Blossom

The Friends email was very nicely laid out but did not outline all of these programmes, but rather excited by the press release! Saving feedback for Jan's new thread!

A bit late to this one, but given ticket sales across theatre are a bit of a problem post covid, this does provide an extra draw to get bums on seats and perhaps drive frequency among e.g. BRB/NB supporters who might see their local favourites and the guest principals. It has also given gorgeous dancers like Isabella Gasparini the opportunity to take on principal roles in their home countries who can celebrate their exported talent as well as drive some international PR for the Royal Ballet.

works nicely for Cinderella!!

The classical category somewhat baffles me.

Adored this evening, my last viewing of this run of Cinderella and this time with my daughter who had only seen the cinema showing previously. She loved the added magic and sparkle of the live performance. Stepsisters were on form tonight, they really gave it their all and I found I particularly enjoyed the chemistry between Avis and Acri. Yes, they are different to Helpmann/Ashton, but the world has changed. I didn’t find them at all camp, but perfectly panto and the humour just kept on coming this evening. The young lady next to me laughed at every joke and they were on form. I particularly enjoyed Gary Avis trying on the glass slipper this evening - despite having seen 3 other live performances (with different sisters), this had me laughing out loud. I also don’t recall the ‘silly’ sister (Acri) rolling down the stairs into the ball- I guess there’s something new to notice every time. I really enjoyed watching Natalia Osipova. Until I saw reviews here from her first performance I was wondering if I had chosen the right cast, having done so specifically to see Gary Avis. I am so glad I saw her dance. I previously haven’t enjoyed her turns at Ashton ballets except for Month in the Country, but Cinderella absolutely suited her. Her performance in act 1 was thoroughly convincing (she looks like a lady who knows how to clean, giving it some welly and even moving items on the table to do a thorough job). As above, she is the only dancer who truly danced WITH the broom as a convincing partner. The energy in her port de bras and broader body movements gave her solos real feeling. In act 2 as Cinderella she managed to convey all her emotions on arriving at the hall- wonder and excitement - with her eyes alone. She brought a huge amount of energy to her solo and her manège was rather breathtaking. In act 3 again as she dreams of the ball (or wonders if it was all a dream). Her energy really makes the audience feel what she is feeling. Reece Clarke was a swoonsome suitor and individually did not disappoint, but the chemistry between characters really did lie with the stepsisters tonight. I was also thrilled to get to see Magri again as fairy godmother (my favourite, particularly her forward bend and sweeping port de bras as she opens her solo). Also my first opportunity to see a regular favourite, Joseph Sissens on stage! Marco Masciari was another fabulous jester and really loved his interpretation. So happy to have this role which allows more junior talent to shine so brightly. I assume that this role is traditionally given to younger dancers. As this is my last Cinderella (sob), I’m mentally drawing up my own awards for best in role across various roles, of which some (chemistry moment on Cinders arriving at the ball) are easy to award, some not so easy (jester). What I do know is that this Ashton ballet was most definitely cracked by Osipova this evening and I think that Ashton is probably pirouetting or leaping with joy in ballet heaven. I learnt what @Nogoat stands for this evening and right now, couldn’t agree more! Lovely to see @Sim, meet @Bluebird @PeterS and of course the podcaster who gets me through my commute, @To The Pointe

Natalia Osipova is the most convincing Cinderella in having us believe her broom is a real partner…

Looking at the NyCB programme for the new season there are 5 Balanchine programmes - would be happy to see any of them!

I’m sorted thanks to the exact seat I wanted coming up (box office return I assume).

Magri/Corrales O'Sullivan/Sambe This is purely because the on stage chemistry of these pairings is perfect. Then I struggle. I don't think I'd pair Takada and Hirano - this I guess is why we often get a mix of Takada/McRae and Lamb/Hirano because that works...

Returning to box office

Looking for an extra ticket to bring my daughter with me on Monday. I currently have a balcony seat which she can use if I can get hold of another ticket! Looking for central SCS or central Balcony standing or one of the few £34 tickets at that level.

🤣 but also 🤑

Just seen this article and wonder if Baker Richards are responsible for the strange pricing survey we ‘enjoyed’ :- https://www.baker-richards.com/emerging-in-a-position-of-strength/

A slight aside - why aren’t performances from 2003 or 2010/11 productions available on DVD/BR? Any idea what the barriers may have been?

Wondering if Joonhyuk Jun will be there to rehearse Bluebird.... Could be a nice combination. Missed the mention above as didn't scroll back far enough but unable to delete this!!

Stalls end of row J26 which has excellent sight lines. £20

I have a spare as the person who was coming with me can no longer come! no idea how to share the ticket as they are both on one email. Is a screengrab ok? If so be in touch. I will be there anyway if any issues…

@Emeralds you make a good point, but it still looks like a gamble which didn’t pay off if you look at some of the remaining dates which show a similar picture to many of the dates which have already passed - e.g. 27 April - which they are now trying to fill by offering a Friends event, which doesn’t seem to have shifted any seats so far.

No- I can’t share the link to the ad I saw unfortunately off Facebook… It includes a lot of images from the production plus glowing reviews…

It seems that this prayer has finally been answered- wonder if it will help or not.

The seat you had today would be £41 for Jewels

Very much enjoyed my unplanned visit to the ROH this afternoon to see Lamb/McRae - and I'm a new convert to SCS having had the most perfect spot in the block just to the right of the light box. Loved seeing the Lamb/McRae partnership, they were wonderful together. The partnership I particularly enjoyed though was James Hay and Bennett Gartside who I think are my favourite pairing so far (having seen Whitehead/Acri and Arestis/McNally). They were danced elegantly with just the right balance of slapstick - and I understand that this is exactly the note they had hoped to hit with this production. This made Act 1 even better than previous viewins. Itziar Mendizabel was also a beautiful Fairy Godmother - I think it's the first time I've seen her back on stage since before Covid/her baby. The production as a whole grows on me with each viewing. It is made for the 21st century and I do believe that the designs and colour will attract audiences who may not have considered traditional ballet before (if only some better images and if possible video could be used to garner interest - either they had no budget for creative or there has been some ongoing embargo). Every time I notice an extra little detail. Lovely to meet @Dawnstar (hope you enjoyed the evening performance). Spotted Francesca Hayward's grandparents on my way out this afternoon, so a special performance for her this evening.

Interesting to note that the bar hasn’t been as busy as usual - so likely an impact of not getting ticket pricing right

They are definitely open today- I called about returns for the matinee as well as checking the seat map online!

My opinion is that there were 2 key issues, one exacerbated the other:- Only one ‘creative execution’ which wasn’t the best thing to sell the ballet in the first place and certainly wore out very quickly. Prices for top price seats not only exceeded a sensible top end value which people would pay, but unlike other theatres and companies does not like to be perceived to offer discounts, so ended up largely selling the unsold tickets at a below-floor price, rather than creating increased public demand and perceived value. The 25% Friends discount on a small number of performances to a select Friends audience appears to have come too late for most.