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Scheherezade

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Everything posted by Scheherezade

  1. Scheherezade
    Celine, how lovely! I do hope that I am there to see your evening gown and that you post a photo on the forum.
  2. Scheherezade
    Oh yes it is and then some! Think the fourth ring of the ninth circle of hell on endless and merciless repeat and you’re getting close. One of the hardest things I have ever done was to sit through Creature to the very end. The performances were superlative but no power on earth could induce me to endure two such hours of unrelenting queasiness, uneasiness and soul-destroying torture ever again.
  3. Scheherezade
    Oh, @LinMM I am so with you on this! @Linnzi5 in that case you obviously haven’t seen Creature.
  4. Scheherezade
    I do get what you are saying @art_enthusiast but I don’t believe that the more expensive tickets should carry a greater expectation of courtesy from your neighbours. Or, for that matter, that it’s likely to come with the territory. As @BeauxArts said, the contrary is often the case since the cheap tickets are frequently taken by those who love the art form rather more than their own sense of entitlement. And @Sophoife, I would endorse every one of your examples of behaviour to despise. I’ll take your curmudgeonly and raise you cantankerous, adding people who: indulge in manspreading and glare at you with undisguised hostility if you try to reclaim even the smallest piece of your own designated space; take an eternity to move from their end of row seats at the interval while a restless queue is shifting uncomfortably, trying to get out; wear a too-cool-for-school hat and keep it on throughout the performance; drape their coats over the seat in front to the discomfort of the person sitting there; cough and sneeze repeatedly without covering their mouth; play with their hair, flicking it, pushing it up, pulling it down and endlessly twirling it round their fingers; remove their shoes, delighting their neighbours with a lovely cheesy smell for the duration of the performance; whisper during the quiet bits in the mistaken belief that the hissing sound they make can’t be heard by people sitting nearby. The worst offenders, though, must surely be the loved up couples who lean in to each other from the moment the lights go down, heads touching throughout, exchanging meaningful hugs and kisses with depressing regularity. Get a room! And I don’t mean the auditorium.
  5. Scheherezade
    Can I join the queue please for SCS or central balcony standing for Sat 6 April Swan Lake.
  6. Scheherezade
    You are not the only one, Fonty. The men’s headpieces apart, I loved the costumes and the set, both the designs and the colours.
  7. Scheherezade
    That’s a no, Emeralds, and I admit I hadn’t checked the choreographer’s details so thanks to @San Perregrinofor providing Ossian Meilir’s bio. Mark Baldwin choreographed the Rambert work.
  8. Scheherezade
    Possibly the Garsington Opera / Rambert / Sadler’s Wells pre-lockdown version?
  9. Scheherezade
    My thoughts exactly. No guesswork needed to identify the director.
  10. Scheherezade
    And Animal Rights protesters would have been charging to the rescue, not to mention the content warning notices that would have accompanied the performances.
  11. Scheherezade
    I usually like Etudes most of all too, Estreiiita. What I don’t like so much is the fact that it is performed here in the UK so infrequently.
  12. Scheherezade
    Can we start a petition, please, to ditch the blonde wig. And who decreed that Titania had to be blonde anyway? Edited to add that I have half a recollection of seeing a non-blonde Titania but can't be sure and I don't think it was Hayward. Takada perhaps?
  13. Scheherezade
    Same here. The Judas Tree is the one work that I massively disliked and am more likely to sit out but although the subject matter of The Invitation is salacious, the choreography and narrative arc are pure Macmillan, as is DD.
  14. Scheherezade
    Hello @supergolden, I have sent you a DM.
  15. Scheherezade
    Las Hermanas, Gloria, Winter Dreams, Song of the Earth, not to mention the many works that we haven’t seen in decades …
  16. Scheherezade
    Top flight influencers are given an eye watering amount of high end goods as their endorsement brings in far more revenue for the suppliers. And to channel Linda Evangelista’s oft-repeated statement that ‘80s supermodels wouldn’t get out of bed for less than £10,000, influencers who are at the top of their game are paid upwards of this sum for a single line of text or a few spoken words so, yes, lucrative indeed!
  17. Scheherezade
    I think I’m going to have to blow my entire birthday budget on seeing as many cast combinations as I can fit in. Why am I not surprised?
  18. Scheherezade
    🤞🤞🤞
  19. Scheherezade
    How did you manage that, San Perregrino? My daughter tried on the dot of 9.00 and it was showing Sold Out.
  20. Scheherezade
    I am very happy to read your views, Richard LH and Lindsay and having booked months ago purely to see Grigorian due somewhat to Butterfly fatigue over the last few seasons, would have looked forward to this coming weekend’s performance whatever the strengths or weaknesses of the rest of the cast. I can’t recall which review pointed to Grigorian as the sole reason to see this cast, although most of the critics point to her performance as something of a class apart. Bety glad that you both rated the supporting cast too.
  21. Scheherezade
    Asmik Grigorian is said to be the sole reason for seeing this cast. She is also the reason why I booked but I won’t be going until the weekend so can’t report back and just hoping the casting doesn’t change between now and then. Would be interested in what anyone else thinks.
  22. Scheherezade
    I have a friend, not young and now US resident, who frequently, and happily, wears tutus (albeit the longer variety) when attending the ROH.
  23. Scheherezade
    I have noticed recently - and I mean very recently - a number of young people, largely in the Floral/Paul Hamlyn Hall, glammed up to the nines. I don't know whether they are influencers and their friends, or people influenced by influencers, or whether suddenly, and entirely independently, noticeably larger numbers of young people have decided that they would like to attend performances at the ROH and dress up in a way that I can't say I have particularly noticed previously. I have nothing whatsoever against young people dressing up in this way, in fact I think that most of them look fabulous, but is this entirely coincidental and, if not, is it perhaps reinforcing the exclusivity tag? As regards influencers and their ilk, I have also seen Made in Chelsea people (no, my daughter recognised them, not me) posing up a storm in boxes during the intervals and whilst I may be barking up totally the wrong tree, it did lead me to wonder whether their tickets may have come courtesy of the Opera House.
  24. Scheherezade
    Brilliant review, Bridie, and I agree with everything you have said. I would add that this is the type of triple bill we really should have: something charming and witty as an aperitif, a challenging work in the middle and, to round off the evening, a piece that is utterly sublime. And what a showcase of MacMillan’s range. I think the muted reactions to Dances Concertantes show how much we need to familiarise ourselves with this type of what would now be grouped under the less than helpful umbrella of ‘heritage works’. There was much to admire but we are just not used to seeing works like this any more and they should not be allowed to fade from the repertoire. And I also liked the costumes and backdrop. Different Drummer was never going to be an easy watch but Hayward and Sambe were totally riveting. For me - and, I suspect, others - the grotesques (ie the doctor and the captain) shaped the uncomfortable side of this work and I put this down entirely, and clearly deliberately, to their appearance rather than their contribution to the onstage drama. And dramatic it certainly was, with many a nod to the familiar MacMillan canon found in Manon and Mayerling. Hayward was sublime, utterly moving in her portrayal of a Marie who was always prisoner to her unhappy fate and Sambe’s Wozzeck combined anger and desperation with more than a hint of Petrushka, although I too would love to see Bracewell’s interpretation. And Requiem? Just perfection. No more needs to be said.
  25. Scheherezade
    I totally agree.
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