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  1. @Rob S Slightly less wobbly, perhaps. Would go anywhere near assured to describe it.
  2. The youngster in front of me at a recent matinee had a comfy sleep in act 1, was spellbound in act 2 and not impressed with the lack of dolls and action in act 3.
  3. That must have been a horrible experience for you. I had people standing, or attempting to stand, next to the aisle seat in the upper slips for opera, and got an earful from one young man who thought it was very unfair that I didn't appreciate his company. Thankfully that was before the performance and my friend was having none of it, telling him exactly where to go (his seat - we are polite). In terms of health and safety, the one who sat on the bannister, feet dangling over the edge still boggles my mind. If he'd slipped, he would have flattened a few patrons in amphi row E, or worse. I only noticed what he'd done when he was climbing down, at least saving me the dilemma of whether to wreste him back to safety during the performance or not.
  4. I have endless patience for people sharing their encyclopedic knowledge
  5. Really liked the film, Hayward as glorious as expected (the camera clearly loves her) and the rest of the cast looked very good as well. Clever 'staging', though there was a bush that really needed pruning since it took centre view in a couple of scenes. The set and costumes are deliciously opulent. I was very happy to hear that Michael Nunn and William Trevitt are hoping to make more ballet films. I'd love to see Swan Lake filmed, though judging by the comments about mime and natural settings, that is unlikely to be a contender.
  6. Tag team, one for each side!. I was on SCS left that night asking a woman to switch off her mobile after she ignored several valiant attempts by people closer to her.
  7. Not terribly keen on the ES rules for wannabe luvvies. I'm exceedingly unlikely to tell Ratmansky how to choreograph better, or know what director X even looks like, but creatives who wish to not overhear the hoi polloi talking amongst themselves surely can find an audience free zone to admire their master piece. Don't cross your arms? Huh? I'm not there to babysit the feelings of a tender soul, but even the most delicate of actors must have sat in an uncomfortable seat trying to not shove their limbs into their neighbour's kidney and perhaps understand that not everything is a reflection on their genius. Don't get me started on the 'do eat' part. And I fondly remember returned theatre tickets based on reviews (from trusted sources) where hardier friends ground their teeth and went regardless - and continue hating the play for years to come. I've also learned to return some opera tickets when a particular section of Twitter gets very very excited about the production.
  8. I recently gave up on being an impeccably behaved audience member and now use my pub closing time voice to tell persistent offenders to switch off their phone. Who would have thought that the 'finish your drinks, please' cadence (unspoken implication: or the landlord will throw you through a closed window) acquired in a part time job 20 years ago works perfectly for a well aimed 'switch off your phone please'. Even achieved a 2 for 1 at Modanse yesterday - successfully asked the woman 3 rows down who was constantly filming to desist, and the guy 2 rows down who had just switched his mobile on for a browse nearly dropped it in his haste to switch it off.
  9. Thanks to all the contributors to this very interesting discussion. I'm strictly a ballet watcher and all I can say is that I prefer a dancer to do/wear whatever is least likely to damage them in the long term. Especially if that means boureeing like Krysanova....
  10. @Geoff Yes, it was the Observer, not Guardian - keep losing track when reading online I've still got quite a few Beauties to see, though it'll take a lot to beat the joys of the Naghdi/Ball and Kaneko/Clarke pairing, both marvellous for different reasons. I'm also very impressed with Mayara Magri this season. I don't know what she did over the summer, or what other magics are at work, but for me she has gone from someone with both promise and some not-so-promising touches to a consistenly excellent performer on her way to becoming a fully developed artist. She's been a real joy to watch and has added class to every role she has danced in SB.
  11. I've just read the Guardian review and it's hilariously bonkers. I'll be watching out for Naghdi's punchy high kicks next time I tune in for some kung-fu fighting. Or was it ballet?
  12. I just received the change of cast email confirming Kaneko/Clarke for Friday. Bit sad since that was my only Takada / Hirano SB, but very happy with the replacement (*tries to repress manic smile*)
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