so will anyone else agree with Becca and I, saying that if Acosta was offered, and accepted, the principal role in Cinders, we'd really love to see what he'd make of it ?

But their absence is of nothing when compared to the disgraceful absence of Mara Galeazzi from all three-act ballets this season. Why is she being treated like this after her wonderful 2003/04 season?

Isn't she doing lots of side projects at the mo? Don't ask me exactly what, but I vaguely remember hearing somewhere she was doing lots of new contempory stuff, and guesting and suchlike. Though don't quote me on it. Though wasn't she Diana in some of the Sylvia performances?

As for Acosta - he'd be brillaint in ANYTHING!

Yeah, for all of about five minutes!

Mara is going to dance Voices of Spring in Bruxelles (23rd Jan), R&J pdd, Qualia pdd, Black Swan pdd and Voices of Spring in Brescia (8th Feb), and three times Lescaut’s Mistress (3rd, 18th and 22nd Feb).

I want DaveM’s pink glasses!!! Where did you find them?

Anna

pink glasses?????

(thanks for the info details on Mara by the way)

I don't get the 'heads above the parapet' bit, Elise - I'm sure everyone would be happy to see Acosta in Cinderella some time, but he can't do everything and may well prefer roles with more dancing, for instance.

Hatley's Fairy Godmother
Morera's Autumn Fairy
Cuthbertson's Summer Fairy
The first-cast Prince's Friends
and probably a few others who don't spring to mind right now.

Oh well, at least I saw both fairies last time around ...

BTW, one thing that irritates me above all about this production (and I've been particularly aware of it this season, being stuck in the amphitheatre, is the really annoying lighting effects. Do we *really* need the "this is magic" lighting patterns swirling around the ceiling? Do we not have ears? Do we not hear that Prokofiev's music is already doing an excellent job of telling us that magic is in the air? (And they manage to blind various members of the audience, as well! Those of you downstairs don't know how lucky you are ). Plus there's the effect swirling across the spangly curtain in the house > garden transformation - what on earth is that supposed to be? It just looks a mess. RB, please get rid of both next time around!

Cojocaru as Cinderella
Putrov as the Prince
Howells and Marriott as the Uglies
Hatley as the Godmother
the first cast Prince's friends
Jose Martin as the Jester

Caroline Duprot caught my eye too as one of the 12 'stars'; I think she must be the prettiest of ALL the RB dancers!

It's quite testing technically, and it ought to be a test of putting a real chracter across as well - something that seems to have entirely gone out of the window now. I'm not sure that this is the same issue as the difference in casting levels now, but it might be.

I saw Ciriaci (a soloist) as the jester on Weds 12th and I think Stojko (First Artist) in an earlier cast. While it is good to give the younger members of the company have a chance at a major role, there seems a trend with this particular role to have more permanently downgraded it in some way. Or is it me ? Memories of interesting jesters, please...

A perfectly enjoyable performance, but nothing to set the Thames on fire for me. It was great to see so many ballet.co-ers, though!

As AEHandley says, the audience was perfectly hushed last night - and there were plenty of youngish children. All of the noise was coming from the stage last night - some of the scenery changes were very loud.

Jose Martin was even better than last year as the Jester - he really has the audience in his grip from the moment the curtain goes back. And he gets the best costume.

The Stars didn't shine for me as much as they did last year, but it was good to see Vanessa Palmer as the Fairy Godmother, who really seemed to own the part. As in the earlier post, I thought her bourrees were the best I've seen, really beautiful.

Darcey Bussell did her best with the role, though I don't think it's suited to her. Although her reading is very different from others I've seen, she's great to watch, though the odd wobble was there. Cope isn't my idea of a Prince, and the inane grin is wearing after a while. I prefer Cobborg's softer reading with more subtle expressions.

And what's with all the glitter and dust being scattered about by the Fairy Godmother and her entourage ? New for this run I think.

It's just as well we're all different and that the RB have so many dancers to keep everyone happy !

Maybe they all read the thread going about how audiences should/should not behave?

I had a dancer friend with me on Friday night who thought that the moment when Bussell came off pointe was in fact due to her partner, Cope, not being in the right place to support her.

I don't know the in's and out's of it but it's rare for Bussell and I bet she was mad with herself whatever the cause.

Still, if anyone saw Don Q at the RFH last night, two of the dancers decked it - something I've never seen in a performance of the Royal Ballet. They recovered well enough though.

It does happen though. And I think it's no bad thing. If you never fall over, you're probably not trying hard enough.

Agreed. Especially as the one who is *always* falling!

Oh, but they do! In Swan Lake the other night someone fell off her stool in Act I and Tamara had a nasty slip in Act III.

It's a fascinating subject in itself - how partnerships work on stage. When Rojo held her balance for ever but started wobbling slightly towards the end, I wondered how they had planned it and how Acosta would know when she'd had enough ? I guess it's all in the music but she seemed to stretch it to eternity !

I've not seen them in it for a couple of years, but I would have thought that odd. If you're balancing, the tiniest movement can throw you right off, so if you're already falling off balance you can do without having to move your mouth or finger or whatever.

As far as the balance thing - when was Carlos to come back? Well, first, I didn't notice any wobbling, or signaling - I think with good partnerships, to some extent, you just *know*....

And was I the only one who was so warmly touched by Carlos's wide grin - so proud of her was he!

Perhaps we should start a new thread about aspects of partnering?

His partner's must feel a million dollars dancing with him.

You've only got to watch his own show to see how generous he is with the choreography. Sure, he can do all the tricks but he'll make sure everyone else has a chance too.

I was there and I noticed it too (so did my Mum and neither of us are experts) but it was only a tiny flaw in an otherwise sublime performance. And I doubt if it was her partner's fault - Cope is usually very reliable in this respect and there were no hitches in his pdds with Tamara Rojo.

I thought the first scene was received a little more quietly than at other performances but possibly this was because the Sisters gave a much more subtle performance - less slapstick than other casts and all the better for it. Of the rest of the cast I really enjoyed all the performances but Jose Martin stood out as the Jester - most impressive.

In my Mum's words ' a magical evening!'

From what I hear about the number of times she's danced it this season, I should think she probably *does* by now

I thought he just looked happy and like many men, a boyish grin makes him look so much younger! What's wrong with dancers looking as though they're enjoying themselves anyway? Acosta always looks as though he's having the time of his life.