A frog

I've sent you a PM.

Beatrix Stix-Brunell. I can't remember if Francesca Hayward was performing in the last run, if she did I didn't see her.

I'm assuming that ballet class is where corps dancers have their best opportunity to be noticed for named roles and then promotion. I remember during the first ballet day when they streamed an entire class on youtube, you definitely for the impression Valentino Zucchetti was using it as an opportunity to show off his skills (possibly for the audience more than the staff but still). In the Paris Opera Ballet, promotions are made based on an open competition so dancers aren't limited by the roles they've already been given.

The Guardian at some point was trying to move discussions away from comments under articles and towards more general forums, articles otherwise still provide ground for discussion, if rarely fruitful ones, but someone genuinely trying to engage in discussion can usually find other people who will.

I'll have to see if I still have the cast sheets, but when the POB did it a little over a year ago, I'm pretty sure I saw the same dancer as CM in the two performances I went to. It of course could mean that she was randomly picked twice but I assume it means it was her part.

I recently bought I Was An Adventuress with Vera Zorina, I haven't seen it yet but the back cover pictures show some ballet poses so it might fit. It was £3 at Fopp in Seven Dials, the promotion might still be on.

Regardless of why they did it, it still shows a somewhat popular Macmillan ballet wouldn't be popular enough to sell well two seasons in a row. The amphitheatre was very sparsely attended on at least one of the nights I attended, I remember being able to move five years further to the front at the interval as there was a huge block of empty seats in the central area.

It seems he has been serious about wanting to work as an actor, once you go past the self-aggrandising pull-quotes in interviews, he does have parts in a couple of Hollywood films. He's apparently been cast to play Nureyev around the time of his defection in a film directed by Ralph Fiennes. He's currently filming Murder On The Orient Express where he plays Count Andrenyi (played by Michael York in the 70s film). He also has a part (which will likely be quite small, but a part still) in an espionage film starring Jennifer Lawrence by the director of The Hunger Games films. It could be the start of a nice little career.

The RB did Manon two seasons in a row four of five years ago now (Spring and Autumn or Winter), I remember the second run being very poorly attended, I doubt Mayerling would fare any better.

I haven't seen it yet, but I keep being told to check out Altman's The Company.

If I'm not mistaken, the opera house (or any venue using a ticket agency) is paid the face value (and the agency makes money on the booking fees), they're not making any less money than if they sold the tickets themselves (and their accountants might even consider they are making more as someone else is selling them, they'll have to assign smaller costs against the revenue). I'm trying to find out if the tickets are bought by the agent first and what happens if they remain unsold, in which case here again the opera would see all the tickets bought quicker than if they were sold individually, beneficial for their cash flow. It seems after all that the tickets offered to the agencies are the slowest selling ones. It is also likely part of the ROH's strategy to reach a larger audience, Seeticket is one of the biggest ticket agencies and will reach people going to the theatre or concerts regularly who might then be tempted to give opera or ballet a try, especially if the tickets offered there are roughly the same price range as other theatres.

Cuthberson definitely danced Aurora during the last run, she was partnered with Matthew Golding and they danced the very first performance of the run.

I don't know what it used to be, but top price here will apparently be £55, even cheaper than the modern bill at SW

ABT are dancing it in Paris at the beginning of September, still plenty of tickets left.

It seems the film uses specially created choreography, the only relevant credit I can see is to someone called Francesca Jaynes. It's likely she created something loosely inspired by existing ballets, but without giving it more thought than what was needed for the movie. I haven't actually seen it so can't help re the theatre, and the list of filming locations I can find doesn't go in more details than Paris, London, etc.