Katie

I am so sorry to hear of Sir Terry Pratchett's death. 'Wyrd Sisters' is the first book I ever independently went out and bought, and it inspired me. I have loved every Discworld novel and the way his incredible imagination worked. I will miss his brilliance so much.

I have recently watched 'The Dallas Buyers Club' which I think was released in 2013,I am a little slow at getting to the big movies, and the story didn't convince it would be my cup of tea. However after being told by so many people how good it was,I gave it go and it was definitely worth it. I didn't like the first part where the character of Ron Woodroof is depicted behaving in red neck fashion and I nearly stopped it but am very pleased I preserved. This was a strangely moving and thought provoking film and a very pleasant surprise. I don't usually watch anything I have to think about, just light comedy, French films and sci fi, but Ron plight and his subsequent response were strangely heartening. Probably not for everyone but definitely interesting on a purely human level. I have also watched 'The Grand Budapest Hotel' and bought it. Within around 20 minutes of it starting I knew I wanted to see it again. I love Wes Anderson's sense of humour and the way his characters deliver the most outrageous things in such a dead pan way. It is hilarious and moving and Ralph Fiennes as the concierge to end all concierges is brilliant.

I went to see the matinee performance of this production today and had a fantastic time. Initially I was dubious about how much the cast change for Roberta Marquez would effect my enjoyment, as I had thought she would be a perfect fit for the role, but it turned out to be a seamlessly danced piece with a lot of comedy thrown in. I had been in two minds about whether to go at all due to exhaustion and had meant to sell my ticket weeks ago. I can't tell you how pleased I am that I didn't and ended up in the front row of the amphitheatre today watching such a lovely, heartfelt dance that allowed to leave the ROH a little lighter myself. This is the perfect antidote to winter, light, fun and colourful to look at, and a real credit to the RB. Recently I saw the BRB's Nutcracker which was the perfect show to see this season, so I wasn't expecting too much today, but am so glad I made the effort to see this, as it was so lovely to escape winter for a few hours and delight in the sunny, fun atmosphere provided at ROH this afternoon. I loved every second of the beautifully created sets, particularly the scene in act ii where the ballerinas blended, seemingly with the flowers in the background, I was so struck by the beauty of this, I felt like I was watching a painting. Overall there were many funny, passionate moments provided. Alexander Campbell was superb, and the scene where he seems to stab himself in jealously is hysterical, both he and Akane Takada brought a real sense of comedy to the moment. Mr Campbell is an incredible dancer, and I chose this performance for that reason, and he didn't disappoint. I really think this is a show piece for the company as whole, and showed what the Royal Ballet can do at it's very best. My only regret is that I hadn't booked a second viewing of this ballet. Loved it.

I went to the Birmingham Hippodrome to see this production two weeks ago, and thoroughly enjoyed it. The cast I saw had Tyrone Singleton as the Prince, Laura Purkiss as Clara, Celine Gittens as the Sugar Plum fairy and Valentin Olovyannikov as Drosselmeyer. The set was very beautiful and one of most detailed in terms of how elaborate the design was. I couldn't stop looking at the background, especially in the opening scene where the family stand back admiring the tree. The scene where Clara is flown across the stage drew a collective gasp from the audience, and made all off us feel like little kids, I think, in our wonder of it. I thought Laura Purkiss was particularly believable in her performance, she really brought a sense of innocence to her role, and her dancing very much conveyed this feeling. I also loved Valentin Olovyannikov as Drosselmeyer, who really made the most of the role, and I loved it every time one of the dancers disappeared under his cape, and then could be seen walking along the back of the scenery and into the wings. Overall this is lovely production and visually stunning, and there was a real sense of the dancers enjoying being on stage as much we the audience enjoying watching them, which is really refreshing. This is first visit to the Birmingham Hippodrome and watching the BRB and I cannot wait to see them again.

Thanks Melody, absolutely especially as I was early, and at the right end of the row, but there's no accounting for some people.

I couldn't agree more. On a recent visit to the ROH while attempting to be seated in the stalls circle, when I arrived at the area where my seat was, I found a couple of ladies already seated there, so I said 'excuse me ' which was ignored altogether. I repeated it and again, and was ignored.again even though it was very obvious they knew they heard me. So on my third attempt I blatantly said 'can I sit down please ?,' to which the older women with her back to me slightly turned so I could squeeze past. Luckily I am very slim, otherwise I think at that stage I may have not been able to sit down without an usherette intervening, How ridiculous is that ? Throughout the performance the lady next me, who was with the lady who ignored my very polite request, then made a really big point of turning her back to me, unless watching the ballet, to make the point that I was not welcome. These women were very much into their middle ages, and frankly I was bemused by the attitude problem.

I have just seen todays triple bill, and having read the above comments I have to agree. Ceremony of Innocence left me feeling underwhelmed, I kept waiting for it to heat up, but it didn't seem to ever reach the kind of momentum I needed to concentrate on it. In saying that I thought Paul Kay gave a very nuanced performance. Although I wasn't as invested in this piece as I would have liked to have been, his dancing stood out, and I enjoyed the role he played. I really liked Age of Anxiety. Everyone involved in this piece gave what seemed to me moving and affecting performances, and particularly Frederico Bonelli as Malin. The dancing in this piece seemed secondary to the evocation of the mood, which was very much felt from where I was sitting, from the upbeat feel in the bar to the slightly downbeat feel in the lounge area. I really liked the positive ending as the character of Malin literally walks of into the sunrise. Am looking forward to revisiting this on Friday. Aeternum, I have seen this twice before so not sure why I stayed today. It was stylistically interesting, but after the middle ballet which had my full concentration, this ultimately did nothing for me. However, I can see why Claire Calvert has had so many positive comments. She gave a subtle performance apart from one little slip. I know nothing about ballet, but noticed how well she moved, particularly her hands and the sensitivity she brought to each movement she made. Just lovely as she walked off into the sunset with Ryoichi Hirano. Although will not stay for it again on Friday.

Overall Symphonic Variations covered the ticket price for me. It was lovely. An added bonus was seeing Vadim Muntagirov. He definitely lived up to all the hype. Having booked to see him on the 5th in Manon, which I missed due to sickness, I was very happy last night to find that he was standing in for Matthew Golding, it was a very pleasant surprise. He danced with incredible finesse and beauty, and I really felt like was watching a very special performance. The music was lovely, and I would love to see this ballet again and again. Like other people I was with, we just felt like Scenes de Ballet was a bit style over content. I watched the principals carry out perfect technical performances and appreciated them for it, but it left me cold. It looked beautiful, and everyone seemed to be going through the motions, and it just lacked feeling for me, and the other people I was with felt the same way. Five Brahms Waltzes in the Manner of Isadora Duncan was beautifully carried out, and Helen Crawford gave a very heartfelt performance. Personally, it did nothing for me, but I know nothing about this piece, and so am in no position to judge regarding the technical aspects of the dance. I liked 'A Month in the Country', Zenaida Yanowsky was brilliant as usual, and a real standout for me. I thought all the dancers acted their parts perfectly, and it was an amusing way to end the evening. I would like to see this again when I am in full health, and could properly appreciate it.

The matinee today was my first viewing of Manon. After reading some of the comments I wasn't expecting to like it, but was very pleasantly surprised. This was a very beautifully danced and acted performance from start to finish. The principles were pitch perfect and having booked for the 5th Oct particularly to see Lauren Cuthbertson, I will now be happy to see Sarah Lamb again. I was particularly impressed by Rupert Pennefather who was amazing I could feel the power of his performance coming off the stage, I can't wait to see him in Alice in Wonderland on 31/12. Watching todays show I enjoyed the cast throughout and thought the final scene was totally beautiful.

I went to this Saturday's matinee and thought it was lovely. I thought Apollo had a very young feel and the atmosphere in the auditorium was electric. Xander Parish couldn't have looked more perfect for the role if he tried. He has lovely lines and looks every inch the consummate professional. He brought youth and exuberance and I have never heard so many people comment similarily about an individual dancer, as I bought ice cream at the interval. Kristina Shapran put her all into her performance and what a pleasure it was to watch her interpret her part with perfect finesse and dedication. I would also like to pay compliment to Nadezhda Gonchar and Alisa Sodoleva. I wish I could visit St Petersburg and see this company again and again. I sat next to the stage so had a better view than most, although only when the dancers were on the right side. A6 is definitely a restricted view. From where I was sitting Kristina Shapran looked superb and very expressive. Last year I saw two different casts perform this from the Royal Ballet and was not particularly impressed. I preferred this, and unlike those performances I will remember this. A Midsummer Night's Dream was beautiful. Again I have seen this recently performed by the Royal Ballet, and I can't remember a thing about it, as it made no impression on me at all. In comparison I will remember this performance for a long time. I was totally mesmerised by Oxana Skorik, and so impressed by the faultless and emotive dancing of Andrei Yermkov, Timur Askerov, Evgeny Konovalov and Nadezhda Batoeva, and the totally lovely Yulia Stepanova not forgetting Kamil Yangurazov. The sequence where we are sat in semi darkness and the children are flying as fairies around the stage literally transported me to another place, and I was so impressed the overall effect. The whole production was beautiful and I wish I had booked to see the evening as well, as I loved every second of this very atmospheric piece. Like dancers in every company worldwide it was obvious how much rehearsal had gone into the production, and how hard the dancers work to produce such a lovely show, and I really appreciated that. I can't wait to see this company again.

Just got back from seeing Coppelia. This is my second visit to the coliseum and my second viewing of the English National Ballet. I really liked the Coliseum and just got there in time as Whitehall was full of barricades for the latest big protest taking up ballet goers space. Overall the performance was very entertaining and I thought the company did a very proficient job. It looked pretty faultless and I enjoyed the second act particularly. The dress circle wasn't full so I was able to move seat 3 times. It was a nice show and the children in audience seemed to really enjoy it.

I am very sad to hear of James Garners passing and remember my mum watching the Rockford Files when I was little. I wish someone would recreate that show today, but I can't think of anyone who could do Mr Garner justice.

Alison thanks for that, it explains the mass availability of those seats, it does seem like they are most unpopular seats in the house, and I will definitely not take a chance on either of them, which I had briefly considered doing.

Thanks Alison I couldn't agree with you more about not having to move, but the sheer relief of being able to move from those people was enormous,though I kept eyeing my seat thinking I should be on that stool, it has made me more picky about where I sit now. I was wondering about booking the amphi theatre for the coming season and have booked for couple of ballets in row A, even though I would have preferred row B, as the seat I saw there was £10 cheaper. I remember a previous occasion witnessing someone in row B tapping the shoulder of a lady in row A of the amphitheatre because she leaned forward a bit, and thought better of it. I love looking at the ROH interactive seating plan have spent the last day and a half since 10am yesterday manically studying the distances from certain seats to the stage over and again some cases. Wow C31 and B31 are seriously unpopular seats on the balcony nearly every ballet and each performance shows those seats available. I have decided when I am there again on the 9th for the Mariinsky's Apollo I am going to look at the view and see if they are really as bad as they look on the websites interpretation of their views.

When I went to see the last performance of a 'Winters Tale' I had chosen to sit on those bar stools on the balcony which I will never do again. On arrival I found I was seated to my left next to a young couple, and to my right another lady. As I took my seat the couple began discussing me in earnest. How I looked, how I sat etc. It wasn't nice, and to be honest I nearly left. Then after the first act the middle aged lady in front of me began trying to flick her very short, and overly lacquered hair constantly and moving from left to right, to point where I couldn't concentrate at all. After Act II I spoke to the attendant and told her all of this, and asked if there was anywhere I could stand instead as I was a little upset. She kindly took me to where her seat was, and I stood beside her for the rest of Act II. More recently I went to see the Concert triple bill, and the couple behind me in the STC, who were an older couple, ran a commentary for the first two ballets until the lady next to them sshed them. If the dancers went out of view, the woman in the couple would ask other people around her if they could see what was going on. Then while all of this was going on, I witnessed a man in the front row tapping the lady across the aisle's shoulder, as she was on the end of the A1, A2 STC row where an elderly couple seated nearer the stage kept leaning forward every time any of the dancers were on the far left of the stage, and w and were driving that lady and all the other people around them mad. Actually the man just kept leaning forward where ever the dancers were. I don't understand this, if I sit somewhere where I know I will not see the whole stage I just wait for the dancers reappear, but I see this kind of behaviour a lot. I think the Concert was the only Act I really took in, as I was so distracted by all the carry on. Apparently there were VIPs opposite on the tier, but I was oblivious as the audience carry on was an act in itself.