Peanut68

Yep

Quite! I want fair pricing for all! For me that means fair & affordable at outset of selling. Then there would be no need to offer mid-season sales!

Real shame as they were a worthy company touring traditional ballet to suburban theatres. Our local theatre would sell well when they visited & it was a joy to watch many very young children getting their first experience of seeing live ballet alongside groups of elders from care homes enjoying a night out. What I didn’t like was the snobby attitude of some ‘serious ballet audience goers’ who were sniffy & sometimes downright rude about lack of live music/sets & costume quality or standard of dancers….they complete missed the point…. VFB were a niche provider with a relevant offering. I think they were a UK based company? So presumably paying a living wage to its company dancers & crew? And who are now offering traditional classical ballets to provincial theatres up & down the UK? Well, mostly it seems to be companies operating out of Eastern European admin bases who I have in good authority do not pay any decent wage level to their dancers recruited from all over. I expect they pay to book the theatres & take the box office sales. And quite rightly audiences pay reasonable price for seats…. But perhaps far too little of this money is making its way to employ dancers & much of the ticket sales are profits for the company owners…. I’m not against money being made - I’m all for ballet being a commercial success! But I am also a believer in fair pay & think that ‘overseas touring’ companies should honour the pay structures & working condition laws of host countries. I am happy to be corrected but have heard of ‘wages’ to dancers being along the lines of £40 per show with no money on days with no performances. Yes, travel & accommodation may well also be included but it is still by no means a living wage for any person. I am very happy to be proved wrong & also I do not imply this is the case for ALL touring companies.

ROH seem to have the most crazy pricing policies…. It really puts me off from booking other than for something I consider an absolute must for me (like recent chance to see Bolle/Nunez in Manon). I also think my recent email offering me 40% off is insulting to those already booked. And how odd how they choose to make these offers… I normally have ‘cheap seat’ tickets to ballets…& go pretty regularly. But never get the emails with discounts I hear of for upcoming events. Yet the one time I book & pay top dollar prices for seats, I then get the email offering big discounts for next shows (MacMillan). Isn’t this a big nuts? I’d prefer to see discounts offered to all - nit just to people who have clearly got funds to buy top price seats. Yes, for me it was a one off so discounts great. But I suspect that mostly people sat in top price seats for one ballet can likely afford to price for the next. So if you are discounting - offer it to all regulars. But frankly, programme selection/casting choices/sensible pricing structures from the get-go should negate any need to discount. Get your act together KOH & ROH!

So he’s leaving sooner???

I am horrified to be offered via email tickets at 40% off…. I’d be completely angry had I already purchased at full price & then hear there are these discounts direct marketed to former audience goers. I too agree there is not enough hype or marketing info on this triple bill of MacMillan ballets…maybe they need to have the odd guest turn? I confess Bolle with Nunez in Manon got me pulling out every stop to get there - at whatever the cost (gulp - thank you Hubbie for great Xmas present!). I despair at how rubbish ROH frankly is at marketing/PR/pricing & it’s terrible use of surveys…. These plentiful online surveys ask pointless questions & really do not get any relevant or useful customer feedback from me….or many others I suspect too

Agree completely with all this. There is definitely a (misplaced?) defined expected route & activities that are ‘rights of passage’ acts young dancers feel they ‘must do’. Funny how these things are all paid experiences that mostly only can be funded by supportive family finances…. Cynicism overload

Got 2 Barclays dance pass for offspring plus one full price sat alongside for the Saturday night - but did book literally the second they’d gone in sale months back! Not sure I’m going to be able to take up my full price seat (working on the idea of asking for chance to go as a Mothers Day ‘gift’ of time off!!) So, if I can’t make it will of course offer up ticket for sale in relevant forum here!

Apologies for typos in last post… checked too late to edit & improve- oops!

Is it just me who is wondering if this is a worrying newish trend? More & more of these type of hybrid training/work internship/apprenticeship ‘opportunities’ all over…ate they actually enabling dancers to be financially self sufficient or is it still generally requiring extra support with family funding needed? Just how long does this go on for & at which point do people decide it’s not a job if it’s not enough to actually live on 12 months of the year? I keep coming back to thinking just imagine if you trained to be an electrician & you then had to pay to go to a get together to then demonstrate your skills alongside 200 other electricians in front of 5 or 6 HR personal from big electrical firms with perhaps 19-15 jobs to offer? And then to find the pay is not exactly standard industry or living wage but it’s a stipend or work experience? I thought the Dickensian era of families buying an opportunity to gain a job ended decades ago…. Not in dance it sadly seems.

Well didn't see this coming! Hadn't even known the RAD were recruiting for the Top Job......it seems to me there is currently very many institutions & dance bodies recruiting at the AD & similar level.....certainly in UK & Europe. I thought Campball/Calvert recently opened/took over a regular dance school too? It does sound a fabulous opportunity to him & glad he's remained in UK!

There are homestay options - am sure there must be agencies for these?

I think they may have in effect booked you in for a ‘Medical’ like could be requested to assess ‘fitness to work’/ insurance claims etc. I’d call your surgery & ask for price for signing the form that is to confirm ‘fitness for student training’. much of these forms are tick boxes about vaccinations etc so they will be able to complete from records without actually seeing individual & often surgeries have scales etc in reception area so you could pop in & prove this with receptionist perhaps to add to records? Even if just booking a regular appointment for cough etc you could request they check bmi so they’d then need to add height/weight to info. When we had to have form for a USA SI, we got charged I think £25 (most would’ve been £40 as that figure is also springing to mind) & it was just a case of emailing form to surgery who then printed it, completed & had GP sign & we collected, scanned & emailed to the school.

You are under contractual obligation to inform them of any change in circumstances year on year & of course for student to meet conditions (this not necessarily as straightforward as it sounds.....& personally I do think there should be greater government checking up on this as in our personal experience certain schools/certain teachers seem to use this as their own gift to bestow or remove & it can create an unhealthy environment of fear of removal of funding & also an unhealthy 'competition' or wrong feeling of place in the pecking order/superiority between parents & even between pupils. All good reasons to keep finance confidential. Yes, kids need to understand the costs/implications & sadly do have to 'compete' for the funded places & to understand the value of the money being invested in their training (be that family savings or borrowings, government or charity money etc) but beyond that it is perhaps better to keep discussions to the minimum. One rarely would share finance info in any normal school setting afterall.

Any ‘inventive accounting’ would be fraud & as such criminal as this is taxpayer money. Be aware also that if offered bursary funding from schools they have different forms & on these they may well ask for much more in-depth information such as wanting evidence of all savings accounts, shares owned, house value & outstanding mortgage, value of assets such as cars. It can feel a very invasive & rather terrifying process. But it is better any funding goes to help those genuinely with financial need rather than being more of a ‘merit scholarship’ (like with academic scholarships which are like winning a medal - & often only a nominal amount like 10% off fees). This is why bursary funding is usually referred to as ‘hardship funds’ at schools. Please all do be aware that finance info remains completely confidential & as such it is far far better that you encourage your youngsters NOT to discuss it. I always cringe when you see those photos in local papers with headline ‘Dancer receives full scholarship to X school’ Well, if it’s MDS funding then only if the family are at very bottom of income scale is it ‘full funding’ so that’s IMHO over sharing one’s financial details with the general public! MDS is NOT a scholarship- much as it can feel like it as it’s so hard fought to gain (NOT win) It definitely is an acknowledgment of talent but it also reflects a family’s financial need. Many dancers may well be from families who would not qualify & so do not apply for MDS funding. So having MDS is great but it is not a sign of ‘pecking order’ of dancers. Again - too often you hear of parents brag that they got 4 MDS offers blah blah blah. All they need is one & all the info they should share is the info of the one place they accept & a discreet acknowledgment that it’s made possible by government funding or school bursary. That is enough. I would like to say huge congratulations to all those young people being offered the chance to train in these schools. It can be an amazing opportunity but - word of caution - do NOT feel ‘owned’ or ‘ever so grateful’ or feel ‘silence bought’. You are still paying customers regardless of whether some of fees comes from taxpayer money or school charitable funds. It is NOT a reason to stay silent if things don’t feel right & it should never feel like it’s the schools trump cards to be gifted or removed at their whim. It certainly is part at the heart of some of recent issues at schools - fear of losing funding, fear of losing school place. Thus is why I again call for much more transparency & external auditing of the awarding and ongoing use of the government & any charity funding. Apologies of this ‘eyes wide open’ message is a bit bleak sounding. And please do enjoy successes & also those without the outcome they hoped for, continue on as you are as already you showed the right talent to get to this stage. Very many more routes to follow. Good Luck all!

A healthy dose of cynicism is pretty useful in this game where too often we wear rose tinted glasses which do not serve us well down the line! This is not related to your specific situation or last comment or The Hammond, just a reflection in general where we are better to try see things - warts & all - at every stage. Good luck x

Just watched some of this ball - am fascinated that what appears to be an Opera House can be transformed into a ballroom with stunning floor where one would exist to find ‘stalls’ seating…. Is this the usual layout or are removable seats added for traditional performances? I so would love to witness something like this!

Yes, & thanks….have booked the train 😘

Oh I should’ve been checking this forum topic as could’ve justified going with a free ticket - drat!

Can I ask how much this is if still available please - thx

Where are they stocked or do you buy online? Guess could buy a few sizes/features to try & keep best, return rest?

Which cast do you watch then?

Oh I have a real dilemma reading these wonderful reviews if the cinema screening…. Do I go to the encore showing on Sunday (assuming there is one locally) or do I wait for my ROH visit on 27th & not risk ‘diluting’ the emotion through seeing before/inevitable comparing cast in my head….

I’m intrigued now too! Maybe if is the best kept secret of French Ballet & what gives French trained dancers their unique style & ‘je ne sais quoi’ of the likes of the snacking Sylvie Guillemne!

I booked Nunez/Bolle as felt it a golden chance to see my 2 all time favourite stars! Equal draw