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  1. I’m not sure this is anything new really, it has long been the case. The Arts Council receives so many high quality applications that they cannot award funding to all of them. As such, they need additional criteria to choose between the high quality applications. Hence, ‘relevance’. It does say in the article that excellence is ‘no longer enough’, meaning you have to be both excellent and relevant. They aren’t going to start funding low quality work just because its ‘relevant’. (Although there is no accounting for personal taste!) It looks to me like the guy in charge of the new strategy just wants to show how progressive he is. All bark no bite if you ask me. The criteria haven’t even be decided yet. Nothing to see here other than some peacocking on behalf of a desperately fragile ego.
  2. Young ROH (what used to be ROH Students) is a free scheme where current students can register to receive certain benefits. I don't think there is an age limit despite the name change. To register you need only give details of your course. You may be asked to show a valid student ID at the door, but I have never been asked. I can only imaging that the name is to emphasise that the scheme is intended to be youth focused and to discourage older students from participating. Benefits include priority booking (one day ahead of pubic booking), access to 10 slips and standing tickets for each performance reserved for students to buy at face value, one whole house student performance each season and a few amphitheatre performances (both with reduced prices; the rules say you need to show one valid student ID for every two tickets, so you can take one non-student with you), reduced prices for insight events and some student only insights, the occasional offer of standby tickets (last minute tickets for £10), and two for £10 cinema tickets. There is a separate Young Friends scheme which is the same as Friends membership but at a lower price. So, priority booking, rehearsal tickets, magazine etc. You have to be 16-30.
  3. Well, as Dawnstar said it! Without wanting to be accused of speculation, my guess is that they are waiting to announce McRae's replacement until they know whether they need to replace Clarke. One decision might affect the other. Reasonable reason for a delay in my opinion.
  4. Can anybody hazard a guess as to why Two Matadors are no longer listed on the cast sheet? It's seems odd that this should change in the middle of a run.
  5. Is there a particular reason why this mixed bill has proved so popular? This is the first time in my 4 seasons that I have been unable to get the seat I want for date I want at student booking (admittedly I was a little later than normal yesterday, but ordinarily this wouldn't have been a problem). I ended up saddled(!) with an Osipova/Hallberg date, which is particularly odd as her dates normally go first. (I'm not really that disappointed!) I didn't realise that these three ballets are so popular and/or so rarely performed that tickets would go so fast. Maybe some feel so starved of 'serious' ballet this year that they are taking the opportunity to fill their boots.
  6. Nicol Edmonds has posted an instagram story of himself in costume and the worlds "Espada 3.5". That might be the answer. Fingers firmly crossed for Reece.
  7. Me and you both Richard! I thought it was pretty dire when I saw it in 2016 and the cinema relay a while back did nothing to change my mind. The dancers, of course, gave it everything. Corrales (gutted he missed filming) and Quagebeur were particularly good, but even they couldn't save it for me. Unfocused storytelling. Key plot points fudged. Characters poorly defined. Repetitive choreography interspersed with overlong moments of nothingness. So poorly lit I couldn't see either. Not so much music as just clanking and banging. Programme notes that gave McGregor a run for his money. All in all, pseudo-profound, pseudo-intellectual, self-indulgent nonsense. If you want to see a ballet about migrants, go see Flight Pattern. Pite actually delivers on her intentions. Luckily, we are in the minority. I'm so pleased that it has been such a success for ENB and that so many are enjoying it. I just don't want to see it again! I did record the broadcast though... third time lucky?
  8. Didn't Obraztsova withdraw at short notice from an RB Swan Lake a few years ago because the Bolshoi needed her back as injury cover?
  9. I surmise that Magri was scheduled to dance opening night with the Bonelli/Morera cast, but was knocked out by injury. Glad she is back. The other Justines have been Gasparini and Pajdak. The Henrys were Hay, Acri, and Zucchetti.
  10. Both. In the end, the student dates were: 5th, 11th, 12th, 18th, 20th, and 23rd evening and matinee. So 7 of 9.
  11. To confirm what Janice has said, the student standby dates thus far have been: 5th March (opening night for £5), 11th, 12th, and 18th March (all the usual £10). On these dates, all tickets are offered at the standby price regardless of face value. That means tickets priced at £115 being sold for £10. Performances on 8th and 15th were not offered. That's four of six with three more to go. We were pushing dangerously close to the 10:30pm curfew on Tuesday night, but I am as disgusted as everyone else. Disgraceful and disrespectful not to do red runs at anytime, especially debuts. Can you imagine not getting red runs after a performance of Romeo and Juliet?
  12. This is the link for Friday Rush. It updates every week at the moment. https://www.roh.org.uk/events/friday-rush
  13. This is the link for the old style calendar. Who knows how long it will remain accessible. https://www.roh.org.uk/events/calendar/2019/03
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