With dusk approaching, the Rhydin Theatre and Opera House sprang to life. Set aglow to set a dramatic ambience, posters were displayed, and some stamped with ?sold-out.? The exterior of the theatre was decorated resembled Spanish military d?cor and bullfighting.
The lobby also had posters of the play that were displayed on the walls next to large dark colored candles, and different themes and props were cleverly collaborated to give subtle clues to those that did not know the story. Bright yellow and magenta capes decorated the walls and tables, as well as various military and matador costumes. Gypsy fans and flamenco shoes were the last, subtle elements. Waiters came around to several groups of people with complimentary drinks of complex flavors and hor?dourves.
Off to one corner of the lobby was a merchandize table. Everything was sold from graphic t-shirts, jewelery, and tote bags. Shirts either supported the ballet troupe, the Opera, or current production theme. Some even supported the dancers and singers themselves. The designs were simple but elegant, and the prices reasonable. Aside from the apparel, candies and bottled beverages were sold as well.
Candles of varying sizes brought illumination inside the theatre and down the aisles. Ushers were dress in a militant uniform. They appeared polished and patient, waiting for the doors to open and guide people to their seats. The walls and ceiling were made of both dark wood and light marble; designs both simple and bold that naturally drew the viewer?s eyes to the stage.
Programs were handed to each guest as they were seated. The programs had various pictures of the performers, and well as small biographies for the principle dancers and singers. A few articles were written about the theatre, the process of putting together the current production, and about the production itself. Right in the middle though, was a synopsis of each act for the performance from a foreign language. After those that came on time were all seated, the lights went dim before the curtains parted and the ballet began.
The lobby also had posters of the play that were displayed on the walls next to large dark colored candles, and different themes and props were cleverly collaborated to give subtle clues to those that did not know the story. Bright yellow and magenta capes decorated the walls and tables, as well as various military and matador costumes. Gypsy fans and flamenco shoes were the last, subtle elements. Waiters came around to several groups of people with complimentary drinks of complex flavors and hor?dourves.
Off to one corner of the lobby was a merchandize table. Everything was sold from graphic t-shirts, jewelery, and tote bags. Shirts either supported the ballet troupe, the Opera, or current production theme. Some even supported the dancers and singers themselves. The designs were simple but elegant, and the prices reasonable. Aside from the apparel, candies and bottled beverages were sold as well.
Candles of varying sizes brought illumination inside the theatre and down the aisles. Ushers were dress in a militant uniform. They appeared polished and patient, waiting for the doors to open and guide people to their seats. The walls and ceiling were made of both dark wood and light marble; designs both simple and bold that naturally drew the viewer?s eyes to the stage.
Programs were handed to each guest as they were seated. The programs had various pictures of the performers, and well as small biographies for the principle dancers and singers. A few articles were written about the theatre, the process of putting together the current production, and about the production itself. Right in the middle though, was a synopsis of each act for the performance from a foreign language. After those that came on time were all seated, the lights went dim before the curtains parted and the ballet began.