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Hence my remark - not entirely sarcastic - about social media somewhere above.

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6 hours ago, jmhopton said:

But if said young replacement audience don't have an interest in ballet or opera to start with they're not going to see the ROH twitter and Facebook pages anyway. Surely you have to spark an interest first and that could be done by more traditional marketing such as posters in the tubes  and leaflets and playing the dvd in the open up area. Also some sort of booking pod needs to be in this new space for information as well as actual booking . What sort of theatre -  never mind an international opera house - doesn't have a booking facility on site? The trouble these days is the 'elitist' image that opera and ballet have. Marketing seem so scared of it they seem to want to avoid mentioning it at all whereas if they embraced it in a positive way and were proud of the Royal ballet being world leaders in their field they may attract the new audience they want. 

 

 

I still don’t understand why you would want to replace a loyal, committed, often high spending audience with a fickle, hard-to-reach one.  Surely it is not just the pursuit of yoof for it’s own sake?  Even today’s yoof grow old.

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1 hour ago, Saodan said:

Tomorrow's performance has been opened to Student Standby. This time tickets are £5 rather than the usual £10. Desperate to fill up opening night? It's worked at least. 

 

I would love to know who danced Justine and Henry at the rehearsal if anyone was there.

 

Justine was danced by Romany Pajdak and Henry by Valentino Zucchetti.

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1 hour ago, penelopesimpson said:

I still don’t understand why you would want to replace a loyal, committed, often high spending audience with a fickle, hard-to-reach one.  Surely it is not just the pursuit of yoof for it’s own sake?  Even today’s yoof grow old.

 

ACE targets. Also, the Director of Media and Audiences' background is with the BBC, which is *obsessed* with yoof (this isn't the Daily Mail talking, I have several family members there).

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25 minutes ago, James said:

 

Justine was danced by Romany Pajdak and Henry by Valentino Zucchetti.

I assumed it Was Romany Pajdak recognition wise but didn’t actually hear who was replacing Isabella Gasparini. Sad not to see her- is she injured?

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Do you mean the Director of Media blah blah also works at the BBC?  

 

Yes, the BBC's obsession is tiresome but there are at least some caveats.  Firstly, they are wholly publicly funded and, secondly, they have such a wide variety of programmes that it is reasonable to expect that they attempt to reach a younger audience with some of them.  But ballet and opera are always going to be niche and it just so happens that that niche is, generally speaking, amongst more mature groupings.  

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Just now, penelopesimpson said:

 

Do you mean the Director of Media blah blah also works at the BBC?  

 

 

Used to.

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Even if I was offered a free ticket I still would not attend Frankenstein. I've seen it once, no need to see it again. 

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3 hours ago, Saodan said:

Tomorrow's performance has been opened to Student Standby. This time tickets are £5 rather than the usual £10. Desperate to fill up opening night? It's worked at least.

 

That's great for students but it would be really nice if they'd consider having some discounts for those of us that aren't students but would still be interested in seeing the piece at somewhat lower prices. I'm sure the ROH used to occasionally have offers for the general public but nowadays there seems to be nothing apart from student offers.

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It is ironic that frankenstein is exactly the kind of non traditional no tutu sort of ballet that could appeal to the millennial audience the ROH management seems to want to attract. In that case what went wrong with the marketing? How have they failed so badly? Have they not realised yet that traditional ballets can sell well because they have a regular if despised audience whereas non traditional ones need more proactive marketing? If frankenstein had been marketed in this way, perhaps sending details to local colleges or dance schools they might have got an audience. Or if they had emailed regulars who haven't booked offering discounts. That would be a nice thank you. I've often wondered why the ROH couldn't have a loyalty card like supermarkets but the sad fact is that they don't seem to value loyal customers these days. They're too busy chasing after the mythical new ones. However to return to Frankenstein part of the problem could be the title, as traditional ballet goers may be put off by the subject matter and people who enjoyed the book can't envisage it as a ballet. Also it may just be scheduled at a bad time for regulars like myself who've just shelled out a lot of money for multiple Don Q's and Romeo and Juliets and can't afford anything else.

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I agree with all that has been said about the poor marketing, and some of these good suggestions could have improved sales.

But surely the main reason for the relatively poor sales is very simple: that it wasn't very good, and most of  the silent majority of ballet fans who normally fill the seats,  didn't like it much and are staying away. Normally I will get a cheap seat for something I don't much care for,  just to see a particular dancer, but in this case, I feel (much) more negatively than that about the piece. Quite a few people here have said the same, and they are clearly the tip of an iceberg.

The title is very well known indeed- that can't be the problem. The problem is , the ballet didn't satisfactorily present the novel as a ballet.Maybe it was an impossible aim.

 

I am not sure I would even want large numbers of new people to be persuaded by clever targeted marketing to go -  because I just don't think they would be getting the best introduction to the RB, ballet,  or the joys of dance more generally.

Wouldn't you rather take a new person to Romeo and Juliet?

 

 

 

 

 

 

 

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17 minutes ago, Mary said:

 

But surely the main reason for the relatively poor sales is very simple: that it wasn't very good

 

 

😂 at polite but accurate assessment.

Is it also fair to say music is equally not very good? Designs are well done though. 

 

I wonder if it would have been more successful if it had built out from a shorter initial choreographic attempt - thinking of an Anastasia style one act which is then expanded to a full ballet on the basis it is robust enough. Also on the music front, what about some good old fashioned arrangement of existing pieces which are more of a pleasure to listen to? Feel very much that way about Joby Talbot too!

 

 

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4 hours ago, jmhopton said:

Of it they had emailed regulars who haven't booked offering discounts. That would be a nice thank you. 

A lovely idea, but they are hardly likely to thank the very group of people they are trying to push out of the way.

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I wouldn’t go again even if they gave me a

ticket 😂 but I’m staggered they haven’t done any special offers. Perhaps huge changes have transformed it and they are waiting for the 5* reviews to galvanise ticket sales ! 

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On 03/03/2019 at 03:41, ninamargaret said:

i think the poor sales of tickets show how difficult it is to sell 'unknown ' ballets to the general public unless the tickets are very reasonably priced - let's say at triple bill level.

 

I am not sure about the 'unknown' factor, the premiere had a lot of publicity, but I am sure about one thing: it was a flop, a complete, unmitigated fiasco, the music and the choreography; the script and the mise-en-scène didn't help either. I think at least some of this must have filtered out to the theatre-going public.

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One aspect of marketing missed is the interest in the two hundred year anniversary of Mary Shelley’s novel, which is one factor that must have been considered when they decided to revive the ballet this year. As someone here has said previously, the ballet provides a pretty close interpretation of the story and a good attempt to tackle its themes. A greater focus on this might have helped attract an audience who are less interested in the ‘Hammer horror’ aspect.

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Posted (edited)

I did not perceive any fundamental changes at the General Rehearsal yesterday. In fact, I thought that the initial establishment of the Henry character (Frankenstein's friend) and the connection they made with one another in the laboratory was more fudged than I remember. The Creature still seems to run off virtually as soon as he comes to life, thus establishing no relationship with Frankenstein which would make sense (to me) of elements of the story which ensues.

 

BTW, people sitting on the left sides of the auditorium are liable to miss a lot of 'lurking' on the part of The Creature.

 

Please could someone attending tonight offer us a photo of the casting?

Edited by capybara

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4 hours ago, assoluta said:

 

I am not sure about the 'unknown' factor, the premiere had a lot of publicity, but I am sure about one thing: it was a flop, a complete, unmitigated fiasco, the music and the choreography; the script and the mise-en-scène didn't help either. 

 

Last night, I re-read most of the (long!) thread on this forum on the work's first performances. I was surprised to see so many positive and enthusiastic comments (as well as a lot of criticism, and constructive suggestions for revision). My own comments were more positive than I had remembered in retrospect. It also clearly got a very good reception from audiences. So it cannot simply be dismissed as a 'flop', let alone a 'fiasco'. But I do hope (and understand) that changes have been made for this run, and that they address the main problems with the work.

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Just now, bridiem said:

changes have been made for this run, and that they address the main problems with the work.

 

Which are/were?

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Just now, capybara said:

 

Which are/were?

 

I can't summarise a very long thread! Especially typing slowly on my phone... I was just making the point that there was actually a lot of enthusiasm for the work first time round.

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I’m having trouble trying to find the original thread. Would someone be kind enough to point me in the right direction? Many thanks.

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Here you are Fiz, as started by Dave with some wonderful (as usual) photographs.

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Oops, someone hadn't been tagging threads again :(  Now rectified.

 

7 hours ago, assoluta said:

I think at least some of this must have filtered out to the theatre-going public.

 

Want a bet?

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2 hours ago, bridiem said:

 

Last night, I re-read most of the (long!) thread on this forum on the work's first performances. I was surprised to see so many positive and enthusiastic comments (as well as a lot of criticism, and constructive suggestions for revision). My own comments were more positive than I had remembered in retrospect. It also clearly got a very good reception from audiences. So it cannot simply be dismissed as a 'flop', let alone a 'fiasco'. But I do hope (and understand) that changes have been made for this run, and that they address the main problems with the work.

 

Many thanks Bridie - I’m rather hoping audiences may look afresh at Frankenstein, particularly post Swan Lake, Asphodel Meadows and Vixen.  Yes, there were criticisms of the first run but some of the comments in anticipation of the revival seem a bit harsh to me.  I’m certainly looking forward to seeing a couple of performances - stage/technical issues permitting.

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I was (and still am) one of those who was very enthusiastic about Frankenstein last time around.  For me (and I realise I seem to be in a tiny minority of one!), of all the new full-lengths that have been created on the Royal Ballet in the last few years (and I've enjoyed them all to a greater or lesser degree), this is by far my favourite due to the musicality of the choreography, some wonderful pdds (one of Liam's real strengths, in my book) the accurate depiction of the novel, and the emotion it stirred up, not to mention the lavish costumes which I love. I'm very much looking forward to re-visiting it this evening.  Incidentally, I attended four performances last time, and each time there was a standing ovation from a large section of the audience, which certainly didn't feel like a flop to me.  (Just thought I'd give my two-pence worth to counter-balance some of the negativity!!).

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53 minutes ago, ElleC said:

I'm very much looking forward to re-visiting it this evening. 

 

Very pleased to read your post and do hope all goes well tonight.  I’ll certainly look forward to reading what you make of the revival and any fine tuning from Liam Scarlett.

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Whatever special offer it was seems to have worked for tonight - ROH web site now says 11 tickets available instead of hundreds.....

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Thanks, Jan! Ellie C, I like Frankenstein too.

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1 hour ago, Lynette H said:

Whatever special offer it was seems to have worked for tonight - ROH web site now says 11 tickets available instead of hundreds.....

 

See Saodan's post ‎04‎/‎03‎/‎2019 at 15:40 on page 2 :) 

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