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postie

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  1. I have to go. It's what started me on this wonderful journey into dance: homage meets gateway drug .. Quick warning, for those interested there are only 3 matinees, so grease up the hip replacement and get booking >> https://www.sadlerswells.com/whats-on/english-national-ballet-akram-khans-giselle/#book
  2. Fwiw, it crossed my mind that, at the ending of Different Drummer - it is quite abstract - Woyzeck killed their love before disappearing into the void, effectively releasing her. At that point Woyzeck and Marie were in some ethereal, different place. It's not particularly convincing but, at this point, I'm open to any offers ...
  3. "Based on" seems an understatement when the three-act play is reduced to a one-act ballet. By 1984, the characterisation of Mary as a repentant whore had been challenged by the Church itself, though the debate remained open. On that basis, Macmillan was very free. Imo, what we now witness is, to an extent, an interpretation of Macmillan's interpretation. In this work, I find myself guided - somewhat - by the costumes, which seem to inform the narratives (more so than in most). This is fun, though. What a fascinating work to piece together.
  4. Clarification / spoiler >> RE Different Drummer: it seemed to me the three men in the woman's life were the ghost of her dead partner/husband (and father of the baby), an overbearing new suitor, and a manifestation of Christ (who she went to when pressed by the suitor). I was so utterly captivated by this story. The despair and choices of the post-war period amid a renewing world ... am I a long way off? ETA: https://www.tate.org.uk/tate-etc/issue-42-spring-2018/story-artwork-mark-gertler-merry-go-round-1916-sarah-macdougall
  5. Coming here, I was expecting to see dozens of effusive comments. Others will be far more eloquent than me but I was captivated from the moment the curtain raised until it stopped twitching at the end. Everything was so fresh; brimming with confidence, ideas, and witticisms, meaning, pathos. I love the post-war period for that, and I think Macmillan personifies all of it. And, here, it's in every dimension from dance to the sets, lighting, clothes, colours, and the perfect relationships between sound and actions. To be fair, Macmillan wasn't keen on Germans at this point, though after the preceding 35-years ... anyway, there was a little fun, perhaps mockery. Fwiw, I was occasionally reminded of the war work of John Singer Sargent and Mark Gertler. I adored this. I actually felt a little proud to be a, albeit, minor Friend. Goodness knows how those on the stage and in the Pit feel.
  6. I've been to a couple of events where you agree, at the time of purchase, to have your phone put in a secure bag and kept by staff. That was in situations where the venue didn't want any production images to leak out. These were both large, busy events. It worked seamlessly, at least with me. Another approach I like is the 'quiet carriage' on trains, which is really just a way of excluding phone usage as best I can tell. I wonder if we will get to that point in theatres; give audiences the option of attending a phone-free performance .. I'd sign up straight away.
  7. It's quite instructive to be in audiences and see the growing extent of phone-social media dependency. The warning given at Sadler's Wells is the best I have experienced, and still it doesn't matter to some. I sat in the stalls side seats last week and, in the corner of my eye, screens popped up regularly everywhere. It seems to be mostly a female problem, unless there is a football/cricket/rugby match on. And this is middle-aged mums. Goodness knows what the youngsters will be like when they start coming independently. Seems to me to be a manifestation of a great societal problem. I don't know why we aren't more shocked by growing dependency, and manipulation by US corporations. At least there are signs some schools are starting to take actions to protect children.
  8. Sorry for the bold. It was a copy and paste from the email and I just couldn't get rid of it. The 'Hmm' was in response to the production - I'd hoped for a little longer.
  9. I was curious about this as I've seen him wandering around the building and he seems pretty much my height. Matthew says he's taller, here - 5' 11 1/2: https://www.attitude-devant.com/blog/2022/10/24/matthew-ball-principal-the-royal-ballet-an-interview-part-2 I don't know anything about technique in ballet but, in sport, an inch and a half is significant.
  10. That first section was like a teenage ribbon dance. Or it could have been lifted from the Moscow Olympics Opening Ceremony in 1980. Felt disappointed for the performers.
  11. 'mixed' is the operative word for me. I don't want to say much. To repeat myself from another production, we are just so fortunate - spoilt - in what we have available here, and for it to be so well-founded and resourced. Very gracious of the New Yorkers to include English music, including closing the show with Atmosphere.
  12. I guess if Vadim wobbles in Act 1 on Tuesday, we'll know it's excellent acting implying hesitation or shyness .. #wobblegate
  13. SCS for moi. Very excited. Don't know whether to rub my hands or my knees ..
  14. We must surely be at the point where NHS workers are among the most informed opera watchers the world has seen.
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