Summer adventures

Since I started to take ballet seriously, 7 years ago, every summer was consumed with summer intensives, private coaching, and exam classes. I even once declined a family holiday to Florida in order to attend a summer school, in an attempt to prove my dedication to the artistic director of that school, in the hope that I would get a place at the full time school (I didn't.). On occasions when I did go on holiday, I felt consumed by the need to exercise.... Not for the joy of dancing, but an obsessive, overwhelming exercise, dictated by a sly little voice in my mind; "30 lengths of the pool before every meal! Else you won't fit into your leotard again!" And when I was at school, I was still utterly consumed by ballet. Yes, there were moments when I genuinely loved ballet, and felt overjoyed..... Then there were long, dark days and nights when I felt a slave to ballet; in the mornings, I often got to the studio by 7am, for 2 hours of conditioning exercises before class; at night I would run on the cross trainer or go for a long walk, no matter how tired I was. I had, without really acknowledging it, romanticised the idea of 'sacrificing' myself to ballet; a good little bunhead should live and breathe for ballet; she should work constantly and never doubt her dedication to her art! (I doubted myself. A lot.) At the age of about 14, I first watched the documentary "A Beautiful Tragedy". It was eerily fascinating to me; I idolised the girls depicted in the film, and revered the way they would suffer for their art. To be a perfect ballerina, I thought, I had to work like that. Relentlessly, mercilessly, striving- whilst knowing that I was never quite good enough, never quite thin enough, never quite perfect enough. Despite having the most wonderful teachers I could ever wish for, and am opportunity to train in a world-renowned centre of excellence for ballet, despite thinking every single day how lucky I was to be there- I became trapped in a destructive, perfectionistic mindset, which ultimately sapped away my love of ballet. Most of the time in class, I could only fixate upon how awful I (thought!) I looked, or how the girl next to me had better turnout/longer legs/thinner arms.
Eventually, I got to the point where I needed a break from ballet. I knew it was a sign; I had always desperately longed to train in Russia, and this year was accepted to a 3 week summer intensive in St Petersburg. I was ecstatic- and briefly became super focused, dedicated, and revitalised by ballet. Alas, 2 months later, I received an email to say that the course had to be cancelled. I was devastated.

However, one of my closest friends recently emigrated back to Sydney, having trained in the UK for 2 years. Perhaps, I thought, I could go to Australia, to visit her.
I looked up flights; they were a quarter of the price that my summer intensive would've been. Perfect!! Also, scrolling through my phone one morning before class, I googled "London to Thailand flight", expecting a return to cost thousands of pounds, like a flight to Hawaii or Fiji. £335, Skyscanner replied! Perrr-fection!!! Thailand has also been on my list of places to visit for many years; I love the Eastern culture, and one of my teachers recently introduced me to the art of Buddhist meditation. (Last winter, I suffered from a particularly hard-hitting bout of seasonal depression. I had spoken with my teacher previously about how clinical hypnosis had helped me through my previous health issues, but I couldn't seem to find a therapist who suited me, in such a remote area. My teacher told me to learn meditation- and was kind enough to spend a lot of time working with me to help me to understand the technique. It helped me more than any doctor or medication ever did!!) I was therefore very keen to visit the beautiful temples in Thailand, to learn more about Buddhism and the art of meditation, from the monks themselves. Within 2 days, I had booked a trip to Thailand, and Australia...... Getting back to London in time to see Oksana Skoryk's first performance of Swan Lake in the Mariinsky Ballet's London season!

Moving On

As Albus Dumbledore said, "The time comes when we must choose between what is easy and what is right." For me, the decision to leave vocational ballet school- and therefore move on from the 'childhood dream' of being a dancer in a ballet company, was certainly the hardest decision I have ever had to make. Ever since I first saw Swan Lake, over 6 years ago, every single thing I ever did or thought of seemed to revolve around my mission to become a dancer- I of course had many setbacks along the way, and so the day I found out I had been accepted to Ballet West was honestly the happiest day of my life. 

Being at ballet school was just as wonderful as I imagined- yes, it definitely has its challenging times too, I won't deny that, but I certainly learnt from every challenge- and I am so incredibly grateful for the 2 years I have spent training at Ballet West. But, as the years progressed, I began to realise just how few people are lucky enough to get contracts in classical ballet companies- and how I was never really gifted with the ideal ballet physique; perhaps my legs were too short, my feet just not flexible enough, my spine not quite straight.... I always found it challenging to pick up combinations, my natural co ordination was lacking, and no matter how many hours I relentlessly worked for, I just couldn't seem to perfect the pirouettes that other people achieved so effortlessly. Even if I got a company contract, the ballet world is so volatile that the job could be taken away from me at any moment, through injury, or even simply a director not liking the way I dance. And performing onstage.... as much as I desperately tried to love it, I simply found it stressful. Not 'excited butterflies then euphoria onstage', but agitated, consumed by counts and spacing and artistry, as my brain worked overtime trying to remember each tiny detail. Was it really worth constantly pushing my mind and body beyond their limits, in an attempt to gain a company contract, to then spend my life constantly feeling inadequate, deemed worthless by ballet? I tried to convince myself it would be worthwhile.

But by the middle of my second year of vocational training, I felt my passion for ballet slipping away; every class felt like a battle against my own physical limitations, and after one particularly frustrating class, I despairingly told my teacher "I feel completely defeated by ballet." He kindly reassured me that everyone feels defeated by ballet at some point in their career- then reminded me of something he had said to me the previous term; "it's perfectly okay to decide not to be in a ballet company. You would be an excellent teacher, you know- one day you could have your own dance school." This concept was not new to me; many teachers in the past had told me "You're not going to make it as a dancer, why don't you just teach instead?!" The way that other teachers had made teaching seem like second best to dancing in a company, as if teaching could be my backup plan when my ballet career failed, filled me with defiance; I convinced myself that I didn't want to teach, I only wanted to dance! But my wonderful teacher at Ballet West helped me to realise that although I could make it into a ballet company if I really worked for it, I also had a lot of academic potential that I could fulfil through teaching.

Yes, I have always been academically gifted; reading and writing comes to me far far more easily than dancing ever did- but for years I shunned that potential, thinking that being a ballet dancer was far more important than nurturing my academic gifts. My dad's dream for me was that I would go to Oxford university and become a successful lawyer or doctor- that was all going to plan until I discovered ballet!! Although he has always been so supportive of my dancing, I've constantly had a niggling doubt in the back of my mind, thinking that maybe I really would be better off doing something academic....

Without realising it, I even approached my ballet studies in an academic mindframe; I knew the name and definition of pretty much every step, and could explain how to dance steps like gargouillade (isn't that a beautiful word?!) which I had no where near mastered!! One moment really stands out to me..... in an allegro class, we had studied jeté élancé; the teacher asked us did anyone know the meaning of élancé? Despite usually being able to answer such questions with ease, I was temporarily confused; although I had seen the step before, I had never heard of its name, élancé.... Suddenly, I recalled a paragraph in a book that I had forgotten I had even read, and replied easily "Élancé is one of the seven fundamental actions in ballet. It means 'to dart'." My teacher looked just as surprised as I did!! It was then that I realised that perhaps I could put my academic mind to good use within ballet- perhaps I don't have to be a doctor or lawyer to excel academically! And perhaps I don't have to keep battling my own physical limitations to succeed in dance- if I teach ballet, I don't have to look like a perfect prima ballerina, as long as I can explain ballet to my students!

So few people are lucky enough to love their job- but watching the joy with which my teacher approaches every class, certainly helped me to realise that being a teacher definitely isn't 'second best' to being in a company- being a teacher is the most wonderful, fulfilling career path! Over Easter, I coached a group of students at my local dance school- seeing the progress that they made in just 3 days was the best feeling in the world! Also, we recently had our teaching assessments at Ballet West; we had to teach a 20 minute class to a group of first year students. I was rather stressed out before my assessment (my inner perfectionist demanded that everything must be perfect!!) but found that when I was teaching, I completely forgot about my own physical limitations, or the way that ballet once left me feeling worthless and defeated.... teaching, being able to share my love of ballet, and watching my students blossom from being shy to being confident and eager to learn, is the most empowering, wonderful thing to be able to do!

I feel so blessed to be able to train as a RAD teacher; the psychology and science of dance fascinates me too, so I'm really looking forward to the more academic classes there, as well as the dancing! 

But I know that if it wasn't for Ballet West, and my wonderful teachers here who inspire me every single day, then I might have never found the courage to transition from wanting to be a dancer in a company, to being able to share my love of ballet through teaching. I hope that one day, I might be able to return to ballet west, either to teach or to bring my own students to audition- but either way, Ballet West will always hold a special place in my heart xxx

Summer term & Showcase

Hello!

Sorry I haven't blogged in a while; I didn't realise anyone read my blog until some lovely Balletco forum members mentioned it recently! I sometimes run out of ideas for blog posts, so please comment below if there's anything you'd like to see on here!

Whilst home for Easter, I was invited to teach a ballet course at my local dance school, Rochelle. I had a lot of fun teaching ballet, conditioning, contemporary and classical repertoire to a lovely, dedicated group of dancers aged from 11 to 15. It was wonderful to see their progress throughout the week; they tacked challenging repertoire from Swan Lake and Sleeping Beauty with enthusiasm, and made excellent improvements in their technique. I will be teaching a summer school at Rochelle (dates TBC), if anyone is interested in attending please drop me an email at dancingdreams25@gmail.com.

Also during April, I was honoured to be asked to collaborate with Ballerina Project UK; I spent a day in London doing an adventurous outdoor photoshoot with sweet, talented Alexander Yip- some of my photos from the project are on my Instagram account @dancingdreams25 and I will post more soon!

At the end of April I returned to Ballet West, to commence my final term of second year. We have been busy with assessments in contemporary and teaching, also we have begun rehearsing for our end of year showcase, which is held in Oban and Stirling. It is wonderful to work with a variety of choreographers and embrace different styles; I have particularly enjoyed dancing "Moonlight Mesecina", a vibrant contemporary piece created by innovative Latvian choreographer Indra Reinholde.

Meanwhile, I have been working on my website and showreel, which can be found here; https://sophiecat6.wixsite.com/ballet

Some people have asked me whether any of the 3rd years have secured jobs yet.... I'm so happy to be able to say that yes, the 3rd years have got a wide variety of contracts, from ballet companies to contemporary work to Disneyland jobs! Even those who have decided not to pursue dance careers are doing well; one of my housemates has used her degree to secure her dream job as an events planner for the Conservative Party! Meanwhile my other housemate is preparing for her Solo Seal exam and the Genee competition!

In other news... I have made the decision not to attend a summer school this year; I will instead be travelling around Thailand and Australia! I think having a month off from ballet and being able to explore new cultures will inspire me as a dancer, to help me to return to ballet in September feeling energised and rejuvenated.

Swan Lake tour

A unique aspect of life at Ballet West is that we have the opportunity to tour a full length classical ballet every year; a valuable insight into the workings of a professional ballet company.

Swan Lake, one of the most iconic classical ballets ever created, opened in Stirling on January 20th. Since then, we have visited a variety of theatres across Scotland, engaging audiences from tiny rural towns to vibrant cities. Hours of rehearsals culminate in stunning performances, with exquisite costumes, lighting and staging- alas, one of the main challenges of working in a touring company is adapting to a huge range of theatres, from a converted church in Helensburgh, where the stage was about a quarter of the size of our usual rehearsal space, to the beautiful SECC Clyde auditorium in Glasgow, with stage so vast that even a short dance feels like a marathon!

We learn to withstand long rehearsals, even longer bus rides, early mornings and late nights- all with a smile on our face and eagerness to embrace the next performance!!

Also this term, I have focused upon my holistic development as a dancer; a fellow second year recommended to me 'Bulletproof Ballerina fitness'- founded by Tanya Trombly, it is a workout plan which aims to strengthen dance technique through only two workouts per week. A far cry from spending hours slaving away in the gym seeing minimal results, the Bulletproof Ballerina program has helped me to discover a whole new concept of strength and alignment, with noticeable improvements in less than a month!

I have also begun The Whole Dancer's "Best Body program", which has really helped me to consider my lifestyle choices, and focus upon creating the best dancing future possible for my unique self! I would highly recommend this amazing program to any aspiring or professional dancer in need of focus and clarity!

Scottish Ballet

Scottish Ballet, a company based in Glasgow, under the directorship of Christopher Hampson, opened their Autumn 2016 season with a triple bill of contemporary works, including pioneering choreographer Crystal Pite’s new work “Emergence”, which received acclaim at its European premiere at the Festival Theatre, Edinburgh, in August 2016.

The ornate Theatre Royal, nestled in the heart of Glasgow’s vivacious city centre, was the venue for the company’s performance on October 1^st, where the audience seemed captivated before the performance even began, eagerly awaiting a choreographic extravaganza.                                  Following a short introduction by Hampson, the evening began with “Drawn to Drone”, a solo danced by Christopher Harrison, and choreographed by Jack Webb. Webb, from Dundee, recently received the Sunday Herald Culture Award for the “One to Watch”; he created “Drawn to Drone” as part of the Anserinae Choreographic Mentorship Scheme, inspired by Scottish Ballet’s revolutionary Swan Lake. “Drawn to Drone” received its debut at a private showcase in Edinburgh, following which Webb received a telephone call from Hampson, who wished the piece to be included in the company’s current repertoire.                                                                                   

       An incredibly minimalistic piece, involving two carefully placed chairs, a plain, black backdrop and a single spotlight, it began with pedestrian movements; Harrison walking onstage, neatly positioning the two plastic chairs, one in front of the other, then moving slowly to downstage left, to remove his shirt and trousers, leaving only tight white boxer shorts on. Seemingly entranced in his own world, Harrison then sat slowly, reflectively, onto the front chair, folding forwards then inching back upright, arching back until the chair toppled backwards, caught by the second chair. As in a vortex, he remained, sitting on the chair, moving as though he had all the time in the world, through dimensions and space within his own kinosphere, limited somewhat yet liberated by his position on the chair, tipped backwards like the Earth poised on its axis. Somewhat akin to the exploratory movements of a fetus in the womb, the hypnotisingly slow, focussed movements captivated the audience; there was no sudden surprise of a great leap or virtuosic turns, despite the orchestral music ebbing and flowing, reaching its climax then dying away.                                         

The lack of music visualisation in the work further served to intrigue the audience, as although the movements were sustained throughout, nothing was predictable; Harrison could have, at any time, leapt up, alas he remained throughout the piece, suspended on the tilted chair, standing only to receive his rapturous applause at the culmination of the piece. The disconnection between the aural setting and choreography seemed to connote the relationship between an artist and society; the artist is so intensely focussed on their own work, that they appear not to even hear the bustle of daily life around them. As risky as it is to create a dance piece that barely moves from the spot, Webb’s venture seemed a resoundingly thought provoking success.

The evening continued with a world premiere, of Sophie Laplane’s “Sibilio”. Meaning “Whistle” in Latin, Sibilio explores how “people whistle in connection with different emotions, when they’re happy but also when they’re nervous.” (Laplane interview, Scottish Ballet autumn season souvenir programme 2016, p12); whistling sounds are a prominent feature of the piece, which aims to explore the multiple facets of human nature.                                                                                     

Dressed naturalistically, in lilac dresses for the 4 women, and black suits for the 4 men, the dancers began in a tight huddle, breaking out to move in a variety of formations, contrasting symmetrical floor patterns with irregular, fragmented movements. The electronic, repetitive music, which Laplane collaborated with Alex Menzies to commission, prominently features whistling sounds, particularly used to signify the end of each section. From the huddle of dancers, a man and woman broke away to dance a duet; as they did so, their dress and suit jacket flew away on wires, leaving the woman in underwear and the man in trousers, a unique plot twist, drawing the audience’s attention to the fast, quirky movements, highlighted by frequent, high pitched whistling, as the other dancers remained still, in their symmetrical, now dimly lit, huddle.  A 2^nd, more solemn duet, followed, with darker lighting, and again, ‘vanishing’ clothes, which, paired with slow, intense strings music, and no whistling, suggested feelings of nakedness and exposure. Indeed, the duet seemed to suggest some form of domestic struggle, an argument between lovers, perhaps.                       

The episodic, abstract work continued, with a duet for two men, alone on stage, accompanied by guitar music with thudding, erotic bass. The dancers displayed spectacular dynamics and athleticism in their sincere contact work, as their movements seemed to emulate a conversation, with clear questions and answers, whilst the absence of any whistling in the aural setting gave a more serious feel to the work, in contrast to the lighthearted whistling in previous sections. All eight dancers returned to their huddled formation centre stage, as the music reached an epic climax of whistling and vivacious strings…. Their dresses and suits fell from the sky, as unexpectedly as a summer snowfall! Then again, Laplane’s work is anything but predictable!

After a short interval, the evening continued with Crystal Pite’s new work “Emergence.” Pite thought initially about the hierarchical structure of a ballet company, and how the concept of hierarchy is reflected in nature; she was inspired by how complex structures arise out of simple interactions. The piece was initially created in 2009, for the National Ballet of Canada, which was the first time Pite had worked with a large company, collaborating with composer Owen Belton to create a score that reflected a sense of chaos and activity within nature.                                                       

“Emergence” commenced with a dimly lit stage, illuminating two dancers who writhed animalistically on the floor, to electronic music with deep bass contrasted by high pitched sounds. The orange backdrop, printed with a series of curved black arcs to depict a flock of birds in flight, featured a circular hole, through which the other dancers entered the stage, giving a creative means for entrances and exits, reminiscent of bees pouring out of a hive, or insects crawling through a crack in the floorboards. The next movement involved the sixteen men of the company, crawling then contrasting elongated movements with sharp, dynamic canon as the aural setting of a marching sound added a sense of chaos. The men moved as a corps, as the dim lighting created elegant yet imposing shadows on the floor, soaring like starlings as they ran around the stage and smoothly exited as the women ran on, wearing black corsets, masks and pointe shoes. In a tight huddle, they bourreed, creating artistic shapes with their arms, moving and breathing as one, then whispering their counts aloud for the audience to hear, highlighting the complex aural setting and irregular phrasing.  The piece explored a variety of relationships; duets, trios, girls dancing with girls, boys dancing with boys; every movement displayed intense energy and unity, as each section effortlessly interlinked, never leaving the stage empty, communicating the constant sense of activity within nature.                            In a particularly thought provoking quartet, a female dancer worked alongside three male dancers- all wearing black trousers, with bare chests. The controversial female costume forced the audience to question gender roles; there are no gender roles or rules regarding ‘appropriate’ clothing in nature, so why, in society is it considered acceptable for a man to have a bare chest, but not a woman?! Also, the brave decision highlighted the althleticism and strength of all of the dancers, proving that women can dance with just as much strength and physicality as men can.                               ‘Emergence’ reached its spectacular climax with all 36 of the company dancers on stage, dancing sharp, repetitive, dynamic gestures, emanating conviction, unity and strength.                                   Although all three works were phenomenal, I couldn’t help but find myself wondering…. If ‘Scottish Ballet’ are becoming such a contemporary company, what will this mean for the future of British ballet? Will contemporary works eventually become more popular than the classics? I hope not!! 

Bolshoi Swan Lake, 30/7/16

Continuing their spellbinding 3 week season of performances, the Bolshoi Ballet presented a matinee of Swan Lake on July 30th, starring Anna Nikulina as Odette/Odile, and Ruslan Skvortsov as Prince Seigfried. Choreographed by Yuri Grigorovich, this interpretation of the iconic Petipa/Ivanov classic premiered in March 2001 at the Bolshoi theatre in Moscow. 

Georgy Gusev acted well as the Jester, although fell out of a tour en l'air early into the first act, nonetheless later redeeming himself with a precise series of 32 turns a la seconde. Darting impishly around Kristina Kretova during her elegant pas de trois solo, Grigorovich's choreography gave a delightfully mischievous dynamic and entertainment quality to Gusev's Jester, without making the characterisation excessively hyperbolic.

The elaborate set, designed by Simon Virsaladze, depicted the Prince's castle as a gothic, dark haunt, rather more reminiscent of an eerie dungeon than a ballroom! Despite this, the costumes emanated colour; an apt red and black catsuit for the Jester, (a breath of fresh air compared to the unfortunate Christmas turkey style leggings worn by the Jester in a UK company!!); yellow dresses for the Prince's friends, and dazzling white tunic with tights for the Prince, adorned with an excellently gleaming diamond neckline.

Seigfried- having strayed from his party for no apparent reason, without being given a crossbow- found himself beside an eerie lake, seemingly drawn to it by the omnipotent Von Rothbart, portrayed eloquently by Mikhail Kryuchkov.

As in the Russian State Ballet's interpretation of Swan Lake, Von Rothbart and Prince Seigfried danced alongside each other, to Tchaikovsky's iconic, haunting Swan Theme. Both dancers demonstrated soaring ballon in their jumps, matched with an undeniable stage presence. 

The corps of Swans, however, lacked unity, seemingly under rehearsed and over tired, with a distinct sense of imprecision- which was not helped by a violin inconveniently squawking a note during the Big Swans dance!

Anna Nikulina's Odette was both frantic and vulnerable, with long, willowy arms and lightening speed courus. She appeared to lack connection with Skortsov in the White Swan pas de deux, although executed neat pirouettes, with a lyrical sense of yearning in her solo, most evident in her sustained piques to arabesque. 

The Cygnets seemed somewhat clumpy; their coupes travelling across the stage were devoid of any precision, although they did manage to synchronise their heads.

Skortsov's act 2 mime, swearing his eternal fidelity to Nikulina's Odette, felt poignant and genuine, shadowed by Von Rothbart's imposing silhouette, a symbol of eternal sorrow for the wretched lovers.

In Act 3, Daria Bochkova displayed sophisticated flair as the Spanish Bride, with a dynamic saut de basque and stylish grand jetes. Her costume, however, of a white tulle dress embellished with black diamantes, bore little resemblance to traditional Spanish dress!

Nikulina could clearly be seen walking behind the large gauze depicting a Royal crest in preparation for her entrance as Odile- her entrance was nonetheless spellbinding, with razor sharp piques, and a cohort of three Black Swans, making her seem more birdlike than feminine.

Nikulina easily entranced Skortsov in the Black Swan Pas; he showed pleasing ballon and clean tours en l'air in his solo, although seemed uncomfortable dancing virtuosic pirouettes, battling to complete more than four rotations. Skortsov gave an immaculate coda, whilst Nikulina struggled with her fouettes-exhausted, she struggled to conceal the difficulty of the movement.

By Act 4, the Swans had gained some sense of unity and musicality, whilst Nikulina showed a beautiful poised quality in her upper body. Black swans continued to infiltrate the corps, a symbol of Rothbart's unyielding power, which ultimately killed Odette in an emotive catharsis, leaving Seigfried to grieve, alone by the lake.

Bolshoi Ballet; Don Quixote

Sixty years after the Bolshoi Ballet of Moscow's debut performance in London, in which veteran ballerina Galina Ulanova reportedly received a 45-minute standing ovation, the company returned to the Royal Opera house, for a 3 week summer season of performances.

Opening the season was Marius Petipa and Alexander Gorsky's ballet Don Quixote, to the traditional score of Ludwig Minkus, which debuted in Moscow on December 14th 1869, and was revived in February 2016 by Alexei Fadeyechev.

I watched- from a fabulous seat in the Balcony- the performance of July 27th, starring Ekaterina Krysanova as Kitri, and Semyon Chudin as Basilio (known in the Russian version simply as Basil).

The Act 1 staging depicted a bustling Barcelona town square, complete with neutral coloured bridge and houses, with a patterned floor adorning downstage. Certainly no scrimping was made in the lighting department, as the bright white stage lights dazzled to the very back of the theatre!

From her first entrance as the innkeeper Lorenzo's beautiful daughter Kitri, Krysanova exuded charm and passion, clearly evident in her vivacious Act 1 variation. Her soaring sissonnes, enhanced by her spectacularly flexible back typical of Russian training, and precise pirouettes, showcased her technical bravura and musicality. Nonetheless, her performance felt, at times, just a fragment restrained;  her run to upstage left preceding her diagonal of pirouettes felt more akin to a delicate Princess Aurora, than a feisty young Spanish girl bursting with life.
The busy stage, adorned with villagers and scarf-wielding Matadors, added to the exuberance of Krysanova's portrayal of Kitri as she effortlessly captured the heart of Alexei Loparevich's valiant Don Quixote, who mistook her for Dulcinea, the lady of his dreams. Her vibrant red Flamenco style dress complemented those of the villagers, with a flower tucked behind her ear as a symbol of youth.


In Act 2, deluded Don Quixote perceived a gypsy play as reality, and mistook an impressive, moving windmill for an evil magician; seizing a mill sail, he flew through the air and plummeted to the ground. His sword bearer Sancho Panza helped him to a forest, and left Don Quixote to sleep as he ran for help. In his dream, Don Quixote hallucinated his beloved Dulcinea, danced exquisitely by Krysanova, whose elegant ports de bras and poised upper body gave the role a pleasing sense of ethereal grace. The corps de ballet of mystical Dryads demonstrated immaculate formation and line, weaving intricate patterns with spellbinding synchronicity.


Basil and Kitri in Act 3 married in the Duke's Castle, following Don Quixote's persuasion to Lorenzo to allow Kitri to marry her love rather than the rich nobleman Gamache. Krysanova and Chudin showed delightful chemistry in the iconic Grand Pas de Deux, with a captivating sense of assurance in the one-handed full press lifts, emanating style yet easily maintaining the delightfully playful air of young lovers.

The phenomenal orchestra, comprised of over one hundred world-class musicians, truly excelled; one particular spine-tingling moment was the commencement of Chudin's variation in the Grand Pas; like a tsunami the great crescendo seemed to dominate the earth and sky, glory radiating in its perpetual beauty.
Chudin's initial saut de basque soared through the air with the elevation and strength of a spectacular albatross, as he defied gravity with every leap. However, his technically precise pirouettes lacked virtuosity, executing no more than five rotations.

Krysanova also exhibited impressive ballon, but her starring moment came in the coda, where she effortlessly executed forty extraordinary fouetté turns. She began her sequence with immaculate consecutive double fouettés, switching to singles to reflect a musical change, then concluding with a perfect triple, rewarded with a well deserved standing ovation at her curtain calls. The London summer season continued with Flames of Paris, The Taming of the Shrew, Swan Lake and Le Corsaire; Krysanova, rightly so, danced the lead in each of the ballets, demonstrating her exceptional versatility and stamina, capturing the hearts of London and beyond.