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Everything posted by Lizbie1

  1. Agree, they do seem to make a lot of mistakes on the website. It's normal in "bigger" websites to have to have someone approve any edits before they're published - I wonder whether they just don't have this in place, either because they're short-handed or their system doesn't have this built in or set up.
  2. I keep thinking of how it's been better received than almost anything they've commissioned from a big name in years. (Flight Pattern is the main exception I think?)
  3. Well - they've just posted a clip of the fish dives from the broadcast. Seems slower than I remember them from the first night. Edited to add: my guess is that few minds will be changed by this - mine certainly wasn't.
  4. I liked it a lot the first time round and much less the second, which for me is the big test.
  5. Yes - but I think not rejected by Ratmansky when he made his quasi-authentic version. So presumably he considered them in keeping with the whole.
  6. Thank you! Really, this kind of discussion is what makes this forum so valuable - disagreeing civilly with reasons attached rather than people simply saying, "you're wrong".
  7. Everyone has a different way of viewing things, but there are two counter-arguments I'd like to make to those in favour of the slower fish dives. The first is that speed is definitely not the opposite of musicality, and in my opinion not the opposite of lyricism either - both require give-and-take, and as I think Jeanette said, the fish dives offer contrast and punctuation to the slower passages. The second is about interpretation. While Act III presents to us the "fulfilled" Aurora, she is still a very young woman (notwithstanding her long sleep!) and a new bride; not a queen or even a young matron. She should be as capable of excitement and energy as she is in Act I, and the fish dives remind us of that. But really I have to be honest and say that the thrill of the faster dives is a large part of my preference for them.
  8. I didn't sign up for the streaming so can't test this - but maybe part of the problem is the modern dread of looking messy or imperfect? Watching Eagling and Park - and you have to make allowances for this being a live performance in a difficult space - you see lots of moments which are far from picture perfect. But it works! Edited to add: I did however see it live on opening night with O'Sullivan and Sambe and agree with the more negative reviews here.
  9. Looking at that 1982 performance, it's not just the lightness and apparent ease, it's the sheer flow! I would really like to see Hayward in this - lightness and flow are her hallmarks, IMO. I don't know who I'd have partnering her though.
  10. I don't understand why they have published seat maps when the prices on them are still unconfirmed. It's a very strange thing to do.
  11. I don't mind the SPF's wig in this respect as it just reflects the 18th century fashion for powdered (not blonde) hair. The Titania wig is definitely open to question though.
  12. You remind me of the (apocryphal?) story about someone forgetting to photocopy the middle four pages of Gorecki's Totus Tuus and nobody noticing, least of all the performers.
  13. The problem IMO is that a lot of the so-called period wigs are more reflective of the era in which they were designed than the period they were meant to evoke.
  14. This is the thing! I find it hard to believe that such fine technicians as Nunez and Muntagirov aren't capable of doing it faster.
  15. But isn't more speed preferable, all other things being equal? Is there an argument for taking things slower? (I've been watching the Fonteyn pdd and it's *very* fast in the fish dives.)
  16. Romeo and Juliet and Nutcracker both go up to £91 in the Amphi (£135 is the top price overall).
  17. From where I was looking on opening night, O'Sullivan's wig was very much of its time, which reminds me: I respect the ROH costume department a lot, and I'm all for sticking to the original designs unless there's good reason not to, but I think they have a blind spot about the wigs for 70s and early 80s designs (see also Manon and Nutcracker). I think all too often they just look a bit silly to the modern eye and nothing would be lost with some updating.
  18. Isn't the plan for seating to return to normal next season (God willing)? I can only speak for pre-pandemic booking as a Not-Young Friend really, but I think it does pay off in that you are more likely to get an acceptable seat in a lower price band. With the number of greyed out seats in the plans for the areas you mention, I expect this to be even more the case next season. Whether it's strictly worth it does depend on how often you're expecting to go, though. For what it's worth, speaking as someone who routinely books in the same price bands as you mention, I reckon on an average "saving" of maybe £8 to £10 per ticket from my membership, though it's impossible really to know. One other thing worth mentioning is that the ability to attend general rehearsals is a real perk - I don't know your situation, but they're often (usually?) held the same day as the first night, so if you can get the time off it's a cheap way of seeing an extra cast, and perhaps from a different viewpoint to your usual. (For me there's the added economy of seeing two shows under the same train ticket - transport usually being my biggest outlay when I'm attending.) And if it turns out to be a cast you've already booked for, you can either see them again or sell your ticket.
  19. Probably because they've chosen to? Or maybe it's in their contracts when there's a lot of money at stake. You could argue that the RB should be writing this into their dancers' contracts, but I don't see much benefit to the RB in doing so, and it would have the disadvantage that some dancers would not be happy about it.
  20. That is a novel bit of reasoning. I'm glad they were happy to share this information, but it doesn't mean that we have a moral or a legal right to it.
  21. Isn't it up to each dancer to tell us this? If it were me I'd be happy to tell people, but I don't think I'd want my employer to have that right.
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