Lolly

I'm glad I'm not the only one who squeezes as much ballet into the day as she can! And in the Royal Box, hey? Very swanky! Interesting about Ivan's costume - I wouldn't have thought the dancers had a say in what they wore. I agree that black makes it hard to see the legs and feet - and if I had beats like Ivan I would certainly want to make sure the audience saw them! It's peculiar about Brian. I hope he is back this week.

Hi Fabiana! Lucky you to see Darcey and Roberto in Verona! Be sure to tell us all about it. I can't wait to see them again on Friday. Roberto seems very versatile - he can be the perfect prince but looks great in modern ballets too. I'm glad dances here a lot!

I had tickets for 5 performances and I thought it was a bit greedy to go to so many and I wouldn't mind missing one... my friend did enjoy it. Thank you Sylvia for posting a long review of it, I am consoled now I have read about it in detail! (Have you seen Brian Maloney on stage yet? I was very sad not to see him at all on Tuesday, especially since it seemed as if the entire company did something in one of the performances that day! ) I know what you mean about Johan K's pirouettes gathering momentum on the way, the first time I saw it I couldn't believe it! Tuesday was a very long but exciting day for me, I went to work in the morning then excused myself for the afternoon (hoorah, I managed it!!) then saw Ivan Putrov and Jaimie Tapper in the matinee, went to ballet class and dashed in just in time for the 3rd act of Darcey and Roberto! (You will all think I am mad again, but it was an important class, and I will see Darcey and Roberto in it again next week.) There were a lot of names on the injury slips for both performances, so I hope everyone is all right. Ivan suited the dark blue and silver costume down to the ground, so I was impressed before he even danced a step!;) He was stunning to watch, he is such a beautiful dancer. Jaimie was quite good, but my impression of her was spoiled by seeing Darcey in the same role on the same day - there is just no comparison. There wasn't a spark between Ivan and Jaimie, and I wasn't entirely sure why he wanted her instead of another swan, like Christina Arestis for example, who was gorgeous as one of the two swans. (Emily Low was the other, she was lovely too.) Tom Whitehead as Benno was brilliant, I got the feeling he was holding everything together, he was fantastic! The national dances were great, I really enjoy seeing how the character dancing I do in class is shown on stage, it is very inspiring! I wasn't keen on the black wigs for the poor Spanish dancers though! In the evening performance when the curtain went up on Act III I expected it to be Ivan again, but was entirely consoled by it being Roberto instead! He was superb, I am so pleased he is dancing so much with Darcey at the moment. Darcey was wonderful, and was perfectly mean as Odile, she gave some delicious little smiles and smirks as she was tricking poor Roberto. (I whispered to my friend as the curtain came down on Act III, "OOH! She's so MEAN!!") Marianela Nunez was lovely as one of the two swans, I do like seeing her on stage with Darcey. I did wish she had got her own Swan Lake though - maybe next time. Ricardo Cervera and Laura Morera were astonishing in the Neapolitan - they were so vibrant, I couldn't stop smiling! They look so good together. So standout performances for me were Tom as Benno and Ricardo and Laura in the Neapolitan - I do hope I see them again in those roles. I am excited to see Darcey and Roberto again too, after being given a taster! And VERY much looking forward to seeing Zenaida later on. And of course I wish it had been me in the Czardas...;) I was surprised to see the boys stealing the guards' crossbows for the hunt - I had thought Siegfried had a crossbow for his birthday so that was why they had to go on the hunt, rather than seeing the swans and having an impromptu hunt. I suppose it is just two different interpretations.:confused: And I think, if I was paying attention properly, that Ivan and Roberto were wearing different costumes for the last two acts - Ivan had grey tights and shoes, but Roberto was in black. The costumes were gorgeous, and I really love the gold spiral staircases at the side of the stage in the palace. There are lots of good pictures and interesting stuff in the programme, including a beautiful picture of Anthony Dowell and Antoinette Sibley.

I haven't seen it yet, but I have a funny story... I had a ticket for tonight's performance, first night, with Alina Cojocaru and Johan Kobborg, but I gave it to a Romanian friend who desperately wanted to see Alina dance. So I went to class today feeling a bit sad that I could have been at ROH... but to my surprise we learned the czardas in class! How cool is that? So although I didn't get to see Swan Lake tonight, I did get to dance a bit from it. I am going to both performances tomorrow so I'll report back then, but if anyone is there tonight, please do write about it!

I could see the trailer - it is almost the same but the dancers are in costume. It's quite scary!:eek:

I saw Thursday's performance, which was Robert Tewsley's last one with RB. I thought he was excellent, he was so mad! I think I liked his interpretation even better than Jonathan Cope's. Robert's eyes were truly wild. Even his hair looked mad at the end! Mara Galeazzi was very good too, their final pdd with the gun was wonderful, terrifying. They worked very well together. Ricardo Cervera was great as Bratfisch - the part where he tries unsuccessfully to entertain Rudolf and Mary and gets sent away almost broke my heart, he looked so despondent. I think I would like Bratfisch to be my friend - it would be nice to have someone to dance for you and do tricks to cheer you up! Even after a second viewing I am still confused about who everyone is - but I don't think it matters, I think it adds to the general confusion and unfortunate chaos of the story. It is a bit cluttered though - was it really necessary to have so many people named in the cast sheet? - I didn't notice half of them so they can't have been exactly vital in the plot! The lady sitting next to me asked me several times who various people were and I could only tell her the dancers' names and not the characters'. I thought it was sad that Robert didn't get a last curtain call on his own - he only had the first one. The lights came up very promptly, and I had been ready to applaud for that performance all night! I am sorry I won't see the Kobborg/Cojocaru cast, it would be nice to have seen them all. Oh well. Hopefully it might be back soon and won't need a significant anniversary to revive it again, as it was very well received. I'll do my homework next time and be sure of what is going on! And goodbye Robert - great performance for his last one here.

Hmm, I'm not sure I explained the corner thing very well! I meant that the croise and ouvert alignments were very strict, so with the super-crossed 5th positions it looked quite regimented. So it is a dancer's corner rather than corner of the stage thing - does that make sense? Maybe you have to see it...;) The ballet changes because of the way the dancers move in the canon (probably canon is the wrong word... I'm not very good at this! They repeat the movements while other dancers are standing still, and the repeats get shorter, ie until just one motif is left) So if you are at the side the dancers are facing, it looks totally different to if you sat at the other side, where you would see the dancer's backs. BUT! They do change around! (like in that sissonne I was raving about, which goes from one ouvert to the other) So there is no best side to watch it from. The dancers all stay in the same place in relation to each other, and when only some of them move and the others are still, the steps either take them back to where they were, or the dancers who were still then move and the pattern is sustained. Maybe someone else can do a better job of explaining this! Also, from one seat I completely missed Jonathan Cope's entrance - which he makes by walking slowly across the front of the stage! Duh! I must have been mesmerised by Darcey's undulating torso in her bourrees I should think. I'm going to get the CD next week, then at least I can imagine it! I keep getting fixated on certain ballets. This is the second time it has happened to me now - firstly with In the Middle, Somewhat Elevated, and now Tryst. I just LOVE them.

The answer to the burning question (haha!!) is that there are little strips in the trousers - I sat close enough to see them and heard the strike. Back to the dancing! I saw Wednesday's performance so this is a bit delayed I know. I can't say enough about Tryst, I think I have probably said everything I want to say about it and I don't want to bore everyone with my raving about it! One thing I did notice is that from different angles it looks very different, so from right or left, high in the auditorium or stage level, it changes and you notice different things. I think it is because a lot of it, especially the end canon, is perfomed very directly to the corners, so unless you watch from the centre, the lines are different. It's fascinating! I so want to learn this ballet. So Tryst justs keeps on being beautiful and compelling - I do hope that isn't the last I see of it although I can't imagine it will be. Gong gets more inconsequential upon further viewings - this was the third time for me. I do like it, it is very enjoyable but there is so much I would rather see. It doesn't take Darcey Bussell and Alina Cojocaru to dance it either. But it is pretty - I thought the end looked like the fireflys running towards the fading light. I shouldn't mind seeing it again, but I don't think I would be sad if I didn't. Here is the shock - I actually ENJOYED(!!!) Carmen.:eek: I think this is down to the SUPERB job Tom Whitehead did as Don Jose, he was just wonderful. Tamara Rojo was good - I didn't notice her presence as much as Sylvie Guillem forces you to... which was nice as I was afraid about seeing her dance such ugly things! She managed to look quite dignified at times! The programme notes said that the ballet is seen from Don Jose's point of view, and that just didn't come across with Massimo Murru and Sylvie, as Sylvie steals any show (and in Carmen she just grabs it by the scruff of the neck and drags it off...) - but with Tamara and Tom that definitely did, the relationship and roles within it were highlighted. I was so sad at the end when he was shot! Tom really was good. Bennet Gartside was funny as Escamillo, fab jumps, and his hip wiggling walk was great, and I noticed all the soldier boys do it too! (Obviously couldn't take my eyes off Jonathan Cope when he did it in the other cast!;) ) Sadly no Brian Maloney as the gypsy - it was Jonathan Howells instead, he was pretty good though. So Carmen gets better, presumably as the shock factor wears off (worryingly I didn't pull my disgusted face once) but it could be because of the fantastic performance given by Tom... Isn't it funny how opinions can change?

Typical. I tell terrible lies to get the afternoon off work to see Ivan Putrov's only Swan Lake, then Robert Tewsley goes and leaves RB, and Ivan gets his Swan Lakes!

Sylvia, you weren't the only one looking at Zenaida's arms! I know exactly the part you mean, I was mesmerised by her too. She is lovely. I am terribly confused by the relationships all the people have with each other - and there are so many people in it! My friend kindly read me the synopsis substituting the character names with the dancer names, so I would know what was going on! But I think anyone who doesn't recognise the dancers would have a hard time working out who everyone was. It was a great performance, so grand, gorgeous costumes, great entrance with a procession across the stage. It looked like the whole company were there! Brian Maloney impressed me greatly as Bratfisch (it amused me to read Bratfisch's occupation in the cast sheet - "Rudolf's personal cab driver and popular entertainer" How cool would that look on your CV?!) He looked rather like a lion tamer and seemed expert at tricks with his top hat. And OH! He moves so quickly! And he broke my heart at the end - the look on his face when the coffin was lowered was horrifying. During the ballet I felt very sorry for all the women who got mixed up with Rudolf and thought they must be very silly. Then at the end I felt sorry for him, it was so sad. But he brought it all on himself! He didn't behave much like a Prince in my opinion.;) I am very glad I will be seeing it again - I did like it a lot, and I do need another viewing to work out who is who! I can't wait.

Thank you very much, Kevin. It sounds wonderful! And if I can't go, at least Jeannie might tell us all about it!

I'd like to go to the ball at Tsarskoe Selo! Or maybe the one at the Mariinsky... They sound fabulous! Where might I find details of them? Or are they not the sort of event you can get a ticket for?

Aha. So as long as they weren't safety matches that sounds the likeliest option... I will ask next time!

Oh, maybe they were wool! They look like felt-type stuff. Or they could have struck them on a zip I suppose - I assumed it was a strip to strike them on but I may well be wrong - I wasn't THAT close! Before I had thought they struck them on the floor and thought maybe a marker on the stage was an abrasive patch. But it was definitely on the trousers. The trousers come to the knee, then they taper down with leg-warmer looking things which may or may not be all one piece. I will have to ask someone now, I am intrigued!;) Even more surprisingly, I haven't seen anyone not light theirs on the first try! Also surprised that the fire department aren't biting their nails in the wings, watching the dancers throw their lit matches off stage as cigar smoke drifts around...:eek:

It was a great performance last night... I love Tryst more each time I see it, it is so beautiful. The end is so quiet and lovely, the canon is so compelling, anticipating the movements as the sequence becomes shorter until the dancers are doing a simple arm movement. You know how after watching some things you just have to burst into applause straight away? Well this is one of the other kind - where you have to take a moment to come back into the real world... I am so glad I will get to see it again. I think once more will not be enough though - I really hope they keep this one in the rep. Gong was good - this was the second cast. I watched Zenaida Yanowsky a lot, she is so lovely in everything! The costumes didn't flatter this cast of boys at all (I was just thinking, "Johannes in GREEN? And Tom in LILAC?!" all the time...) and there is a nasty mustard shade of yellow for one of the girls. But the overall effect is wonderful, when they are all on stage together it looks impressive. I still think they look like fireflys, in some exotic enchanted forest! But they do look like puppets in other places, it is odd. Carmen is growing on me, unexpectedly! Zenaida looks great in anything so I enjoyed watching her as M, I am not so sure anyone else could pull it off though. Jonathan Cope had fun with Escamillo, golly, can he jump! I think the soldier boys come off better overall than the girls - the girls have some really odd things to do, but the boys look like they have pulled together and made their own small army! The boys look cute in their grey uniforms whereas the girls look trashy in their bright shiny dresses! From my closer vantage point I also realised when the boys light their cigars, they strike their matches on strips sewn into their trousers! (These details fascinate me!) Brian Maloney as the gypsy was superb, I am hoping he is dancing in the second cast as well (I can hope anyway!) Well, my favourite piece from this bill is definitely Tryst and favourite dancers from last night are Zenaida Yanowsky and Brian Maloney. It is still great to be seeing everyone.

I have only seen the RB one but you can't go wrong with it. And there will be loads of other 6 and 8 year old girls watching! Of course ROH itself contributes to the experience too, it's so beautiful, red and gold! Yes, book quickly - there is not much left in the way of online booking so you may have to phone. Much time will be saved with choosing seats if you can see a seating plan of the auditorium: http://www.roh.org.uk/Multimedia/Multimedi...rentLA=En&cl=31 ROH seemingly rearranged their booking plan to get their Nutcracker audience in first, before the other two, so that is one reason the tickets might be hard to come by - they have been on sale for a lot longer than the other productions. But good luck! I am sure you will find something!

Lillian, I don't think it is a new production - as far as I know it is the Peter Wright one from 1999. It is lovely, really sparkly and magical, traditional etc. Snow and glitter all round! I have seen it several times, and am seeing it several more this Christmas, so be assured it isn't dull! I can help with casts... (although sadly not for Clara yet) Darcey Bussell and Jonathan Cope: 20 Dec 1pm, 28 Dec 2pm, 1st Jan 7.30pm Alina Cojocaru and Johan Kobborg: 21 Dec 12.30pm, 27 Dec 7pm, 2 Jan 7.30pm Leanne Benjamin and Robert Tewsley: 23 Dec 2pm, 28 Dec 7pm, 31 Dec 2.30pm, 3 Jan 7.30pm Tamara Rojo and Inaki Urlezaga: 23 Dec 7pm, 30 Dec 7.30pm, 6 Jan 7.30pm Miyako Yoshida and Ivan Putrov: 27 Dec 2pm, 31 Dec 7.30pm, 10 Jan 7.30pm I included the times as they are so all over the place - I couldn't really just put matinee or evening!

Before going to the RB triple bill yesterday I went to the NPG to see the dancer pictures. I don't know why I hadn't been before, it is practically on the doorstep of ROH! It's a big place, too much to see all at once. It is free though, so multiple visits would not be a problem. And there is a nice gift shop, and a GREAT bookshop! (Lots of books on costume!) The dancer pictures are all in the same room, and I saw Darcey Bussell first - hard to miss it as it is more than life size! It is kind of nice - it looks like her, sort of, and it is very bright (perhaps Izaac Mizrahi saw it before designing the Gong costumes?!) I am not sure I would like it if it wasn't Darcey though. However I was completely mesmerised by the Anthony Dowell one, I stared and stared at it for ages. He is so beautiful and the painting looks just like a photograph - the detail is amazing. He is an extraordinary pose, with his arms around his face. The information said that the painting was done after a series of photographs taken in Sir Anthony's garden, in bright sunlight, and the pose was taken to show the dynamic of dance. I couldn't work out how the garden in bright sunlight translated to a dark painting, until I saw a glint of light on one of his rings. I watched the glint, it was like a star. I was amazed by how much the painting moved me, as I have had a picture card of it for some time, and it doesn't make me feel how I did looking at the real thing. The picture of Adam Cooper I thought was less than flattering - it makes him look quite grotesque! The information said the sittings took place during matinee performances of Matthew Bourne's Swan Lake when Adam wasn't dancing. Well, the painting looked like he had been up all night, he looked completely drained and very serious! Poor Adam. If I was as handsome as him I would be distraught that someone perceived me as looking like that painting! Here is a link to see the Darcey and Sir Anthony pictures on the NPG site. The Adam one is not available, sadly! http://www.npg.org.uk/live/room37.asp There was an exhibition there on loan from the Washington Portrait Gallery, so maybe when our NPG returns the favour, any Washingtonians might like to request these ones to be loaned to your gallery! (Take care of them though - I definitely want to go back and see them again!) If you do a search for ballet you can see how much they have but is not on display - it is quite sad. Perhaps one day I will make an appointment to go and see the archives.

I thought it was well lit and made a nice change from some of the murky dim stuff we had last season! (Stand up, Por Vos Muero) I was in the slips - maybe it was different from up there. Interesting that you are going off Carmen just as I am slightly warming to it... I agree, Brian Maloney is good, very stylish and I like him a lot. He would be better though if he didn't have to wear a shiny silver costume with braces and have dubious facial hair.;) I am looking forward to Tom and Tamara in Carmen - I didn't see them last time. Also I am sure Bennet Gartside as Escamillo is something to behold! And I can't wait to see the second cast of Gong - Johannes is cast (yay!) and Zenaida too (in the "Darcey" role - I am still interested to find out who danced Gong at ABT, if anyone knows - maybe I should ask on the ABT section? Wait, I just did a search and someone said that it wasn't consistent with a tall dancer or a particular style for a certain "colour" etc - is that correct?) Thanks for the tidbits about the insight day, Sylvia. fascinating stuff!

A fuller account! Tryst is gorgeous. Having seen Polyphonia twice since the first time I saw Tryst, I can see Wheeldon's style and patterns etc more, and would love to see more of his work - I wonder if we will get more at RB now? The costumes are lovely, dark grey with a flash of colour across the chest - I want one! Darcey Bussell and Jonathan Cope looked very good - every time I see Darcey I can't get over just how beautiful she is! Their pas de deux is very measured and precise and they take some amazing poses (and get into those poses in amazing ways!). The corps was very good, I still especially love the end with them all in lines and the movement being repeated by each line. The steps look simple (probably aren't though) but the effect is mesmerising as the canon through the dancers progresses. I was impressed by a kind of sissone ferme change I have never seen before - the dancers changed alignment in the middle - it fascinated me! There are some lovely pictures of Tryst in the programme. Gong was impressive, a bit peculiar! The earrings were distracting... and I am not sure about the coloured leggings with the tutus - I would rather have them in unitards I think. The girls looked like fireflys, darting around dressed in the bright colours, they reminded me a bit of the fairies in The Dream! (The colours of the costumes were interesting - 3 different types - pastel, deep and fluorescent - on first look I thought it was odd, as if some had faded, but actually I think I liked it) I very much liked the flexed wrists when the dancers turned in chaines or pose turns, it made them look blurred so the colours bled across the stage. I didn't like the flexed ankles so much, they made the dancers look stiff and a bit puppet-like. There were two pas de deux which were performed without music which was unexpected, I thought the music would start after a couple of steps but it didn't - it was interesting and gave the dances a different focus, I think. I really need to see it again! One thing I would be interested to know is which ABT dancers it was set on last year. Darcey Bussell was in burgundy, Alina Cojocaru in hot pink, Jane Burn in purple, Marianela Nunez in pale blue and Jaime Tapper in green, Ricardo Cervera in orange, Nathan Coppen in lilac, Martin Harvey in gold, Jose Martin in brown and Edward Watson in green (I hope that is right! I should have written it down!) Carmen wasn't as bad as I remembered it but I expect more because I was pleased to see the dancers rather than because I have changed my mind about the production. I feel so sorry for Zenaida Yanowsky that it makes her look so ugly, I just can't understand how a choreographer would want beautiful people to look ugly! She still managed to look serene and lovely though. I think my favourite part is with Escamillo and the soldier boys, the cigars and the streamers etc. But maybe because I like all the dancers, as what they dance is often vulgar. I am sort of getting how this kind of dancing expresses the emotion differently, but I am not sure I like it. However, I am almost looking forward to seeing it again, I think this is one I am going to love to hate! It's cartoonish, trashy and brash. A lot of it makes me pull my "disgusted" face but a lot of it makes me smile too. I did learn two things about it though - the first that the soldiers are mostly bellowing things like "how beautiful" at Carmen, the second that the silver ball which is on the stage is not actually a sphere - a portion of the back is missing as if a slice had been cut off it. (I wonder why? Easier to carry?) I am still mystified by the polka dot cupcakes.:confused: ;) Anyway, great to be back, the dancers look in good form and the new additions to the company I saw last night seem to fit in well. Hurrah, the season is open at last!

This is for those who like instant reaction as opposed to considered thought - it was FAB! Golly, it was so nice to be back and see everyone - great way to start the season with a triple bill as loads of people were in it, they all looked happy too. It was wonderful to see Tryst again, I really like it. Gong was peculiar but interesting. Carmen was still vile and vulgar, I kind of love to hate it now though... Lasting impression for me was Johannes Stepanek who was fantastic - but I am sure there are no surprises there if you have ever read any of my other reviews!;) Considered thought will come tomorrow, I'm too tired now!

Thanks for the update! I am pleased he got into the company. You will all have to watch him for me - let me know if he does anything good!

Thank you Leigh. From reading your post on the linked thread, it seems like Duo Concertant is a poem foremost and a ballet second - like Song of the Earth perhaps, with the different sections and themes. Hmm, I have to think about this! Ah, but you can project yourself onto the dancers, so it is you dancing after all!;) Are the musicians cast along with the dancers? Is there an equal relationship between the dancers and musicians? I think I have a lot of reading to do! I know so little about Balanchine. I wish I could go again today. I'll just have to be satisfied with going to class and rehearsal and trying out my new super-crossed 5ths!

I went again... I'm so glad I did - it was wonderful! If anyone is still thinking about it, GO! I phoned up and managed to get a ticket at 5pm as I left work. It was packed - a very different audience to Wednesday's, I thought, and VERY different to the ROH audiences! The young and hip were out in force replete with multicoloured hair... The foyer looked like a trendy bar with everyone hanging around wanting to see and be seen. Oh, and I saw Alexander Agadzhanov and Ernst Meisner from RB. (not together!) In the Night was beautiful. I like the first pas de deux (purple and white) best now, very adagio, port de bras, fluid, waltz turns.. so pretty. The second, (gold/brown) I thought very Russian this time, a bit demi-character and mazurka-like. The final one is the spectacular one I suppose - the movement where the girl slides between the man's legs along the floor, he steps over her and runs off into the wings left a big impression! It was a bit comic in places. The thing I noticed most about the style was the use of demi-point a lot, I kept expecting things to be on pointe but they weren't. I wonder why it was done like that? Triple Duet was great, I adored the 1st postion base they kept coming back to, standing in the middle of the stage, like a motif. I liked the repetitive quality of that, there was something you could hold onto, it drew you in. It was really quite serene and lovely, but sparkling too. The audience seemed to love it, there was lots of applause. Hurrah! There was a funny moment a few minutes into Duo Concertant when the dancers were at the piano - I heard a voice behind me say, "Why aren't they dancing?" and the reply - "I'm not sure..." Any ideas?! I did like the dancing, it was very sharp and fast with a lot of parallel positions which was interesting to see the blend with turn out. The man's solo was fab. The style uses much wider foot positions than anything I have seen - the 4th and 2nd are much wider. I didn't like the section with the spotlight on their hands. I started to kind of resent being told what I should be looking at! Polyphonia was fantastic. I am completely obsessed with the 5th positions they use now! It looks so tight and neat (I am not allowed to take my 5th like that - I have to have my heel on the bunion joint, so the toes of the back foot are visible). The duet for the two men was great -it reminded me of the pas de trois in R&J (whcih I also love) Doesn't Jason Fowler have a fabulous jump? The trio for three girls is a bit odd - the standing in parallel 4th, bending at the waist and sticking the leg out at the back is bizarre. And so is the bit where spiders crawl up the side of their torso - quite Wayne McGregor! I would love to know where it came from. The final pas de deux was lovely - I appreciated the gymnastic-ness of it much more with a second viewing. The last fluid motions of the girl sitting on the man's lap and twirling under his knee, upside down in the splits was amazing. The music at this point was melancholic, the notes sounded very deep and the dancers moved slowly, it was almost as if there was silence. it was strange. I'm so pleased I saw it twice. I want to see it again though! At least it is a programme you aren't bored with after one performance I suppose! As I said before, if you are still thinking about it, just go! And I really hope you get to see Triple Duet in USA. It's cool we got to see it first here!;)

Yes! There was some kind of arm movement I thought I had seen before too, I thought it could have been Agon! Sort of intertwining... I could be thinking of something completely different of course... for the life of me I can't remember where I have seen it before. I can see it in my mind now... how frustrating!