Just got back from one of those magical nights in the theatre, when stillness is at the centre of the experience. Even more remarkable when it was an evening of dance at the London Coliseum, for a few days only. At the end of a brilliant performance, including the suicide scene from Mayerling, and Macmillan's Requiem, Carlos Acosta sat on a chair, under a spotlight for several minutes. Then he put on his shoes and picked up his bag and walked away, shattering me and reducing my companion to tears. A simple and heartfelt goodbye. Only I hope it isn't goodbye. Carlos Acosta really connected with the audience, as did the rest of the company and the wonderful Pegasus choir. Please all keep dancing and singing. We need art and beauty. More please Carlos.
Very disappointed by this Swan Lake, in spite of some beautiful dancing. No love,almost no magic and the sudden ending was a huge let down.A brilliant performance by Vladislav Lantratov as the 'Evil Genius' kept me going. He created a sense of danger and wildness in spite of the technically awesome but emotionally barren dancing of the other principles. The way that the ballet kept stopping for individual bowing and clapping really spoilt the flow of the dancing, ending the chance to create a passionate drama. This review explains the concept of the director, a concept that didn't come across for me http://www.standard.co.uk/goingout/theatre/bolshoi-ballet-swan-lake-royal-opera-house--dance-review-8737509.html
My ideal job description would be Merlin’s