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  1. But in that case, the poster would have been produced at a time when she *was* scheduled to be dancing in it, with Ball. In a similar vein, I remember a period a few years ago when Sod's Law meant that if a certain opera singer appeared on the cover of the Friends' Magazine, they would then drop out of the opera they were meant to be in It happened with Jonas Kaufmann in Les Troyens and with Diana Damrau in Robert le Diable within a couple of issues of the magazine, and I think there may have been somebody else too...
  2. Based on some prior Peregrine sightings, you may, er, need to be very specific about what he's meant to be extending
  3. I found the leotard and it fits! I’m on the hunt for a new one, though - the cut is awful for keeping a bra invisible underneath (this is a non-negotiable part of my attire). And I seem to have been into Dancia this afternoon and acquired a pair of ballet shoes and some tights. So apparently I am now equipped to start doing drop-in classes at my earliest available opportunity...
  4. Indeed - though some have pointed out in the past that there is a certain resemblance between Naghdi and Stix-Brunell (for example when the two of them were cast together as Alice's Sisters). I don't see it myself, beyond approximate height and colouring - they have quite different bodies and faces. But I agree Leticia Dias looks very like Stix-Brunell, to the point that when I was watching class on the World Ballet Day YouTube feed I thought Dias was Stix-Brunell, until I spotted Stix-Brunell further along the barre. It often takes me a while to put faces to names of the company's more recent junior joiners, and I had to scroll through the artist pages on the ROH website to find out who she was.
  5. Bloody hell, LinMM... one thing at a time
  6. Ha! As I said in my OP, I did briefly take the City Lit class several years ago and quit after one term. But I wasn't into ballet in any other context at the time. I've also recently become really health-conscious, and motivated about trying new things, in a way that in the past only ever materialised as a phase I was going through, but which weirdly seems to have "stuck" this time. I was thinking today that there's no reason I shouldn't try some David Kierce classes between now and when term starts in the new year, when I have the odd Thursday evening or Sunday morning free. Now to see if I still have the leotard I bought at the age of 29 and find out whether it still fits me at 40...
  7. Thanks everybody! I haven't been on the forum over the weekend and I see you've all been talking amongst yourselves Most of the classes mentioned are ones that I was already aware of from having searched this forum, though thanks MayKwok in particular because I didn't know there was one at The Place. It's not that I'm *never* free on an evening other than a Tuesday, just that it's the only evening when I would be able to commit to a termly sign-up. Basically, earlier this year when I started booking tickets for things in 2019, I noticed that I'd coincidentally kept all my Tuesdays free, so I decided to keep it that way on principle with a view to finding a new extracurricular activity to fit into it. (On Mondays I sometimes do a singing thing; Wednesdays, Thursdays and sometimes Fridays are when I tend to book opera and ballet tickets, and are already quite booked up in early 2019. And my singing teacher only teaches on Tuesdays and Wednesdays, and I try to have a fortnightly lesson, so if I'm deliberately keeping Tuesdays free I need to make sure I fit them in on Wednesdays.) So, drop-in classes are a possibility on Mondays and Thursdays (David Kierce's Thursday class at Central was definitely on my radar) but I figured as an absolute beginner I should start by getting into a regular routine. And if I stick with it long enough to get out of the absolute beginner category, I realise I then have a much wider set of options re drop-in classes labeled "beginner". In the meantime, I have booked and paid for the spring term at City Lit.
  8. I've known this happen in opera. Not in the UK, where it's generally the case that a replacement singer will directly replace the person who has withdrawn, or if there were two casts, they are often contracted to cover one another anyway and the performances are far enough apart that they can do so. But there's one singer I've travelled to see in various places, who has *twice*, in two consecutive trips of mine to different houses, been promoted from the 2nd or 3rd cast to the 1st cast at quite short notice and then had her original performances backfilled. This led to me having to change flights and hotel bookings so I was in the relevant city on the right day, and had the singer in question not taken pity on me and arranged my performance ticket, would have necessitated my attempting to book extra tickets at short notice for sold-out performances at my own expense, as the theatres in question did not have reasonable exchange policies.
  9. And indeed, when a corps de ballet all has to look the same, and one dancer's feet and legs a different colour from the rest of the corps would look SO much weirder than feet and legs a different colour to that dancer's costume. Especially when, as there often is, there are white tutus involved. It would never remotely occur to me that a dark-skinned dancer looks "wrong" in a white tutu. After all, the ballet companies I see regularly have a range of skin and hair colours in the corps, and even the white dancers aren't LITERALLY white. It's just a costume at the end of the day, and in the case of a corps in a white act, they all need to match to look right.
  10. Looks like the decision may have been made for me, as I've just had a DM about a hiatus in classes at ENB next term while they move premises. So... anyone currently doing the City Lit course on a Tuesday evening and have any particular things to say about it?
  11. I'm currently looking into enrolling in an adult absolute beginners' ballet course in the new year and was wondering if anyone has any feedback on these specific ones. I'm based in inner London and work regular office hours. The only evening I can be consistently free on a weekly basis is Tuesday, which as far as I can see means I have two options: the ENB class currently taught by Sarah Golightly (not yet taking bookings for January but I'm assuming it's likely to continue to its current schedule) or the City Lit class taught by Alexander Simpkins. Each has its own advantages in practical terms. (I am also almost always busy on Sunday mornings, so the drop-in class at Central isn't an option.) I actually took the City Lit course for one term a decade or so ago, but it was a different instructor back then so I would assume it isn't directly comparable. I quit after a term because I wasn't really into it, but back then I barely even had an interest in the art form, so I didn't really understand what it was "for". Having attended ballet performances regularly for a few years I'm now approaching this possibility with new-found enthusiasm! Any feedback on either of the above would be greatly appreciated, so I am armed with a decision about which to take before either of them gets booked up! Thanks in advance. Or indeed if there are any others on a Tuesday evening which I am not yet aware of...
  12. I got myself double-booked for the 16/11/18 performance by the Osipova/Corrales/Nunez cast and ended up booking to see them tonight instead. My ticket for Friday 16th - Amphi E35, £16 - is therefore up for grabs. It's technically restricted view, I think, but unless you have seriously oversized or inconsiderate neighbours there will be no restriction beyond a tiny corner on the front left. PM if interested!
  13. Does anyone know if I am correct in assuming that the live stream will be available on demand to watch afterwards? I'm out this evening...
  14. There were definitely always 2 shows on 2nd Feb. I know because I accidentally booked for the evening and had to email them to change my tickets for the matinee.