In the early twentieth century, Dhiagelev's Ballets Russes toured Europe and brought the male dancer out of Victorian shadow with proud and sexy expressions of masculine strength, dignity and leadership.
English National Ballet's Beyond Ballets Russes had to be on my agenda and I thought I was doing well to buy half price tickets on lastminute.com. How annoying to find afterwards I could have bought them for much less through dance websites: http://www.dancetabs.com/ and http://balletnews.co.uk/
The ENB's dancing was superb and it was refreshing to take a break from the dramballet format of the likes of Nutcracker.
Ballachine's Apollo was inspiring. The god and three muses. I half joke I always want the role of prince but a god would be promotion. Can I persuade my ballet teacher to choreograph a watered down version of Apollo for our dance school show in July? Watch this space.
The 1920s male bathing beauty was a cheeky acrobatic demonstration piece full of fun, evidence that there really is only one letter difference between pose and poise.
Suite en Blanc was worth the full price ticket alone. From its set piece opening snapshot to the rapidly unfolding scenes of classical ballet it was a machine gun of a ballet.
But what about the curtain calls? My ballet teacher was at the previous evening's performance and praised the dancing to the hilt. But he warned us that if any student ever did sloppy curtain calls like theirs he would shoot us.