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bridiem

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Everything posted by bridiem

  1. Yes, Ballet Hoo! was terrific. I recently watched all the episodes of The House online, after being reminded of it on this forum. It was quite gobsmacking! Also gripping.
  2. Well when you get the confirmation email, the wording is a bit different depending on which option you've checked - the refund one says 'it may take a bit longer than usual to reach your account' or some such, and the credit one says 'we will be back in touch once the process has been completed'. Haven't donated yet so don't know about that wording.
  3. I've received this email from ENB: As you are aware, this week the Government issued new advice and guidance with regards to the ongoing developments around Coronavirus Covid-19, which resulted in the temporary closure of many venues, theatres and buildings. Immediately following, ENB’s Executive Team met to discuss how this impacts our working for the immediate future. Our focus has been and continues to be on the health, safety and wellbeing of our staff, audiences and supporters, and it is with great sadness that I’m writing you today with a few important updates: Upcoming Performances Sadler’s Wells (including the Peacock Theatre) have confirmed that they will close for 12 weeks. Sadly, we will not be able to perform Creature by Akram Khan or My First Ballet: Cinderella in April as planned. London City Island ENB’s London City Island building is closed to the general public and sadly we will not be able to offer any events or access until further notice. Events, including Working Stage Rehearsal and Company Class Events surrounding Creature, due to take place at Sadler’s Wells, will no longer take place. If you have purchased tickets for any of these events or performances for Creature via the Development office, you can: · Claim a refund · Credit your account with the amount paid, to be claimed at a later date for another performance. Performances of Creature at Sadler’s Wells in November will go on sale shortly · Choose to donate the cost of your ticket to ENB Your support We have deeply appreciated the many warm wishes and expressions of empathy and care that we have received in the past few days. We take comfort in the encouragement of our friends and supporters. As a charity, we rely on your support now more than ever. Ticket sales provide substantial revenue funding, contributing a third of our annual income. There are substantial financial implications to postponements in our programme that impact our future work. We are working hard to find ways to navigate the impact of this period of uncertainty, and any donation, large or small, will help provide security and clarity, in the short-term, during these uncertain times. Please donate. Please contact Louisa or Imogen on the details below to discuss a refund or to donate. Imogen imogen.davies@ballet.org.uk 0207 590 2950. Louisa louisa.wood@ballet.org.uk 0207 590 2951
  4. Which is no doubt intentional, as is the default to 'donate'. I don't really think this is the time for playing these sorts of games. Sadler's Wells were very clear and upfront about the options available. I was intending to donate some of my ticket money, but this sort of thing makes me hesitate to do so.
  5. It just says to be used 'for another performance of your choice until 31 December 2020'.
  6. Seems to have taken it with him! So funny.
  7. Gosh! I hope you used the ballroom for its intended purpose!
  8. Yes, I only discovered Talking Pictures recently and it's a goldmine for b&w films including a lot I've never heard of. And the Horror Channel shows The Devil Rides Out periodically - my equal all-time favourite film (with The Sound of Music). Not sure what that combination says about me, but there you go.
  9. To lower the tone a bit (or a lot), there was a series called 'Bodyguards' in the 1990s, starring Louise Lombard. It was a complete load of tosh but that didn't stop me from enjoying it hugely.
  10. The Lord Peter Wimsey dramatisations starring Ian Carmichael. I'm re-reading the books at the moment (last read them more than 20 years ago) and would love to see the programmes again. I loved Ian Carmichael in them!
  11. Just caught the last few seconds of Tamara Rojo talking on the Today programme on Radio 4 - don't know what she was saying but clearly it was about the current situation.
  12. Francesca Hayward has posted this lovely message on her Instagram account: 'These are very strange and unpredictable times but they really put everything into perspective for me. I realise that the most important thing right now is for us all to stay healthy and I feel all we can do is take each day as it comes and be sensible and diligent as individuals in order to help each other. Whilst this is obviously a serious situation I am enjoying the humorous relief on Instagram and also I feel warmed by the messages of love and support I see from all around the world. Staying healthy physically is obviously a priority but we also need to keep each other’s spirits lifted and our minds motivated! 🖤'
  13. No - they just say 'with immediate effect'. I imagine any date would be speculative anyway.
  14. Doesn't each venue/company have terms and conditions in respect of ticket sales and potential cancellations etc? Which they surely have to adhere to. (Patrons may choose to decline a refund or donate it back to the venue/company, but that's a different matter.) So far I've only checked the t and c for Royal Opera House and Sadler's Wells in London, and both say they would refund if a performance is cancelled.
  15. Oh dear! (So it nearly turned into a double suicide ending after all!!).
  16. This was also listed in today's Links, in an article in The Stage including quotes from various people.
  17. Happy to see that my reaction to Wednesday evening's performance is shared by one Natalia Osipova . Her Instagram post: 'What a wonderful evening it was. With the best company and @reececlarke & @balletboy09 as my partners! A night to remember.' I also saw a comment made by someone on Nunez's Instagram account, to the effect that it's so wonderful to see dancers giving their all and producing such brilliant performances at this incredibly difficult time. So true.
  18. There are clearly different expert opinions (and a lot of opinions from non-experts) as to the most effective strategy. The experts who advise the Government are working to models in which they clearly have confidence, and they speak convincingly (from what I've seen). The fact that it's a different strategy to many other countries is indeed nervewracking, but that's not to say it's wrong. It's good (essential) to ask questions, and to continue to do so, but all I can do is pray for those who have to make these very difficult decisions.
  19. It would be perfectly aligned with practicality, since I understand that a majority of Forum members are in the UK. However, I don't mind whether there's a separate thread or not; I'm finding the Forum's constructive information sharing about this situation very helpful.
  20. I also thought Reece Clarke's début was excellent - in fact you'd never have known it was a début. His dancing is so beautiful and musical and although he's so tall he always seems to have so much time to complete his movements. He's elegant and assured, and he acts well and partners strongly. And what a partner he had! Osipova was phenomenal. She was the angriest Odette I've seen - vulnerable and loving, but also ragingly furious at her entrapment and trying desperately to use her wings/arms to beat her way out of her confinement. Dramatic and agonising. And then morphing into an Odile so apparently seductive that she sought to entrap Siegfried not just with her eyes but with her body and arms too, like an evil snake. And those fouettés!! She went off like a firecracker, pouring all her strength and power and determination into them and turning so fast she was almost a blur. Absolutely thrilling. Poor Siegfried didn't stand a chance. And in the final act, Odette's anguish is so deep that it transcends the personal - she seems to be expressing all the sadness and tragedy of the world. And her final resolve to commit suicide follows on inevitably. A monumental performance. I enjoyed Benjamin Ella's light, bouncy Benno, and Gary Avis's dark, steely Von Rothbart. It was interesting that it was so clearly the moment when Siegfried said NO to Von Rothbart that the latter clutched his chest and began to transform into the evil sorcerer, as if that moment of failure propelled him into the darkness of his evil nature where he could dominate the swan maidens without fear of challenge. Chilling. Anna Rose O'Sullivan and James Hay were fizzy and charismatic in the Neapolitan Dance, but I still felt it was slower than usual and that means it loses its pulse and rhythm and becomes almost laboured at times. Claire Calvert and Mayara Magri were well matched and very musical as the big swans, and very touching when they supported Osipova/Odette in the final act. All the swans were superb again in fact, and seemed to form a single entity with their suffering queen. Brilliant.
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