Three days of ballet

It’s been a good few days. If not three days of solid dancing (alas, I have to work for a living) then at least three evenings spent in the company of some of the best dancers and companies in the world.

The ROH Live screening of Sleeping Beauty, starring my favourite ballerina of all time: Marianela Nunez. This was particularly poignant for me, as my very first trip to see the Royal Ballet (a whole ten years ago!) was for this classic – and starring Ms Nunez.

It’s still as enchanting as the first time I saw it, especially with that gorgeous Tchaikovsky score. I was disappointed not to see Francesca Hayward in the Bluebird pas de deux (illness), but enjoyed Anna Rose O’Sullivan’s sassy turn as the Fairy of the Golden Vine. And the Rose Adagio gave me goosebumps – Marianela Nunez is the ultimate Aurora: graceful, technically perfect and radiantly joyous.

On Wednesday, I saw Birmingham Royal Ballet’s stunning Cinderella – a real treat. You can read my full review on the British Theatre Guide site here:

And finally, last night, I went to the screening of Dancer – a documentary about Sergei Polunin. Back in 2012, I was heartbroken when he walked out of the Royal Ballet shortly before I was due to see him in Alice in Wonderland. I decided that he was a selfish diva, lacking discipline or regard for his fans.

Well, this documentary proved me wrong and made me feel terribly guilty. The background to Polunin’s rise to fame, the accounts from his family and his own attitude on camera (and in the live Q&A that followed) all prove that there is much more to the situation than the media would have you believe. It’s a riveting and moving watch – by the end, there were tears in my eyes.

Oh, and I got very excited by Polunin’s statement that everything should be in place for him to guest with the Royal Ballet soon. You’ll all have to fight me for tickets.

One comment

  1. […] Cinderella, Birmingham Royal Ballet – David Bintley’s gorgeous, glittering production of this fairytale ballet delivered on style and substance, with spectacular set design, excellent performances and choregraphy that suits Prokofiev’s music like an enchanted glass slipper. […]

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