Delighted, I arranged to go to the ballet, with my friend Lauren. To my dismay though, arriving at the station to get to London, I realised that my train had been cancelled due to industrial action! Luckily, there was another train, just over an hour later- which still managed to get me to London in time for afternoon class at Pineapple!
My first class was Advanced ballet; I enjoyed the challenge of the complex combinations, which were explained quickly. Doing the barre work on pointe was a lovely way to notice how my strength is hradually improving- I worked on demi pointe for the centre work though, as I wanted to focus on my pirouettes.
Next, I did an intermediate level class, for which I worked on pointe throughout. It was lovely to recognise a few professional dancers in the class; Julia Davies, who used to work for Ballet Theatre UK and taught at last year's summer school; and Corey Annand, an Elmhurst graduate who danced the role of Aurora in Midland Theatre Ballet's 2012 production of Sleeping Beauty, the first full length ballet I performed in. It was lovely to chat to Corey and Julia!
After class, I met Lauren at Zizzi to have dinner, before visiting the Royal Opera House shop (where I spent slightly more than I should've, on two beautiful books!)
Then, we headed to the Coliseum. We were both delighted that the seats allocated to us, courtesy of Dancing Times magazine, were row C of the stalls!! A very knowedgable gentleman sitting behind us- Mr S Tyler, of the Ballet Association- chatted to us before the show, educating us on the Bournonville style, and the life of Li Cunxin, the Queensland Ballet's Artistic Director.
It was particularly special for Lauren and I to be at the Coliseum; the last time we were there, we danced onstage together in an English National Ballet workshop.
The ballet began with Sarah Thompson's solo as the Sylph; she used her epaulement well in her neat courus, however it was interesting to note that her grands jetes lacked elevation, and her double pirouette in attitude was en demi pointe; I couldn't help but wonder if it should've been en pointe! Nonetheless, her beautiful feet and high demi pointe were used well throughout.
The fact that the Sylph was the only dancer to work en pointe in act 1 added to her ethereal quality; meanwhile, the other dancers, portraying James, Effie and friends, excellently handled the Scottish national dances, encorporating a lot of ballonnés and brisés to give a sense of lightness and elevation. The stage, adorned eloquently with grey furnishings and a red armchair, clearly set the scene of a Glasweigian Manor House.
I must give a special mention to the children; there was one tiny girl, probably no older than eleven or twelve, who danced the Scottish national dances with as much delightful ease as if she were a member of the corps de ballet herself!
The second act took place in a beautiful forest glade; for me the highlight was the Sylphs corps de ballet's beautiful work in a circle formation, and an adagio sequence, in which pairs of Sylphs faced each other, holding hands, to developpé; an effective use of an otherwise simple step.
In James' solo, Luke Schaufuss demonstrated excellent use of the Demi plié, which aided his elevation in his neat batterie, however he appeared slightly off-balance in his double tours en l'air.
Nonetheless, all of the dancers gave an enthusiastic performance, accompanied spectacularly by the Royal Ballet Sinfonia orchestra.
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