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Lizbie1

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  1. Lizbie1
    ‘Cathy Marston’s first memory of Jane Eyre is from when she was eight years old... The final image of the BBC’s 1983 Jane Eyre has always stuck with her. “Timothy Dalton was Rochester, and he was standing, blind, under a big tree,” she says. “I’ve had absolute fondness for the story ever since.”’ No wonder this Jane Eyre resonated so strongly with me: I have exactly the same first memory of it, at the same age. (And it’s still the best screen adaptation IMO.)
  2. Lizbie1
    They could start by changing the online booking process so it doesn’t default to paper tickets.
  3. Lizbie1
    Yes, and it’s “events”, not performances.
  4. Lizbie1
    Here’s the listing for her replacement: http://recruitment.roh.org.uk/vacancyView.php?requirementId=3546
  5. Lizbie1
    It’s from her LinkedIn profile (the one which describes the ROH as a “global tourism destination”).
  6. Lizbie1
    Especially considering the abandoning of printed material.
  7. Lizbie1
    I think you’re probably right in this case, but matinee kick off times are very unpredictable at ROH and there are quite a few weekday matinees scheduled for next season. I remember that there were several inconsistencies between the website and casting pdf listings for R&J: it turned out - only after members of this forum raised it directly with the box office and then I think a senior RB figure, each of which had a different view - that wires were crossed. Ultimately the casting pdf was accurate and the website wasn’t. Maybe it’s worth someone clarifying this with ROH / RB.
  8. Lizbie1
    I resorted to a full set of highlighters
  9. Lizbie1
    One dancer I’d like to mention in particular is Christina Arestis as Lady Capulet: with the stiffest of competition, she somehow made the end of Act 2 the high point of the ballet for me on both occasions I’ve seen it this run.
  10. Lizbie1
    That’s exactly how I felt too - thank you for articulating it.
  11. Lizbie1
    Annamk, I know what you mean - for me it was Ball who was the driving force and I had to force myself to look elsewhere - but I was still very much feeling the chemistry, though it would be very difficult for Naghdi to compete with what I thought was a “next level” performance from him. (I speak as someone who has been a little sceptical of some of the hype about Ball.) If I were to have one specific criticism of Naghdi, I think it would be she wasn’t as “dead” in the final PDD as she might have been (I’m thinking of Hayward here as she’s freshest in my mind).
  12. Lizbie1
    Well, that was pretty remarkable. Yasmine Naghdi wonderful of course and Matthew Ball just sensational. Add to that a brilliantly realised ageing roue of a Tybalt from Gary Avis and an all round exceptional performance from the bit parts (more about that later) and I don’t think I’ve seen a better performance of Romeo and Juliet.
  13. Lizbie1
    Wasn’t Magri the cover last time round?
  14. Lizbie1
    I don’t see it this way - I think it’s just that he’s been sidelined through injury for a long time now and the chances to see him dance have been next to non-existent. As for there being little discussion of his absence and possibly looming retirement, there’s just no information to go on, so nothing to hang that discussion into. I don’t disagree that there are certain favoured and less favoured dancers on this forum but I really don’t see that Ed Watson falls into the latter category - far from it.
  15. Lizbie1
    I try to steer clear of posting negatively about dancers, but the times I've seen Braendsrod in featured roles (most recently as the Gypsy Lover in Two Pigeons and as one half of the White couple in Les Patineurs) I've been less than impressed. Can somebody please sell him to me?
  16. Lizbie1
    I suspect human error. Many of us have seen large numbers of tickets suddenly appearing an hour or more into Friends or General booking - too many at once for them all to be because people have removed them from their baskets.
  17. Lizbie1
    I'm probably in a minority but I'm feeling a touch of Manon fatigue!
  18. Lizbie1
    I agree about Magri, and also that the wording of the announcement would tend to indicate that promotions are not secure, but I wonder how hard and fast that requirement for an injury-free season is. It sounds more like a custom than a rule to me, unless someone has seen something official to back it up.
  19. Lizbie1
    My most cherished bit of wishful thinking is that Miyako Yoshida will perform the Birthday Offering extract(s) which she has announced for her farewell gala in Japan.
  20. Lizbie1
    Surprised nobody’s mentioned the role debut for Morera as Swanilda yet - so pleased, for us and her!
  21. Lizbie1
    I’m not even a Hallberg fan and I agree with this!
  22. Lizbie1
    One begins to suspect that “ease of comparison” is what they’re trying to avoid.
  23. Lizbie1
    He made several notable tweaks for Fonteyn though, didn’t he?
  24. Lizbie1
    You can add to that statistical soup the “40% of tickets at £45 or less” used in Alex Beard’s article in the Autumn Friends magazine - it says this is for “last season”: presumably this refers to 17/18 figures as 18/19 won’t be available for a couple of months yet.
  25. Lizbie1
    Tanztheater Wuppertal Pina Bausch’s 2019/20 season announced - thanks to today links! http://www.seeingdance.com/tanztheater-wuppertal-2019-20-28052019/ They’ll be bringing Bluebeard to Sadler’s Wells 12-15 February.
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