'Double Concerto' reviews ENB 'Apollo' reviews 'Apollo' reviews Edur in reviews Oaks in reviews recent ENB reviews

ENB Triple Bills have come a long way since the latter days of LFB, when things had got rather grim. I saw their present triple on Tues and Wed evenings this week at Bristol Hippodrome (they have now started the short run of Cinderella, which lasts till Sat). Comparing notes with a friend who has, like me, seen the company rise from the distant days of the ashes of LFB, we were so pleased to agree on the gathering technical strength of the company, and the fact that we could see something new. Thanks for the preview of "Double Concerto" Bruce, and the rest of the review; helpful for preparing the school party for Wed. evening. I teach in a school for boys (11-18); together with our sister school we took 65 students and staff to the performance, and a great success it was with them. Apparently we would have had even more, but some of the staff from our sister school were off to watch the rugby (Barbarians v Australians) - now you know what staff at a girls' school do on a ladies night out! If only they had known in advance of Tom Edur appearing as Apollo…….

Meanwhile, back to the ballet. Since I organised such a large party I was invited to a reception with ENB and British Airways Travel Shops (who sponsor the senior soloists); a good opportunity to say "Good on yer, ENB, for brushing up your programmes: keep the triples flowing - and new work". Apparently ENB seem to be aware that BRB had begun to build an audience for new and less familiar work before they had to drop Bristol from their touring route (sad story, that), so at least we are getting something different. The programme contained some heartening news; the new AD wants to expand the ENB rep. So we'll hold him to that!

I won't add a lot to the reviews already posted, except to say that on Wed. we had Agnes Oaks as Terpsichore, so the Apollo/Terpsichore pdd was something special; the moment when she has her swimming lesson, perched perilously on the back of Apollo's neck, was especially beautiful. On Tues, the pairing there was Joanna Maley with Gruzdyev; good news, as reported by Bruce from Manchester.

"Double Concerto" will obviously stay with us - and it will pull in the crowds. Also, it was good to see "Who Cares" on the big stage; ENB has used it for 'Tour de Force' mid-scale tours, but you need the full orchestra for the big Broadway style. And Tom E. in "Who Cares" - magic! However, I wonder if anyone else feels that "Who Cares" is due for a new backdrop? As Donald Hutera wrote in the Times, slanting skyscrapers make you feel a bit uncomfortable; but, in any case, I find this backdrop a bit too dominant. On Wed. I watched from the upper circle (Tues I was in the stalls) so I couldn't see so much of it - and preferred it that way.

If anyone else has a music student going to see this programme, it's worth mentioning that ENB does the version of Apollo that Balanchine produced in 1978/9. The birth of Apollo is cut, so unfortunately you lose the first 3 ¾ minutes of the music; it's a pity as it does upset the musical balance of the opening section - and the violin solo feels to be a bit premature - but perhaps that's because I'm so used to the complete score. However, it's still a perfect match of music and choreography.

All in all, it was gratifying to see a good house and enthusiastic reception for this programme when touring ballet companies are worried about the response to triple bills and the need to put bums on seats. If it's any encouragement to ENB, I can well remember BRB triples at Bristol when the upper circle was closed because of the size of the audience, and all who had bought upper circle tickets were re-seated in plusher areas of the theatre. That didn't happen this week.