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| - The Four Seasons Centre for the Performing Arts is perhaps one of Toronto's few respectable buildings that also caters to a respectable purpose; WOMEN DANCING IN LEOTARDS!
The most conspicuous venue in Toronto for the arts, as long as we are all agreed that the ROM is not exactly within the realm of art, but closer to the idea of preservation. Also, the ROM is conspicuous in all the wrong ways.
Where performing arts mix relatively well with capitalism, as it is clearly hinted with the unmistakably contemporary minimalistic design, and less subtly flaunted with whatever sponsoring brand of automotive company displaying their flagship vehicle at the South West corner. Usually a Jaguar.
The entire West side of the building from floor to ceiling is separated from the streets only by panes of windows, thus proudly showing off the interior-which I must admit is rather an ingenious marketing ploy-and offers a stunning unique perspective onto University Avenue.
The main level gives home to the gift shop, the bar, information, and the Richard Bradshaw Amphitheatre, a little space with stair step like seating offering free performances weekly. NOTE: This amphitheatre is at all times filled from top to bottom with women. The only time & place where women can be seen congregation in such large groups are either at a hack author's book signing, or a wine tasting.
The main hall (R Freaser Elliott Hall) boasts absolutely one of the most lacking seating arrangements I have EVER seen. From the stage, the seating area resembles a huge pile of shelves found in a super complicated refrigerator.
The doesn't seem to be a VIP area. There are a few boxes, but they offer the chairs identical found in a public school!
There are not enough elevators to serve a full house, and the seating are too damn small!
This has nothing to do with the productions, as they are of course after-all, the main attraction. My initial visit was to watch Alice in Wonderland the ballet. My dear friend Terevia had something come up, so she offered her pair of tickets to me, and I ended up taking Jocelyn. The show was so damn spectacular, I actually didn't end up cursing under my lip over the utterly shabby seating which felt like watching an army of ants from the moon.
I don't know whether the orchestra is in-house or from elsewhere, but they were just great! The quality of sound was just good enough, although I would imagine it being quite amazing from a more expensive ticket.
This place is home to the COC, and so where almost all operas in Toronto is offered. The ballets are productions in conjuncture with the National Ballet School or Canada. Not all dancers belong to the company, but they all have some kind of contract when performing out of here.
After the show or on special occasions, you can head to the Henry N. R. Jackman Lounge-or the bar for short-and have yourself a conspicuous drink; overlooking the old Osgoode Hall, and the homeless people who dwell around the fencing.
Architecturally, it is esthetically pleasing. It does not scream pretentiousness, which is more than can be said for most of Toronto contemporary designs. Hell, I can even say it's nice! I like the building. Perhaps it suffers from being too humble where humility should not be found (the stage & seating).
The location amazing, as long as we're not factoring in car parks.
The staffs here are all relatively professional and reasonably trained to accommodate patrons and their expensive purses.
There is not yet much history associated with this building, but the main area could really use a touch of bourgeois!
This place is very much from the outside, and parts inside; sexy.
To the higher calling of muscular thighs, and overly pushed up b..b...baritones!
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