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  1. Sorry! 😁 Yes, absolutely. On the basis of having attended a grand total of one of her classes (a Friday 7pm at Central), I concur with both parts of this. She caught me making a "concentrating face" and told me I looked like a turtle. And at one point during centre practice I let my turnout go on my standing leg, corrected it, and she immediately said "your foot read my mind". But the number of approving nods was pleasing. Also, on the pastoral side, I liked that Hannah started by asking the names of everyone she hadn't taught before. I found her combinations at the barre longer and less immediately memorable than some, but I am sure that was simply to do with not being used to her style. I don't doubt that after a few more of her classes it'll inherently come more naturally to me. And her class felt like a physically-exerting workout more than any other class I've taken. She set a changement exercise at the end of class and made us keep doing it until we got it right. I came out of that class feeling like I'd run a 5km. I will definitely be returning to this class (or the Saturday one at Danceworks) on a semi-regular basis, and it's feasible for me to do so - on most average weeks I am free either on Friday early evening or Saturday mid afternoon. I've decided against signing up to that class I was considering at The Place on Mondays for practical reasons (can’t do 2 of the dates, both of which are in the same part of term as all the Bank Holidays, so I think continuity would be an issue), but will aim to attend one of Hannah's classes most weeks alongside my regular Tuesday class at City Lit, and to drop in at David's on the odd occasion when I'm free (of which more in a separate post).
  2. I took David Kierce’s class again this evening and (presumably because of the bank holiday weekend) it was a lot less rammed than usual - room for the whole class to do grands battements on the barre without having to do it half the class at a time, and lots of really good personal corrections. Also bumped into my barre buddy from my regular class who was sampling David’s class for the first time 🙂 Great way to spend a Thursday evening.
  3. Oooh, I’ll pass that on. Thank you. My friend is freelance so I believe can set her own schedule to a reasonable extent.
  4. Quick and slightly off-topic (location-wise) question: a friend not on this forum, who did a fair bit of ballet as a younger adult but hasn't done so for years, is tentatively looking for a regular class near her home in the Putney area. Please pipe up if you have any recommendations!
  5. When I heard that the ballet was called Medusa, my first thought - in the knowledge that there is vocal music by Purcell involved - was the reference to a different snake-haired figure in "Music for a While". I suppose I'll find out soon enough if I'm onto something. Music for a while Shall all your cares beguile. Wond'ring how your pains were eas'd And disdaining to be pleas'd Till Alecto free the dead From their eternal bands, Till the snakes drop from her head, And the whip from out her hands.
  6. Just to add a link to my thread that Kate recommended... Though as Kate says, it may be something more advanced that the OP is in need of. (I need to go and post again on that thread actually, having finished my first term of Alex's beginner classes, as well as trying out a few drop-ins. I had my first taste of a Hannah Frost class last Friday.)
  7. It’s actually the only section of the forum that I hardly ever read - I only have a look if there’s a review I specifically want to read. But this isn’t a change in usage - I’ve never been a regular reader of it.
  8. Glad I questioned my hearing here... I checked IMSLP for the full orchestral score and it’s marked for saxophone, not bass clarinet. Which would more readily explain a variation in sound from previous revivals, as sax isn’t a routine orchestral instrument so perhaps is a position filled by different freelancers...(?)
  9. *I* need her to reprise it. Her recent In Conversation suggested that she wasn’t even thinking about when her eventual retirement might happen, and that she had many many more years in her yet! As for the remarks about the orchestra, I was at the matinee and there were indeed a number of times when both the trumpet and horn sections came to grief - more so than usual. I also found myself wondering whether there was a new bass clarinettist, or possibly an existing one with a new instrument... it *is* the bass clarinet I’m thinking of, isn’t it, that comes in with the “Montagues & Capulets” theme in the bar immediately following Romeo & Juliet’s first meeting? It sounded different from usual (bear in mind this was my first viewing of the current revival).
  10. Thanks! I could tell that it wasn’t a mishap, but not whether it was something that would controllably always happen. If that makes sense.
  11. I saw it tonight for the first time (Velicu was the Chosen One) and was trying to work out whether the exposed breast was an inherent part of the choreography or a “wardrobe malfunction” which may or may not happen, arising perfectly organically from the nature of the piece. So is it “hard-coded” in the choreography?
  12. I was in my seat about 5min before the beginning of tonight’s performance, and the frontcloth went up about two seconds later. I didn’t get a chance to look at it! Now awaiting Nora...
  13. Yes, and rather than directing those people to a separate administration point, they funneled them towards the box office, where people would also have been needing to collect their original tickets, creating an impassable crowd in the foyer which almost made me have a panic attack.
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