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penelopesimpson

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Everything posted by penelopesimpson

  1. penelopesimpson
    Thank-you everyone. Now I know!
  2. penelopesimpson
    Just want to thank-you for such a wonderfully informative post which I have much enjoyed
  3. penelopesimpson
    Could anybody kindly explain what prima ballerina means in modern parlance?
  4. penelopesimpson
    I've noticed that if they are Filming, the start is ALWAYS late
  5. penelopesimpson
    Stopped at the shop at ROH last night and they had completely sold out all the CD's from the matinee
  6. penelopesimpson
    Has anyone else noticed how, increasingly, the audience are taking coats, bags and luggage into the auditorium? My companion last night had an uncomfortable time as the lady next to her had two heavy coats and a backpack and the man behind complained when she hung it over the back of her seat. I ate in the Balcony Restaurant on Wednesday and looking down it was quite shocking how many people were in winter coats and had backpacks. I even saw one rucksack. Quite apart from spoiling the ambience and aesthetics, it is hell if you happen to be sitting in this crowd. Okay, I accept that there are problems with cloakrooms caused by the building work, but ROH are making a rod for their own back with this. On Wednesday people on the door were telling arrivals that 'there is only limited cloakroom space,' which isn't really true as the facility downstairs is large, even if you do have to queue. I have posted before about front of house and the rebuilding. They are becoming very boot-faced about the whole thing and making a meal of it. Even on relatively mild evenings, they are swathed in scarfs and some wearing overcoats. Yes, we get it. Its uncomfortable for staff during building work, but..... Come on ROH. Time to call a halt to this martyrdom. The audience pay a great deal for their tickets and its our money that keeps the staff in jobs. Time to smarten up, I think.
  7. penelopesimpson
    I was there last night and I also particularly noticed Ryoichi who has a terrific stage presence. Matthew Ball was, again, outstanding. What a fabulous performer he is. I have seen both casts and there is little to choose between them. My companion last night was seeing her first ballet so I was a little nervous but she absolutely loved it - despite having a terribly fidgety neighbour who arrived with a backpack and two coats. If I was to criticise, Act 3 is still something of an anticlimax, but this is a mere quibble. Well done, RB.
  8. penelopesimpson
    I can cope with Song of the Earth but would prefer it without the singer on stage. However, I took a guest to the last performance and he was bored rigid.
  9. penelopesimpson
    Oh, what a relief to see somebody say this. I saw it - the once - and once was enough. There are many posters on here whose views I respect so I accept that it must be good, but it left me cold. Similarly something else I saw with just two dancers, one of which was the excellent Melissa Hamilton, looking in a mirror. Didn't understand any of it but, even if I had, it didn't move me in any way.
  10. penelopesimpson
    There's one ticket for Naghdi and Ball just showing on the ROH website
  11. penelopesimpson
    Thanks for that. He was wonderful and together they were mesmerising. Can you recall who dances it with Matthew Ball in the second cast?
  12. penelopesimpson
    Could anybody clarify me who danced the pas de deux with Ed Watson last night? It was so moving, absolutely wonderful, as was Matthew Ball the first time I saw WW.
  13. penelopesimpson
    These are lovely. Thanks for sharing. Also, helps with identification because if I had one 'criticism' about WW, it would be that I spend too long trying to work out who is who!
  14. penelopesimpson
    Janet: You absolutely must see it live. I think the cinema experience is terrific but for this particular work, I am leaning towards saying that the theatre is better. Wonderful night. I went with a ballet novice and he was knocked out by it - talked for an hour on Waterloo Bridge afterwards.
  15. penelopesimpson
    Oh, Mary, I so agree with you. Just got home after a long slog back from ROH. This is the third time I've seen it and it just gets better and better. It is, for me, a masterpiece and Wayne McGregor and I think Max Richter coming on at the end was another gift. I just love it. And, as for Edward Watson, what can one say other than completely absolutely frigging fantastic! Off to bed now.
  16. penelopesimpson
    That's my experience, too. I was in the audience when Jonas Kauffman didn't turn up for Carmen. The audience were upset but gave his replacement a hearty welcome.
  17. penelopesimpson
    I'll do it for free!
  18. penelopesimpson
    Hello to you! I also usually end up in Stalls Circle although Grand Tier is my top choice - when I can run to it. Couldn't believe my eyes when I saw the Mayerling situation so its interesting to know that as a friend you had a similar experience. Something has happened and I wish we could be told what. I do think it was something of an error to allocate the entire Ampitheatre to Students when there are only three performances of this cast.
  19. penelopesimpson
    Yes Janet, I am wondering about that although there are many layers to this mystery. I have asked Box Office why Mayerling was so difficult to get hold off and they became incredibly defensive which was odd because usually I find them friendly and helpful. If ROH are not giving an allocation to Viagogo, then we can only assume that this agency is getting its supply from individual patrons. That in turn means they must be Friends of ROH as, in the case of Mayerling, tickets were available on the same day as booking opened. As the seat numbers are given, it would surely be a comparatively easy exercise to track down the original buyer of these tickets and then have them removed from Friends. Or is this a handy little sideline that allows people who are Friends to subsidise their membership? As I am not a friend, I do not know how many tickets you are allowed to buy per performance, but something is badly askew here.
  20. penelopesimpson
    But Janet, my question is WHY? I can see no reason why ROH need to use ticket agencies, especially when booking has only just opened. Viagogo had Mayerling tickets on the same day that booking opened to the General Public. Why is this necessary? Woolf Works has been a sellout so why use agencies? Surely they should be there as seller of last resort rather than anything else. I think this whole thing about using agencies is steeped in mystery and I would like to know what is going on.
  21. penelopesimpson
    If there is anybody lurking from Box Office or indeed anyone who can explain why ROH are using ticket agencies, I would be delighted to hear the explanation. I took a look at Viagogo last night who had tickets for all the remaining performances of Woolf Works at incredibly inflated prices, despite the ROH website showing virtually sold out. At 18.00 tonight you could buy the following: Feb 8 Row F Ampitheatre £108.00 Feb 11 Row K Orchestra Stalls £206. These are mark-ups of way over 100%. Who is making this profit and how are agencies getting the tickets and, more importantly, WHY? Last night the ROH website showed Sleeping Beauty sold out but Viagogo had tickets for 7 of the remaining performances. Tonight they are showing only Feb 15 and it includes Balcony seats for £206 and Stalls Circle £289 I cannot understand why tickets for ballets that are almost certain to sell out are being given to ticket agencies to charge such ludicrous prices for. This is money that ROH needs, not the wretched Viagogo
  22. penelopesimpson
    Well, speaking only for myself, I have bought tickets for all three of Watson's Mayerling because it is him. Yes, of course I've seen him before - but that's precisely why I want to see him again. Actually, I'm rather annoyed it's Osipova because although it will undoubtedly be exciting to see what she makes of it, it is her presence as well as his that has made the tickets impossible to obtain. Based on her Manon, I would like to have see Francesca Hayward.
  23. penelopesimpson
    Oh dear, I liked it! Yes, there were odd wrong notes but Vishneva was magnificent and I liked the use of video projection. You are right in that if I was recommending somebody for the first time, I wouldn't recommend AK, but I thought it was streets ahead of Anastasia which, for me, was a train wreck with one good Act tacked on.
  24. penelopesimpson
    I can agree with your sentiments, up to a point. It does seem rather contradictory to have been gifted with an extraordinary talent and then spend your time rejecting it, whilst at the same time making your living from it. I find it curious that he makes a film about his life and career (what there's been of it) at such a young age as if it is all over. In not many years time it will be too late and he may spend the rest of his life wondering why he failed to use what he'd been given when he was in his prime. Perhaps it is the melancholy in the Russian chactacter? Just wish Osipova would give him a slap and tell him to just get on with it!
  25. penelopesimpson
    I saw Vishneva in AK and loved it - both her and the ballet which I found adventurous and unusual, even though the critics didn't. If only our Anastasia were half as good!
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