|... Dalton, opting out of the theatre for a more interesting screen at home ...|
Did they actually go?
Yesterday, in our movie theatre, Rigoletto was full – only the front 4 rows of the theatre were empty. I had misread theatre map when I bought my tickets on-line. I thought I was buying seats two rows from the back. Unfortunately, I was turned right around and selected seats two rows from the front—a little close for me and not that comfortable for Kelvin to walk down all of those steps to the front of the theatre. I couldn’t have been madder at myself for my mistake. I tried to make things right, acting as Kelvin’s moving post onto which he could hold tight stabilize himself on the way down the theatre steps. I would never choose me to lean on ... but he didn’t have many options. All of that just to say that yesterday the theatre was full. Today for the dance theatre there were 16 people in total – 3 were Ceilidh, Meighan and me. Three other people were a young mother with her two toddlers, whom she kept asleep for most of the time. A seventh person was in our row and as soon as the dance started he stumbled over the three of us in a huge rush to get out of the theatre mumbling, “I am really in the wrong theatre.”
“Take a chance and stay,” I whispered back. He continued his flight.
|... Meighan joins us at the theatre with a pillow in case she gets tired ...|
In the end we had some good discussions – about how Left Right Left gave us a sense of motion, and how the jerky movements were so unusual, and the costuming so generic. The third part, Secus, was dissed by the critics but loved by us – our absolute favorite, including the mooning of the audience by 2 dancers – not once but twice.
Ceilidh said once she figured out Light in Motion was about nightmares, she kind of liked it.
Rebecca made the call on the Phillip Glass music during Silent Screen. Haunting. The music almost overwhelmed the dance. I don’t know if the girls heard it. But on the way home, when we were discussing that this is the hardest dance piece we have seen, they said that The Nutcracker seemed hard at Christmas. Now The Nutcracker seems easier in comparison for there it was easy to figure out who the Sugar Plum Fairy was – a lot easier than “reading this piece” as Ceilidh said.
First she wore them down the winding stair case in her house. That was successful. No need to call an ambulance yet. Then she wore them down the long isle from the ticket takers to theatre #5.
She is on a roll. Carries them in a bag for part of the trip. Practises with them for other parts of the day. She reminded me of Catie Jarvis who went for the high heels when she was in Grade I or II and would not be dissuaded by Catherine from having a pair.
I couldn't help think of the vagaries of fashion when I was watching Downton Abbey last night. T he dowager said about her own life, when asked to comment on a new backless fashion of the 1920's, "Oh, my dear, in my time I wore the crinoline, the bustle and the leg-of-mutton sleeve. I'm not in a strong position to criticise."
None of us are. As Bonnie Wyora said about the picture, " Ceilidh was born to wear high heels".
As was I born to wear them until old age and orthodics set in.