At 12:30, I slip into the back of the auditorium to watch the Mixed Bill rehearsal. It isn’t without fits and starts and constant pleas to the conductor of the Royal Philharmonic, Allan Dameron, to slow the tempo. Admittedly, Balanchine’s Divertimento No. 15 is not a favourite of mine but I can’t help but admire how extraordinarily the choreography fits with Mozart. A short break and it’s Nacho Duarto’s Jardi Tancat. A desert bronze floor is rolled out and taped down, a cage of wooden sticks surround the floor, lights go down, lights go back up, the dancers go over bits of choreography and try to avoid the chaos. Tancat amazes me with how the dancers seem to be both free from the restrictions of ballet, and at the same time constrained as if they were in a glass bubble in their use of flexed hands and feet. It’s a lovely demonstration of the versatility of the company. Le Corsaire provides an additional treat as I’m treated to not one but three different casts in two run-throughs. The costumed dancers glitter, and are encouraged by shouts and applause from the wings. Most of them mark it through but there are still pyrotechnics to enjoy.

The the Company moves right on to Fearful Symmetries. Everyone’s tiring and again the music is too speedy but most remain good-natured and a long section that involves most of the company finishes with a cheeky grin and thumbs up from one of the principals, Paul Gibson. The magnificent playing last night by the Royal Philharmonic orchestra has not gone unnoticed by the company. Mr. Dameron is kindly acquiescent to the dancers’ suggestions. To the orchestra, “Please everyone, when you see my karate chop then STOP!” I do wonder how often the Philharmonic play for ballet and what they must think of catering to the dancers! In any case I’ve had a lovely day and keenly anticipate the evening’s performance.

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