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Found 6 results

  1. Today's review: https://www.theguardian.com/artanddesign/2018/sep/19/royal-opera-house-linbury-theatre-open-up-stanton-williams Has anyone been inside yet?
  2. I've been to a couple of daytime events in the Floral Hall recently - one of the Month of Sundays mornings and today the Ballet Studio Live:Class, and I thought both were well run events and a good use of the space to generate additional revenue. Today apparently sold out quite early, and seems set to become a regular feature. Today's dancers were mostly from the Aub Jebsen programme , which I hadn't been aware of before. Several were quite impressive, so fingers crossed for them getting full contracts in due course. Taisuko Nakao had some serious height in his jumps, and of the girls Katherina Nikelski and Yu Hang looked very neat and accomplished, while Lania Atkins was also both graceful and striking. More of this kind of thing!
  3. penelopesimpson

    Dear Mr. Taylor

    We’ve never met but you can look me up in your database if you feel the need. I’ve just done a rough tally and see I’ve spent more than £12000 on ROH tickets in the past five years. Your restaurants and bars have had a good innings, too: about £10000 over the same period. Now that may be an insignificant little sum to a mam who ‘made his many millions in oil and gas commodities,’ but to me it is a considered choice to forgo other pleasures and put my disposable income into the Arts. That would be your Arts,Mr. Taylor, ballet and opera at the ROH. Now many would consider me a valued customer and I say this not because of the amount I spend but because of the regularity of my spending.with the organisation of which you are Chairman. But according to tonight’s Evening Standard, I’ve got that all wrong. It would seem I am part of the despised elite which you are ‘determined to knock out.’ Perhaps you read The Guardian too much and empathise with it’s ill-disguised hatred of anybody who buys a seat at ROH and maybe even puts on their best frock and buys a glass at one of the outlets you admit provide crucial revenue. You are, you say, committed to upping the takings from these outlets but are strangely ambivalent when it comes to identifying who is going to swell the coffers. I would hesitate to suggest that it is unlikely to be the people you are so delighted to welcome out of the cold to a space with free picnic tables, toilets and Wi-Fi. I’m not a fool, Mr. Taylor, and I understand something of the need to straddle many horses when funding the Arts. But insulting your core customers whilst professing yourself overjoyed that ROH is now positioning itself as a drop-in Centre seems curiously clumsy. The elitist label is as hackneyed as it is untrue. Sure there are wealthy patrons - and you should know because you admit that the yards of ‘unchallenging’ beige carpet comes courtesy of their largesse. But there are many patrons like myself ; far from wealthy but choosing to spend their money with you. Do they really deserve to be pilloried and derided in this way? Most ROH spokesmen at least have the common sense to refer to ‘perceived’ elitism when giving interviews. To quote Bruce Willis, (Diehard, Mr.Taylor), I find myself pretty unappreciated right now.
  4. I will not fill out another survey for them! https://www.artsprofessional.co.uk/magazine/article/dancing-pinhead-pricing
  5. Just received an email today about changes to access in the ROH amphi "Key changes from 15 November Work will start on the Amphitheatre Level to create a fresh and contemporary restaurant and bar. The current Amphitheatre bar will relocate to the Clore Studio (during intervals only) so that we can continue to provide you with refreshments. There are a number of Insights events that will need to be moved to alternate venues and audiences who have already booked tickets for these will be contacted shortly. To help you enjoy your visit we recommend that you make use of the bars in the Paul Hamlyn Hall and Dorfman Conservatory before the performance as there will be no bar service on the Amphitheatre level pre-performance. You will also be able to leave your coat in the Paul Hamlyn Hall temporary cloakroom, and we do ask that you avoid bringing bags. If you are seated in the Amphitheatre please place your interval drinks order in the Amphitheatre Corridor before the performance and collect them in the Clore Studio during the interval. There will be a limited selection of refreshments available to all our Amphitheatre audience members during this period. From Monday 8 January 2018, the Amphitheatre Restaurant will also close." There is no indication of how long this closure lasts (or at least I didn't spot it). Further detail in a second mail indicated that the following Insights are relocated "Insights: In conversation with Arthur Pita, Tuesday 14 November This event is moving to the Crush Room at the Royal Opera House. You will not need a new ticket for this event and our ushers will be on hand to direct you to the new venue. Insights: What’s the Future of Opera?, Wednesday 22 November This event is moving to St Paul’s Church, Bedford Street, Covent Garden, WC2E 9ED. Tickets to this event will be reissued in the coming week. Insights: Joyce DiDonato – National Opera Studio Masterclass, Thursday 14 December This event is moving to the Linden Studio at the Royal Ballet School in Floral Street, Covent Garden and will now start at 7.30pm and conclude at approximately 9.30pm. Tickets to this event will be reissued in the coming week. Please note that all events will now be general admission rather than allocated seating and unfortunately there will not be refreshments available at venues outside the Royal Opera House." This looks rather hurried doesn't give the appearance of being particularly well thought through.
  6. [This has been copied over from the "Ceremony of Innocence" thread because it looked as though the discussion might derail that thread - Alison] How interesting. Is it possible to summarise what the ROH re -development plan is? It seems like yesterday they re opened after the last one!
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