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JohnS

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  1. I asked the following using the Royal Opera House's contact form 11 December: "The casting for opening night (Winter Dreams) is still showing TBC. Surely casting is now known? There's a lot of criticism about the incompleteness of casting information and I would urge the Royal Opera House to provide better information. Having the full cast list for the Nutcracker opening night was an excellent example of what is possible. It's set the highest standards and given your commitment to excellence in all aspects of performance and experience, I would love the Royal Opera House to meet those standards consistently and for excellence to be the norm." Reply just received: "Please accept our apologies with the incompleteness of casting information. I have been in touch with our Digital team and they are aware of the frustrations and are working hard to rectify the issues to ensure all casting information is available as early as possible." As a footnote and not sure this is the right place as there are comments on casting misinformation in so many threads but I just noticed the Christmas Radio Times has Riccardo Muti conducting the New Year's Day concert on Radio 3 but Christian Thielemann conducting on BBC2/4 - I'm wondering if I might prefer the radio?
  2. For Opening Night there was a link to the full cast list: https://www.roh.org.uk/events/whm7y Does any one know if similar links are available for other performances? I can only find details of the five principal roles e.g. 7 December https://www.roh.org.uk/events/c7v2n
  3. Apologies for going back to ticket prices, particularly for Opera, but I recall the Royal Opera House has made much of a claim that x% of tickets are under £y. The latest information I could see was in the Annual Report 2016/17 31% of tickets at £30 or less 38% of tickets at £40 or less 47% of tickets at £50 or less I'm pretty sure this is an overall measure and not 'per performance' so when Triple bills are put on it may well be the case that all tickets for that performance were £50 or less. But it would be very interesting to know what the latest statistics are given general price increases, putting seats in higher price categories and ending matinee discounts. I also think there would be much merit in publishing separate statistics for Opera and Ballet and by production - what percentage of Romeo & Juliet seats are under £30, £40 and £50? I think this sort of information is an essential part of demonstrating accessibility or I fear showing that the Opera House is becoming less accessible. There may be a vicious circle here if Arts Council grant is in anyway linked to ensuring a proportion of tickets are reasonably priced. Whilst Opera prices in general are very high, I still can't get over the difference in ticket price for neighbouring seats - for example Balcony Stalls A53 is half the price of A52 (Tosca - £103 v £206) because there's a safety rail to the right which certainly didn't cause me any problems for the Ring.
  4. Very much enjoyed the encore performance and will look forward to the cinema cast in the theatre 22 December all being well. I thought the ending slightly rushed so Clara didn't really have the time to recognise that she still had her pendant as the lights were already showing Drosselmeyer at his table. As regards Luke Jennings, I rather assumed he was a little 'tongue in cheek' in his support for the mice. I've always had some sympathy for the urchins snowballing the party guest and wondered about their Christmas festivities.
  5. JohnS

    Theft in a Theatre

    But was it open?
  6. Many thanks for highlighting this Vanartus - news to me and I shall certainly look with interest.
  7. Well I love the Royal Ballet's Nutcracker particularly because the narrative is so strong and it is very much Clara's ballet with Hans Peter an integral part of her journey from childhood towards adulthood and I also love Clara and Hans Peter joining in Act 2 (I know some others don't). We've certainly had some fabulous Claras in recent years. I'm entranced every time I see the production and am looking forward immensely to the cinema encore this Sunday, particularly given the glowing reviews. A Parish Council Meeting clashed with the live relay - hopeless planning on my part. I shall also enjoy a couple of performances in the theatre much nearer to Christmas, including the cinema cast.
  8. I'm very much looking forward to the Woolf Works DVD but I do have a couple of problems - one is the idealisation of suicide by drowning and the other (which I think is probably more generally shared) is the totally inadequate cast list/synopsis. I'll be interested to see if the DVD material is more helpful. I'm afraid I didn't like The Wind but am looking forward to both Don Q and Frankenstein. I've always enjoyed Don Q in the theatre as I did Frankenstein on its first outing. I'll be interested to see if Liam Scarlett makes any changes this time - I hope there'll be much more for the Creature/Frankenstein in the animation scene but I think I'll find it very difficult to have any sympathy for Frankenstein as he does nothing to save Justine. But I do agree with penelopesimpson's conclusion regarding the Unknown Soldier.
  9. Wouldn't it be good if this became the standard for cast information on line? Hopefully we would also be able to access this information for performances attended and see the detail of who actually performed.
  10. You might want to read Harry Patch's testimony in the link below - 'Going over the top' includes his recollection of the dying soldier saying 'mother'. http://www.bbc.co.uk/history/worldwars/wwone/last_tommy_gallery_03.shtml
  11. I quite agree - very disconcerting. I tend to think that when logged in the information looks more understandable (matinee 18 May) . When not logged in there's such a mass of repetitions. Here's a small extract: Within the Golden Hour. Yuhui Choe Principal. Yuhui Choe Principal. Kristen McNally Within the Golden Hour. Francesca Hayward Principal. Francesca Hayward Principal. Marcelino Sambé I'm pretty sure McNally/Sambé are not in Within the Golden Hour. When logged in for Within the Golden Hour the six dancers are sensibly listed: Principals Yuhui Choe Francesca Hayward Akane Takada Alexander Campbell Valentino Zucchetti Tristan Dyer But this is pretty hopeless and has been a problem for weeks.
  12. A wonderful programme - thank you Darcey Bussell and all participants, those with dementia and Parkinson's, Sliver Swans, and young people struggling with such cruel mental illnesses. A remarkable tribute to dance and its health and life enhancing powers and those gifted facilitators who use dance so effectively to help people discover themselves, their memories and hidden strengths. Do please take time to watch.
  13. JohnS

    Live at Lunch - ROH

    I do wonder if more use could be made of music, DVDs, live streaming from rehearsals etc so that the Royal Opera House's raison d'être is much more visible throughout Open Up. It may be I'm just not familiar with all the facilities but I'd got the impression Open Up would be providing much more of a taster of what goes on in the theatre, encouraging all to attend. I'd much prefer a stronger Royal Opera House presence rather than providing quiet spaces for general meetings, work stations etc.
  14. Isn't this Marriott's failing by inserting Harry Patch's testimony into the Ted/Florence story? It completely undermines the simplicity of Ted/Florence's story as presented in the ballet and the ballet fails to do justice to Harry Patch's eloquent testimony. I only saw Unknown Soldier once but I'm pretty sure 'Ted's mother' was not portrayed on stage at all as she is not part of the Ted/Florence story. Harry Patch introduces 'mother' in his heart rending recollections. But by including Harry Patch as a cast member, comforting the dying Ted, the two stories are forced together without any thought or resolution. I didn't have any difficuty in the Telegraph Boy giving the telegram to Florence even though she was not Ted's next of kin. The Ballet was very much Ted/Florence's story, including Florence's grief and loss. I thought poetic licence worked well in this instance but certainly not as regards introducing Harry Patch as a character in the Ballet. I'm afraid I found Marriott's handling of the rich evidence poor and to be honest I can't understand why it wasn't effectively challenged - he seemed rather like a child wanting to play with every toy in the box and utilise as many stage tricks as could be crammed into 30 minutes. Rather sad when you look at the memorable ballets created in recent years commemorating the First World War.
  15. Jane Parry's review in Dance Tabs provides some detail (but you might prefer not to read it): http://dancetabs.com/2018/11/royal-ballet-the-unknown-soldier-premiere-infra-symphony-in-c-london/
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