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Urban Shocker's Neighbourhood Watch

Next season the Met broadcasts will be:

* Dec 15 Romeo & Juliet

* Jan 1 Hansel & Gretel

* Jan 12 Macbeth

* Feb 16 Manon Lescaut

* Mar 15 Peter Grimes

* Mar 22 Tristan & Isolde

* Apr 5 La Boheme

* Apr 26 Daughter of the Regiment
 
Bored out of my skull at Luisa Miller last night. The singing was nice, but the costumes were ghastly, the set had a life of its own, the staging was uninspired and the plotline a yawn.

If I hadn't run into someone I knew in the City Room - excitingly, he had just returned from several months at death's door - and if I hadn't chatted with a charming young woman I met at intermission, and been practically groped by a vast, gushy middle aged woman who "loved my look" ( the Velveteen Shocker jacket strikes again! ), or had a few glasses of fizzy sloshing around inside of me ... there would have been no amusements to carry me through.

Still, Elektra next Thurs., and La Traviata the following. Both good I hear.
 
building babel said:
The Scotiabank Theatre staff obviously go in fear of displeasing anyone over 40 - they hand out free tickets to appease our misanticipated displeasure.

Quite a nice community is forming at these Saturday events. I'm going back on the 7th with my baritone friend.
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You obviously don't know them, because you never worked there and they could not care less who you are. Whenever there is technical problems, free passes are given out and usually by the theatre management.
 
They seem to care a great deal about the demographic - I've never seen theatre management so loose with freebie screening vouchers. The first time they handed them out (because of technical difficulties during the screening) was absolutely necessary to keep the crowd happy, but the second time? The glitches were minor, and no-one expected the compensation. I agree with Shocker - they seem to be bending over backwards to keep this new audience happy.

(It was like prying Stephen Harper off of George W Bush last time I tried to get a pass from a manager at the Yonge-Eglinton SilverCity after nearly the whole film I had just seen had screened with a major fuzzball on the lens (and yes, I had brought their attention to it during the screening.)

42
 
interchange42 said:
They seem to care a great deal about the demographic - I've never seen theatre management so loose with freebie screening vouchers. The first time they handed them out (because of technical difficulties during the screening) was absolutely necessary to keep the crowd happy, but the second time? The glitches were minor, and no-one expected the compensation. I agree with Shocker - they seem to be bending over backwards to keep this new audience happy.

(It was like prying Stephen Harper off of George W Bush last time I tried to get a pass from a manager at the Yonge-Eglinton SilverCity after nearly the whole film I had just seen had screened with a major fuzzball on the lens (and yes, I had brought their attention to it during the screening.)

42
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No, they always give free passes regardless the size of problem is, film or live event. I can't say every theatre following the Cineplex's rule and every management style is different but I can say this from my experience with Scotiabank Theatre.
 
Tsk tsk tsk. If you've lowered your standards, its a world gone mad.

I liked it. I enjoy silly plots, and last night was a doozy. The singing was quite good, and I enjoyed the giant crucifix.

On Wednesday, over at Opera Atelier, they had a new machina for deus to come ex of. And who knew that the gates of hell were guarded by cute shirtless dancing boys?
 
The big Jesus had a nice little bulge in his loincloth. The set designer had fun with that one.

The sky and the grassy knoll were pretty too.

Nipple rings and S&M at La Traviata according to my baritone friend.

If you're Lord Browne all the cute shirtless dancing boys probably look like Jeff Chevalier.
 
I feel bad for Mr Browne. I'm in my mid-twenties, and I would never try milking more money out of my sugar daddy like that. Or would I? Hmmm....
 
Yesterday afternoon's live radio broadcast from the Met was Gluck's Orfeo ed Euridice, which I listened to on my tinny radio at the end of the garden via an elaborate umbilicus of extension cords, while pruning and weeding in the glorious sunshine.

The famous aria made me so teary-eyed, as usual, that I had to go inside for a few minutes, sit down, and talk sense into myself.
 
It was delcious heard live on Wednesday at Opera Atelier.

The NYT had a good story about the Met's production last week - coreography by Mark Morris, costumes by Isaac Mizrahi, the furies all dressed as famous people from history (Ghandi, Stalin, Diana Princess of Wales among those identified).
 
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