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RuthE

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About RuthE

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  1. But orchestral concerts are what the RFH is purpose-built for. Being able to see the orchestra laid out on the platform and so on. That's exciting in itself.
  2. I would absolutely pick Fille as a first ballet for a child. The trouble is, it's just been done, and won't be back for over a year at the earliest - perhaps two years. If I was wanting to take a child to a ballet sooner I might pick Alice. The current Royal Ballet production of Nutcracker is not ideal, in my opinion, unless the child is very into watching pure dance, as after a wonderfully detailed and magic-filled Act 1, most of Act 2 simply involves watching lots of people dance in almost identical costumes. The first time I saw Fille, 15 years ago or more at the ROH as a lone adult, it was a Saturday matinee and there was a great family atmosphere. In the closing moments, as Alain comes back for his red umbrella, a small child somewhere in the front of Amphitheatre Left exclaimed "Naughty boy coming through the window!" and corpsed the whole audience. I imagine when Fille next comes around it might be a good opportunity to take my nephew, who's just turned 5. To the poster who said the venue won't be remembered - I remember being taken to see English Festival Ballet's The Nutcracker when I was 8 at the Royal Festival Hall, and I actually remember the lack of atmosphere quite clearly (the blue writing on the side of the building also stuck in my mind, as we moved 300 miles away shortly afterwards and I recognized the building again the next time I saw it, over ten years later). I suspect I'd have found it more magical in a purpose-built traditional theatre, even if it wasn't the ROH.
  3. Recommendation for 17 yo dance novice

    Yes, Morley is near Waterloo. I briefly did the City Lit absolute beginners course a few years back and it was in Covent Garden at the time.
  4. Just as an aside... this has reminded me that it's so long since the RB last did Bayadere (summer 2013? with no revival planned next season either) that Yasmine Naghdi was at the head of the line of Shades...
  5. Funnily enough, this sums up exactly why I don't really enjoy La Bayadere! I don't think I'm a proper ballet fan at all, just a theatre/drama fan, and though there are abstract ballets I enjoy enormously, I don't tend to like ones which ostensibly have a plot but are really just about watching people dance...
  6. Decided I need a night in more than I need to see La Bayadere tonight (Friday 11th August). SCS D24 for sale (£15), going back to the box office if nobody claims it by 1pm. I'll also advertise it on Twitter.
  7. Still Problems!!

    Me too. My workplace server has also in the last few hours been flagging the forum as being a parked domain, and has blocked it (this hasn't happened before).
  8. I very rarely go to any kind of cinema relay, as I live within easy reach of the "real thing" and can get standing tickets for much less than the cost of a cinema ticket. However, when I do, once or twice a year, it's usually Met Opera Live, which is *very* expensive in London (it's difficult to find a venue showing one for less than £30 without any kind of member's discount). £30 is expensive, but if there's a particular cast or production I want to see in something, I justify the expense on the basis that it's a damn sight cheaper than flying to New York.
  9. In answer to a specific point in the original post, your memory of the Stalls Circle is correct - in the centre block, rows B and C are awful seats unless you are tall (and if you're tall and you sit in row B, then of course the person behind you in row C probably has an even worse view). I would also say that sightlines in most of the Balcony can be poor value for money especially if you are short. If money is no object I would suggest you aim for Stalls Circle row A, Balcony centre block Row A, or anywhere in the Grand Tier (except the boxes).
  10. Curses! It's not that I booked specially for Tereshkina/Sklyarov, as I took pot luck on casting which hadn't been announced when I booked, but the fact that it was meant to be them on Friday was the reason I still have my ticket, La Bayadere not being a favourite of mine by any means. Now I'm not so sure...
  11. Yes, absolutely. From my aisle seat in the Balcony (at the same performance you mention) I had my view of the stage completely obscured for several minutes by a massive crowd of latecomers being let in, standing there in the aisle in front of me dithering, chatting and looking for their seats. I realize travel problems happen (and that people misread their tickets - this was a 2pm matinee, when most assume matinees start at 2:30) but the house allowing latecomers to cause such disruption is not fair to people who took the trouble to get there on time. I've been late to things on a handful of occasions and accept that that means watching outside on a monitor until an appropriate admission point. So should everybody else. And after the intervals the front of house staff did nothing to prevent people who couldn't be bothered to get back in on time drifting back in and blocking others' view, either.
  12. Actually it finished at 9:25, which is what it said on the cast sheets, unless you're counting prolonged solo calls front-of-curtain which may have occurred after I escaped. It was 9:28 when I checked my watch as I got to the exit, as I remarked upon the prompt finish with an usher! What a refreshing change... I would venture to suggest it felt rather long for such a short ballet, however...
  13. I have the luxury of living 45 minutes from the ROH by bus, and even I am put off by anything that finishes after 10:30pm on a weekday. When I have to leave for work at 8am It makes such a difference to arrive home at about 11, be able to fit in a few basic chores at home, and still be in bed by midnight. Looking forward to Anna Karenina's reported 9:30 finish time tonight! Even with the Mariinsky's usual lax approach to running times, I'm hoping that means I'll be out well before 10.
  14. Audience Behaviour

    Exactly. (I'm off to the RSC tonight...)
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