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  1. I loved this triple bill from Dutch National Ballet. All three pieces are uplifting and joyous. Highly recommend. Super performances from all the leads and you’ll catch many currents soloists/principals in support in Paquita. Available until Sat 6 June - Anna Tsygankova and Matthew Golding in PAQUITA - Anna Ol and Artur Shesterikov in PENUMBRA by Remi Wörtmeier - Junior company in NO TIME BEFORE TIME (the lead young man Dingkai Bai was impressive)
  2. thank you for the correction. I remember now that the ROH original information was incorrect (as discussed elsewhere). still shorter than your average movie 😉
  3. I think that’s doable. Giselle act 1 to 2 is easy costume change, just hair to be redone.
  4. I also find the intervals are not long enough to enjoy a drink, even if I have ordered in advance, so most times I don’t bother now. I wouLd rather join friends beforehand or afterwards, and elsewhere at a better price! On length of ballets, Onegin running time without intervals is 1 hour 25 minutes. Another candidate for ‘one act’ performance. (Although I realise it’s only recently been performed at RB.). Maybe ENB could revive it and on tour. That would be a winner.
  5. Agree on the financial consequences being unrealistic. However there are some advantages for the audience ... more legroom and better sightlines. No large head in front to dodge. Shorter queues for the loos! My problem is I couldn’t afford to pay more for the privilege though.
  6. Interesting how thoughts about the ‘no interval’ model are changing. In August last year I found myself explaining (defending) Johan Kobborg’s new R&J which ran without an interval for 1.5 hours. I compared it to movies in the cinema (I.e. not a problem to stay seated for that length of time) and how the removal of the interval enhanced the continuity of the drama and heightened the emotional experience for the audience. And that this model would improve the access for people travelling long distances to get home, or allow people to meet afterwards to unwind, compare notes over food/drinks. During lockdown I’ve noticed a number of broadcasts where the ballets are 2.5 or even 3 hours ... and that is without intervals. No wonder audience members are known to leave before the end!
  7. lovely. though they have now announced they are closed for the month of June too
  8. I was still able to watch The Winter’s Tale yesterday 16/5 even though YouTube description said it was only available until 15/5. Not that I’d recommend taking that risk!
  9. I love this phrase .... “More than ever, we need to explore everything from the perspective of what we can do, not what we used to do.”
  10. Thank you for sharing this photo .... the emptiness of the audience is hard to believe. It is the visual reality of 2m apart. How can this give any energy to the performer 😢 Almost sadder to see than an entirely empty Auditorium.
  11. I don’t know if this has been discussed elsewhere, so I am starting a new thread. I hope that is ok. I’m sure we have all been thinking about how theatres might open when they can. Timing of course is unknown at this stage. I realise it’s totally disheartening for performers to dance to an empty auditorium. So I am assuming that is not an option being considered. The point of my post is to ask if anyone knows whether theatres are considering opening with a partial ‘socially distanced’ audience ... say 1/2 or even less capacity? (I am assuming masks for audience members will be compulsory, and people coughing etc will have to leave.) And then I also wonder .... if theatres can top this up by live-streaming performances at a cost? I know I’d pay say £20 to watch often. E.g. I would have wanted to watch each of the RB and ENB Swan Lake casts at least once. That would go some way to compensating for missing out on tickets for in-house seats. I would still hope to attend as many live performances as ‘before’. Thoughts?
  12. I loved the production because of it’s completely different atmosphere to MacMillan’s version. The contemporary dance moves, the cheeky and feisty interactions all made the market scenes more realistic. The fight scenes included tumbles and interesting moves which were convincing and seemingly spontaneous. Cesar Corales was on fire as Mercutio. I think he must have been only 19 himself when this was recorded. Fast footwork and huge stage presence. Wow. Isaac Hernandez coped well (easily even) with the difficult choreography for Romeo and danced beautifully as the young man in love. Loved his backwards leaps into Benvolio’s arms when he heard that Juliet has died ... so evocative of all being lost. Alina Cojocaru was a tour de force as Juliet ... from a very young girl playing children’s games wIth her friends, through her delight in discovering love, her abandoned passion, and then the anguish and torment of the decisions fate forces her to make. Superb. I had to watch twice! Nureyev certainly knew a thing or two about love and how to portray it. The pas de deux are intimate and so are quite different to MacMillan’s. And Nureyev knew about comedy ... the scene with the nurse being mobbed by Mercutio and Benvolio ... hilarious! Mercutio’s death too. Many thanks to ENB for gifting us this archival record. Wonderful
  13. James Streeter was Tybalt. As always he gave a great performance ... fiery and arrogant but also playful and supportive ‘older cousin’ with Juliet
  14. Well they could be multiple plans for different start dates ... Sep, Nov, Jan, March etc
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