Kidnapped by Kiwis

Honest.
I was talking with Rachel just before the final panel on primary participant’s views on quality in interpreting. I asked if she was going in and she said, “No, we’re going to the ballet. Want to come?”
At the Sydney Opera House? What was I supposed to say?
“We’re leaving now,” she added.
Done. ­čÖé
And what a show it was! Don Quixote: a romantic comedy as perfect prelude to my presentation on Saturday in which I dream of planting seeds to change the world. (shhhhhhhhhhh!)
Henry is as hilarious in person as he was during his spiel on opening professional membership to those least skilled and least qualified individuals whose job performance as interpreters brings down the public perception of the lot of us. (This is the only way to entice them into line, on the principle that “they have to be into you before they’re going to change,” with the caveat that “even then it might not work.”) Hannah is a firebrand: she told me about the Russian grandmothers who buy the least expensive tickets for classical shows, enter early, and watch like hawks for open seats, dashing for the front row just as the curtain rises.
Rachel, lo-and-behold, was a participant in the online conference where Anne Potter and I presented on American Deaf consumers’ perceptions of interpreters’ interrupting or even, unculturally-incorrect, “TAKING OVER.”
En route to the grand venue (which appears alive from up close under the stars), we stopped for a meat pie; a “very Down Under experience.” A bit greasy but rather tasty, similar to fast-food everywhere.
I grinned through most of the entire show by The Australian Ballet. The dancers were talented, the choreography fun, and the music delightful. The Australian Opera and Ballet Orchestra is conducted by Nicolette Fraillon &emdash; the first female conductor I’ve witnessed in action! Post-show, we avoided what looked like a gathering sting operation by Australian paramilitary at the train station by exercising the “get out on time (or early)” principle, which is somewhat in contrast to my mode of living “in tomorrow, here.”
­čśë

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