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Darlex

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  1. This is interesting to read. So I am not the only one who didn't have their ticket checked. I was in two minds about mentioning this on the forum. On the one hand,having attended a performance last week and not been checked for ticket or bag, I considered trying my luck and seeing how many performances I could attend without paying. On the other hand, considering how worried we are supposed to be about possible terror threats I wondered if I should report this lapse to the management. I have a feeling (maybe incorrect) that the ROH is currently employing fewer front of house staff as a cost cutting strategy. Although tempted by a nunber of casts in the current run of Romeo's and Giselle's, I am leaning more on the side of returning the tickets I have already booked. I didn't feel comfortable in the theatre last week due to the low numbers of mask wearers and I am deeply unhappy with the disappearence of printed cast sheets. There were no ushers present to ask members of the the audience to stop filming the performance, sit down and behave. It's not the way I enjoy watching a performance. It felt like a free for all.
  2. I forgot to mention her Dying Swan which was wonderful. JMHopton's description of the audience reaction for her Don Q is spot on and I also agree with Scheherazade - it certainly was thrilling as never before!
  3. Can and never will forget her performances in Don Q with Vassiliev. I have never witnessed the audience at Covent Garden so electrified. Their performance created so much energy. I love the fact that she takes chances - they don't always work and there are many choreographies that she has appeared in that are 'forgettable:' With the RB, I've really enjoyed her in Giselle, A Month in the Country and the R&J Balcony pas de deux.
  4. I really hope the Bolshoi can come next year, but does the UK Government accept people vaccinated with the Sputnik vaccine? Hope this isn't an issue. It would be great to see the company in London again.
  5. Combined with the large increase in ticket prices, this news is very off-putting.
  6. I saw many empty seats after Multiverse. Did someone here name it Multiworse? Made me chuckle. Anyway, by the time Carbon Life got started, I wished I had also had the sense to leave. (The dancers, as ever, were fabulous - goes without saying.)
  7. If it's the environment we are truly worried about, I'd be happy if a few pages were lost from the programmes. Perhaps that way a cast sheet could be accommodated. Surely it's more important to know who is dancing, before you read the dancers' (and their colleagues dancing on another night) biographies. I also miss paper tickets. Encouraging more people to bring their phones along is just asking for more phones to go off during the performance. I don't feel confident that these decisions are being taken by people with a real understanding or regard for their theatrical or greater environment. Of course, it looks good if you 'care about the environment.'
  8. Photo on the left: José Manuel Carreno in Swan Lake ( looks like RB Dowell production) Middle: Carreno and Leanne Benjamin in Don Quixote (RB Baryshnikov production) Right: Carreno again? Not sure. For a second, I thought the face was Peter Schaufuss! Carreno joined ENB in 1990, moved to Royal Ballet in 1993 and later ABT.
  9. Not sure what Thatcher has to do with Jazz Calendar (suspect Typo!!!), but yes, this ballet's demise at Covent Garden really began in the 1980s. I think I am right saying that the only part of the ballet performed in that decade was Friday's Child, shown at a gala (Sibley and Bujones? Anyone remember?) And yes, it seems true that ballet can't be seen to be fun at the moment. The 'relevant' funding criteria looms like a gathering storm cloud. Woe betide the poor AD whose choices stray outside the perceived boundaries of beloved relevance! Kevin O'Hare danced Friday's Child when BRB were newly installed in Birmingham in 1990 and the ballet made it to Covent Garden for 2 or 3 performances. That was 30 years and too long ago. I think it's a wonderful piece, not in the same league as Ashton's masterpieces, but a less than masterpiece from Ashton is still more than worth it. I would like to see the RB revive the whole ballet, but failing that, I think the Tuesday and Friday sections would work well in a divertissement/gala format of which we have seen so many recently and would provide real interest and novelty. I would also like to see many of the comic ballets mentioned by posters above. I have a sad feeling that we write these pleas in vain.
  10. I hope we don't have to wait too long for Trevitt Junior to return from The Australian Ballet. He looked stunning in the extract from Swan Lake posted recently.
  11. I got wise after Chroma. First time around, just like, OMG! Second time around, just like, OMG, did I really fall for that? Very nice lighting both times.
  12. Rina - love your post, but how come Michael taken over from Kev? Explain please!!!
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