RHowarth

I think that might have been why he wasn't evicted - he started with a slow handclap 5 minutes in, left after maybe 20 minutes, stormed back in 5 minutes later, then left again of his own accord after breaking the glass and swearing. I could hear an usher's radio crackling and it seems as if they were waiting at the exit to that area for him, but he wasn't actually ejected from his seating area. I don't think it would have been safe to do so without dropping the curtain and putting up the house lights.

The commotion in the amphi was in the upper slips, so I'm sure it could have been heard from the stage.

Sambe in Different Drummer on Tuesday was still lodged in my mind, too, JohnS, and probably coloured my viewing of Swan Lake last night. A 6am start with a 3-year-old, a long train journey, a glass of wine before the show, and not yet having checked into my hotel (nor really knowing where it was) - these are all things that can impact!

It was my first Swan Lake of the season and I left the ROH feeling a bit flat last night. Maybe it was because from SCS I couldn't fully admire the patterns of the corps de ballet, or maybe because Act IV of this production doesn't work for me, for all the reasons already discussed upthread. But I found Sambe and Magri mismatched for this ballet - he was more vulnerable, even in the white acts, than she ever seemed to be, and on a physical level, she was taller than him when en pointe. Lots to admire, particularly Ashley Dean as one of the sisters, dancing with silent pointe shoes and evoking for me, like Gasparini always does, dancers from eras gone by. Perhaps I was just tired - would be interested to hear what others thought.

I had a rather awful time. 12 minutes in the queue, and then I encountered the issue I've had before where the site won't let me type my 3-digit code into the text field, so I can't pay. After 4 different credit cards and much swearing I finally managed to pay... I also had the issue for the RBS matinee where it won't let you put tickets in your basket because you've reached your limit (even though I had an empty basket). I lost a few seats that way although ended up with decent amphi. Having had such a stress with the RBS I decided to check them out and then go back for the main stage Ashtons I wanted. Checked out fine for the RBS, it was with my 2 subsequent transactions that I had the credit card issue. After having (finally) checked out my main stage Ashton tickets, I decided (glutton for punishment) to go back in AGAIN to look at Sarasota, which I'd written off thinking I wouldn't get tickets. I couldn't believe it when at 9.40am I managed to get 2 seats plum in the middle of row b of the dress circle. Then had the credit card/3 digit number issue all over again. Had I known there was actually a chance of getting Sarasota tickets, my strategy would have been completely different this morning...but anyway, I suppose it worked out OK in the end...!

Performance currently sold out. Cast is Bracewell and Hayward. Edited to add, is 7pm not 7.30pm

Many years ago, when I was about 21, I was invited to watch the men's morning class at BRB's studios. I was the only observer, felt awkward, and most surely looked it too. I arrived in the studio before the start of class and skulked at the sidelines trying to be invisible. Alexander (about the same age then as I was) approached me and asked if I'd like a seat. I couldn't see any close at hand, and wanted to be inconspicuous, so I said no, I was fine to stand. Alexander smiled, said something like 'it's a long time to stand' and went away to get me a chair. I always remember that little exchange; it was that combination of being simultaneously down-to-earth and gentlemanly that always stood out on stage for me.

Gosh I remember that - her misjudging something and slamming her chin on the stage in the Act 3 pdd!

You can also put an orchestra below stage/in a conference facility and use cameras so that the conductor can see the dancers and vice-versa. Venues sometimes do this when they don't want to lose seats (and potential revenue) to accommodate an orchestra. Common for musicals on tour.

@Emeralds asked about the safety rail at the Empire and whether it restricts your view. It does! I would recommend booking further back in the upper (row E onwards) or booking the far side blocks of the back row of dress circle which are very good value.

Ticket has gone to Carol.

I have D5 to sell, face value £14. It is technically restricted view but I think it's OK.

I had an odd experience too. I wanted to buy for the triple bill, waited in the queue, got to the front - and was told it wasn't on sale, with no reason given. I was also logged on on another device, and with lots of refreshing, I eventually got there, by which time all the SCS were sold out. Whilst I was waiting for the triple bill to become available, I took a look at Swan Lake, to see if I could upgrade any of the tickets I'd already bought through Sunday Times priority booking. Swan Lake was also saying it wasn't onsale, and then became available. None of my confirmations (I ended up booking Swan Lake on one device and triple bill on another!) have come through yet, so I'm feeling worried.

That reminds me I have D5 to sell for the same performance- £14.

Just to mention I just booked the Sunday 21st matinee on Today Tix at discounted price - £50 for good row C dress circle seats.