Blossom

So excited to see so much variety in the ranks and hope I can get seats for the dancers I want to see!!! Would love to see Francesca Velicu for starters…

Really enjoying the podcast. I caught up on the first few seasons on my 2 commuting days- they get me nicely from my house to the office, but now completely up to date, have run out and eagerly anticipating the next episode! Thanks so much @ToThePointe and Brandon.

Unfortunately I don’t think we can argue with the rise in cost of living impacting the end cost (seat prices) at the ROH. Unless they invest in a specific programme to sponsor seating or find another way of cutting budgets elsewhere, it’s just an unfortunate economic impact. I am so frustrated by it, but I don’t think anything will change unless seats don’t sell/sell too slowly impacting overall cash-flow, identifying the need to subsidise tickets. Ultimately this means a few things for me personally - more trips alone as friends aren’t as willing to pay the prices demanded, less money spent in the bar or on programmes, fewer performances and likely less willingness to donate. The last factor is impacted by my frustration that ticket prices rising is making ballet less accessible, wherever you sit in the theatre. I want to know that the ROH/Alex Beard/the ROH board have a programme in mind which enables people to affordable enjoy ROH performances once they are out of the ‘young’ age bracket which seems to enjoy subsidies. It’s great to bring in new younger audiences, but in the long term, the pricing strategy has to be sustainable.

I think i had conveniently forgotten about this. Well at this rate, my 15 year old will be at least nearing 17 by the time this is on next (and my other daughter has zero interest).

What did somewhat horrify me about Mayerling was seeing a child of no more than 8 or 9 years old there last night. I would debate about taking my 15 year old - I think Manon might just about pass for age appropriate but with prostitution, drugs, rape, violence and a double suicide, I don't think this is in any ways a children's ballet!!!

Last night's performance was wonderful. The first time I saw it, I was relatively new to the ROH, didn't know the story well and found it rather confusing trying to work out which woman was which. This was my 3rd viewing (discounting swotting up by watching DVD) and with much more familiarity with both the story and the dancers, so got to simply enjoy it. Matthew Ball was on fire - perfect for such a dramatic role. Anna Rose O Sullivan was a demure princess Stephanie and as others have suggested, appeared to be thrown about like a rag doll by Ball! Magri was wonderful to watch as Marie Larisch, such a beautiful dancer, as was Kaneko as Mitzi Caspar. Although sad not to see Morera in the role, love the partnership of Naghdi/Ball and despite being a last minute cast change, you would never have known, they have such a perfect fit. Overall a dream team of a cast. Was a bit disappointed with one role- a great opportunity for the dancer in question but didn't feel they had the dramatic maturity needed for the role. This was also my first performance in a long time going solo as my ballet buddy emigrated and with ticket prices rising it's so hard to find someone willing to join me. Was lovely to chat to a couple of people in the ground floor cafe before the performance (hello if you are on here) but are there ever any forum meet ups in the main bar area? I actually don't mind going alone but always lovely to have someone to share thoughts (and a drink) with during one of the intervals.

Glad it wasn’t just me! I think I gasped at one point!!

Lucky to have seen Bonelli/Morera in Mayerling but given this could be the last time for Morera, I’m disappointed despite also being exceedingly pleased with getting Naghdi/Ball!!

Sorted with thanks!!

I was too slow off the mark and didn’t manage to get any tickets for the Nutcracker insight… Keenly looking for returns but as the date is fast approaching I thought I would flag here. Ideally would like 2 tickets but happy with one. Thanks in advance.

Hmmm none of this information is currently listed.

Arriving at this thread rather late… I work in advertising with more of a focus on the digital space and I find much of the arts advertising exceptionally frustrating. During the ups and downs of Covid when ROH was trying to advertise its streamed performances (in addition to live in theatre), they continued to take out full back page ads using exactly the same creative templates as always to try to sell tickets - no images, just words - no idea how they expected this to sell. I also think that while digital advertising can be used to some degree to engage and close a sale, small ad formats aren’t the way to do it and need to be used in conjunction with bigger formats which are more experiential. One thing which I really admire about BRB is that they take dancers out to the Bullring pre Christmas to show off a bit of Nutcracker. Yes perhaps a more expensive way to go about advertising with all of the set up needed for what looks like an impromptu performance but it makes ballet much more tangible for new audiences. It also somewhat baffles me that we have around 12 weeks of Strictly in the first burst of the dance season and surely this is an opportunity to ‘cross sell’ some ballet or contemporary dance to a dance engaged audience to show people that ballet isn’t always what you would expect it to be (thinking ENB Forsythe or an exhilirating virtuoso piece - infact, you could imagine this sort of thing filling the pop star PR space on Britain’s Got Talent finals week too). I would be using projectors to deliver as large as life snippets of dance programmes on tube platforms to entertain people and give them an experience while they are waiting (and waiting) for trains. Augmented reality or interactive outdoor formats (eg at bus stops) could do a similar job. This of course won’t deliver immediate ticket sales but ballet needs a brand revival. Without investing in brand, the current cycle will just perpetuate itself (there is a really good article on the Marketing Week website this week which delves into this point). Bigger issue is then proving ballet isn’t elite with the recent price inflation at the ROH. I know times are tough for everyone but it looks like they are already seeing the impact of the loss of regular customers with Nutcracker tickets still plentiful post new year and Sleeping Beauty looking rather slow.

I was at the rehearsal on Tuesday night as had to cancel Sat night tickets as I am away. I know that we don’t comment on rehearsals for they are just that but Rite of Spring was just brilliant and it seemed as though every dancer put as much energy into the rehearsal as a regular performance. Emily Suzuki stole the show along with Fernando Carrata Colomo. Supporters response (rehearsal audience) was very positive so I hope they had an even more amazing first night. The piece evoked similar emotions for me to Prodigal Son- really felt the intensity of the piece. Sad I am away and won’t get to see a ‘proper’ night but can’t wait to see more of ENB over the Christmas/winter season.

Also envious. Tickets (and great seats!) came up today but with appointments earlier today i wasn't sure i would be able to juggle everything.

starting to feel better about having bought tickets on row M of stalls after this!

Looking forward to a detailed report - and to seeing it myself tomorrow night!

Please can someone confirm run time?

The link was from Official London Theatre on their broad newsletter to theatre going audience so doubt there are any issues

Just posted a link I received to 50% off band A and band B tickets in special offers. Now £47.50 and £30 respectively.

https://booking.lwtheatres.co.uk/event/f8045eba-58cc-ec11-8396-a2de2f294bbc?promo=Nureyev50 Just received from Official London Theatre. Band A now £47.50 and Band B £30 with this link.

Really well worth a watch - was during swine flu epidemic which enabled me to place it to 2009, but the bits and pieces covered around that (dancers isolating and climbing the walls until they were moved to one location) was interesting to reflect on post covid! Lovely to see KOH in the days he was working up to his current role. Makes you realise how sad it is that so many of these incredible dancers have now retired but how lucky we are to have seen them dance. Very special for Carlos Acosta to have been able to do this. I found the whole thing emotional viewing based on how special this was and getting the opportunity to be a fly on the wall and travel back in time - I may have cried. Wish the Ballet Boyz had made more films in this style - now off to find their Wheeldon at the Bolshoi documentary.

Currently available to watch from Sky Arts on their catch up/downloads - not sure when it was originally screened but is just delightful to watch so many favourites at such a young age!! Filmed/narrated by Trevitt/Nunn.

What an opening night in London! Loved Mathias Dingman and Mimoko Hirata and in particular, what a wonderful act3. Cupid- I wasn’t quite sure how it was going to work even after all of the reviews from earlier in the run, but it was sparkly, joyous and a little comedic and Tzu-Chao Chou was fabulous. Without repeating everyone else’s thoughts, what a wonderful audience too - I don’t think it could have been any better and what a warm welcome we gave BRB for their London run.

It is a very large auditorium - perhaps they are considering demand based on previous shows. I assume that they would open up the highest tier if demand exceeds supply.

Thanks for the link! All booked - very excited!