penelopesimpson

I read The Times piece but felt I learnt very little. I am afraid he came across as a young man who takes himself too seriously - shades of Michael Jackson and saving the world. I was at ROH the night news of his departure broke and I recall how upset everyone was, including myself who had been enthralled by his Marguerite and Armand with Tamara R. However, this is some time ago now and he doesn't seem to have done a great deal since. Obviously it is up to him what he does with his wonderful talent but, if I had a wish, it would be that he would just dance and forget all the psychobabble.

I'm at that matinee too, Janet and was delighted with the casting.

This is the question I would like answered. I was on the site promptly at 09.00 and there were only a few less expensive seats and standing left, and virtually nothing at the more expensive end. How can this be?

Do I ever! Oh well, at least I don't clog up the Nutcracker and Sleeping Beauty queues!

Oh, I do understand your disappointment. It is worth checking repeatedly. I got Woolf Works returns late last night doing an ad hoc check.

Thanks for that David. I've got the Mukhamedov one but didn't realise there was one with Ed Watson. I saw that pairing and it was fabulous so shall get DVD.

Unbelievable. And what a mark-up. I see they don't have any of the expensive tickets. Are to assume that all the Priority people suddenly decided they must see Mayerling and scooped up all the Watson/Osipova tickets?

Given the carry-on that booking for Mayerling entailed (required a couple of glasses last night!), I was reflecting on multiple bookings. It was a tough fight but I managed to get tickets for all three of Watsons performances and I am thrilled BUT: am I being greedy? I hasten to add that even if the verdict goes against me, I'm not about to give any of them back, but I wondered how others felt about this? I have bought expensive seats so I'm not taking up places that students or others might wish for, and as a huge ballet fan, I take the view that its up to me how I spend my available pennies. Football fans would certainly go to see their team every week and I feel that way about the ballet, but... Any thoughts?

I so agree. Is there a Watson version recorded?

No, and this is the first time I haven't had one. Makes me even more inclined to my theory that something odd went on here with Mayerling

I do take your point about the internet which is well made. However, I have never seen so few tickets available when I logged on at 0900. I spend my leisure money on good seats and there was virtually nothing left at all. How can this be? The only explanation surely is that ROH sold more than is normal to those privileged to early access. Yes, a few more were released at 10.00 and, thanks to this Forum and Alison in particular, I was lurking and was able to grab some of them. But it was just a few more, nothing like what I would have expected. I also take your point about the younger dancers but this surely has to be balanced with what audiences want to see? Quite clearly there is huge demand for Mayerling and I do not think it would have upset the training schedule too much to have had half a dozen less SB's and a few more Mayerlings. Okay, I've got some tickets now but they wouldn't have been my first choice and getting them was an unholy scrabble.

You won't regret it! I've got the hat trick now!

One begins to understand why Rudolf lost the plot...

One million Fille's, two million Sleeping Beautys (yawn) and a paltry handfall of Mayerlings. Who on earth programmed it this way?

Big thanks for the heads up, Alison. Almost a happy bunny now! Has anyone ever seen it like this before for a particular ballet?

Am I seeing things? A sudden rush of tickets - like blood to the head! Have just got the 28th and 2, just the last one to go now. What on earth goes on?

There was virtually nothing left at 09.08. ROH you have really let me down and I am livid. I wanted to book for all 3 Watsons and have ended up with none. I should have known - went into Box Office on Sat and asked how Mayerling looked and the guy made a face at me. They have sold far too many in advance. Given what I spend with ROH each year, I am beyond angry.

Really, really annoyed. Went online 09.00 this morning, virtually nothing left for Watson in Mayerling. This advance booking for everyone except the general public is getting ridiculous.

No.

No need. Its just I hate the stereotyping of people who read either The Mail or The Telegraph or The Guardian. Makes people ashamed of their choice as if it labels. I spent years working in the media so still have the habit of reading a wide cross section and feel that they all have something to offer. Thank-you for responding, anyway. I meant no offence.

I think in many ways the best take on Woolf Works is to park the fact that it is from Wayne McGregor and enjoy it (or not) for what it is which is, IMHO, a stonkingly good ballet which I will happily see again and again. As for Woolf, she is pretty impenetrable and the programme notes seem almost to have written to confuse people. Last time around I found them laughably pompous and they haven't improved. But - it is great theatre with some mesmerisingly moving moments and the score is incredible. Go, enjoy.

Do you think we could dispense with calling it The Torygraph? It is The Telegraph, just as The Guardian needs it proper name. I'm not being po-faced - we all read different media and have a different take on our politics - but having the media lampooned on a non-political site I find offensive.

Oh dear, I wish I had been able to give such an insightful review. I am afraid I just watched it for the dancing. Yes, I am familiar with Woolf and think I understood some of the meaning, but I tried to see it just as visual art and enjoyed it so much although I stand by what I said about Act 3. Yes, of course, it is wonderful if you can get an in-depth feel of what is going on, but most visitors probably won't want to devote so much study. So, does it work without the knowlege - yes! I am going again on Feb 8 to see the Watson cast so will take your wonderful post with me and look deeper. Yes, forgot to mention Galeazzi and how good it was to see her again.

Well, today's matinee certainly worked for me. This is the second time I've seen it and I found a lot more to enjoy and think it is a fantastic piece. However, the third act could do with some fine tuning - it lacks any dramatic narrative or cohesion which means the ballet ends on a downer rather than the reflective mood which I think they are aiming at. Act 1 belonged to Matthew Ball. I was blown away by the expressive warmth of his movements, as were my neighbours. I am not so sure about Hirano in this piece but perhaps it was just that Ball was so drop-dead fantastic. Naghdi also absolutely in a class of her own. This was evident even though I didn't realise it was her at first. This is a difficulty with Woolf Works - it really is hard to sort out who is dancing. Act 2 was Campbell's moment and indeed all the cast were fabulous. However, I couldn't help remembering Osipova and Macrae in this piece who again were at another level. All in all a fabulous afternoon with the exception of the ROH cloakroom arrangements which are now beyond parody.

I agree. Have had two bad meals in the Ampitheatre restaurant in the past year and am now going elsewhere. It was a bad move.