Jump to content

Lizbie1

Members
 View Profile  See their activity

  • Posts

    3,519

  • Joined

 Content Type 

Everything posted by Lizbie1

  1. Lizbie1
    My perception is that they've abandoned that idea, at least for now and for the seats I'm interested in. The opera does have differences from the ballet, though, which it never used to. There's no question that prices have gone up overall, though.
  2. Lizbie1
    I'm not going to attempt to unpick it, I'll wait for a clearer signal.
  3. Lizbie1
    I thought Stix-Brunell was terrific as the Young Girl this afternoon, beautifully danced and very funny. I’d love to see her as Lise.
  4. Lizbie1
    It’s clear as mud. With luck, things should become clearer when the casting pdf appears (assuming that hasn’t fallen victim to the latest comms strategy).
  5. Lizbie1
    There are three Insight events now on the website, on 4th, 5th and 6th June: https://www.roh.org.uk/insights/insights-fonteyn-and-me https://www.roh.org.uk/insights/insights-celebrating-fonteyn
  6. Lizbie1
    Meanwhile it’s well down the list of priorities on the reliably awful BBC News Entertainment & Arts page
  7. Lizbie1
    I think it's making a bigger assumption than bridiem's to expect people to sign in before looking at casting information, or to go through quite a circuitous route to it via the calendar. I very much hope that the correct information will be up in time for General booking; but I for one *always* make decisions ahead of booking opening about which dates to go for, either because I need to co-ordinate with friends or work commitments or whatever, or because it can be a bit of a scrum getting decent seats for certain performances. I wouldn't then normally expect to have to check it again at the appointed hour. As for the casting for the triple bill on the summary page not making sense: well, I agree, but for many semi-casual ballet goers they'll see the name "Osipova", for example, and go for that one without looking any further into it (particularly when none of the ballets is notably familiar).
  8. Lizbie1
    Exactly! And if you're a first-time booker (that precious commodity) it seems unlikely you'd have an account in the first place.
  9. Lizbie1
    But only if you know to click through. I don't unless I need to in order to get access to the Friends booking period, and I imagine it's the same for many non-Friends whenever they book. And if someone is planning things out before they're ready to book there's no obvious reason to sign in at that stage. The fact that Bluebird was caught out by this surely shows that there *is* a problem.
  10. Lizbie1
    It's precisely the "if you are signed in" bit that's the problem. Anyone who isn't signed in when they are trying to work out which performance to go to is being misled, and they'd have no reason to suspect that (unless they're keen followers of this forum).
  11. Lizbie1
    I wonder whether the increase in handling fee for returns has something to do with it - perhaps they should return it to £2 for tickets costing less than £20, for example.
  12. Lizbie1
    Perhaps drop a line to ROH about it - it should be obvious enough that nobody has to ask. I do think that they're genuinely interested in feedback (when I worked with web developers, end user comments were like gold dust).
  13. Lizbie1
    This is beginning to feel a bit like voyeurism Time for me to stop paying him any notice, I think.
  14. Lizbie1
    If you click on one of the price ranges (e.g. £5-£17), it should show all the seats in that range in red, and the individual prices appear below (in this case £5, £10, £17). Click on, for example, £10, and only the £10 seats are red. At least that's what I see, whether signed in or not.
  15. Lizbie1
    No further details yet, but a page has appeared on the website, with pricing: https://www.roh.org.uk/productions/margot-fonteyn-a-celebration-by-various
  16. Lizbie1
    That's a fair point, but I'd consider it progress if people no longer put up with it, especially in a "team sport" like ballet.
  17. Lizbie1

    Raw eggs

    Lizbie1 replied to Melody's topic in Not Dance

    Sorry, late to this, but the advice is now that they're now considered safe for all: https://www.theguardian.com/lifeandstyle/2017/oct/11/egg-safety-weve-cracked-it-britons-told-by-food-watchdog. (Unless something has changed in the last year, of course.)
  18. Lizbie1
    I thought it had been deduced that only Principals had cast change notifications sent about them? I’m not objecting to any change in policy, mind!
  19. Lizbie1
    But what did you think of the choreography?
  20. Lizbie1
    It’s a long break between Les Pats and The Concert...
  21. Lizbie1
  22. Lizbie1
    I agree with both of you! I was talking to my dentist this morning about how as far as we were concerned it’s only the opera and ballet and some exhibitions that can draw us up to town. But then when you get people munching loudly (do people go to the theatre to eat?) or giving their companion a running commentary (as if they were on the sofa at home) or as with the ENB Swan Lake refusing to pipe down in the slightest during the orchestral prelude to Act II, it puts such a downer on things that you wonder why you bothered. And that’s from someone who, like Ruth, is practically addicted to live performance.
  23. Lizbie1
    For the avoidance of doubt: I don’t suggest radio as a substitute for watching a ballet, but it’s not a bad medium for discussing it. (And certainly better than nothing, which is the real choice.)
  24. Lizbie1
    But isn’t that the magic of radio, just as test cricket and football or tennis matches are somehow enhanced by only hearing them?
  25. Lizbie1
    Question anticipated by Irmgard
×
×
  • Create New...