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Spring 2003 week 6


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Apologies in advance for the non-sequiteur. but Leonard Pinth-Garnell cannot yet get private messages. I've recently taught my son a bunch of the old SNL catch phrases and among them was the L P-G "Bad Theatre" etc. What a great surprise it was to see someone else remembers!

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Like everything else in life, there are advantages and disadavantages wherever one sits. Too close, you miss the patterns, the overall effect, and the accuracy of corps dancing, and might pay more attention to the dancer's faces and personalities. Too far, and you can't see faces as clearly, nor small details -- although there are binoculars..... The ballet masters at NYCB used to sit in the first ring. But as far as where one sits coloring one's view -- I've sat next to people who saw things differently than I did! I don't think it's the only variable, nor even the most important one.

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For what its worth, I understand that Balanchine sat in the front row of the first ring. At least as of a few years ago, I've seen Sean Lavery sitting there observing ballets he was responsible for as the balletmaster, if that is the proper term.

I can tell you one place not to sit in the Metropolitan Opera House. The first 10-15 rows or so of the orchestra. We recently saw La Bayadare there and my view was obstructed by someone's head. Not his fault. He was tall. But the floor actually appears to slope upward to the stage. I'd have been better off in the balcony. However, we had TDF tickets and they did not cost much so I guess I should not complain.

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I believe the closest row that is reasonably safe in the Met orchestra is row "J." It's been a long time since I've ventured to the lower levels, though, so I may be wrong. A friend used to habituate row "AX" -- the very front row, in front of row "A" ("AX" being removed to accommodate the larger orchestra used for the Russian companies and the Opera). It is higher than the rows behind it, and he liked the seats as long as they were not directly behind the conductor.

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I think it is interesting to move around - you get a different slant on things from different areas. Yes, you might see expressions up close in the orchestra, but up higher you see patterns of the choreography (pretty important when watching Balanchine). I wish ballet masters and choreographers would move around. I've seen several productions at the Met where scenary was obstructed needlessly from the third and fourth tiers. I've also found that Wheeldon's work is much better from down low. He seems to play to that portion of the audience. I haven't found that with Balanchine, Robbins or Martins.

But I'd rather sit higher than deal with an obstructed view. Many theaters don't have a decent incline. Of course, I guess 1st, 2nd and even 3rd ring are optimum at State Theater - you can see faces well and patterns :) Too close in the orchestra and you can hear grunts and see sweat flying - kind of ruins the mood!

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Good points, Mark, Carbro and Dale! This is almost worth a separate thread. The geometry of the choreography certainly looks different whether you're center or side -- and part of the fun is moving around and seeing a ballet from a different angle. I still remember a thrill from my standing room days when I had the very last spot, next to the wall, and watching Shades from Bayadere. What was square from the center was suddenly diagonal.

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Yes, this isn't related to this thread, but about where you sit in the theater...

In the Brown Theater at Wortham, you can't see the backdrop at all from the balcony (highest level). The closest I ever sat was 3rd row from orchestra during an opera, where you get a great close up of the singers. For those that like to read the surtitles, though, you'd have to tilt your head up- I'm glad to have avoided them because I always think subtitles distract you from what's going on (even in movies). There was a short ballet scene during the opera, and when I sat that close, I couldn't see the feet.

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