JennyTaylor

It did! For @Dawnstarbenefit though, there were also several examples of marking of steps, so it was a rehearsal, not a performance. I have a ticket for their debut, so really looking forward to it. If I hadn't, I'd be trying to buy one.

I sat in the right of the stalls circle today and you miss any action in the top right of the stage, so some initial entrances before they travel further and yes, the Queen in Act 3. So, if we are picky, Odette's first entrance comes from there and some of her interactions with Von Rothbart. I didn't feel that mattered too much, but it's a factor. I can't remember anything too crucial on the left side: it's a pretty well centred production.

The website filters by Spring season - but it's not obvious - that's why you can't see Swan Lake

Vadim's worth the ticket money alone, but I've decided to return my ticket as I have one for Saturday too, and hope for the best. BTW - you might wish to reinvest in Magri/Corrales

It says cast change now. I am very disappointed. She’s still there for Saturday though.

I went to a piano rehearsal today, which is work in progress, but never mind that, I loved it. I don't think it's giving too much away to say that I saw Marcelino Sambe and Anna Rose O'Sullivan, plus Gary Avis as Von Rothbart. Wonderful! I spent much of the time reflecting as I watched the performance. I was lucky enough to be part of the original syndicate sponsoring this production and therefore attended various events to see it as it was developed, including a visit to Thurrock where we saw John MacFarlane actually painting the scenery to Act 1. It was absolutely amazing. It all came back to me as the curtain rose, and there it was, along with a set of steps, I had actually sat on. But of course, it was tinged with great sadness as I remembered Liam Scarlett. I also went on tour to Madrid and saw this production every night with different casts and met some of the dancers. One of the best weeks of my entire life. It was there I discovered William Bracewell: a Siegfried like no other. It was the last ballet I saw before lockdown, in what seems a lifetime ago, with the wonderful Marianela and Vadim. So, today it was reborn with what seemed like an entirely different cast. I have looked back to my book "Swan Lake, Reimagining a Classic" which has now reappeared in the ROH shop. So, this was published in 2019 but covers the 2017/18 season. So much has moved on: we have new exciting Principals plus the much loved ones still there. We have new up and comings, like David Yudes who played Benno today. Bring it on!

Last night's R&J was my last in this run, and it was a marvellous performance in so many respects. So glad I booked yet another late ticket, having read the casting and reviews for this particular cast. I booked specifically to see Gary Avis as Tybalt and Olivia Cowley as Lady Capulet. I had the added super bonus of seeing Melissa Hamilton's Juliet, which I thought was sublime. No wonder, she is guesting with Roberto Bolle so often! Alternatively, why isn't she seen in more classical leading roles at the ROH? Gary's Tybalt was a masterpiece. A far more sympathetic characterisation than any other. The Mercutio death scene was fascinating. He continually looked at his sword blade and the imaginary blood on it, with expressions of regret and concern. He then beckoned to Romeo - come and get me. Even when Romeo is discovered with Juliet in the ballroom scene, he was quite laid back with Juliet initially, whereas all others are impatient or cross. If you follow me on Twitter then you will see that Gary reacted to my comments saying "I’m not a Copy & Paste kinda guy😊👍🏼⚔️🩸❤️ glad all the hard work on structuring the detail is worth it x thank you" It was utterly brilliant and I have to admit that I was far more focussed on him than the Mercutio death, although that being said, Serrano was excellent in this scene. I was delighted to see Serrano as Mercutio, because way back, when I reported on a rehearsal I attended he was the "up and coming dancer" who I didn't name at the time. At that point, Kevin O'Hare told us that he was planning to use him later in the run (so now), but they were short of Mercutio's at that point (Covid), so there was a chance he might be needed earlier. It was well worth the wait. I do think he is work in progress, but very impressive all the same. Olivia Cowley gave a heartfelt rendition as Lady Capulet. Far more emotion than any other - real sobbing at Juliet's death, for example. My ticket money was very well spent. I appear to be travelling to Manchester tomorrow to see a football match, which is unlikely to be enjoyable. I think I would rather be at the ROH, but such is life. I've been following my football team for over 50 years, so choices have to be made sometimes. Thank you R&J. It's been absolutely brilliant.

Where I was sitting next to Nicol Edmonds, that seat had been 1 of a pair of returns. I snapped up the aisle seat J6 and the RB had clearly nabbed the other one. The two in front where Matthew Ball and another member of staff were sitting are normally occupied by patrons such as Aud Jebsen. BTW I did have a little chat to Nicol. He was delightful.

Well, that was a beautifully heart breaking performance from both Mayara and Calvin. Another completely different interpretation. Loved it!

J6 orch stalls. Another late return ticket. Jackpot in all respects

I have Matthew Ball sitting in front of me and Nicol Edmonds next to me!

My mother loved ballet and I started ballet lessons at the age of 4. I think my first ballet was Swan Lake at Covent Garden and I do remember it astonishing as that might seem. It was Beryl Grey. It dates me, but my parents bought their first record player around that time and 2 of the first LPs they bought were the Nutcracker and Swan Lake (2 LPs). They were played continuously. I was taken to the Nutcracker at the Festival Hall every year and also Coppelia. Belinda Wright was the principal ballerina in the Nutcracker and Lucette Aldous in Coppelia. I loved ballet and danced until the age of 11, though I wasn't very good. My ballet class took me to see Giselle at Covent Garden, and my school, amazingly took me to a performance of Swan Lake by the RB on tour, at I think Leatherhead. It was Monica Mason in the lead role. I was transfixed. Going to the ballet was a huge treat and a rare event. But there was some on TV and I listened to the records all the time. I think by the age of 21, I had only seen these ballets and the Sleeping Beauty (Anya Linden) live. I didn't then go for ages as there was no opportunity, but many years later, someone at work asked me to book tickets for a Hamlyn(??) performance as these for new customers only. I did and we went to see Giselle, and suddenly I realised I could do this myself and tickets were actually available. My mother has always had terrible trouble booking as it seemed the only reliable to do this was to go up and queue, but we didn't live in London and the train fare to do this was a consideration. She booked on the phone but then never received the tickets on a couple of occasions. So, the rest is history really. I booked for a performance of Mayerling, which I had never seen, got onto the mailing list and that was the start of my full time love affair with the Royal Ballet. I'd always loved ballet but never found it accessible until that point. Now, it seems I go every week.

For me William Bracewell and Fumi Kaneko are still the stand outs - in fact streets ahead in the emotion they managed to elicit from me. I hasten to add that all other partnerships have been wonderful in their own particular ways and I have shed a tear (or several) on quite a few occasions. As I might have mentioned before, emotions seem to be even more raw in this current world that we live in. I am just so grateful to be there every time I go to this wonderful theatre.

First of all @Dawnstar your photos are great and really capture the moment. Photos are notoriously difficult to take of curtain calls because the lighting. I've tried many times and just get a blur. Yours are lovely. I agree with so many of your comments from last night. I was so disappointed with Marianela's previous outing in this role as she had such an unsatisfactory partner, but last night allowed her to give the role her all with a partner who matched her minute by minute. It's always lovely to see the relatively younger dancers play these 2 roles but it's also a privilege to see top class experienced performers play R&J and bring all their years of knowledge to the role - and still provide a fresh approach. Yes, I felt Bonelli, did struggle with some of the lifts especially actually the final one when he puts Juliet back onto the stone catafulque. He actually adjusted her in his arms before lifting her on. I also thought he was a little conservative in his dancing on a few occasions. But, it didn't matter at all, because his performance as a whole had such depth and skill in all its aspects. Go see James Hay as Mercutio (should be him at the cinema showing). He is just awesome. All, I would say, is give me another Tybalt - any other really. Claire Calvert's Rosaline continues to fascinate me. More detailed interplay as Romeo notices Juliet for the first time at the ball. How I love that each performance is the "same" but is always so different. Last night's was definitely unique for so many reasons including the lovely farewells and celebrations at the end. Also, was it my imagination or did the house lights go partially up at the start of the ball scene?

What a lovely performance this evening, made even more special by the heartfelt farewells at the end. Marianela is so gracious, curtseying and giving both Federico and then Enrico Montes a single flower from her mountain of bouquets They both also received very large bottles of champagne. They received special applause from the whole cast and then also in front of the red curtain. It was all beautifully done.

I'd like to make a comment on Claire Calvert as Rosaline (last Friday evening). I've always felt that Rosaline was a rather thankless role for a dancer, but I felt very differently when I saw Claire. Her Roseline was softer, less stern and I found myself watching her in the ball scene in particular, when she definitely noticed Romeo's shift of attention to Juliet before the crucial eye to contact moment. She seemed more puzzled than stern or cold and I also noticed how she appeared to console Paris towards the end of that scene. The content was effectively the same as all other Rosalines, but I felt a difference nuance. Did anyone else, or was it just me? I'm sorry to say that I struggle with Tom Whitehead as Tybalt. I don't see any energy in his performance, and the very untidy ponytail didn't help in my eyes. There's certainly no frisson as there is with Matthew Ball or Gary Avis. I much preferred Tom as Lord Capulet. Very much looking forward to seeing Nunez/Bonelli for which I have also managed to secure a Return ticket.

Absolutely wonderful performance this evening. Anna-Rose and Marcelino were so powerful and moving and James Hay put in the Mercutio of a lifetime. I got a late return specifically to see James and I'm beginning to wonder why as a single ticket booker, I bother with advance bookings as I can get such good seats if you hold your nerve on Returns. So, so glad I did. I'm still buzzing from the amazing show I've just seen. It had everything, except perhaps Matthew Ball as Tybalt. Though in Row A, the orchestra did not distract me so much tonight, which says a lot about what was happening on the stage. I did love it when they congratulated each other at the end though. Lovely. More later

I'm back to checking Returns on the website.

I went to see Campbell/Naghdi this afternoon. Spoilt again with a late Return ticket in Row A of the Orch Stalls, so I had a wonderful view. I'm also finding that I remain distracted and/or beguiled by my close up view of the orchestra. I had no idea there was so much piano in the music! I thoroughly enjoyed the performance this afternoon in all its aspects, but I didn't find it moved so much as some others, but I can't put my finger on why, because it was lovely. I'm a very big fan of Alexander Campbell so really enjoyed seeing in this role (at last!) and he certainly did it more than justice. I always love Yasmine Naghdi as Juliet and a particular highlight for me was the Balcony scene pdd where they both gave it their all. I was impressed with both Joseph Sissons and Leo Dixon as Mercutio and Benvolio. Joe played Mercutio as being very cheeky and really pulled it off, but also managed the serious death scene extremely well. Leo Dixon's Benvolio was a lovely, friendly young man, who warmed my heart. The scenes where the 3 friends dance together are some of my favourites and they didn't disappoint. Ben Gartside played Tybalt as somewhat dismissive and contemptuous of his rivals but not as overtly unpleasant or arrogant as others in that role. I was impressed with Tom Whitehead as Lord Capulet: a lot of very good acting going on with his eyes. For those who like some of the detail. Yes, Alex played the "meeting at the ball" moment, completely differently to any other Romeos I have seen. So, apparently not noticing Juliet until they actually turn round and face each other. Sadly Claire Calvert was not Rosaline today: I was really looking forward to seeing that chemistry. The different approach still works, and there was a lot of interesting acting on the side between the 3 friends and Rosaline, leading up to that moment. In the final scene in the crypt, Alex came on to attack Paris from the doorway. I didn't see him come on at all in a cloak and go round the other side by the stairs. I was looking all over for him in the shadows, but nothing. I felt the audience response was a bit muted today throughout, but that might have been my imagination. The cast received lots of applause at the end though. I came away happy.

Leanne Benjamin's new book "Built for Ballet" is brilliant. Loving the detail and insights.

I've just returned from an R&J rehearsal which featured Alexander Campbell and Yasmine Naghdi and I think we can expect the casting to be "flexible" as it was with the Nutcracker post Christmas. The rehearsal was a working one with only the principals in costume and everyone else in practice clothes and also masks. It gave a tremendous insight into how challenging it must be to prepare for a show in these circumstances. In terms of casting - and there is of course, no guarantee that anyone but the 2 Principals will be scheduled on Wednesday - but Mercutio was one of the more junior dancers who is being given a chance as David Yudes is having to self isolate. I won't say who it is in case it doesn't happen in this uncertain world. It looked like Leo Dixon as Benvolio though as we were in the Balcony and they were wearing masks, I can't say for certain. Ben Gartside was Tybalt and Tom Whitehead was Lord Capulet. I'm afraid I couldn't identify the 3 harlots. Anyway, I'm delighted that I have just picked up a Return ticket for Saturday so will be going to see it in performance then. I'm really looking forward to seeing Alex in particular.

Now, I'm really jealous!

I've never seen any before except for official signings. There is a door from which artists can exit the ROH on the extreme left as you enter the shop, which can make for interesting sightings if you are lucky though.

Onto this evening's performance where I was totally spoiled by a seat in Row A of the Orch Stalls which I picked up as a Return. This was my first venture out post Omicron scares and I think I only nerved myself as I did have a seat with no one in front of me and it was also on the end of the row. It was marvellous and what I particularly noticed was how I could hear the orchestra astonishingly so much better than even a few rows back.... and I could see them which I also really enjoyed. As soon as the overture started, I was misty eyed; by the end of Act 1, tears were rolling down my cheeks, so moved was I by the beauty of the music, the ballet and sheer emotional experience. I suppose the Nutcracker, always has connotations with my childhood, and I can't believe there was a time when I began to think it was boring. These days, the very challenging times we live in, seem to make every live ballet performance I see extra precious. Kevin O'Hare came out at the start with quite a heartfelt speech where he explained about the technical issues, celebrated that all advertised Principals were actually dancing and thanked everyone for all their efforts in putting on the show tonight. He also thanked the audience for supporting them. Then we had the wonderful Gary Avis as Drosselmeyer setting the scene for the glitter fest which was tonight's show as a positive shower fell out of his hat as he picked it up. Sae Maeda and David Yudes were very refreshing as Clara and the Nutcracker. All the party scenes were played to the hilt by all the dancers. My particular favourites were Hannah Grennell as the Grandmother, who manages to add a great deal of humour to the part and Olivia Cowley as the dance mistress. I did wonder if Christopher Saunders had to make a detour across the stage at one point to check on what the children were doing when playing with the dolls. It was certainly quite lively over in that corner of the stage. The tree was fully grown from the start, but I expected that. The transformation scene still worked for me, as the music is so wonderful that it carried me anyway. Other scenery still moved so there was movement and that helped. I found I didn't really care too much even though it is one of my favourite scenes when it works fully. The Clara/ Nutcracker PDD always moves me massively, hence I was a bit of a wreck by the end of Act 1 (in a nice way). Act 2 brought William Bracewell and Laura Morera to the stage, so what more could one hope for. Glorious dancing from them was celebrated by prolonged audience applause. I thought Will looked rather serious and fully concentrated with only intermittent smiles while Laura was smiling throughout. They were both very happy at the end though! David Donnelly worried me in the Arabian dance as he appeared to be finding all the lifts a big effort. One could see his arms shaking with the effort with every lift. Hannah Grennell danced very gracefully but I was worried for her. Thankfully, all went well. Leticia Dias made a lovely Rose Fairy. I too noticed Melissa Hamilton as she stood out, as did Leo Dixon who now has a tremendous stage presence. At the final curtain and bows, all the soloists came and threw glitter. What a wonderful end to the Nutcracker run, which has delivered so many such fantastic shows under really difficult circumstances. Finally, when I first arrived at the ROH, I was browsing in the shop when I saw Matthew Ball and Mayara Magri there, looking at the ballet CDs. I didn't approach them as that doesn't seem right in these Covid times, I just enjoyed seeing them. No-one else appeared to notice them at all. Just an added highlight for my day though.

You could also try using a different browser - and BTW, the ROH website is technically dreadful, so don't necessarily blame yourself.