A woman shushes a man behind her.

“But nothings happened yet,” he says, waving his hand to the stage where the conductor has just taken the podium in the pit.

“It’s rude,” she says over her shoulder.

“B___h” he says loud enough for the other rows to hear him.

Just your average night at the ballet folks.  Despite that little argument before “Russian Seasons” at City Ballet, I had a phenomenal time. I wrote about the dancing and the dancers in an additional post that you can read here and am devoting this post to all the extraneous detail.

The world premiere of Bigonzetti’s “Oltremere”would be my first time viewing a premiere of a ballet. I spent the whole afternoon on the West Side strolling the streets, flipping through dance books at the library and popping in Starbucks for pre-show coffee. I kept impatiently glancing at the time.

Since my ticket was a gift from a friend, I would be sitting in the orchestra. The section is normally too expensive for me, so I’m always in the fourth ring (read: nosebleeds with a view). As soon as I arrived at State Theatre and sat down, I realized how much I’d missed at other performances because of the distance. It’s going to be heck having to view Daniel’s “Prodigal Son” debut from the fourth ring. Total downgrade.

During intermission I met up with Tonya and Philip, who also wrote impressive reviews of the evening (viewable here  and here ) Crossing the promenade Tonya and I and spotted Times critic Alistair Macaulay.

After the show, Tonya and I went to Starbucks for a post-show chat. I fell into bed at 2 a.m.

If you didn’t catch it in my previous post: I love Bigonzetti’s “Oltremere.” All evening I recalled my Facebook friends who, after seeing “Cloverfield” changed their Facebook status to “Go see Cloverfield.” I wanted to change mine to “Go see Oltremere.”