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  1. Just to comment on the view from those seats: it isn’t restricted in any meaningful way. You might lose a very tiny corner of the stage on the front right - not where any dancers are ever likely to be.
  2. I thought that in the curtain call at the end of House of Birds, the dancer who played the Bird Woman (Cira Robinson when I saw it yesterday afternoon; Sayaka Ichikawa at some performances) had a large enough role to deserve a principal bow, rather than coming on as part of the ensemble after only “the girl” and “the boy” took a bow as principals. I love watching things up close like that, but I’ll admit to getting distracted by things I shouldn’t - like working out how the costumes were constructed! I liked all of it but I LOVED Laiderette. As Viviana Durante said in the Q&A, “If I were still dancing, I’d be BEGGING to dance Laiderette”.
  3. I haven’t seen either rehearsal or performance by this cast, and hope it isn’t inappropriate to pass comment as follows: Last night I spoke to a number of people who attended the rehearsal and, as a result, almost returned their tickets for yesterday’s matinee, but unanimously expressed their opinion that they were very glad they didn’t. More detailed comments were made, but those, I feel, would not be appropriate to share in the context of one of the subject matters being a rehearsal. Suffice to say that on the basis of the detailed reports I heard of yesterday’s matinee, I am seriously considering trying to get a ticket for the second Hamilton/Kish performance. Even though I’m general I am a fan of neither Hamilton nor Kish.
  4. I think you've misunderstood Ian; I definitely read it as "the two extracts (from the other two ballets) were a tad frustrating compared with the complete Laiderette".
  5. From the Kenneth MacMillan website: Laiderette, 1954. "Laiderette (from the French ‘laideronette’, “little ugly one”) like Somnambulism was a workshop production for the Sadler’s Wells Choreographic Group. Its motifs of rejection and exclusion would be recurrent themes in MacMillan’s later work. Maryon Lane danced the lead role..."
  6. Yes, but we all know how little understanding of the correct use of these terms there is in the general (i.e. non-arts-specific) media.
  7. The Proms 2018

    I start by checking out any dates I had already heard about on the grapevine, to see who the soloists are. Also I have a look at who the vocal soloist is for the Last Night, as that could be the difference between my attending and not attending. Then I just read the rest through from start to finish! I do wish they'd announce sooner. I've got two direct clashes with tickets I have already booked and am loth to get rid of.
  8. Thanks. Given that the latest update on the thread in the Special Offers forum gives a 40% discount, I’d have been more than happy with that. Almost booked for tonight but am glad I didn’t, as I’m in need of an early night. I may yet do so for Friday evening.
  9. Any current York scholars

    According to the RBS website, “Mid Associate boys are encouraged to attend our London Centre where specialist boys’ classes are held”. So it’s not that they CAN’T attend other centres.
  10. Owing to a clashing commitment I am selling Stalls Circle Standing D47 for the RB mixed bill this Wednesday at 7:30pm. It's £6 and a paper ticket. (I'm at Manon this evening and have the ticket with me, so can hand it in at the box office in the relevant name.) Please DM and post here if interested.
  11. Watching the first night of the Royal Opera's Lady Macbeth of Mtsensk on Thursday, for some reason I was struck by the fact that nobody ever washed their hands after handling dead rats, nor indeed partially decomposed human body parts... (Aaaaand back on topic...)
  12. And now that the names have been removed from the article, it looks as if I commented on something that wasn’t even mentioned in the article. Though even out of that context it’s a fair question given that the casting on the Barbican website still names Hayward (and nobody else) for Laiderette.
  13. Audience Behaviour

    The closing couple bars of M&A - when the piano is just playing dead, staccato chords - have an unfortunate association for me, though it was not the fault of the audience member in question. Others who were in Stalls Circle Left at the penultimate Rojo/Polunin performance in 2013 might recall somebody in SCS crashing to the ground in a dead faint at that quietest of moments. I was sitting directly in front of them!
  14. I have a vague memory that I got that error message when I logged in a week or two ago - but it was fixed just by refreshing...