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  1. I actually found the set a bit of an issue. It takes up a lot of the rear of the stage, particularly stage right, which means a lot of the dancing happens downstage. From where I was sitting (and I was in the dress circle) I found that I was craning my neck a lot to see the front of the stage, while there was nothing happening further upstage (unless they were on the structure - which I imagine cannot be seen from areas of the upper circle and balcony). Those of you who know me will know I'm not tall so perhaps I just had bad luck with who I was sitting behind.
  2. That was one of the reasons I chose to go to university there many moons ago!
  3. Dance for All in Edinburgh has a good timetable of adult classes. Sheena Gough who teaches on a Tuesday night is legendary. I occasionally travel to Edinburgh specially to take her class. Plus, she doesn't tend to stop for school holidays - her classes run through summer, half term etc.
  4. Didn't they used to have a symbol next to the dancer's name - and then an explanatory key saying it was the dancer's debut?
  5. Doesn't Darcey Bussell say in her autobiography of the late 1990s that she got a Pass Plus (in the days when it went pass, pass plus, commended, highly commended, distinction) in her first RAD vocational exam? And look at her now!
  6. I did a Cecchetti major in my late 20s after having trained and been examined before that almost entirely in RAD (apart from some teachers when I was at university who may have had other influences). I did that because I'd been taking classes in the Cecchetti method and wanted to learn more about it - and the reason I was taking those classes is that, where I was living at the time (Newcastle) the adult ballet community was based around Cecchetti teachers - they were the ones who took adult students the most seriously and offered advanced adult classes and more than once a week. My advice to you would be to find an inspirational teacher and learn whatever method they use - it's all ballet, after all, and it's good to understand the differences between the methodologies.
  7. I think perhaps the ROH website is using some kind of API that pulls data automatically from another system integrated with it - and that a lot of the problems we are seeing are perhaps because this integration is flawed.
  8. Hi! Is this imperial or Cecchetti? Maureen Christie teaches Cecchetti in Glasgow.
  9. I think at 2.30pm most people will have had their bags searched and be in their seats - so I wouldn't anticipate a queue. I'm not expecting to get there in time but will make a dash for it in the hope that I do. My seat is a £10 one and if I don't make act 1 I'll content myself with 2 and 3.
  10. Thank you Don Q Fan! My contact at ENB told me the Fridaty matinee would be added to the Last Minute.com offer, but I've given up waiting and booked under this one instead, the peace of mind outweighing the few extra pounds I could have saved with the other offer!
  11. I think initially there was going to be an R&J on the Friday night (or perhaps it was the afternoon) and it became a triple bill matinee. I'm a little confused...just to get this straight, there is no matinee at ROH on 8 June? Lizbie1 is right that it is listed here https://www.roh.org.uk/mixed-programmes/the-firebird-a-month-in-the-country-symphony-in-c. But, it's not on the calendar and the entry in 'what's on' yields no dates at all: https://www.roh.org.uk/productions/symphony-in-c-by-george-balanchine. I have a weekend planned which did involve the RB triple on Friday at 12pm, San Francisco Ballet on Friday evening and Saturday evening, and ENB's Cinderella on Sunday afternoon. I will very delightedly swap my Saturday evening San Fran ticket for one for the matinee on the same day so that I can join the scrum for a ticket for the Fonteyn celebration that evening - but it would be good to know that the Friday matinee of the triple will definitely go ahead and that I'm not missing a Saturday matinee of the same bill!
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