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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Thu Mar 03, 2011 2:16 pm 
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Frances Perraudin reviews "Alice" for Time.

Time


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Fri Mar 04, 2011 2:11 pm 
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Louise Levene reviews "Alice" in The Telegraph.

The Telegraph


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Mon Mar 07, 2011 5:31 pm 
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Lydia Slater interviews Lauren Cuthbertson about "Alice" for The Daily Mail.

The Daily Mail


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Mon Mar 07, 2011 7:29 pm 
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Luke Jennings reviews "Alice" for The Observer.

The Observer

Jenny Gilbert reviews "Alice" for The Independent.

The Independent


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 Post subject: Alice in Wonderland
PostPosted: Fri Mar 11, 2011 12:01 pm 
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Having now seen Alice in Wonderland for myself, I came away with the feeling that I had watched a show rather than a ballet as it is the sheer spectacle of the work that sticks in the mind. Christopher Wheelden has generally avoided narrative forms in his ballets and the episodic nature of Alice means that he is stringing together a series of encounters as each episode is very much a set piece and some of the most striking moments in the work don’t have much actual dancing at all. However by making Alice older than in the book and creating a romantic interest for her, he is able to introduce a couple of pas de deux of lyrical invention.

The settings are astonishing and varied and surely the production team deserves a big shiny gong come the awards season. We’ve progressed massively with design over the years and the special effects employed in this production are remarkable as for example Alice being sucked in the vortex that is the rabbit hole. My favourite moments in the ballet were as much down to clever design as choreography: the Cheshire cat, gargantuan with an articulated body with limbs making their own way around the stage whilst the smile remained and the exotic caterpillar, part of which was a sensually undulating Eric Underwood and most was a number of girls running on pointe under his ‘tail’.

Of the leading performers, Zenaida Yanowsky played the homicidal Queen of Hearts whose comic take on the Rose Adage will forever stick in balletomane memories as she terrifies her would be partners by way of her lurking executioner. In the title role, Lauren Cuthbertson faced the biggest challenge of her career, and a taxing one too after having just returned to the stage after a lengthy illness. She really shone as Alice and really looked as if she was enjoying every step. As Jack/Knave of Hearts Sergei Polunin featured at the beginning and end of the ballet, most notably in the dock before a queen determined to cut off his head, but his duets with Alice saw him at his best and he didn’t really seem that involved in the comedy going on around him.

A success in my book, but I can’t help thinking the RB could earn itself shed loads of money if they investigated the possibility of a West End transfer: it’s that kind of show.


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Thu Mar 17, 2011 5:58 pm 
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Judith Mackrell reviews a mixed bill of Ashton's "Rhapsody," Alastair Marriott's "Sensorium" and David Bintley's "Still Life at the Penguin Cafe" in The Guardian.

The Guardian


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Fri Mar 18, 2011 3:24 pm 
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In the Evening Standard, Sarah Frater wirtes a brief review of the "Rhapsody," "Sensorium," "Still Life" triple bill.

Evening Standard

Zoe Anderson reviews the same program in The Independent.

The Independent

Neil Norman in The Daily Express.

Daily Express

Judith Flanders in The Arts Desk.

The Arts Desk


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Fri Mar 18, 2011 4:09 pm 
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Alina Cojocaru is interviewed by Sophie de Rosee in The Telegraph.

The Telegraph


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Mon Mar 21, 2011 12:25 pm 
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In The Observer, Luke Jennings reviews the Wednesday, March 16 performance of the "Rhapsody"/"Sensorium"/"Still Life at the Penguin Cafe" triple bill, with an additional paragraph about Marianela Nunez' performance as Alice in Wonderland on Tuesday, March 15.

The Observer


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Mon Mar 21, 2011 12:54 pm 
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MacMillan's "Manon" has received a new orchestration which will be heard in performances at the Royal Ballet beginning April 21. Natalie Wheen discusses the new score in The Arts Desk.

The Arts Desk


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Tue Mar 22, 2011 4:09 am 
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They changed the orchestration once before I seem to remember, but it turned out to be inferior to the original and it was quietly dropped.


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 Post subject: Rhapsody Triple Bill
PostPosted: Wed Mar 23, 2011 11:37 am 
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The lavish praise that Steven McRae received for his performance of Ashton’s Rhapsody was more than deserved; he is fast becoming the best reason for going to see the Royal Ballet with no other male dancer performing with any where near the same degree of precision and control in everything he does. The choreography fits him like a glove and his performance eclipses those I’ve seen before, all the more surprising since it was his first outing in the role. The only negative was the costume that didn’t suit him, but I doubt it suits anyone and I don’t understand why the original Ashton designed/approved sets and costumes were ever ditched in the first place. As his partner Alina Cojocaru was inspiring to watch, bringing a gentle, swooning quality to her part that matches Rachmaninov’s music perfectly, she looks just about perfect opposite McRae as physically they are an ideal match. She lacks only the quicksilver footwork of Lesley Collier, the role’s creator and her wretched costume was far too long as a skirt of that length looks hazardous in allegro passages.

Sensorium isn't a very involving ballet though it looks better than it probably is due to the distinguished dancing of Leanne Benjamin.

I’m always surprised that so many fans seem to dislike David Bintley’s Penguin Café: it seems animals in ballet are a lot of people’s pet hate. I’ve always liked the work as I find it both witty and original and whereas the likes of Tales of Beatrix Potter don’t bear a second viewing, Penguin Café is for me rewarding every time. Everyone danced well but I particularly enjoyed Ihona Loots and her Morris men and Edward Watson made an excellent zebra, possibly the best since Philip Broomhead but the eponymous penguins always remain my personal favourites.


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Tue Mar 29, 2011 7:54 am 
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Clement Crisp has now been to see Steven McRae in Rhapsody and confesses to being "dazzled, bowled over, knocked sideways, blown away", indeed Mr Crisp's reactions seem identical to my own.

Here's the full review:

http://www.ft.com/cms/s/2/135c2010-5961 ... z1Hye81pNZ


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Sun Apr 17, 2011 8:58 pm 
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Zoe Anderson reviews Wendy Ellis Somes' direction of Ashton's "Cinderella" in The Independent.

The Independent

Mark Monahan in The Telegraph.

The Telegraph


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 Post subject: Re: Royal Ballet 2010-11
PostPosted: Mon Apr 18, 2011 12:51 pm 
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In The Independent, Zoe Anderson reviews "The Royal Ballet Creates" at the Apple Store in Covent Garden.

The Independent


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