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5 hours ago, Lizbie1 said:

 

I think the 2nd circle of Sadler’s Wells is also quite bad for this - from memory, the rows aren’t offset, so you are directly behind the head of the person in front and due to the high-ish viewpoint the rake isn’t enough to mitigate the impact of a tall person. This isn’t the tall person’s fault of course, just a poor bit of planning by SW.

 

I've always found the rake in Sadlers Wells more than adequate to avoid any heads in view problems - the person in front usually has their head below my knee level, so as long as they don't lean forward...

(though as I'm trying to recall, I'm sure there is a little bit of a stagger, to assist the view)

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13 minutes ago, zxDaveM said:

 

I've always found the rake in Sadlers Wells more than adequate to avoid any heads in view problems - the person in front usually has their head below my knee level, so as long as they don't lean forward...

(though as I'm trying to recall, I'm sure there is a little bit of a stagger, to assist the view)

 

I find the 2nd circle at SW very bad for sightlines, and I'm tall. I regularly have a head in my way, because the seats aren't staggered. It was one of the (many) things that really annoyed me when the new SW opened. Why would you design a new theatre like that??

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1 hour ago, Sim said:

You haven’t contravened any rules Dawnstar, nor is there anything offensive in your post.  I think most people could see it was a joke.  Joking is a risky business these days....

 

Please don’t worry about it. 

 

Thanks for the official moderator confirmation.

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Posted (edited)

Possibly it was already mentioned here, so apologies if I am repeating information, but I just wanted to let readers know that there was  an interesting article in June's Dancing Times about The Firebird and also in the same issue, an article about its designer, Natalia Goncharova.

Edited by Darlex
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On 23/06/2019 at 12:06, Darlex said:

Possibly it was already mentioned here, so apologies if I am repeating information, but I just wanted to let readers know that there was  an interesting article in June's Dancing Times about The Firebird and also in the same issue, an article about its designer, Natalia Goncharova.

... Also a lovely report of this triple bill in Dance Europe, where Robert Penman's description of 'Symphony in C' as an 'applause machine' made me smile.  It's a glowing review though, especially of Vadmin Muntagirov (whom I didn't see on this occasion).

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You have my sympathies: he was delicious (and I was very sad I only got to see him the one time)

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