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The Ballet Association has been running for many years. I discovered it quite by accident through a random Google search. Basically it's fan club for the Royal Ballet and the RB are very generous with their time in talking to the association

 

www.balletassociation.co.uk/

 

They hold meetings about once a month in London and the interviews are really interesting.  It's also very reasonable in terms of membership fees / events etc. 

 

For anyone living in London in particular, I'd recommend it highly. Apparently membership is declining at the moment.    

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I'd say a supporters' club rather than a fan club, but yes, its aim is to support both Royal Ballet companies.  Marianela Nunez is the guest next month, following on from Thiago Soares, Matthew Ball and Lauren Cuthbertson over recent months.

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On 09/03/2019 at 00:22, penelopesimpson said:

Yes, I see that but it says nothing about the Meeting, hence my query.

 

That would presumably be because the meeting has already happened, so is no longer an upcoming event, but it’s too soon for the report to have been uploaded yet, so it’s not in the archives either. Patience...

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The Royal Opera House’s News page includes an item on the Romeo & Juliet Insight on 13 March.  Good to see News being used, although a day or two after the Insight was publicised on Facebook.

 

But the item includes the ‘Comments for this article are closed’ statement, not that a facility to comment was ever provided.  In the last week or so this statement has appeared on a number of News items and I fear it may be the norm.  I wonder if the ROH doesn’t like the way comments have been used to ask pertinent questions (for example the Forza ticketing problems)?

 

If the ROH is abandoning comments for News items, a much better statement would be ‘Comments are welcome on Facebook or Twitter’.  But with social media comments seem a bit more ephemeral and there doesn’t appear to be a culture of question/challenge and the organisation responding.  I’m much more interested in the answer than the question being posed. 

 

If the ROH is moving away from proper engagement with audiences I find this disappointing and a retrograde step for management to take, avoiding accountability/scrutiny.

 

I also noticed that on Frankenstein, the ROH posted the first press review (Anna Winter for The Stage) but quickly (within hours) withdrew the link.  For some days there was a message saying press reviews would be added and today five links have indeed been added, including the Anna Winter review and a couple more supportive reviews.  Again I wonder if the ROH is showing itself as being rather too keen to play games.

 

I do hope Alex Beard provided some assurances to the Ballet Assiciation that the ROH wishes to engage with audience members and is addressing concerns raised.  I look forward to reading the report in due course but I’m left feeling more than a little uneasy.  

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Agree with JohnS. There seems to be a new and unwelcome culture of 'them and us' creeping in. After all the promises given in conjunction with the Open Up project,  is seems to.me that management are doing what they think they will with little or no consideration for the paying public. The majority of FOH staff are pleasant and friendly, but the apparent barriers being put up in the form of lack of casting information,  lack of news on the web site, and refusal to accept comments made on News items is creating an unpleasant atmosphere.

   

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I agree.  Their very hard-working performers are subjected to criticism and analysis every time they walk out onto that stage.  What makes the management think they are exempt from this?  If you run a public entity, be it in the arts or anywhere else, you are accountable to those who attend what you have to offer.  They do pay for their tickets after all;  don't they deserve a voice anymore?  And if they do get heard, do they get listened to?  

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On 11/03/2019 at 19:49, JohnS said:

The Royal Opera House’s News page includes an item on the Romeo & Juliet Insight on 13 March.  Good to see News being used, although a day or two after the Insight was publicised on Facebook.

 

But the item includes the ‘Comments for this article are closed’ statement, not that a facility to comment was ever provided.  In the last week or so this statement has appeared on a number of News items and I fear it may be the norm.  I wonder if the ROH doesn’t like the way comments have been used to ask pertinent questions (for example the Forza ticketing problems)?

 

 

is the comments section to be used during/after the streaming? It being closed beforehand, would then make sense. Otherwise, why make any mention of commenting at all?

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5 hours ago, zxDaveM said:

 

is the comments section to be used during/after the streaming? It being closed beforehand, would then make sense. Otherwise, why make any mention of commenting at all?

 

Forza Insight 5 March News still shows ‘comments closed’ - but never opened.

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Last night, at Frankenstein, I was sitting next to two young ladies who had got student tickets. One of them was very happy to be in the Stalls Circle - her earlier visits had usually been in the amphi. She seemed to be a fairly regular theatre goer,but only occasional ballet. I asked her if she'd be seeing R and J, to which she replied that she didn't know it was on. What is the Marketing Department doing if with all its insistence on social media if people aren't getting even the most basic information?

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10 minutes ago, ninamargaret said:

Last night, at Frankenstein, I was sitting next to two young ladies who had got student tickets. One of them was very happy to be in the Stalls Circle - her earlier visits had usually been in the amphi. She seemed to be a fairly regular theatre goer,but only occasional ballet. I asked her if she'd be seeing R and J, to which she replied that she didn't know it was on. What is the Marketing Department doing if with all its insistence on social media if people aren't getting even the most basic information?

 

That implies that students are seen as (only) discount ticket targets, rather than (also) as targets for building a future audience. Which is incredibly short sighted.

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38 minutes ago, ninamargaret said:

I asked her if she'd be seeing R and J, to which she replied that she didn't know it was on. What is the Marketing Department doing if with all its insistence on social media if people aren't getting even the most basic information?

 

I don't think you can draw conclusions like that from one unaware person. It is not as if tickets for R&J  aren't selling.  If anyone is at all interested in ballet, it doesn't take much to find out what is on. Surely people are not yet so spoon fed by social media  that they simply wait for any suggestions it may happen to throw their way, rather than proactively searching themselves for events of interest. 

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2 hours ago, Richard LH said:

don't think you can draw conclusions like that from one unaware person. It is not as if tickets for R&J  aren't selling

I realise she may just have missed out on getting information, but I still think more could be done to promote performances at the ROH

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Just seen on Instagram (no mention on website) that the ROH has been shortlisted for a RIBA London award following the Open Up work. I’m not sure which other buildings are shortlisted but noticed that the South Bank Centre (presumably for the work done to QE Hall/Hayward Gallery and whathaveyou) is one. 

 

https://www.instagram.com/royaloperahouse/p/BvMoxZcBFXl/?utm_source=ig_share_sheet&igshid=rq75b1pht6c

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On ‎20‎/‎03‎/‎2019 at 10:26, Lizbie1 said:

My brother (and I’m sure he didn’t invent it) uses the expression “award-winning architecture” as shorthand for the kind of buildings admired by architects but not those who have to actually use them.

 

I would also apply that to the kind of buildings or developments (e.g. Open Up) that look terrific in artfully taken photos, and nothing like as impressive when seen in real life.

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On 20/03/2019 at 10:58, Pas de Quatre said:

And when applied to houses, it means sterile boxes that look like an airport hotel.

 

...and which are featured on Grand Designs (the owners having alienated their neighbours in the process). 

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20 minutes ago, bridiem said:

Lots of lovely post-War ROH posters now line the Amphi corridors! Slightly strangely set out, but in general a great improvement.

 

Yes, something to look at, and there are going to be some Fonteyn displays later, also I liked the Bakst Faun painting at the entrance to the amphi toilets, some colour amongst the beige, exactly what it needs.

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I was at the ROH for the last performance of DonQ on Thursday. I arrived early but the cast sheets were already out. I asked if there were any cast changes and was told there was a minor one and the cast changes slips would arrive shortly, if I would care to come back slightly later. 

 

I thought - on no, they won't be - and of course, they weren't, as they don't exist any more.

 

The minor cast change turned out to be Espada - hardly minor!  I did enjoy Nicol Edmonds performance. Fortunately, I know who he is without having to be told.  

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32 minutes ago, JennyTaylor said:

The minor cast change turned out to be Espada - hardly minor!  I did enjoy Nicol Edmonds performance. Fortunately, I know who he is without having to be told.  

Jenny there may have been no paper slips, but this change was displayed on screen (the blurb scrolls along at the bottom) and on boards by the cast sheet distribution points.

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2 hours ago, JennyTaylor said:

I was at the ROH for the last performance of DonQ on Thursday. I arrived early but the cast sheets were already out. I asked if there were any cast changes and was told there was a minor one and the cast changes slips would arrive shortly, if I would care to come back slightly later. 

 

I thought - on no, they won't be - and of course, they weren't, as they don't exist any more.

 

But they do exist, Jenny. I took a photo of all the changes on Wednesday only to encounter SheilaC (of BCF fame!) sitting with a very nice Cast Change slip.

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17 minutes ago, capybara said:

 

But they do exist, Jenny. I took a photo of all the changes on Wednesday only to encounter SheilaC (of BCF fame!) sitting with a very nice Cast Change slip.

 

They keep them in a drawer and admit to only giving them to those people who ask for them!

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I've given the changes to the ROH some time to bed in and, having visited a significant number of times, it's time to put my thoughts out there.

 

The overarching understanding for me is that the changes are not for the regulars.  This is not a bad thing.  Whatever can be done to encourage people into cultural establishments, without significantly discouraging those already engaged, is IMHO essential.  

 

The new Linbury Theatre.

 

The improved and enlarged foyer is very good.  Part of the open up project was to create new spaces that can be used for additional things.  So, not only is this space now much easier to use before a performance, it is its own performance space and is being put to very good use both through (free) concerts and the family sundays and similar events.

 

I have been in the new theatre itself a few times now and, yes, the seats are more comfortable and the adjustable rake works well.  The seat numbers are very difficult to see and I'm sure this would be quite easy to rectify.  There are some viewing issues from certain areas when the theatre is in "proscenium" set-up (the second rows on the sides) and when the pit is in use (a couple of affected seats) but am understanding of this as the theatre is designed to be flexible (and so these positions may be better in, say, an "in the round" production) and also bearing in mind that the theatre has been designed to be better acoustically than the previous incarnation.

 

The piazza link, new shop and new foyer area

 

Good to have the piazza link back but a shame that the awful revolving door has not been replaced as originally intended.  The shop has better visability to people entering from the piazza and is much easier to move around than before. 

 

The café/bar seems well used (and is quite handy if you're at a Linbury show and the bar down there is very busy).  The flexible "box office/cloakroom counter" that was originally proposed would, I feel, have been better than the current situation but to me the only time there is significant congestion in this area is by the box office after a show and this has, in practice, not really been a significant impediment to moving around.

 

The additional staircase to the bottom of the escalators is a boon, but does mean that areas of the auditorium can be reached without passing a programme desk and this is something that should be given some further thought.

 

I have no issue with people using the new foyer area for socialising or sitting on their computer or whatever.  This is a useful public space and those who don't like it do not have to go anywhere near it, given the access to the "old" foyer from Bow Street and access to all parts of the theatre from there.

 

At this point I must mention something I overheard whilst in the queue for the cloakroom before a Nutcracker matinée.  A lady joined her friends who were standing immediately in front.  She said to them: "Is this your first time here too?  This is the most fantastic place!"

 

I've not really seen the tablets that are available for browsing and booking tickets being used.  Perhaps some signage here would be useful.

 

Changes in the "old" foyer

 

I am disappointed that more thought was not given to people flow in this area.  Having just one programme/ice cream desk and it being by the auditorium door by the bottom of the grand staircase means that a major bottleneck is created through people queuing at the desk (particularly at the beginning of intervals).  This could be fixed quite easily.

 

The toilet situation

 

It's great that there are now many more cubicles in the "main" ladies toilets but there can be issues getting to the ground floor gents due to largish numbers of ladies waiting to use the nearby accessible facilities.  Whilst some of these ladies may have unseen needs for these facilities, I do think a number of them are just being lazy.  Some better signage in the direction of the ladies' toilets would also, I feel, be useful.

 

The new amphi bar and terrace areas

 

I'll start with the carpet.  Personally, I don't really care about this but it's been mentioned on here a number of times.  I think the current carpet was probably not the best choice but I also think it may have been a stop-gap from a final rush to complete the works.  

 

I love the "skylight" at the top of the escalators and find the new bar area much more "open", generally easier to move around and with a useable bar service area.  I don't use the amphi restaurant but have no objection to it in its current state - my opinion on this may change when the summertime comes and it extends onto the terrace, but I'll take that as it comes.

 

The new terrace areas are great.  A combination of enclosed and open areas, with windows that open in the enclosed bits.  Decent heating in the enclosed areas too.  The seating arrangements have been a bit flexible so far, but the current layout seems to work very well.

 

Good to have a cloakroom on this level now, which is very useful for events in the Clore (although sometimes if there's an early start opera on, the cloakroom is full well before the Clore event starts).  Plenty of space now for exhibitions up here (the current posters on the corridors are fantastic) and this is also a brilliant space for the family sunday events (and similar).

 

The door numbering

 

This is definitely one of the things that is not for the regulars.  To me, the new system is easy to follow with the G, 1, 2, 3 etc. representing the floor of the building and the letters showing the doors from left to right as you look at the auditorium.  This is much easier for a newcomer to understand, particularly if you bear in mind that the nomenclature for the areas of the auditorium are different to almost every other theatre or performance space in the country.  The only slight niggle here is that, unless you use a lift, access to floor 4 is easiest via floor 5 but the signs are generally clear (and I've generally found fewer people looking lost by the back staircase nor have I discovered anyone in my stalls seat with a stalls circle ticket).

 

Another example here.  One evening as I was heading to door GC, I passed by door GB.  A lady there was asking the usher if she was at the correct door as it was her first time there.  The usher said: "Yes, this is door GB.  It's G for ground and the door to your left is GA and the door to your right is GC.  It's pretty much the same on the other floors."  The customer responded: "Thanks.  That's really easy to understand." and went on in to the auditorium.

 

The box office

 

I have no issue with the box office being on the corner; this is no different to a number of other opera houses and theatres and it's easy to get to from both the piazza and Bow Street.  Having the "pre-show" box office in the glass foyer is handy though (even if the returns queue can sometimes be a bit difficult to get past).

 

Conclusions

 

I am really happy with the new spaces and with how they are used for events now.  Overall , I'm happy with the changes subject to some niggles that could be ironed out relatively easily.  The intention behind the project is good and there are people coming into the building that weren't doing so before.  We'll just have to wait and see how this translates into attendance (and re-attendance) figures at shows.

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7 minutes ago, bangorballetboy said:

Some better signage in the direction of the ladies' toilets would also, I feel, be useful.

 

I have spent no more than a couple of hours over a couple of sessions in the new Opera House (which I think is a huge improvement) and have ended up giving ladies directions to the toilets every time while I waited near the gents for one of the boys to return from a trip. I'd swap "essential" for "useful" there - people see the obvious toilets in the corner and don't see the ladies at all even outside busy show times when the sightlines are clear.

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26 minutes ago, bangorballetboy said:

The door numbering

 

This is definitely one of the things that is not for the regulars.  To me, the new system is easy to follow with the G, 1, 2, 3 etc. representing the floor of the building and the letters showing the doors from left to right as you look at the auditorium.  This is much easier for a newcomer to understand, particularly if you bear in mind that the nomenclature for the areas of the auditorium are different to almost every other theatre or performance space in the country.  The only slight niggle here is that, unless you use a lift, access to floor 4 is easiest via floor 5 but the signs are generally clear (and I've generally found fewer people looking lost by the back staircase nor have I discovered anyone in my stalls seat with a stalls circle ticket).

 

Another example here.  One evening as I was heading to door GC, I passed by door GB.  A lady there was asking the usher if she was at the correct door as it was her first time there.  The usher said: "Yes, this is door GB.  It's G for ground and the door to your left is GA and the door to your right is GC.  It's pretty much the same on the other floors."  The customer responded: "Thanks.  That's really easy to understand." and went on in to the auditorium.

 

I think the restoration of the words "left" and "right" to the tickets would be a significant improvement for regulars and newcomers alike.

 

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2 hours ago, bangorballetboy said:

I've given the changes to the ROH some time to bed in and, having visited a significant number of times, it's time to put my thoughts out there.

 

[...]

 

The door numbering

 

This is definitely one of the things that is not for the regulars.  To me, the new system is easy to follow with the G, 1, 2, 3 etc. representing the floor of the building and the letters showing the doors from left to right as you look at the auditorium.  This is much easier for a newcomer to understand, particularly if you bear in mind that the nomenclature for the areas of the auditorium are different to almost every other theatre or performance space in the country.  The only slight niggle here is that, unless you use a lift, access to floor 4 is easiest via floor 5 but the signs are generally clear (and I've generally found fewer people looking lost by the back staircase nor have I discovered anyone in my stalls seat with a stalls circle ticket).

 

Another example here.  One evening as I was heading to door GC, I passed by door GB.  A lady there was asking the usher if she was at the correct door as it was her first time there.  The usher said: "Yes, this is door GB.  It's G for ground and the door to your left is GA and the door to your right is GC.  It's pretty much the same on the other floors."  The customer responded: "Thanks.  That's really easy to understand." and went on in to the auditorium.

 

 

Glad you mentioned the door numbering - I think it may take a little time for the regulars to get used to it! Very interesting comments all round.

Edited by alison
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51 minutes ago, bangorballetboy said:

I've given the changes to the ROH some time to bed in and, having visited a significant number of times, it's time to put my thoughts out there.

 

BBB it is refreshing to read  a considered review about the ROH, as it is now, that, for once, has mainly positive comments. 

 

I would concur with most of your observations, having also visited many times recently, although a caveat is that I had little experience of the ROH before the latest changes.

 

I do think the Linbury should have better house lighting, not just to see the seat numbers, but to  avoid the feeling  that it is a bit of a black hole. 

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Well, that’s quite a list BBB.  Broken down I don’t disagree with much of what you say - with one enormous caveat.

 

How can any redesign/redevelopment- call it what you will - be considered a success when it is ‘not for regulars ?’  The retired marketeer inside my head finds any such premise preposterous.  Successful brands spend millions ensuring that as their product evolves, it does so in a way that keeps it attractive to established users whilst making itself relevant to new customers.  It should not have been beyond the wit of the doubtless hideously expensive people behind Open Up to create something lovely for everybody.  To casually dismiss Regulars as people to be ignored precisely because they are loyal to your brand is breathtakingly arrogant but, sadly reflective of ROH management.

 

Yes, I agree that encouraging people into a building they may not have visited before is a laudable aim for an establishment that receives public subsidy, but there should be more defined commercial objectives other than providing a central London haven from the elements.  Similarly, widening access should not have been at the expense of the Regulars - a group I would hazard a guess make up at least 80% of ROH’s users.  Last nights the queues for coats were far worse than anything I ever remember from the previous cloakroom.

 

I do eat in the Ampitheatre Restaurant and can tell you it is a soulless place, quite  unlike the buzzy atmosphere of the past.  It was, admittedly, better last night as thanks to Forza it was full which improved things but on other occasions it is misfiring.  

 

Unlike you, I find the new directional system ridiculous, not least because it is inconsistent.  I was in the GrandTier last night but the signage from the Floral Hall is new numbers which confused many.  The somewhat harassed usher resorted to directing people to walkthrough the Crush Room ‘as you’ll find signsthat say GrandTier at the end.’  This was problematic for people paying mega bucks for their meal in this area.  I also can’t understand an attitude that everything must be dumbed down for the masses.  Surely people expect romance and elements of theatre when they visit somewhere as special as one of the world’s great Opera Houses?  Does everything really need to be stripped back to numbers and letters?

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