JennyTaylor

In which case, that's fine as the dancers are always welcoming and pleasant.

Hurrah! I can actually print it before I leave work

Very rarely, usually because I have to dash to get the train home in the evening. I did go last Saturday because I had time between the 2 DonQ performances and it was Will Bracewell. There weren't many people there and it was all good I think. When Will came out, he spoke to everyone who wanted to see him and even took a selfie with 2 women who wanted one (with their phone). He then went off down the street with no-one following him down the road (yes, I agree - that would be unacceptable). James Hay also was approached by a few and he was smiling and friendly too. I would be hesitant to approach someone who I didn't already know but the dancers don't seem to mind at all. If you think of what happens in Japan where literally hoards of people wait and the dancers patiently go down the whole queue which can take well over an hour, signing autographs and posing for selfies. So, they are used to it in other countries and the numbers outside the ROH stage door (Marianela and Vadim excepting) seem to be manageable. As I can get to London, I like the Ballet Association meetings and annual dinner for meeting dancers . The dinner gives unprecedented access because so many RB dancers attend and they are perfectly happy to be approached in that environment. You can also have in depth conversations during the meal, which you can't in the street at the Stage door. But, if you just want to say hello and well done on your performance, the Stage Door is a great way to do it.

Joy, joy and more joy. I so agree with Sim, in this dismal world, this ballet is a haven of delight and I've found myself thinking many times - I don't want to go back to the real world. So thankful I got a ticket for this bonus performance. Will did tell me at a Cinderella event at the ROH, when I was inarticulately trying to tell him how special and different their performances were, that he and Fumi had watched videos of the Cinderella pdd and worked out every time they could look at it each other throughout the piece. After that, I looked for it - and so they did whereas other couples did not - and it made a huge difference to the connection. They do that again in DonQ - I have no idea whether it's deliberate this time round but it's so noticeable when you look for it. He looks at her so often - a smile, a twitch of the eyebrow, another smile - and it's melting. Yes, overall it seemed a little more relaxed tonight - less first night nerves and the whole show was a total delight. As for James Hay - utterly brilliant! Really enjoying Tom Whitehead's performances too in the various shows I have seen.

Managed to get mine last night! Not to be missed

But I did - twice in one day from yesterday's 2 performances

I'm late to the party as it was my first Don Q today but I did do the double, and had a marvellous time. 2 * fantastic performances. Also lovely to meet a lovely Ballet-Coer in the queue for Vadim's book signing and again outside the Stage Door, where I'm afraid I unashamedly waited for Will Bracewell. If you are reading this, at least you know who I am now!

he was utterly brilliant!

Yes, I finally got home at 10pm last night. Thank you for everyone’s good wishes. It’s been a week I will never forget!

This is a wonderful way to capture the essence of the event. Andrej Uspenski was there for all the photos. He even had a drone! I note, no pictures from the pouring rain. Still stuck in Italy. Some people going out today, some tomorrow

I think they are due to go back to Athelhampton next year for more of the same. Postscript is that we are all stuck in Milan due to the NATS failure. I am stuck for 3 days! You couldn't make it up. Met some of the dancers at the airport and they are trying via Paris Eurostar. Everything fully / overbooked though. I've decided to stay put and stick it out. Matt and Mayara both really enjoy the Carousel pdd so I'm sure it will be back. They did perform it in an early post Covid performance at the ROH so it is streamed anywhere?? I wondered if I had witnessed Laura's actual final performance. If I did, it was marvellous.

I started off following dancers on Twitter but very few post now, so I turned to Instagram to follow my favourites. I enjoy seeing their photos and I usually look with very positive feelings. There is only one dancer who has really put me off with their self promotion and I never book to see them now - is social media responsible for this - yes. Otherwise, my booking preferences are not influenced in the slightest and I would always book for Laura Morera, for example, even though she had no social media presence at all. I don't post on Instagram myself, I just look at dancers.

Rocchetta Grand Jeté I attended Meghan Grace Hinkis’ amazing event in Italy this weekend – Athelhampton brought to a vineyard, and what an experience it turned out to be. I was booked for the entire event, so was able to attend 2 * classes and a working rehearsal at the venue as well as the 2 evening performances. It turned out to be a weekend that will live in the memory for a long time, not only for the glorious dancing but also for the amazing contingency activities which enabled Sunday’s performance to go ahead despite dreadful weather. The programme was as follows: Act 1 Voices of Spring (Ashton): Meaghan Grace Hinkis and Luca Acri Consolations and Liebestraum (Scarlett): Laura Morera and Ryoichi Hirano Le Corsaire pdd (Petipa): Sae Maeda and Daichi Ikarashi Chroma (McGregor): Anna Rose O’Sullivan and Giacomo Rovero Meditation from Thais (Ashton): Sarah Lamb and Lukas B. Brændsrød Carousel – if I Loved you pdd (MacMillan): Mayara Magri and Matthew Ball Czardas (McRae): Steven McRae Act 2 Manon Bedroom pdd (MacMillan): Laura Morera and Ryoichi Hirano Rhapsody pdd (Ashton): Meaghan Grace Hinkis and David Donnelly 324A (Junker): Giacomo Rovero Swan Lake Act II – White Swan pdd (Petipa/Ivanov): Anna Rose O’Sullivan and Steven McRae Bird of Paradise (Richardson/Junker): Lukas B. Brændsrød After the Rain (Wheeldon): Sarah Lamb and David Donnelly Diana and Actaeon (Petipa): Mayara Magri and Matthew Ball Les Lutins (Johan Kobborg): Meaghan Grace Hinkis, Luca Acri and Daichi Ikarashi First violin of The Royal Opera House orchestra, Sergey Levitin, and The Royal Ballet pianist, Michael Pansters. Stage Manager: Sarah Woodward Rehearsal Director: Christopher Saunders Class Teacher: Erico Montes (ex RB and now Toulouse ballet) The venue was a glorious vineyard in the countryside south of Milan and north of Genoa. Wine was flowing and pacing oneself as a visitor with all the gorgeous food and wine on offer was a necessity. The weather was extremely hot all day Saturday, though mercifully cooling a little in the evening for the performance. Transporting the stage, flooring, lighting etc looked like a massive feat of logistics and very hard work. I believe it was re-laid overnight on Friday/ Saturday with all hands on deck, including some volunteer dancers. There was a strong wind in the afternoon which flapped the floor and the surrounds, necessitating more rework to ensure complete stability for the evening. The evening performance was perfection in every sense, with all the dancers pulling out the stops to reach their peak. A triumph. We were all worried about the weather for Sunday, as the forecast was horrible. We lasted right up until about 6:30pm which enabled a class to be held on stage for the local ballet schools, which was really good. Then it started to rain, then the thunder and lightning started, and the rain became torrential. At 8:30pm there looked to be no chance of starting the performance though the dancers remained optimistic. All the audience seating was in the open air and although the stage was covered, we were really concerned about water blowing onto it to make it slippery. An enormous logistical undertaking then occurred as they turned the stage 90 degrees to face an area in the vinery which had some cover. Chairs were all moved to this area so most people could stay in the dry, albeit with some standing and some also happy to sit in open areas directly facing the stage. At what seemed to be the height of the storm, the performance started, much to my astonishment, with Meaghan and Luca in Voices of Spring. What bravery!! As this piece contains quite a few high lifts and jumps, they did adapt it but astonishingly still managed some of the lifts. Luca slipped once and our hearts were in our mouths. They had almost reached the end when all the lights went out and the music stopped. We really did think that was it. But no, the show went on, lights restored and this is the programme we saw with each dancer still doing at least one piece. Voices of Spring (Ashton): Meaghan Grace Hinkis, Luca Acri Consolations and Liebestraum (Scarlett): Laura Morera and Ryoichi Hirano Le Corsaire pdd (Petipa): Sae Maeda and Daichi Ikarashi (part only) Chroma (McGregor): Anna Rose O’Sullivan and Giacomo Rovero Carousel – if I Loved you pdd (MacMillan): Mayara Magri and Matthew Ball Manon Bedroom pdd (MacMillan): Laura Morera and Ryoichi Hirano 324A (Junker): Giacomo Rovero Bird of Paradise (Richardson/Junker): Lukas B. Brændsrød After the Rain (Wheeldon): Sarah Lamb and David Donnelly Czardas (McRae): Steven McRae Les Lutins (Johan Kobborg): Meaghan Grace Hinkis, Luca Acri and Daichi Ikarashi Yes, the dancers adapted to the conditions, so although it was not possible to do all the "fireworks" dancing, there was somehow an additional drama and passion to their dancing. I have to single out Laura Morera and Ryoichi Hirano in both their pieces with the Manon pdd moving me to tears. Similarly, the Carousel pdd with Mayara and Matt – just wonderful. It’s now one of my favourite pieces. Matt still managed some stupendous jumps which received whoops of applause. The stage manager Sarah Woodward deserves every accolade under the sun for making this happen and Chris Saunders and Erico Montes mopped the stage between every piece. What a team effort! The rain did ease off as the evening progressed thank goodness, so we were all able to enjoy celebratory food and drinks afterwards. What an undertaking and what a triumph for Meaghan, and everyone involved.

That would be me then, I hadn't booked for any Dante's.

I have travelled to Milan to see Nunez/Bolle together, as in my mind they are a stunning partnership and it was worth the trip as these things happen so rarely. What I will say now, which I don't think is giving too much away, is that when his name came up on the RB Tokyo tour whilst chatting to various people, they all rated him really highly in all respects.

I wouldn’t recommend taking children, especially young ones

Yes, in that I have been much more selective in the number of performances per ballet. So, I have booked for my favourite partnerships but limited extra performances for favourite ballets.

Yes, I agree with @serenade There are health warnings in the programme, but it's probably a bit late then if you are already there. I certainly felt uncomfortable with some of the content, but I don't like anything with that sort of content, full stop. Others may not be concerned. Powerful production, definitely more West Side Story than R&J but with added violence. Excellent dancing and wonderful music. The live "mini" orchestra were superb and Prokofiev is done full justice. Quite an experience all round. I'm still deciding what to think. It's dance rather than ballet. I did find the Balcony scene pdd moving and it also shows how hard it is to match McMillan's choreography for romantic effect though I think Matthew Bourne had a good shot at it, albeit with a very different style of dancing.

Not lucky, and even worse of course, I can’t book another ticket as there is no published cast.

A shame, as I particularly wanted to see Andrew Monaghan, but I will just have to wait and see when I get there. Bad luck if you wish to book for any specific performer

Does anyone know specific casts for specific dates please? I can't find it anywhere - just cast ensemble. I have a ticket for tomorrow and am very keen to know who is performing

No, they aren't. It's the Opera's turn to go

Christopher Saunders has just posted the glitter curtain call on Instagram

So the Tokyo R&J run is now complete and what a triumph for all concerned. We concluded with a bang as expected with Akane and Ryochi going down a storm with their adoring public. Also a bang because after the initial curtain call, the curtain rose to reveal the entire company on stage and showers of gold glitter descended onto the stage. A great farewell wave from them all. Fantastic! What a joy it has been and today was no exception. I hadn't seen the 3 harlots today (Nadia Mullova-Barley, Gina Storm-Jensen and Hannah Grennell) in a full performance so far and they certainly gave it their own flavour. We were also treated to Gary Avis as Tybalt and Joe and Calvin as Mercutio and Benvolio. Once again the marketplace scenes took my eye and I noticed one harlot mounting the stairs and hitting someone with a brush! It's different every time and great fun. Taisuke Nakao gained rapturous applause for the mandolin dance, as has every lead throughout. It's been an amazing experience. I hope I have managed to convey something of it to you. I don't have the technical knowledge to comment so I'm not even going to try, but just to transmit a flavour of it, as I have seen it personally. Opinions always differ but I know all the group here have enjoyed it all so much. Lovely theatre and incredibly friendly reception for us all.

Ref the curtain calls, the audience are very enthusiastic and the dancers love it! At the ROH, I feel there is now an expectation on the number - it's a set piece - and it seems everyone is ready to leave the theatre once that set piece has been completed.