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RHowarth

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Everything posted by RHowarth

  1. It makes me feel wobbly even to look at them from the safety of an amphitheatre seat - and I don't suffer from vertigo either!
  2. Thank you, I've just signed up with a view to booking Raymonda tickets (although I wonder how substantial the discount will be).
  3. I've not sat there a great deal as they're generally a bit out of my price range, but I definitely wouldn't think twice about booking there again if the opportunity arose - and having my view obstructed by safety barrier/tier ledge is a personal bugbear of mine so I'm sure I would have noticed! I think the further you get away from the centre, the more the ledge, as it curves round, might restrict your view of the extreme downstage area on the side you're sitting at (i.e. the front of the stage closest to the orchestra) - but I would say that restriction is slight, and definitely preferable to heads in the way. Be good to hear from others on the subject so you can make an informed decision! I've definitely had more trouble seeing, due to my height, from far more expensive seats in row C of stalls circle. Generally I find the amphitheatre, being steeply raked, has a good view for small people unless others are leaning forwards/draping their arms around their companions etc. I've never had any problems seeing from the central blocks of stalls circle standing, despite the claim from the ROH that they're not suitable for persons of short stature. In fact they are my favourite place to be. The side blocks do pose a problem though.
  4. Hi! I am also 4'11 and have no problems with the ledge on row A of amphitheatre.
  5. The double Giselle day on Saturday 27 November is necessitating not one but two overnight stays for me. Granted the first one on the Friday night is due to engineering works which mean that the 6.30am train I would usually have been happy to catch wouldn't have got into Kings X until 10.30am - too close for comfort for me as I like to leave room for manoeuvre for delays. The last train home on a Saturday used to be 9pm which would have been fine for a short ballet like Giselle after a 5pm start, however the timetable has changed recently (engineering works on the 27th aside).
  6. I'm due back at work at the end of March after maternity leave. I don't think taking annual leave during my first week back would go down too well!
  7. I think the performances tend to be spaced out, too - so I don't think, for example, it's possible to do a Friday night followed by a Saturday matinee, or a Saturday matinee followed by a Saturday evening performance. I could be wrong though!
  8. Thanks Alison. It's the times I'm after - just want to see when the matinees are. Not urgent as I'm not a Friend and so can't book yet - it's just that all of this talk of Swan Lake reminded me I'd better formulate my action plan!
  9. Hi, does anyone have a link to PDF with casting (and show times) please?
  10. Sadly it seems that Dane Hurst is leaving Phoenix already to return to South Africa to support his family there.
  11. That's interesting as it suggests the dominance is taught/learnt - whereas my own experience - of the dominance being apparent both in watching and in doing- suggests that it could be hard-wired into the brain in some way. Is anyone here an occupational therapist?! I should add that I am in no way of professional standard- I very doggedly and diligently staggered through to Advanced 2 which syllabus I studied with interest but declined to be examined in for fear of certain failure! I read an interview with Francesca Hayward somewhere where she talks about her left-turn dominance which apparently is far less common in female dancers than in male dancers. Like me she is right handed. Alas, there the similarities cease!
  12. Off topic, but interestingly (to me, anyway!) as a left turner, it always looks 'wrong' to me to watch people turn right. It looks much more natural and attainable to me when dancers turn left like I do.
  13. Didn't walk out of Macbeth there a few years ago, but fell asleep several times.
  14. I've often found there's a lack of provision of cast sheets at regional theatres for touring companies like BRB and NB, or that the cast sheets are from a previous performance (usually opening night). I've always considered it disrespectful to the artists dancing at that particular performance- particularly the latter practice of attributing their performance to other artists. When I've asked duty managers for a correct version, I've generally been met with a blank stare, and have put it down to lack of understanding of the art form and its traditions amongst staff in theatres where ballet is presented infrequently.
  15. I'd rather pay for one at the ROH than add printing off to list of miscellaneous life admin - particularly as my personal phone and laptop aren't linked to a printer.
  16. I think it's rather sad. There is something nice about looking through cast sheets from 20 years ago and seeing, for example, that Marienella Nunez was in the corps or that Kevin O' Hare was Romeo opposite Monica Zamora's Juliet. Lots of memories contained in cast sheets.
  17. I think they were that for Fille a few years ago.
  18. I did message the company a week or so ago about the number of acts but haven't had a response yet. And yes it is disappointing that Manchester lost not only the premiere but, thus far, any dates at all. Jan - I'll be seeing Alex Campbell as Romeo at ROH at the 11.30am matinee on 15 Jan and then planning to dash over to the Coli to catch the second (and third if there is one) act of the 2pm Raymonda matinee before seeing it fully at the Sunday matinee the next day. Can I tempt you?!
  19. Ah, right - thanks. I haven't been to ROH since last March so that explains how I've never seen it before! I was worried I'd inadvertently booked a schools' matinee or something.
  20. I had a bit of a mixed experience - couldn't load the seating plans at first when I logged on at 9am, although only queued for 4 minutes. But when the plans did eventually load, I was really surprised to see how much availability there was. In fact, it was a bit overwhelming as I'm not used to seeing so much choice! Like other posters, I managed to get good stalls circle standing tickets for my chosen dates, which is rare through public booking. In fact, I logged back on this morning to book for a further performance, Romeo early matinee at 11.30am on 15 Jan, having realised I could tie it in with ENB's Raymonda at the Coli. I managed to snap up good SCS for this one too, which surprised me the day after public booking had opened. However, when I paid, not only did I have to verify through mobile app (which I hadn't had to do the day before) but the payment screen stated that I'd have to show ID when using the tickets. Has anyone seen this before? The performance was available through public booking (not Paul Hamlyn for example) and I didn't access any kind of concession.
  21. I think she and Jonathan Cope had their natural hair, with added glitter, when they were filmed in the early 2000s?
  22. Thank you. My cast sheets are all packed away somewhere safe but inaccessible!
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