Jump to content

Lizbie1

Members
 View Profile  See their activity

  • Posts

    3,482

  • Joined

 Content Type 

Everything posted by Lizbie1

  1. Lizbie1
    I don't think it's been ROH marketing's finest hour (come to think of it, what was their finest hour?) but looking at the seat maps I can't see that sales to date are disastrous.
  2. Lizbie1
    I was likewise very impressed with him at ENB but for whatever reason (maybe it's just me!) his early RB appearances didn't match up to his ENB form IMO. I also have a bit of a thing about heavy landings and some of his were really clattering. I don't know if this is something that can be improved but they rather spoil the effect for me.
  3. Lizbie1
    My bugbear is when the travelling arabesques in the female variation are cut very short - Zakharova is probably the worst offender from that list, she barely bothers with them. I don't really understand why some do this, there doesn't seem to be much of a correlation with the technical ability of the dancer.
  4. Lizbie1
    That database is full of holes, or at least it was the last time I checked. It could be missing a few.
  5. Lizbie1
    But it needn't be a promotion? I know the idea gets some resistance here, but maybe the upper ranks of the RB men could do with some fresh blood. I don't have anyone in mind, but maybe others do. (I used to think that if the RB could acquire one dancer from outside, Shklyarov would be my choice, but I don't see that happening now!)
  6. Lizbie1
    Try 7 in 4 days!
  7. Lizbie1
    Got everything I wanted this morning - a straight run of seven Ashtons. All done by about 09.07; email confirmation through at 09.12. Good luck everyone else.
  8. Lizbie1
    Remember, a lot of Friends' main interest is opera. (I don't know how relevant this is to the broader argument.)
  9. Lizbie1
    Yes - and tieing in with another thread, I'd like to see him create something on Muntagirov.
  10. Lizbie1
    I think SheilaC might have been referring to the FAF Masterclasses.
  11. Lizbie1
    @TheGrandSophy - welcome, thank you and great name - one of my teenage favourites!* *Added thought: you've made me want to read it again now.
  12. Lizbie1
    For me it was that it was a Sunday night at quite short notice and was announced while I was swamped with work - no real time to look into making arrangements. I'm also quite nervous about timings for galas as they can be very unpredictable and often overrun quite badly - not good if you have to work the next morning and your journey home, point to point, is two and a half hours minimum if you're very lucky with the train timetable; more like four hours if not. I expect plenty of others were in a similar boat. This is not intended as a criticism - Putrov did very well to bring this one off and it seems unlikely he delayed announcing it any further than he could.
  13. Lizbie1
    It was good enough! - I've seen much worse RSC productions, especially recently. The Pyramus and Thisbe scene was very well done so sent everyone out smiling. Matthew Bayntun was really very funny but I'm ashamed to say I had no idea who he was before this!
  14. Lizbie1
    Yes - and saw the play last weekend (at Stratford) as well.
  15. Lizbie1
    Thank you @DrewCo for the information about Pictures at an Exhibition. Sold! I was due to visit New York last year but had to postpone, so am doubly looking forward to it. I'll also be seeing Midsummer Night's Dream twice - also for the first time, would you believe? Good things come to those who wait!
  16. Lizbie1
    Thank you both - truly helpful. Jeanette's post reminds me that the Tanowitz will be on at SW so even if I end up liking it I'll have already seen it - and jazz isn't my thing so Interplay may well not be either. It looks like I'll be booking the Contemporary Choreography I programme. (Fingers crossed there's an opportunity to see Year of the Rabbit closer to home in the coming years, or that it coincides with another hop across the pond.)
  17. Lizbie1
    I wonder if one of the reasons for the delay is that they might not have fully thought through the casting implications of programming. There are several principals who I might normally "expect" to see in Rhapsody and the Dream (Hayward might also otherwise be considered a sure thing for Hamlet and Ophelia), but it could be a tall order for them to appear in both on the same day, or on consecutive days. They're only one-acters, but look like hard work to me!
  18. Lizbie1
    @Bruce Wall - since this thread has expanded in scope, can I pick your brains? I'll be in New York in May and can likely only see either one or the other of the Classic NYCB II or Contemporary Choreography I bills. I've seen none of the works before. The programmes are, respectively: Robbins' Interplay and Other dances, Tanowitz's Gustave le Gray and Peck's Year of the Rabbit; and Ratmansky's Pictures at an Exhibition, Gianna Reisen's Play Time, Ulysses Dove's Red Angels and Robbins' Glass Pieces. As a rule I like Robbins and Ratmansky very well. I like Peck too but understand he's a bit hit and miss, and was one of the few here who rather liked Tanowitz's main stage piece for the RB - whose name escapes me. The other two choreographers are unknown to me. (I'd welcome views from others familiar with the repertory too!)
  19. Lizbie1
    I've absolutely no idea how all this works, but could it be that such height restrictions/guidance is only for auditions open to all comers? If they're simply short of a few men for general duties it would make sense to put a lower limit on height for such an audition call, whereas if they're specifically in the market for a principal or future principal they would probably follow quite a different process.
  20. Lizbie1
    @JohnS - it does, thank you!
  21. Lizbie1
    Did you have any luck? I've checked the website and can't see a seat map: is there a link?
  22. Lizbie1
    My choice of date for the MacMillan triple was fixed long ago; I could only see one performance so casting was effectively immaterial, though of interest. I'm able to see more Ashton performances and am so more "invested" in the casting; it is frustrating not to know at least how many casts are being proposed for each work. Despite that I think we should acknowledge that we have been very lucky with how far in advance the RB has habitually announced casting, and that if casting isn't ready - it's not ready! If they're withholding it it's for good reason. However! This makes two mixed bills in a row where casting hasn't been announced in time for Friends booking opening, and IIRC something similar happened with Dante in the Autumn. It's beginning to look like a trend and I wonder what's driving it. Have early casting announcements been causing problems? If so I would quite like them to be honest about it - I don't need or want to know specifics, just a broad explanation and whether this is something we will see continue.
  23. Lizbie1
    I agree it doesn't look good but we only have one side of this.
  24. Lizbie1
    I don't see how this makes it unlikely that she had declined SOTE, quite the contrary.
  25. Lizbie1
    I can't answer for anyone else but the reason I'm not engaging in this discussion is that I feel like the subject has already been done to death across numerous threads.
×
×
  • Create New...