zxDaveM

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!

well, that's good to know...

I think we also occupy a goodly number of the standing spots 🙂

A Basilio showing off??? Never, surely!!! 😉

ticket spoken for NB - it was L30, not L4 (in case the owner of L4 reading this!)

Sounds like gimmicky fun for the companies, but infuriating for the audience

One ticket available for the opening night at Sadlers Wells for BRB's 'BS - the ballet'. Seat is in the Second Circle, L4. Cost is £12 Send me a PM if interested to arrange the exchange, and pop a note here to say you've done so

This is beyond madness

As a music fan (rock on!) this is evidently true in the collpase of owning music (CDs or vinyl) to streaming and YouTube or tik-tok garbage, and also losing out to computer games. When I was a nipper (OK, teenager) music was VITAL. Now it seems it's become 'meh' (and the artists that produce it don't help). I started coming to the ballet when gigs were becoming too boisterous for me (though still buy the CDs if they get a release), and then, ballet was an exciting prospect of discovery (back in the days of 12-13 different productions, inc 5 or so triple bills). Nowadays, I will only go see my very favourite dancers in the 'war-horses', and certainly will no longer be seeing 15+ of something I've already seen 15+ (30+?) times any more. Yes, that's you Swan Lake, Manon, Nutcracker, DonQ, Winters Tale. Not so keen on Dante, so just a couple of visits (each cast); I like the double bill (especially the Cellist) but can't go to that many as it clashes with new shows I'd like to see in the Linbury - typical! PS - though I will be trying to go to as many of the Ashton triple bills in June as I can get to!!

indeed - if your available 'free' funds are reducing because the bills are going up and up, most people will reluctantly forego a night out midweek, especially if the ticket prices are going up (and of course they have to go up to pay for increased costs). no easy solution either side of the box office (though bumping tickets up from >£25 to over £50, isn't a good look)

more a slip of the tongue Seems I should have said, the whole room bristled... except LinMM lol

Indeed so - when 'Fille' slipped out, you could almost feel the whole room bristle with the question - when is it coming back? (if not - why not??) Yet none of us had the gumption to ask it aloud 😞

RWC quarter finals this Saturday (I'm having to miss (well, record) Wales' match to catch Fumi and Yasmine's double header), the the semi-finals the weekend after, final the weekend after that (Oct 28th). Can't see how they'd affect ticket sales though. Can't think of any other events that could do so either

Same here - last night was my first visit to the main stage this season, and what a way to start. Bliss! Whilst there are bits on DonQ that sag for me, those bits don't include any time when Yasmine is on stage. Her duets with Matthew and her solos reminded me of why I love going to the ballet. Those little 'throw in the air' moves depend on the strength of the male partner vs his partner's relative size I believe.

I don't think anything beyond heavy discounting and/or 'papering' the auditorium, are going to boost ticket sales

The ‘purple one’ became a bit of a thing when they first started doing this personal selection special tin. Such that they kept running out and so limiting people as to how many they could have. I think that is why they made it that you had to have 3 different choices

The coffee cremes have been sadly missing over the last few years, so I’m really happy they are back. For me it’s coffee, orange, maybe strawberry and some green triangles

yes, you can buy a tin with just your faves in it at the special QS pic'n'mix in John Lewis in Oxford St (plus stores around the country). I that if you have a JS card, you can pick just type if you like - otherwise it's 3. If you have a tin from last year - you can take that along and get a refill. Genius idea! Last year they also had one in Kingston, but not sure it's there this year. Usually available from mid-October - though the Oxford St one open now (it was on the 3rd floor in the Christmas Dept last year). Worth visiting just to look at it!! lol

bit of a 'marmite' moment - but Quality Street have brought back their coffee cremes (sadly at the moment, just for this Christmas). I love 'em!! (probably too much). So in a few weeks will be heading to John Lewis to fill my personalised tin with them and orange cremes. Chriffa bliss!