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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    Did you have any luck? I've checked the website and can't see a seat map: is there a link?
  2. 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.
  3. Lizbie1
    I agree it doesn't look good but we only have one side of this.
  4. Lizbie1
    I don't see how this makes it unlikely that she had declined SOTE, quite the contrary.
  5. 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.
  6. Lizbie1
    It's behind a paywall but this articulates well how I - and others I've spoken to IRL - feel about the Overground rebranding. https://www.thetimes.co.uk/article/done-with-mayor-performative-politics-sadiq-khan-l7pd2f0sk
  7. Lizbie1
    Well I'm very impressed that ENB are getting another new work out of Forsythe. IMO no choreographer working in ballet today gives such a sense of the joy of dance. I'd rather have Playlist than any new commission the RB have staged of late.
  8. Lizbie1
    There is nothing about this that I like.
  9. Lizbie1
    This is how I feel about Wheeldon's later work for the RB in general.
  10. Lizbie1
    Wasn't there an earlier explanation from Sarasota about this?
  11. Lizbie1
    It's really tiny, definitely smaller than the Almeida. This link should take you to a booking page for another production so you can see for yourself. https://www.theatreroyal.org.uk/book-online/?performance=322006 Edit: I've just counted: 126 seats total.
  12. Lizbie1
    Actually I find it reassuring that AI, in what is probably its most straightforward and profitable application (targeted advertising), is so bad at figuring me out!
  13. Lizbie1
    I can see "VARRI CAPRICCI" (though, true to Muphry's law I had a typo in my post!).
  14. Lizbie1
    I do so frequently because access to and egress from the right hand side of the upper tiers is so inadequate and slow. This might be why they don't try to block it off - presumably it's in the calculations for how many people can be evacuated.
  15. Lizbie1
    That is a very good way of expressing how I feel about certain contemporary choreographers (I don't know enough Béjart to form an opinion about him).
  16. Lizbie1
    I'm of a similar mind and agree with this, and that the view is quite distant, so that might not suit everyone. One gripe: I haven't looked at Hippodrome prices recently but it was always my experience that they start relatively high for ballet and opera (upper end of the £20s), compared to other theatres where you could see the same show.
  17. Lizbie1
    I don't know what the answer is in this case, but the equation of fatness or indeed ugliness with wickedness* is something that begins to feel dated and that we should be leaving in the past. As Bintley is still active, it might be something he'd like to re-think in this revival. *Somewhat off-topic, but IMO political cartoons - and hands up, I seldom find them funny anyway - are the worst offenders for this and it is most striking in their treatment of women politicians of all persuasions.
  18. Lizbie1
    (It is somewhat depressing that they can't spell Varii Capricii right.)
  19. Lizbie1
    The ROH website now has some details up: https://www.roh.org.uk/tickets-and-events/the-sarasota-ballet-2024-details
  20. Lizbie1
    I was wondering the same, and about Cranko too. There was a surprising amount of Roland Petit though!
  21. Lizbie1
    I remember playing his piano studies when I was a child - probably all he's really known for now.
  22. Lizbie1
    To be fair to Katie Mitchell, I've found her productions to be at least well thought through and coherent, unlike Kasper Holten's.
  23. Lizbie1
    I've only seen it once - with Oropesa, who was indeed sensational - and I thought it made sense as a concept. It might have helped that I could hardly see it (I was Lower Slips extreme side and as usual KM didn't concern herself with audience sightlines). Having said that the bathroom was giving me interior decoration ideas so I must have been able to see something! I believe some of the staging was toned down from the first run, when IIRC Damrau got mixed reviews (my view of her in general is that she's competent but it's not a beautiful noise, unlike Oropesa - so I'm not sure Lucia as good a fit as all that for her). I wouldn't read anything into Oropesa not returning as she's in great demand everywhere and aggressively building her repertoire so doesn't seem to be repeating roles much anywhere. If you're seeing Nadine Sierra it should be worth it for her alone, or so I'm led to believe. I don't know anything about Liv Redpath.
  24. Lizbie1
    I agree it's a nice idea - and I've taken advantage of it in Germany - but I it would cost a lot of money and change very few people's minds about how to get to performances in London. IME people who drive or are driven in central London - where there are strong disincentives to driving - do so because it is a necessity or their strong preference, and a tube ticket worth a few quid will make little difference; for the rest of the audience it would be a nice-to-have but not a decider. It might make more sense in other cities, as it does in Germany. There are many things public money can be spent on so there must be priorities. As for people who live "far away" - the German schemes I've seen only apply to the metropolitan area.
  25. Lizbie1
    But why must he keep returning to harlots/prostitutes/courtesans for these scenes? A casual observer might be forgiven for wondering if this was simply the first role to come into his mind when he considered women. Most reasonably educated people are well aware that the 18th century had its seamier side* and many here have seen the defences from the MacMillan camp before. That doesn't stop a significant minority of viewers finding such scenes gratuitous and, yes, crass. (And I'd add, not always that well choreographed.) *Edited to add that IMO far from being subversive such depictions verge on cliché.
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