zxDaveM

I was reading an article last week, where the NT are going to be running early start shows from February, at 6.30pm. Midweek shows only (Tuesdays an/or Thursdays) I believe. This is in response to more working from home etc where people are no longer going to the theatre after a quick bite/drink from the office/workplace, and like to get home earlier. The last part would appeal to me for sure. Now most shows at Sadlers Wells are about 2 hours (or so it seems to me), so even if they inevitably start late, usually ending before 10pm, so no problems for me making connections for getting a train home. For me, it's not so much the start time, as the end time. Ideally, a 2 to 2.5 hour show starting at 7.30 is ok; 3 hour ones would be SO much better if they started at 7pm! Thoughts?

Really enjoyed this - unusual, witty, quirky. Splendid! I'd have told them to learn signing though, rather than morse code...

I followed Sam Raine into the auditorium! 🙂 William Bracewell there too

Glad I'm not the only one....

I now only go early afternoons, towards the end of a run, if I go at all. I sometimes get the cinema to myself, or at worst, just handful of like minded people who just want to see the film

I was meaning general littering - look under any bush or hedge in the UK and you can almost guarantee a smorgasbord of dropped detritus (takeaway wrappers/packaging, bottles (plastic or glass), cans, etc). In my local cinema, they all but encourage littering, saying to leave your litter by the side of the seat so it can be collected for recycling. I suppose that's better than finding it stuffed down the sides of the seat

Count me in too

I struggle to agree with this comment, much as I love some of the more junior dancers cast in this, and have no affinity for some of the current Principals

Victor Meldrew was right!!! I'm definitely joining the 'grumpy old man' set - people not being able to go without sustenance for the duration of a film is bad enough, but for 30-60mins for an act in a theatre.... And don't get me started on littering!

Dont they always swop fans?

I’m more fortunate, as I liked both pieces, so happy to go to this bill. I would have gone to more, except it clashes horribly with things I want to see in the Linbury. Which frankly, Is a bit annoying. For me, most of October is bonkers, then mid Nov onwards is relatively quiet

missed it - he won at 3/1 at the end of September at Gowran Park, beating good horses Gentleman's Game and Envoi Allen!

Vadream runs in the Champion Sprint today at Ascot’s Champions Day. Second best in the betting, as he does love the ground conditions

or his Symphonic Variations

You're welcome to start one - just restrain from 'reviewing' the general rehearsal

perhaps they mean standing on cabaret tables - 25 per table or so, all trying to take photos of the show. Perhaps they'll be revolving cabaret tables to allow different standers a turn at seeing the stage better and all welcome not just to dance in the aisles but on the tables too. Those seated at the table ordering their drinks via their phone, will have a foot or so reserved in front of them for their refreshments; I'm sure there'll be no fisticuffs over split beverages as everyone having such a splendid time - or perhaps they'll have a mini-table fitted into their recliner seat instead... As you've probably guessed, I'm not thinking that this is a particularly good idea

'donkey shot' (perhaps more "donkey show-t") is always how Sylvie Guillem charmingly pronounced it, and it always stuck with me 🙂

that's obviously so you can spend a penny later on...

This maybe so, but it's still difficult to understand the logic of £150 stalls seats 'given away' for £12, when amphi seats have gone from £23ish to £52 (as the view is still restricted at the higher price)

though not valued enough to offer a massive discount to, obviously

with it being an invite from BRB, meant we could use some of the production photos, which pepped up the review somewhat!

Sorry for starting a new thread, was hoping to keep the Londoners responses in one place is all. (And with a review on top, rather than in the middle). Oh, and thanks for the kind words! 🙂

What a brilliant idea! Take iconic Birmingham local legends, their music, their almost mythical back story, then weave a ballet from these roots. And legends they are, thanks to millions of albums sold - and the reality TV series ‘The Osbournes’. Does it work? Well, not always, but who’s counting, to be fair. Apart from those ringing tills at the box office, that is Sofia Liñares, for the promo picture Three ‘acts’ loosely based on: the music, the band members and finally the fans, use some of Black Sabbath’s best known tunes as a kick off point (sometimes just a riff, or a few lyrics with Ozzie’s distinctive vocal style), before the cleverly orchestrated music takes over the heavy lifting, whilst maintaining a few ’samples’ from the band, either musically, lyrically, or spoken word anecdotes. Each act has its own choreographic team, and composer(s) - which I assume helped with the speed of creating the whole, though it does feel at times more like a themed triple bill, than a cohesive single work - until the finale. Conductor Christopher Austin oversaw the music as a whole, Pontus Lidberg the choreography Act 1 Heavy Metal Ballet (ch Raúl Reinoso; composers Marko Nyberg, Christopher Austin) To the strains of ‘War Pigs’, the 12 dancers come out in formation, in black leotards/tights and unitards for the gents. Dancing on the beat they go through almost classroom steps (Michael Clark?). Act 1 dancers Accompanied by live guitarist Marc Hayward, they stylishly move through the choreography, breaking into duets, brief solos - and even carry Marc across the stage held high. Those ballerinas must be strong! Marc Hayward 'aloft'; right, Beatrice Parma Beatrice Parma veritably popped into your eye every time she was on stage. To a restrained, solo guitar for the melody of ‘Iron Man’, Yaoqian Shang and Javier Rojas engage in the longest kiss since Rodin’s days. Except they are dancing at the same time - and really well too. A bit gimmicky perhaps, I’d be interested to see the choreography when they are allowed a breather now and then. Yaoqian Shang and Javier Rojas The act ends with the dancers and guitar player all back on stage wigging out (yes, air guitars included free of charge) to perhaps Sabbath’s best known hit, Paranoid. Which was tremendous - though in a courtesy to non-rock fans the guitar seems turned down to 4, rather than up to 11 Act 2 The Band (ch Cassi Abranches; comp Sun Keting) This act more contemporary/jazzy with a hint of 70’s denim ‘gear’ all bursting with what looked a bit like star jumps. Full of energy and zip - which, for me, clashed a bit with the stories being told on voiceover (some sad, tragic tales, some very funny). Céline Gittens and Tyrone Singleton The standout part was the duet with Céline Gittens and Tyrone Singleton, which was elegantly beautiful (despite the clash with voiceover). Also notable in this middle act was the singing of Lachlan Monaghan when he wasn’t throwing in a few dance shapes, that is Act 3 Everyone is a Fan (ch Pontus Lidberg; comp Christopher Austin) The final act starts with a few quotes from loyal fans - how there would be no ‘heavy metal’ without Sabbath; what the band mean to them etc. As I’ve said - local heroes to Birmingham (their accents give it away), which is why this is such a genius tie-in with Birmingham Royal Ballet. I doubt anywhere else could pull this sort of thing off - and seeing as it was so popular, I’m somewhat dreading people trying. Back to the ballet - the final act more balletic than its predecessor. The wings stripped out to the lighting rigs, with the bands infamous ‘demon’ set astride a silver, overturned vehicle. Let the rock begin! demon, with final act dancers A different 12 dancers go through a ‘dance off, out competing each other, and is rather fun to watch. Momoko Hirata and Tzu-Chao Chou perform a duet of real beauty; Riku Ito a rather glorious solo - but it is when the entire cast get on stage, and sing back to Ozzie, then almost sing along with him, that the finale really takes off. Re-enter Paranoid, 30+ dancers rocking out (in a very polite, balletic way of course). And as it was London’s opening night - a guest appearance by Tony Iommi to guitar duel with Marc Hayward. Fans sent home very happy, after standing ovation. Top night! In short, if they revive it in the future - go see! (or fight for a ticket in this run) [all photos Johan Persson c/o Birmingham Royal Ballet]

just remember you won't be able to take them home with you afterwards!! 😉

I've sorta lucked in, as I went straight for Yasmine Naghdi's SPF - so, pretty spectacular cast all round there!