Blossom

1 hour ago, Fonty said:

 

Given that this panto is "recommended for those aged 3 and upwards", I am astounded that the average family can afford to pay those kind of prices.  But the fact that the majority of the performances are sold out shows that there are a substantial number of people out there who can and do.  

I doubt that the 'average' family are filling the theatre. I saw the pricing on a facebook ticketing group where families are wanting to go but are completely priced out - in many cases the back upper circle seats are gone and the only tickets remaining are in the £150-170 mark. 

2 minutes ago, aliceinwoolfland said:

I feel like there should be a discount for children for shows like the Nutcracker. 

The Coliseum offers 50% discount for kids and top price tickets for children are therefore in the £35 mark. Not sure if the ROH offer a discount for this as a family show when they know they can fill the theatre at full price.

52 minutes ago, Mary said:

Is that a West End show, Blossom??

Yes- London Palladium

Back to pricing.... Pretty shocked at how much R&J is in Spring, especially that they have blocked out so many tickets at top price BUT has anyone looked at how elitist panto is these days? £170 for top price tickets, stalls and first circle don’t drop much below £100. Shocked to have had this drawn to my attention!

Such a lovely article and what an opportunity!

But - and I am editing the post to add this - it says she danced on Saturday. So now I am wondering who I saw on Saturday night at the ROH!!

10 minutes ago, Jan McNulty said:

 

A lot less than when I first joined but basically we could watch class most Saturdays when the company was performing.  It used to be every Saturday but that changed to a specified Saturday when performing in one city for more than one week and not when performing at Quarry Hill.  For Friends the day of open rehearsal used to be free but has been a chargeable event for the last couple of years.  Patrons still enjoy the benefits currently listed but for how long....

The price of success... 

Interested to know what they used to get for their money. To be honest, i’d happily be a friend  for free if it guarantees booking priority and occasional discounts. 

Based on a conversation I had with a sales person when I was trying to change a ticket over the phone, it sounds like they are waiting for some whizzy electronic ticket checker to be implemented. Not that this helps in the meantime. 

2 hours ago, graemew said:

I am due to attend Unknown Soldier on Thursday. Everyday, for more than a week, I have received an email from the House  entitled "Important reminder: your visit" promoting  restaurant facilities. Just the same message day after day. The practice used to be a single reminder "just incase one had forgotten"  so I wonder whether, since the Open Up these facilities have lost their appeal?  It is starting to get annoying and will end up being deleted without being read. And one might actually be important.

Is this a flaw in the email marketing software or now deliberate promotion I wonder?

Me too. Imagine it’s an issue with the software

11 minutes ago, Richard LH said:

The only announced change was Grace Blundell for Ashley Dean.

TUS starts and ends with the dreaded full frontal scrim but when there it is  for a purpose and not out of place. Also a sort of upper scrim at times and back projections, all enabling some interspersed visuals and poignant interviews.There are some nice lighting effects via large vertical moving slats which also allow entrances and exits. And a moveable ceiling... hope this makes sense Blossom..I thought the staging, thought quite simple, was very effective...but others may be able to describe it all better!

Thanks, makes sense along with what my daughter and friend have told me!  

Were there any cast changes? I couldn’t go due to work so sent my daughter (day off school today)  with a friend and she didn’t quite catch the announcement. 

My my daughter had a great time - wasn’t so keen on Infra in terms of the music or the choreography. She usually likes more contemporary dance way more than me but I think we are both no fans of Wayne McGregor. Hopefully will like Cats!

Would love to hear more about the staging on Unknown Soldier in terms of the audio visual tech used. 

Sad I couldn’t go - looks like it was a great cast all round.

22 minutes ago, SMballet said:

Oh my god. I was asked by eldery lady, during intermission (screening in Boston) if Bayadere made me feel homesick (I'm Indian,and happened to be wearing Indian clothes that day). (NO bare midriff unlike Nikiya and Gamzatti). Said lady accosted me at the intermission, gushed about my "beautiful clothes" UGHHHHHH, asked me where I was from, and then asked me if watching it made me feel homesick. OH GODDDDDDDDDDDDDDDDDDDDDDDDDDDD I almost died. So for all those of you wondering what the fuss is all about: apparently, really, there are people in the world like that. I didn't know how to respond. How should I have responded?\Anyway, yes, I think the ballet is a benign form of Orientalist art, and I wouldnt shed a tear if it were retired from the rep. Only  my opinion, of course. But I dreally rather prefer it if orientalist-fantasy ballets dwelt on some different orient altogether, not mine. So that I wouldnt have to answer ridiculous questions at intermissions...

“Yes, terribly homesick, it’s all so realistic.... You know, my mother was a temple dancer”

Loved the final performance tonight with Matthew Ball, Lauren Cuthbertson and Mayara Magri. Was thinking how strange it was to see Gamzatti played so differently to Nunez (although really liked her gentler style) then bumped into Marianela in the ladies loos which made my night. Shortly before that I almost tripped over Matthew Bourne... And then again in the next interval. I think there was another choreographer in tonight also but was sporting a bit of unfamiliar facial hair so wasn’t completely sure.... 

Having seen Corrales in the role on 5 Nov, I wondered how I would enjoy Ball in comparison. If I had to compare, I would say that he is a much better actor and connected with his leading ladies and the audience from the outset. 

Cuthbertson was a beautiful Nikiya, actually much preferred her to Osipova in this role. Lovely that Magri got the opportunity to play Gamzatti and enjoyed her more fragile princess.  Her solos were danced beautifully and feel lucky to have seen her take a principal role.

Great selection of soloists as d’jampee dancers, pas d’action dancers and shades. Kaneko, Stix Brunell, O’Sullivan, Hinkis, Hamilton, Calvert. Hamilton’s shades solo looked a little awkward and am wondering if she might have hurt herself early on.

Corps de ballet were stunning in the white act and the audience gave rousing - and lengthy applause after their first sequence. Wonderful to celebrate them but they then had to remain still and in position for longer!! 

Finally, for me, it’s not Bayadere without Gary Avis as the High Brahmin! Was wonderful to have him on stage tonight. 

Overall a great end to the run, but sad it has come to an end as I would love to squeeze in just one more performance.

I can’t - enjoy bubblebuddy! I had tickets for the rehearsal to take my daughter and a friend of hers but thanks to my job I can no longer take the day off. Thankfully have someone else to take her!

5 hours ago, Xandra Newman said:

 

It's not the first time Luke Jennings (seemingly) takes every possible opportunity to be strangely critical of the RB. Does he have a hang up somewhere? His reviews over the past few years have been strange to say the least. I used to enjoy reading his reviews in the past, found them balanced and intelligent but in recent years there is always a bitter undertone in his critic. I no longer read his reviews. 

It seems like a rather apologetic excuse for a non-review to suit the 21st century liberal values of the newspaper rather than making good use of column inches to actually review the ballet. Not everything they write about needs to be political. 

Are these still available? I know I missed your box office deadline!

46 minutes ago, zxDaveM said:

happy to hear you had a good time at ROH Blossom  (as did I) - but 'festive' poppies?

 Not the best choice of word I agree but the poppies really made it feel like a special occasion. And I have no idea how to edit the post!!

Wasn’t sure where to mention this as don’t think it warrants a new thread. I think this is a suitable place.

Some friends and I took our daughters to today’s Remembrance Sunday ‘Month of Sundays’ event and was very impressed. It was a great example of how the ROH is ‘opening up’ and engaging with a more diverse audience (although thinking about it, there is still room for improving this)- and just generally being a very welcoming space. 

Every non-auditorium space was busy with arts and crafts activities - we made poppies from upcycled programmes, there was fan making and a lucky few got to decorate some used pointe shoes with fabric odd and ends from the costume department. 

The Linbury foyer, main foyer and the ‘level 5’ restaurant were busy with musicians and opera singers, the Paul Hamlyn Hall was opened up (assume the bar was operating at the sides but don’t recall if they were) and there were dancing and big sing activities.

Various things were going on in the Clore Studio- there was a mini version of the rehearsal /insight for Unknown Soldier which we saw with Matthew Ball dancing and Alastair Marriott and Jonathan Howells coaching as well as answering questions and explaining how they have brought this idea of soldiers not returning from the war to life. 

The cafe area downstairs was decorated with bigger versions of the poppies we crafted and they looked really festive.

A great use of all of the space and nicely heaving. Kevin O’Hare was very much present throughout the afternoon too.

I think the cleaners will have quite a job tomorrow though!

But on the other hand, this could genuinely reinvigorate audiences though and bring new people in and raise the profile of key dancers. A great opportunity for Cowley. Do we have any news yet on her role or McRae’s

2 hours ago, Mary said:

I've just had an email from ROH about a cinema season they are running in the Linbury in December-January, to mark 10 years of live screenings. It does seem like a good idea in some ways- on the other hand I am not going to travel to London just for a film screening- and on the whole, after all the expense and upheaval, would prefer  the theatre to be used for live performance.

 

On the other hand- if you were around, and had the time it would be very nice to go to some of these- not sure how big the screen will be.

Some of the showings are apparently 'family-friendly' matinees with children going free- so that could be great for some -others will want to avoid!

 

 

Also had the email and have passed on the details to some friends who are dabbling with ballet at the moment - great low cost idea. None of the dates work for me - would have liked to have taken kids to Alice. 

BUT I still think ROH is missing a trick in terms of their provision for children. Why no actual performances at the Linbury tailored to children? ENB and BRB have my first ballet/first steps and tour these works. ENB's version (can't speak for BRB's) makes use of their students who get performance opportunities as a result. With the upper school next door,  would love to see them bring kids into the building for shorter performances.

4 hours ago, Melody said:

Is there any chance of a DVD of this production? The nearest cinema showing it is nearly 150 miles away. Pretty sure I won't be able to talk my husband into a trip like that during the week after Christmas.

Do you mean an existing DVD of Makarova's production? If so, this version has Marianella Nunez as Gamzatti, Tamara Rojo as Nikiya and Carlos Acosta as Solor.

20 hours ago, Nogoat said:

 

 

The approach to the High Brahmin differed between Avis (Thursday) and Gartside (last night). Since the higher levels of any organised religion increasingly rely on theatricality, Avis' histrionics made sense - here was someone who revelled in esoteric, arcane ritual, and whose responses to the more 'base' temptations of desire and jealousy (perhaps his first?) were similarly melodramatic. Gartside's Brahmin was much more down-to-earth, and probably not quite so virtuous; he had less far to fall as he hadn't climbed quite so high up the ladder of religious righteousness.

 

Have watched the DVD since seeing Gartside on Monday and this is definitely the comparison in a nutshell.... I definitely prefer Avis' take!

Love your reviews Nogoat!

1 hour ago, Sharon said:

I did buy a programme -but didn't notice the sign. I only knew of the changes when the dancers appeared (or didn't) on stage.

Me too! I decided to buy a programme afterwards as I don’t have one for Bayadere yet. I don’t mind taking changes from a board and taking a quick snap with my phone but they should have it in a more prominent place.

8 hours ago, Scheherezade said:

Can anyone confirm what the changes were?

Fumi Kaneko replaced by Mayara  Magri as D’ajampee.

Itziar Mendizabel and Beatriz Stix-Brunell replaced by Fumi Kaneko and Julia Roscoe in the pas d’action.

Beatriz Stix-Brunell replaces by Elizabeth Harrod in the Shades.

i spent a lot of time trying to work out who the changes were having not seen the replacement sheet when I picked up a cast sheet from a busy programmes desk. I noticed on our way out - having realised there were changes while watching. 

It looks like they might have moved things around so much to replace Stix Brunell specifically so hope she is ok!

1 hour ago, Geoff said:

 

And not only ordinary fans. By chance my seat was next to a member of the current ENB company. He estimated at least twenty of the company had come to see their former colleague! 

 

More than suggests that he is very much respected and liked by his peers. Would love to know where the much deserved cheers were coming from! 

Have followed Corrales since his spectacular Emerging Dancer win and delighted to see such a successful first night. 

I was also worried that Corrales would look like a mere boy on the stage alongside the current superstars of the Royal Ballet but he was phenomenal and very much up to the task. It must take a lot of confidence to get on stage with Nunez and Osipova and dance the male lead, but there were definitely lots of Corrales fans in the audience - and perhaps many who were new to Corrales but simply wowed by his performance. His jumps and turns were explosive, he is a unique addition to the Royal Ballet and i feel guiltily greedy that London now has him completely to ourselves!!! I do agree however on the emotional front, particularly in the ealier scenes of the ballet, that Corrales still has some room to mature his performance.

Osipova was spectacular, her whole body mourning as she danced at the engagement party (??) of Gamzatti and Solor. What always impresses me is the power of her jump and also her speed- her turns at the end of the shades scene were very nippy indeed.

Nunez is well practiced in the role of Gamzatti and delivered an excellent and consistent performance. Her virtuosity piece was wonderful to watch. I actually think that engagement party scene is my favourite for many reasons.

Yuhui Choe (hope my spelling is correct) was highly dependable and lovely as the first of the solo shades - I adore her in the classical roles. 

Stix Brunell was supposed to be one of the lead shades but noticed she didn’t make an appearance. There were quite a few changes actually to the soloist roles this evening but I didn’t get a change sheet till after the performance. Elizabeth Harrod was one of the fill ins and really enjoyed her performance.

Not sure how my next visit will stack up next to this despite the fact that I will have a superior view! A truly wonderful lead cast although am looking forward to Matthew Ball as Solor in just under a fortnight.