Audience Behaviour

[Colman]

24 minutes ago, Quintus said:

Smart watches in the theatre are my latest bugbear - the screen lights up with a message when notifications, emails etc come in .  It already seems to take people about three minutes to switch off their mobile phones when requested to do so, and when it comes to smart watches they appear to have simply thrown away the manual...

 

The Apple Watch (which is most popular) has a specific, special mode for theatres and things that prevents the watch lighting up until you tap it and puts it on do-not-disturb. I think the latest software update will even suggest it to people if it works out that you're at an event like that. You can't help some people though.

[penelopesimpson]

On 17/09/2018 at 07:24, Riva said:

Article today on BBC about audience behaviour which raises the possibility of relaxed performances. I think ENB do specific child friendly ‘my first ballet’ style performances, but don’t recall ROH offering ‘relaxed’ performances for those who may not be able to sit still or quietly for the duration. But an interesting thought!

 

 https://www.bbc.co.uk/news/uk-45498464

How typically BBC.  The majority who don't have Crohn's disease must be disadvantaged and inconvenienced for the minority (very) who do.  The whole piece has Jeremy Vine written all over it.

[bangorballetboy]

3 minutes ago, penelopesimpson said:

How typically BBC.  The majority who don't have Crohn's disease must be disadvantaged and inconvenienced for the minority (very) who do.  The whole piece has Jeremy Vine written all over it.

 

How very inclusive and accepting of you.  The point here is that if someone sits on the end of the row and needs to leave to visit the bathroom, that others don't judge them for having to do so.  

[alison]

Yes.  After all, a number of West End theatres - at least - have toilets which can be accessed from inside the auditorium.  I'm sure the theatre would be happy to advise, in the same way that they do for disabled people.  Assuming you can get hold of someone to speak to, that is.  Better that than to sit mid-row and disturb everyone when you have to get out mid-performance, surely?  I'd be rather more concerned about people being (unavoidably) noisy than someone nipping discreetly out to the loo.

[penelopesimpson]

34 minutes ago, bangorballetboy said:

 

How very inclusive and accepting of you.  The point here is that if someone sits on the end of the row and needs to leave to visit the bathroom, that others don't judge them for having to do so.  

Ah, 'inclusive'.  Another wonderful BBC word that effectively includes the minority but tells the majority to suck it up.

 

For the record, I have no problem with somebody getting up to use the lavatory.  I take it for granted that they would not inconvenience people unless their need was great.  I was less charmed by the woman next to me who threw up all over the seat in front at Winter's Tale, but I suppose that's probably because I hadn't read my inclusivity missive that morning.  Fortunately, I have no need to virtue signal, preferring to rely on simple good manners.

Edited September 18, 2018 by penelopesimpson

[alison]

Did I mention that couple a while back, can't remember where, he went out, I assumed to use the loo, and she followed him, and I assumed he must have been feeling unwell.  A while later, they walked back and retook their seats - mid-performance - carrying drinks.  Guess they couldn't wait for the interval to go to the bar.

[Lizbie1]

22 minutes ago, penelopesimpson said:

I was less charmed by the woman next to me who threw up all over the seat in front at Winter's Tale, but I suppose that's probably because I hadn't read my inclusivity missive that morning.  

 

You see, without any more information about her situation (and if you have some to explain your reaction, please share it), my automatic reaction would be to feel very sorry for her and do what I could to assist discreetly.

 

And I am probably the furthest thing from what you might call a virtue signaller without actually being a "vice signaller".

[BMC]

On the subject of relaxed performances, I inadvertently booked for one recently - to see a romantic musical comedy at the Sam Wanamaker Theatre at the Globe. As someone who likes to sit quietly, gets incredibly irritated by mobile phone lights etc, I didn't know what to expect but it turned out to be one of the loveliest afternoons I have ever had at the theatre. One of the actors came on stage at the beginning and mentioned in a very low key way that the audience could react however they would like to, including going in and out during the performance.  That didn't happen so much, except for a lady with a sleeping baby which eventually woke up and was taken out but what was particularly engaging was seeing a lady with Tourette's clearly enjoying every minute, with her carer able to relax and have a good time. We soon got used to her calling out, although very often what she said was pertinent to what was going on on stage and she had the audience in stitches - totally laughing with her, I hasten to add - while the actors didn't react at all so there was nothing to draw attention unnecessarily to anyone. Although it was the ultimate feelgood musical, I can honestly say that it being a relaxed performance made it very special indeed resulting in prolonged applause and cheering. To say a great time was had by all would be an understatement. I was chatting to a colleague about it and she told me about her young brother who has Down syndrome - he absolutely loves musicals and likes to sing along so her family are huge fans of these relaxed performances.

 

I think this is a very long winded way of saying that I think they are a terrific idea as long as it's made clear when you book so that you know what to expect.

[penelopesimpson]

Explain my reaction?  Well, that's a poser. 

 

I suppose the PC answer would be to say that I didn't mind at all the vomit on my shoes and bag and on my jacket.  That the smell was really refreshing and that the resulting commotion simply added to my enjoyment of Winter's Tale.  But, not being PC I'm telling it like it is.  The performance was ruined, I couldn't go on sitting there because of the smell and I spent half an hour in the cloakroom trying to make myself presentable as well as very wet before hoofing it over Waterloo Bridge for a three hour journey home.

 

Think me a hard-hearted Hannah if you like; as I said, I find virtue signalling offensive because what it really seeks to do is shut down debate on subjects that the majority will brook no defiance.  

 

In the interest of completing my story rather than defending myself I will tell you that:  these two ladies arrived late, reeking of alcohol.  The one who became ill twisted and turned in her seat before sitting with her head in her hands.  I discreetly passed her a cold wet wipe and asked if she would like me to take her out to the nearest cloakroom.  She just kept her head down so I leaned across to her friend and said similar (getting dirty looks from people infront) but friend said she didn't know the way.  I said I would take her and friend asked her but she refused.  Three mins later she threw up big time.  I helped them out to the stairs where attendants summoned help and I got water from the Hall.  She recovered and  I believe they went back in to the auditorium.  At no time did they thank me or make any gesture of contrition.  Wonderful ROH staff said they would try and find me another seat but I'd missed Act 2 by that time and called it a night.

 

And there you have it.  I am also kind to animals and drink - copiously.

Edited September 19, 2018 by penelopesimpson

[Geoff]

15 hours ago, alison said:

I'd be rather more concerned about people being (unavoidably) noisy than someone nipping discreetly out to the loo.

 

A few years ago I became rather involved with the London disability lobby, learned many interesting things and made some marvellous friends (by no means all the people I met were exGLC exploiters of political weakness for personal advantage).

 

One of the most thoughtful, intelligent, politically active and compassionate (no names, sorry, he wouldn't like it) was however stumped when I asked for advice as to how I should have reacted at the performance of Parsifal I had once attended. Throughout Wagner's sublime prelude - alone worth the price of admission, I tend to feel, at least if the band is good - my neighbour in a wheelchair made loud involuntary honking sounds, signalling his delight and approval. The rest of us nearby could hear little. It was a while ago so I forget who left first, the wheelchair couple or me.

 

The point of this story is to report that the most balanced and gifted person I met during that year of disability rights was lost as to what response was correct. This was before the new era of these special performances.

 

Edited September 19, 2018 by Geoff

[Nicola H]

On 11/05/2018 at 11:33, ballettaxi said:

I know this has already been mentioned on numerous occasions earlier in this thread - but why do people have to continuously fidget and shift their weight from one side of their seat to the other.  Very, very annoying for those sitting directly behind them!!!

<snip>

i defy  you to sit on certain modern  theatre seats  for much more than  30 -45  minutes without  having to  move ... 

I do find the seats in the 'Stan and Audrey'  as certain  people are  wont to call it  ( whistles  discreetly  and looks towards @Terpsichore ) especially  bum-numbing   but i've just realised i've never actually sat on them  without  first having taken  at least a 90  minute class   if  not more  -  as Saturday's  visit ot the mixed programme was prefaced by PHB  class  and  sharing at TBR  is  prefaced by  class ...  ( also  somewhat strange for a  definite 'amateur'  to have spent more time dancing in a  space than in it as a theatre - but  probably  normal  for  for the TBR family  unless they are truely dedicated  and voracious consumers of the productions put on  at Quarry Hill   ) 

[Jan McNulty]

3 minutes ago, Nicola H said:

I do find the seats in the 'Stan and Audrey'  as certain  people are  wont to call it  ( whistles  discreetly  and looks towards @Terpsichore ) especially  bum-numbing   but i've just realised i've never actually sat on them  without  first having taken  at least a 90  minute class   if  not more  -  as Saturday's  visit ot the mixed programme was prefaced by PHB  class  and  sharing at TBR  is  prefaced by  class ...  ( also  somewhat strange for a  definite 'amateur'  to have spent more time dancing in a  space than in it as a theatre - but  probably  normal  for  for the TBR family  unless they are truely dedicated  and voracious consumers of the productions put on  at Quarry Hill   ) 

 

 

I agree that the seats at the Stanley and Audrey Burton Theatre are not the most comfortable but for those of us who haven't got a clue what you are talking about what is PHB class and TBR?  Thank you.

[Nicola H]

9 minutes ago, Jan McNulty said:

 

 

I agree that the seats at the Stanley and Audrey Burton Theatre are not the most comfortable but for those of us who haven't got a clue what you are talking about what is PHB class and TBR?  Thank you.

 

 PHB  -http://www.powerhouseballet.co.uk/

TBR - https://www.theballetretreat.com/    -  all but one of the TBR events in Leeds have  been at  Northern , the exception beign the Corps de ballet day  earlier i nthe year which was ' across the road' at Yorkshire Dance  ... 

[Lizbie1]

7 hours ago, penelopesimpson said:

In the interest of completing my story rather than defending myself I will tell you that:  these two ladies arrived late, reeking of alcohol.  The one who became ill twisted and turned in her seat before sitting with her head in her hands.  I discreetly passed her a cold wet wipe and asked if she would like me to take her out to the nearest cloakroom.  She just kept her head down so I leaned across to her friend and said similar (getting dirty looks from people infront) but friend said she didn't know the way.  I said I would take her and friend asked her but she refused.  Three mins later she threw up big time.  I helped them out to the stairs where attendants summoned help and I got water from the Hall.  She recovered and  I believe they went back in to the auditorium.  At no time did they thank me or make any gesture of contrition.  Wonderful ROH staff said they would try and find me another seat but I'd missed Act 2 by that time and called it a night.

 

Thank you - that does indeed make sense of things.

[alison]

10 hours ago, Nicola H said:

i defy  you to sit on certain modern  theatre seats  for much more than  30 -45  minutes without  having to  move ... 

 

Well, yes, but continuously fidgeting and shifting from side to side sounds as though it had been going on from the start of the performance to me.

[ballettaxi]

On ‎20‎/‎09‎/‎2018 at 00:13, alison said:

 

Well, yes, but continuously fidgeting and shifting from side to side sounds as though it had been going on from the start of the performance to me.

Yes Alison, this is precisely what the individual I was referring to was doing.

We all have to shift our weight from time to time to remain comfortable - however this can be done discretely and without an entire body shift.  Whereas continuously moving from one arm rest to the other and shifting your entire body mass each and every time can become very frustrating for those sitting behind.

 

[BristolBillyBob]

On 18/09/2018 at 19:46, BMC said:

On the subject of relaxed performances, I inadvertently booked for one recently - to see a romantic musical comedy at the Sam Wanamaker Theatre at the Globe. As someone who likes to sit quietly, gets incredibly irritated by mobile phone lights etc, I didn't know what to expect but it turned out to be one of the loveliest afternoons I have ever had at the theatre. One of the actors came on stage at the beginning and mentioned in a very low key way that the audience could react however they would like to, including going in and out during the performance.  That didn't happen so much, except for a lady with a sleeping baby which eventually woke up and was taken out but what was particularly engaging was seeing a lady with Tourette's clearly enjoying every minute, with her carer able to relax and have a good time. We soon got used to her calling out, although very often what she said was pertinent to what was going on on stage and she had the audience in stitches - totally laughing with her, I hasten to add - while the actors didn't react at all so there was nothing to draw attention unnecessarily to anyone. Although it was the ultimate feelgood musical, I can honestly say that it being a relaxed performance made it very special indeed resulting in prolonged applause and cheering. To say a great time was had by all would be an understatement. I was chatting to a colleague about it and she told me about her young brother who has Down syndrome - he absolutely loves musicals and likes to sing along so her family are huge fans of these relaxed performances.

 

I think this is a very long winded way of saying that I think they are a terrific idea as long as it's made clear when you book so that you know what to expect.

 

What a lovely post; made me happy to read it. Thanks for taking the time to share.

Edited September 21, 2018 by BristolBillyBob

[alison]

I was at a concert at the Festival Hall tonight, where, after the interval and the conductor had just started the final piece on the programme (a long one!), maybe up to 20 people filed into the auditorium.  They then walked down one of the central aisles (almost right behind the conductor, who thankfully was facing away from them!) and went and occupied a batch of seats near the front, I think making some people who were already there stand up to let them in!

 

Now, if you do get let into a performance late, don't you just go and grab the nearest vacant seat discreetly, regardless of whether it's where you were assigned to sit or not, rather than insisting on sitting in your "rightful" place?  There were plenty of seats further back they could have occupied without being nearly as disruptive as they were  

 

Edited October 1, 2018 by alison
Added information - original quote in bridiem's post below

[bridiem]

6 hours ago, alison said:

I was at a concert at the Festival Hall tonight, where, after the interval and the conductor had just started the final piece on the programme (a long one!), maybe up to 20 people filed into the auditorium.  They then walked down one of the central aisles and went and occupied a batch of seats near the front, I think making some people who were already there stand up to let them in!

 

Now, if you do get let into a performance late, don't you just go and grab the nearest vacant seat discreetly, regardless of whether it's where you were assigned to sit or not, rather than insisting on sitting in your "rightful" place?  There were plenty of seats further back they could have occupied without being nearly as disruptive as they were  

 

Yes, but the staff who allowed them to go in late should have directed them to the empty seats. You can't simply expect people to be sensible or considerate (though of course some are).

[LinMM]

I was an usher at the Festival Hall for two years in the early 80's and was just trying to remember the rules of late admittance but it was fairly generous even back then.

I seem to remember you let people in at an appropriate point in the programme .....at a pause between movements say....not just immediately when they happen to arrive but I think you did show them to their proper seats 

There was one very famous conductor back then though who did not allow latecomers and was very strict about it so if he was conducting people just had to wait until the interval! 

I really enjoyed that job but did hate having to take people into the auditorium late.....though most were very apologetic and grateful to be allowed in.

[alison]

Mm, "appropriate points" presumably didn't include 1 minute or so into a symphony ...

 

I was trying to come up with some extenuating circumstances, like perhaps they'd been trapped in a lift, but think there may have been too many of them for one lift-full.

[Rob S]

On 04/01/2018 at 10:21, Nicola H said:

i think The Fourth Doctor  has the answer to the  sweet issue ...  (aslong as the bag is suitably soft paper) 

 

would  you  like a Jelly Baby ?
 

 

 

If only I'd seen this post before last night, although Jelly Babies (in soft paper bag) aren't very good for sorting out tickly throats.

 

Anyway, I'm here to confess my sin from last night's performance of Mayerling....at the first interval an usher came up to me and very diplomatically pointed out that someone behind me had complained about the squeaking of my sweet wrappers as I opened them ( I only opened two, from a small supply in my breast pocket during the louder moments of the act) . 

Although I wanted a large hole to open up in front of me....between my seat in the second row and the orchestra pit... it did create an ideal ice breaker with one of the few people around to witness my embarrassment, I did tell her I may well end up appearing in the 'Audience Behaviour' thread on a ballet forum I occasionally post on, and here I am  

 

Edited October 13, 2018 by Rob S

[Sim]

Since you confessed, Rob, I am sure you’re forgiven!

 

Towards the end of her life my mother’s mouth was always dry.  Her rustling whenever we went to the ballet used to drive me (and probably people around us) mad, so I started unwrapping her sweets before the show and putting  them in a tissue.  The silence was heavenly!

[Rob S]

21 hours ago, Sim said:

Since you confessed, Rob, I am sure you’re forgiven!

 

Towards the end of her life my mother’s mouth was always dry.  Her rustling whenever we went to the ballet used to drive me (and probably people around us) mad, so I started unwrapping her sweets before the show and putting  them in a tissue.  The silence was heavenly!

 

I should point out I didn't open them in the way I would at home but with one hand under a folded arm.....but as the woman I was talking to claimed she was put off by the loud ticking of a woman's watch behind us I was clearly in a tough crowd.

 

[JennyTaylor]

I went to La Scala last night to see Manon and particularly to see Roberto Bolle, as I suspect there will not be too many more times for this particular treat.  

Seeing a well loved ballet performed by another company is always interesting but I was particularly struck by audience reaction and behaviour. 

 

So, 

- Lots of flash photography apparent throughout the ballet. An usher stopped a woman from videoing in the Stalls close to me, but otherwise, it's very difficult to control based on the theatre's layout of individual boxes on all levels except the Stalls. .

- Absolutely no reaction throughout the Lescaut and mistress drunken pdd in Act 2, nor any applause at the end.  I put my hands together to clap but there was silence. As far as I could see, it was performed extremely well - and it wasn't a Roberto Bolle applause only night - the 2 harlots soon afterwards received a laugh and applause, so I'm mystified.    

- The French couple behind me talked throughout - very annoying but that can happen anywhere.

- Loads of curtain calls at the end - far more than in the UK. I noticed this last year when I went to see Bolle and Marianela in Onegin. If I'm being honest their performance transcended last night's quite significantly, but this curtain call encore upon encore is clearly a thing at La Scala for their favourite etoiles.  I love it - you can choose to go or choose to stay, but with no rush to catch the train at Waterloo, I loved it.  How I wanted to give the same applause to Matthew Ball last week, but no real opportunity. 

 

Finally, the programme was 10 euros which made me blink, but it's like a book with loads of lovely photos and translations in 4 languages.     

 

[toursenlair]

A fist fight broke out at a performance of Gustav Mahler's Symphony No.5 in Malmö on Thursday night, after a listener was sent into a rage by another rustling a bag of gum.

 

https://www.thelocal.se/20181017/fist-fight-breaks-during-mahlers-fifth-in-malmo

[Lizbie1]

1 hour ago, JennyTaylor said:

Finally, the programme was 10 euros which made me blink, but it's like a book with loads of lovely photos and translations in 4 languages.

 

Alas, that's now little more than the ROH.

[Don Q Fan]

13 hours ago, JennyTaylor said:

I went to La Scala last night to see Manon and particularly to see Roberto Bolle, as I suspect there will not be too many more times for this particular treat.  

Seeing a well loved ballet performed by another company is always interesting but I was particularly struck by audience reaction and behaviour. 

 

So, 

- Lots of flash photography apparent throughout the ballet. An usher stopped a woman from videoing in the Stalls close to me, but otherwise, it's very difficult to control based on the theatre's layout of individual boxes on all levels except the Stalls. .

- Absolutely no reaction throughout the Lescaut and mistress drunken pdd in Act 2, nor any applause at the end.  I put my hands together to clap but there was silence. As far as I could see, it was performed extremely well - and it wasn't a Roberto Bolle applause only night - the 2 harlots soon afterwards received a laugh and applause, so I'm mystified.    

- The French couple behind me talked throughout - very annoying but that can happen anywhere.

- Loads of curtain calls at the end - far more than in the UK. I noticed this last year when I went to see Bolle and Marianela in Onegin. If I'm being honest their performance transcended last night's quite significantly, but this curtain call encore upon encore is clearly a thing at La Scala for their favourite etoiles.  I love it - you can choose to go or choose to stay, but with no rush to catch the train at Waterloo, I loved it.  How I wanted to give the same applause to Matthew Ball last week, but no real opportunity. 

 

Finally, the programme was 10 euros which made me blink, but it's like a book with loads of lovely photos and translations in 4 languages.     

 

When I have been to the ballet in Italy there was no clapping until the end it seems their way - although I haven't noticed it at La Scala but in Venice people were shushed by the locals during Giselle if they tried to clap.  Bolle is a total megastar and along with Zakharova whom I believe he was dancing with last night so I'm not surprised at the lengthy curtain calls. Hero worship!

The Nunez/Bolle Onegin was fab wasn't it?!

[capybara]

14 hours ago, JennyTaylor said:

 

- Absolutely no reaction throughout the Lescaut and mistress drunken pdd in Act 2, nor any applause at the end.

i

, but this curtain call encore upon encore is clearly a thing at La Scala for their favourite etoiles.  I love it - you can choose to go or choose to stay, but with no rush to catch the train at Waterloo, I loved it.  How I wanted to give the same applause to Matthew Ball last week, but no real opportunity.  

 

 

The audiences in Manchester haven’t ‘got’ the drunk pas de deux in Manon either. One small titter over 3 performances.

 

I tried to stand up for Ball last Saturday but no one joined in around me. I will just have to be braver tomorrow.

 

If people think that the ROH closes down on ovations too quickly, they should try ENB. Blink and you’ve missed it - whatever the audience is doing.

[alison]

48 minutes ago, capybara said:

The audiences in Manchester haven’t ‘got’ the drunk pas de deux in Manon either. One small titter over 3 performances.

 

Is that because it's not being performed as a comedy act?  

[bridiem]

1 hour ago, capybara said:

If people think that the ROH closes down on ovations too quickly, they should try ENB. Blink and you’ve missed it - whatever the audience is doing.

 

Yes - I think that's terrible. Really discourteous, in respect of both the dancers and the audience. It is a PERFORMANCE after all! Which is precisely what the curtain calls acknowledge and should be allowed to reflect appropriately.

[graemew]

I apologise if this has been mentioned before (it is rather a long thread to scan through) but why do people lean forward in their seats in the Ampi at ROH? Elbows on knees,  chins on palms and then the person behind can't see a thing. With normal behaviour the sight lines up there are some of the best.

The worst audiences for general behaviour seem to come along with the Russian summer visits. A higher percentage of casual holiday visitors perhaps?

[zxDaveM]

1 hour ago, graemew said:

I apologise if this has been mentioned before (it is rather a long thread to scan through) but why do people lean forward in their seats in the Ampi at ROH? Elbows on knees,  chins on palms and then the person behind can't see a thing. With normal behaviour the sight lines up there are some of the best.

The worst audiences for general behaviour seem to come along with the Russian summer visits. A higher percentage of casual holiday visitors perhaps?

 

just give 'em a tap on the shoulder and ask them to lean back. The sight lines are designed for people sitting with their backs against the back of the seat - so usually all they will miss is the orchestra pit  - and allow people behind them to see something!