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JohnS

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  1. JohnS
    Many thanks Alison - the Royal Opera House website also gets a lot of critical coverage in ‘The “new” Royal Opera House’ thread. I think this is the link - apologies if my IT skills have failed again: http://www.balletcoforum.com/topic/18463-the-new-royal-opera-house-covent-garden/
  2. JohnS
    And with Don Q in the cinema, the programme will most probably be available for free download.
  3. JohnS
    I see the Royal Opera House describes the refurbishment of the Linbury as follows: “There will be a variety of ticket prices available for both standing room and seated. The number of standing places is slightly reduced, but the comfort of the seating and quality of the sight-lines and acoustics will be improved dramatically, providing an all-round better experience for visitors.” [My bold emphasis] It’s very disappointing to read of some people’s experiences but is anyone able to comment whether, overall, sight lines have been improved dramatically?
  4. JohnS
    Absolutely Beryl - so why are audiences denied a helpful synopsis?
  5. JohnS
    Many thanks Penelope I agree with you that the statistics are not helpful and are not well presented - as the debate is about availability it would be much better if all the statistics measured ‘availability’. I have asked among other things what %age of tickets were made available for the four Netrebko/Kaufmann performances. I saw the Evening Standard was quoting c100 (I think per performance) which is less than 5%. The 17.5% Alex Beard is quoting must cover all Forza performances - but of course that’s not the key question. My second post on the ROH website has not yet been published - I’m rather hoping it will be published but alongside the answers. I’m afraid I’m not sure what your 55.5% figure refers to. My understanding is that the 38% figure is for all tickets sold prior to general booking, including Forza, and as I say much better to refer to 62% of all tickets being available when general booking opened.
  6. JohnS
    Sorry David just to be clear, dancers are listed but not against the characters they dance, particularly relevant to ‘I now, I then’ and ‘Tuesday’. As the cast referred to themselves as the characters they danced (for example Ed Watson as Septimus), as did McGregor, it just seems so unhelpful not to include that information in the cast list and now the dvd. I also think a synopsis would help - for example knowing something of Septimus’s story. It’s entirely up to the audience whether they wish to read such a synopsis or take what is presented on stage and their own experience (which might include something of Virginia Woolf) but McGregor has chosen not to provide any help which as I say I find pretty arrogant.
  7. JohnS
    My understanding is it’s very much McGregor’s decision that there should be no cast list and no synopsis. I don’t necessarily think we’re supposed to be confused but certainly don’t expect any help from McGregor et al - McGregor might argue people should be free to take whatever they want from Woolf Works and people shouldn’t think they need to know Woolf’s work. But I’m afraid I find his posturing at best unhelpful and tedious and to be honest extraordinarily arrogant.
  8. JohnS
    Thanks Moderators - I thought I must have been imagining things. I’m very much hoping the Royal Opera House will answer the various questions asked on its Forza news page.
  9. JohnS
    Guardian review Lyndsey Winship (if link works): https://www.theguardian.com/stage/2019/feb/07/new-work-new-music-review-royal-ballet-short-works-aletta-collins?CMP=Share_iOSApp_Other
  10. JohnS
    A few comments now and pleased mine (Simon Smith) made it through moderation - but no reply as yet. https://www.roh.org.uk/news/la-forza-del-destino-the-royal-opera-houses-position-on-viagogo
  11. JohnS
    As does Royla Ballet. I thoroughly enjoyed the YouTube relay and seeing all five dancers being coached by Kevin O’Hare and Samantha Raine, Anna-Rose O’Sullivan effervescent. Very interesting to hear from Martin Yates with all the illustrations and looking forward to Don Q in the next few weeks, in the theatre and the cinema relay.
  12. JohnS
    Just before the Don Q Insight (very enjoyable), I posted a response to Alex Beard’s news item on the Royal Opera House’s website. I hope I’ve reflected the various points made above, including: asking about the Netrebko/Kaufmann Forza general booking %age availability (which I assume was lower than the 17.5% for all Forza performances); the 20% target (whether it’s still operating and if it’s per performance or averaged over a booking period); and what action is being taken in relation to tickets being sold on Viagogo. I imagine my post is awaiting moderation.
  13. JohnS
    Firstly, well done ROH for its prompt reaction. I think the 62% figure for tickets being available for the public to buy in the Spring Booking period is the interesting one as it’s clearly an aggregation of availability for all performances in the period and would allow for a number of performances to be pretty much sold out prior to general booking opening (as seems to have happened with some Forzas and the Ring and may well happen for the Margot Fonteyn evening). It’s also good that the ROH reports 17.5% of La forza del destinotickets were available for the public to book online but I rather wonder if this is the average for all Forza performances when Netrebenko/Kaufmann are performing in five of the ten performances - so perhaps not quite as transparent as might be: https://www.roh.org.uk/news/la-forza-del-destino-the-royal-opera-houses-position-on-viagogo And Alex Beard doesn’t actually say what the ROH plans to do about tickets ending up for sale on viagogo.
  14. JohnS
    I do hope you’re not suggesting cutting any of the music - that would be sacrilege.
  15. JohnS
    Many thanks Stevie - I recall there were some much more helpful media articles/reviews when Woolf Works was performed compared to the programme/cast sheet (as far as I know this is the only production where dances clearly dancing named characters are not listed as such on cast lists). It seems very poor to me that the Royal Opera House chose not to provide the information at the time and continues in such an unhelpful way. I’m very pleased to see the extras on the dvd - the cinema relay extras were very good.
  16. JohnS
    Thanks for the 20% figure Alison but I’m not sure whether it remains a target or what precisely it means. I think the undertaking was made to the House of Commons Cultre Media and Sport Select Committee back in 2000 and that Committee reported the following: “An undertaking was made by the ROH that a guaranteed minimum of 20 per cent of tickets, at each price range and for every section of the theatre, at performances in the first season were to be made available for sale to the general public through the Box Office when public booking opened for each booking period. However in the event, 50 per cent of its tickets on the main stage were made available to the general public through the Box Office during the first season.” I’m not convinced that this means 20% of tickets are to be made available for general booking in every price category for every performance and I’m pretty sure that season averages will be used. As I say I’m not sure the 20% target is still in place - I couldn’t see any references to it in the latest Annual Report. A bit more transparency would be welcome. And if I might add for completeness, before booking opens to Friends, 500 or so Patrons have had opportunity to book tickets. As a Premium 2 Friend, I will often find that favourite seats are not available although I should stress I’m more than happy with the choice.
  17. JohnS
    The Open Up £50m investment was a great deal more than ‘coffee shops’ - the Linbury Theatre refurbishment was a significant part of the project. And I have occasionally seen Alex Beard at performances.
  18. JohnS
    I don’t think the Royal Opera House holds back the same percentage of tickets for general booking for each production/performance so by the time general booking opens for Forza/Ring, there’s very little left. I’m afraid it’s very much a case of averages and over the course of a season the Royal Opera House will no doubt demonstrate that x% of tickets were on sale when general booking opened (I can’t recall what the target is). Perhaps the Forza publicity will give a bit more impetus to the need for transparency and fairness? And does anyone know if some secondary sites actually have in their possession the claimed tickets?
  19. JohnS
    I managed to pick up my Woolf Works dvd at the weekend which I’m looking forward to seeing but a few weeks off as I’ve some work underway and my dvd/television remain unconnected. On the train home I had a quick look at the blurb - very disappointed that there’s no proper cast list and nobody has bothered to provide a useful synopsis. I think it’s just a reprint of a programme note by the dramaturg - it refers to two Clarissas but of course no reference to who are dancing these parts (or any parts). Completely unhelpful and I think extremely arrogant. I’d raised the need for a more helpful cast list/synopsis with the Royal Opera House sometime ago and was told the information provided would be reviewed when Woolf Works was taken to Australia, not that any aspersions are being cast on Australian audiences. I’d spoken to a Japanese visitor at the Royal Opera House who’d spent hours researching Virginia Woolf and the novels in order to get a better understanding of what’s going on so she could enjoy the performance more. I was mightily impressed with all her efforts but why oh why can’t the Royal Opera House provide a useful synopsis/cast sheet? I suppose there’s a chance the cast details might be displayed on the dvd (which I won’t be able to see for some weeks) but I doubt this will have been done. Infuriating because the cast referred to themselves by character (certainly in ‘I now, I then’ and I think ‘Tuesday’) but audiences are denied such basic information. Why? And how does this deliberate opaqueness fit in with Open Up? Despite the moan, I’m very pleased to have the dvd!
  20. JohnS
    I meant to say how spoiled we were over the weekend with the Gypsy boys of Joseph Sissens in the matinee and David Yudes in the evening. And Harrison Lee was a late replacement in Asphodel Meadows for both performances - he was stunning as the Blue Boy in Les Partineurs at the Royal Ballet School’s Annual Performance a couple of years ago and looked incredibly accomplished on stage yesterday. We really do have fabulously talented dancers throughout the Royal Ballet.
  21. JohnS
    Perhaps it takes a particular dancer to make me notice a detail in the choreography - I thought Alex Cambell’s dancing was just so precise and clear this afternoon. James Hay danced beautifully this evening and great to see him back on stage and yes I noticed the hand to head (but I’m sure because of the afternoon and the posts on here). Mayara Magri was a stunning Gypsy girl. For me Akane Takada was exquisite, fabulous technique and every part the young girl as Dave says above. It’s great to see how she has become a ‘must see’ dancer in every role. Whilst always a joy to see Two Pigeons, I’ve been really impressed with my first viewings of Asphodel Meadows and hope very much this Ballet is brought back regularly. Liam Scarlett’s choreography so complemented the music: I must try and see it next time from further back and centrally as there’s just so much going on and I’m sure a broader perspective would help (I was Stalls H sides for both performances). And a word for the programme. I only buy a programme if it’s a new production for me and I was delighted to find the programme featured a really insightful interview with Laura Morera recollecting her involvement in creating Asphodel Meadows, a good piece on Poulenc and the double piano concerto, and there’s a suggestion that Liam Scarlett might be fine tuning Frankenstein - we shall soon see.
  22. JohnS
    Many thanks Darlex - I also was struck by how Alex put his hand to his head two or three times in that final PDD. I hadn’t noticed it before. Fabulous to have him back on stage. Also Joseph Sissens impresses in all he does, the Gypsy boy this afternoon. I enjoyed Asphodel Meadows very much - first time for me and I am looking forward to this evening’s performance for a second viewing. There’s so much going on and I’m sure repeat viewing/listening will be rewarding. One or two lifts/hands on floor looked odd to me this afternoon and I’ll be very interested to see a different cast.
  23. JohnS

    Jeremy Hardy RIP

    JohnS replied to alison's topic in Not Dance

    Apologies Penelope - ‘social justice’ perhaps encapsulates Jeremy Hardy’s commitment.
  24. JohnS

    Jeremy Hardy RIP

    JohnS replied to alison's topic in Not Dance

    A wonderful tribute in tonight’s The News Quiz, just finished and repeated Saturday lunchtime. Jeremy Hardy, very funny and fiercely committed, made for Radio 4, brilliant in I’m Sorry I Haven’t a Clue as well as The News Quiz and much else - he’ll be greatly missed by audiences. My thoughts are with his family and friends.
  25. JohnS
    Very sorry to hear you were not able to get a ticket. Hopefully there will be some returns and other seats made available at some point - although it’s pot luck whether you’re on the website when tickets pop up. I know it’s in the cinema which is great but there’s nothing like being in the theatre. But I’m very concerned by what you say about secondary sites and the implication that Friends might purchase tickets specifically for resale. Is this a known issue? I’d have thought like the Ring there’s just tremendous demand for such performances but I have no idea if tickets were available on other sites for the recent Ring.
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