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  1. Thank you for all your help ladies. Looks like I will be slipping out quietly during Symphony in C, even with prompt starts 😕
  2. Does anyone have any idea of the total running time for these three ballets please? I can't see anything on the website, and I need to organise trains/hotels/etc.
  3. I loved this. So interesting, especially on the ownership of women's bodies. Raised my opinion of Ms.Rojo by many notches.....
  4. Very upset to see that Bristol Hippodrome has been dropped this year. I looked forward to it every year. 🙁 I too am not excited by the triples either, for the same reason that I favour a novel over short stories.....
  5. I arrived at Wednesday night's performance expecting to love Les Patineurs and The Concert, but came away thinking about 'Winter Dreams'. Only the hardest of hearts wouldn't have smiled as the curtain opened on the glorious setting for Les Patineurs or chuckled at the antics in The Concert, but it was only in Winter Dreams that I felt the fairy dust that the Royal Ballet are sprinkling over everything they do at the moment to be evident, although they gave it a good try in Les Patineurs. However, I did keep thinking during The Concert, I've seen this done better (mostly by American companies). Winter Dreams, however, I though would have been a masterpiece if I could have seen it properly. Whilst the melancholy and sense of entrapment of Chekov's play was conveyed beautifully by the lighting, it was however infuriating not to be able to see the men's dancing (especially Vadim's) dressed as they were in uniforms that to me were almost indistinguishable from the backdrop and floor. It became extremely tiring trying to pick out the details of the dancing, and I have excellent eyesight, and I felt all the while that something lovely was going on that I couldn't see. It was such a relief when Irina came on in her bright pink dress, and I could see her! When she was being lifted, at points, she seemed to be floating without support, and I thought maybe that was making a point, that the men are ciphers, but I don't think that could have been the intention, especially with Vershinin. I don't think the production would have suffered at all if the men had worn lighter tights, for instance. I pity those with less than perfect vision. I do wonder how much this contributed to the sense that has been expressed by some (and by the elderly lady sat next to me who thought it "Boring") that it was overlong. I think that was possibly a result of the unvarying scenery and lighting. I thought afterwards how much more interesting it would have been properly lit and set in a house, a forest, etc. Maybe there should have been an audio description.....
  6. So the running times are finally up. A day before the first performance. Surprise, surprise, it is 2 hours 45mins approx, which is exactly what Floss predicted from previous running times. How come Floss can do this and not the ROH? It is totally unacceptable, so close to the first night. I have friends who can only just today calculate how to get home on Thursday, back to Poole. I can only assume that the Londoncentric ROH thinks it will only make a difference in what time you get to the restaurant or drinks or the tube afterwards.....
  7. They probably still won't know, even after the first night 😁🙃😆
  8. My friends have the same approximate time to catch their last decent train home. They are waiting on me to tell them if they need to try to stay over or not, and I can't help them 😬 with no information from the ROH. However, based on Floss's kind calculation from previous performances of 1hour 47minutes of dancing, say 1hour 50mins, plus two intervals of 30mins each max, that's a 10.20pm finish, I think.....
  9. Thank you so much Floss for looking those up (I didn't think of looking at past timings), and doing the job that an ROH employee could have done if they could have been bothered. Once again, it displays their indifference (or ignorance) of the fact that not everyone lives in London and many have travelled for two or more hours to see a performance and have to make the same journey back afterwards.
  10. Does anyone know please the full running time including intervals of this production, as I can't seem to find a 'finishes at time' anywhere on the ROH website? Thank you in anticipation.
  11. I found myself welling up a few times. Very worthwhile programme, and well done DB. I thought she was genuinely moved at times, and the decision to leave in the remark from one of the dementia sufferers, when she said, and I paraphrase, You used to be a ballet dancer, not that silly come dancing stuff, was a brave one.
  12. Oh boy, that is exciting, saw it twice in the summer, but would love to see it again! Hope it's the recent Scarlett production!
  13. I have looked, but can't see any TV listings for ballet performances or docs, as there usually are over Christmas, for this year. Does anyone know if we are to get any ballet treats on TV over the festive period?
  14. Apologies to the homeless, by the way. Remarks about rothbart not meant to offend anyone, I should have thought that one out a bit better.
  15. Just back from Bristol opening night. A curate's egg. Corps superb. Shale Wagman (Neapolitan) wow - couldn't take my eyes off him. Definitely one to watch for the future. Francisco Frola danced a convincing Siegfried. Erina Takahashi knew the steps......and had Rothbart fallen on hard times and been sleeping on the street? He certainly looked like it with his big beard and dreadlocks. Also, with the weird storyline anomallies having been ironed out in the new RB production, they stood out like a sore thumb in this one. Siegfried leaving the stage when he is supposed to be choosing a bride, Rothbart coming to the ball as a big hairy bird thing, the foreign princesses all dressed the same and with no link to their retinues costume wise. Hmm. Anyway, the orchestra played with relish and the corps danced beautifully and with precision. .
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