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  1. Hi You can sit with me in back row Stalls , lots of leg room. Can meet you there?
  2. Nora is Stina Quagebeur's first piece on the main stage and having seen some of rehearsal process I was nervous about how the Wells stage would be filled with only 3 characters and 5 "voices" floating in and out expressing Nora's inner thoughts and conflicts. It must be difficult to work in a small studio at close quarters and yet create something that can engage in a large space where most of the audience see it from above in varying degrees. My doubts were of course entirely unfounded and I thought the compressed drama and story telling worked extremely well from all angles. Part of this is down to a triangular floor covering and the minimal but effective use of 3 frames to suggest the house but also create some perspective and diagonal. Also the choice of the Glass Tirol concerto was inspired. Stina has said that she is trying to steer a course between classical and contemporary - pointe shoes but not perfect arabesques etc - to make it more approachable. I think she has been influenced enormously by Akram Khan from helping create his Giselle. Credit also ought to go to Crystal Costa who seems to understand what Stina is looking for and works incredibly hard to achieve it. One advantages of choreography by a company member and they have worked together before. I can see why some of the audience might have thought it was a love triangle but I agree with other comments that sometimes less is more. When I first saw Romeo and Juliet I couldn't work out why Juliet woke up after taking her drug but didn't hang around to see if Romeo would do the same! Why did the prince fall in love with a white swan and then turn up with a black swan in tow? More research needed... For me Stina is a huge talent as choreographer, character artist and dancer and deserves more chances. She embodies the Belgian qualities of the thought of Hercule Poirot, the adventure of Tintin and the musicality of Jacques Brel.
  3. The ones furthest away from the stage are good but are priced more than the others where you will probably have to lean forward.
  4. Viviana Durante Company will be performing McMillan's The Seven Deadly Sins at Wilton's Music Hall 8-18 May with Weimar specialist Meow Meow and RB Principal Laura Morera. Cast will also include other dancers and guest RB principals. https://www.wiltons.org.uk/whatson/522-?dm_i=1EXC,63M8B,7B2O6O,NYJY9,1
  5. Thank you Bruce - hope to see you there
  6. After some looking, we managed to get a programme at the end of the performance. The full credits are: 1. Gyorgy Ligeti : Musica Ricercata no1 2. Flair : Choreography - Demis Volpi ; Music - Gyorgy Ligeti : Musica Ricercata no2 3. Philip Glass : Etude no2 4. Momentum : Choreography - Herman Cornejo ; Music - Philip Glass : Etude no16 5. Domenico Scarlatti : Sonata in A minor K54 6. Witness : Choreography - Wayne McGregor ; Music - Nils Frahm : Immerse! 7. Erik Satie : Gnossienne no4 8. JS Bach : Arrangement for piano by Alexander Siloti : Prelude in B minor 9. Senza Tempo : Choreography - Fang-Yi Sheu ; Music - JS Bach Gottes Zeit ist die Allerbeste Zeit 10. Philip Glass : Etudes nos 5+6 11. Entwine : Choreography - Russell Maliphant ; Music - Philip Glass : Metamorphosis Two 12. Frederic Chopin : Nocturne in B flat minor no1 op9 13 from Le Parc : Choreography - Angelin Preljocaj ; Music - WA Mozart : Adagio from Concerto no 23 in A major K488 In the Q&A afterwards they said they might change the incidental music if the mood took them!
  7. I'm also sad to hear the news. I remember the Christmas parties sitting on his table with happy memories. I hope his legacy is preserved
  8. Following Irmgard's comments on publicity there was one -and possibly only one - bus in Milton Keynes with a poster on the nearside (not the best place to get wide coverage).
  9. This afternoon I think quite a lot of people like me just turned up and bought tickets so the audience number was not bad at all. There is nobody who can touch Alina for the subtle nuances of acting that make the performance so enjoyable. In Des Grieux's first solo she doesnt just sit there with her handbag like most other Manons but waits to sit and then gets up again to make better eye contact. Joseph Caley was also excellent in both dancing and partnering. We all went out into the cold and rain happy.
  10. The MK matinee cast did the friends rehearsal the day before and it looked very good even without full costumes, not that I'm taken much with the ice cream colours for the courtesans. It was interesting that Dima Gruzdyev has come back to coach and perform Monsieur GM - wish I'd seen the performance. The orchestra is really good and in my view better than the Royal's most of the time but the pit at Milton Keynes is so deep and large nobody sees poor Gavin. On Wednesday evening there was a respectable audience number although not many in the top level. I thought Jurgita Dronina was a very classy Manon and worthy of first night billing. Also Ken Saruhashi was an energetic Lescaut. I think part of the problem filling theatres is the extra transaction charges that are added to online bookings which for the modest ENB ticket charges on tour seem prohibitive. They dont charge them if you go to the theatre and book in person with a card so why upset the audience from further away you should be encouraging? We might not like ROH prices but at least there is one price for everyone like a shop.
  11. I went for the first time last night. New areas are like any average international hotel. My ticket was what I know as Balcony left but level 3 on the new system. Sat down and looked round at the signs with upstairs as levels 4,5 and 6 only. But surely level 3 must be up there as well? Of course it was but very confusing - as with some road signs its best just to ignore them. Rather strange also to be able to walk in from the piazza with no bag checks or actually anyone being there and carry on to the amphi to have a look round. Looks like all the staff have been deployed on ticket checks at each and every door - and there are a lot of doors!
  12. Hi Carol greypointe says have you still stalls circle a14 still for sale please
  13. Can Lindsay buy your spare ticket for Sunday please Keith the Minder
  14. The cart has to come down the steps towards the audience and orchestra with deliberately wobbly wheels. If I'd been Gavin Sutherland I'd be a bit worried but he seems to have a good sense of fun - at the orchestral rehearsal at Henry Wood Hall he said in the interval that at one of the venues (Bristol I think) there is no orchestra pit so if the lighting is wrong he casts a shadow over the stage. I went on Saturday evening and agree with Irmgard, particularly the last act. The Erina/Hernandez/Corrales combination on Thursday evening was equally effective but with very different characterisations.
  15. I pre booked a £8 train ticket from London to Liverpool and the overnight coach back to see both Saturday shows and debuts, although Laurretta Summerscales had by then already done her first performance. I agree that Shiori Kase and Yonah Acosta were very assured and well suited to giving a very satisfying rendition of a production which to me tells the story better than most. The last act is certainly no let down. I doubt if Shiori could ever do real evil in Act III and was convincing as a more sly and deceitful swan. Senri Kou did stand out in her first pas de trios stamping her personality on it. And praise for Shevelle Dynott as a terrifying Rothbart - he seemed so quiet an hour earlier as he passed through the Friends backstage tour just at the time we were with the costumes, confirming how heavy his was to dance with!. They have decided only to do his face with make up and not with any other add-ons. I think it works very well. Alejando Virelles seemed a bit tired but it was the last show of the tour. Laurretta Summerscales in the evening was truly remarkable in one so young, for her solid technique including an arabesque on pointe as Odile with no wobbles for what seemed like ever and very natural acting and mime. She has the ability to command the stage and can't wait hopefully to catch a reprise in London.
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