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  1. That is shocking. 😲 The view from the Piazza bar ain't that great!
  2. Speaking personally, I wasn't bandying blame around. I am certain it wasn't Sambe's fault, and I feel a bit sorry for him that an announcement like this has been slightly tainted.
  3. Why was Sambe told so much earlier than everyone else? And more to the point, why was he then giving interviews to the press about it? Surely he would also have been asked to keep quiet about it until the official announcement?
  4. But I wouldn't call the Amphitheatre restaurant a lovely place! At least, not now it has been redesigned in such a bland way. The terrace has a nice view, but you can get the same view from the bar opposite and a better selection of drinks at a cheaper price. Or you could the last time I was there, which admittedly was some time ago.
  5. Are the prices the same as the main Amphitheatre Bar, does anybody know? I have waded through the various options, but although I can find prices for the food, there is no drinks menu. I am assuming they must be more expensive, otherwise why bother to make it "exclusive". I can't see the point of this area at all. Surely the main customer base is going to be all those people surging out of the amphitheatre during the intervals of the performances? I find the whole idea of having a restaurant in an opera house that is open to anybody absurd. Why would anybody who doesn't have a ticket choose to eat there, when the menu isn't particularly exciting and rather expensive. There is so much competition in the surrounding areas, I just don't see why anyone would choose it in the first place.
  6. 🙂 Penelope, maybe you should write a book with simple explanations of modern day marketing terms!
  7. Could somebody please tell me what a "data-led pricing strategy" actually is? To my simple mind, it sounds as though they up the prices for all the seats, and then check the computer to see if there is marked drop off in the number of seats sold. If there isn't, they up the prices a bit more. And continue to do so until they find that they are spending more on the salaries of those working in the marketing department than they are receiving in ticket sales. Do I get a "Good Effort" and a gold star? Or do I need to go back to school and study a bit more?
  8. Yes, Bull was, I realise that. I just meant that she was dancing principal roles for several years before gaining the official title.
  9. Leanne Benjamin had been principal with other companies, including Sadlers Wells RB, before joining the RB, though. And Sarah Lamb had also been a principal too, hadn't she? I've got a feeling Bull might have been a bit like Choe is now. Often cast in lead roles, while remaining a first soloist? Bryony Brind's casting is amazing. She had already been in the corps for 3 years, so it makes you wonder why she hadn't been promoted further up the ranks a bit earlier. I never saw her dance, sadly. I am pretty certain Bussell was a principal when she did her first SL, although probably a newly promoted one.
  10. Swan Lake casting seems to be a hot topic at the moment. 🙂 I see that some soloists' names are being put forward. This role is acknowledged to be one of the most difficult in the rep. Not only is it one of the most demanding technically, it also requires a high level of stamina. Therefore, I would have thought it was one that is normally danced by those who have reached the very top i.e principals. So, I am interested to know how many times has Odette/Odile been danced at the RB by a dancer who was not a principal? I am sure someone on this forum will know the answer!
  11. The comments about Lesley Collier's debut in Swan Lake seem rather nasty, but presumably Collier went on to dance the role many times? Edited to add a link to a review of Collier's Swan Lake: https://www.nytimes.com/1981/06/25/arts/royal-ballet-swan-lake.html I know it seems a rather obvious thing to say, but surely we will only know what sort of Odette/Odile Hayward will make when she is given the chance to dance them. Many dancers who don't seem a natural fit for a role often surprise me greatly when they are given the opportunity. I can think of several times in the past where the casting of a particular dancer raised many eyebrows, and then they went on to be extremely good.
  12. I remember seeing Magri in Monotones 1, and thinking she was miscast, as she seemed to be struggling at times with the choreography. Of course that was a while ago, but I can't say she has really caught my eye since then. Perhaps I just haven't seen her in the right things.
  13. Fonty

    Room 101

    Are they saying she has to pay for her own wheelchair? That can't be right, surely? Since when has your living accommodation determined what equipment you can get from the NHS?
  14. Didn't mean to do that, I am just one of the many people pondering the age old question as to why guest artists are brought in for certain roles when there are wonderful dancers within the company who have already proven themselves in the role, and yet have not been cast! On a slightly different tack, Hallberg looks as though he towers over Osipova. Is that true, or was it just the angle of the photo?
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