Richard LH

Strange...I also use Chrome on the PC, and have tried Firefox and Edge, but none of these get me a full list of what is on any particular day from the old month pages - for that I have to fiddle with the https address as indicated above. At least the old month page does (for me) successfully link to details of any individual performance on any particular day.

The only way I have found to get to the old display of everything happening on a particular day is to manually change the link details eg 11 March 2019 = https://www.roh.org.uk/events/calendar/2019/03/11?_ga=2.210123029.1694789846.1552744106-235432184.1552744106

[MODS...is it possible to change the title of this thread now we know the ballet's name?] Casting for "Medusa" is now here https://www.roh.org.uk/productions/medusa-by-sidi-larbi-cherkaoui Other than the Greek myth, do we have any clues yet as to what form the ballet will take? On the face of it, the two ladies chosen to play Medusa, Ms Takada and Ms Osipova, present quite a contrast in potential interpretations! Hair styling should be interesting...

Sergei Polunin? I believe he is familiar with the format...

Wow R&J seems to be set for an impressive run judging by the enthusiastic response to these early performances, and with some very interesting and impressive lead pairings to come (overall 10 different Juliets but rather fewer Romeos), all incredible dancers and each expected to bring their own artistic interpretation. Having to choose between casts has been pretty difficult although I suspect most of us have one or two that we don't want to miss and a few that we won't particularly mind missing. There are now limited booking options apart from watching out for returns, and Friday Rush. Last night ( virtually the same cast as the 28 March but Thomas Whitehead was Capulet rather than Gary Avis) was another amazing production and very enthusiastically applauded at the end by the Saturday night crowd. Akane Takada is such a beautiful dancer, and such a mesmerising Juliet, and is certainly cementing her own interpretation. I would definitely recommend catching her last performance on the 27 April if you can!

What a lovely painting...skilful drawing, brilliant colour choice and great composition. Did your father have an artistic career?

Legally (as well as practically, I believe) trying to acknowledge inequality of opportunity in recruitment decisions is not particularity straightforward. The attached link seems to help us here https://www.xperthr.co.uk/faq/what-positive-action-is-permitted-under-discrimination-legislation/103008/ "The employer can encourage people from disadvantaged groups to apply for work, and can provide training to help equip them for the particular work, but the decision on whom to select must be made on merit alone, except in circumstances where the candidates are "as qualified as" each other and s.159 applies. For example, an employer that has records that show that its employees from a particular racial group are under-represented at management level could run a management training course targeted at employees from that group. However, the employer could not favour candidates from that group, at the expense of other candidates, when recruiting managers (unless s.159 applies). Section 159 of the Equality Act 2010 allows an employer to treat an applicant or employee with a protected characteristic (eg race, sex or age) more favourably in connection with recruitment or promotion than someone without that characteristic who is as qualified for the role. The employer must reasonably think that people with the protected characteristic suffer a disadvantage or are under-represented in that particular activity. Taking the positive action must be a proportionate means of enabling or encouraging people to overcome the disadvantage or to take part in the activity. Employers must not have a policy of treating people who share a characteristic more favourably; they should decide whether or not to take positive action on a case-by-case basis. The position in relation to positive action in favour of disabled people is different because it is not unlawful to discriminate in favour of a disabled person and employers have a positive duty to make reasonable adjustments to compensate for disadvantages related to disability". So (other then the special provision for disabled people) you could legally choose to employ or promote, on a case-by-case basis, candidate A rather than candidate B, based on A's race, or gender, if that characteristic is causing A to be at a disadvantage or is under-represented in the activity concerned, but only if A is as qualified for the role as B (who does not have the same characteristic). The Spectator interns don't have to produce CV s as such, but they are set aptitude tests. I am not sure this is anything to do with positive action for disadvantaged groups, it seems to be more to do with their philosophy that "In journalism, all that matters is flair, enthusiasm and capacity for hard work". https://blogs.spectator.co.uk/2018/04/internships-at-the-spectator-for-summer-2018-no-cvs-please/

A few more thoughts on this triple bill - although not on Le Sacre du printemps - I don't know that I could do it justice - I think it is something that just has to be experienced. I was mightily impressed with Begona Cao in Broken Wings - first time I have seen her live - such an accomplished dancer and powerful character! Broken Wings itself was a bit mixed for me - I loved most of the staging, costumes and visual effects, and there were some very moving references to her art and to her personal struggled and pain. Some sections seemed to go on a bit long ( particularity the section where a lady sings which a rather repetitive song) and I was not particularity fond of the Diego Rivera character. I suppose he had to be there as an essential part of Frida Kahlo's story but somehow I would have preferred more emphasis on herself, along with more interpretations of her art and achievements. Nora was OK, but it felt to me more like the last Act of a ballet yet to be written. I had swatted up on the Doll House story in advance , but I am not sure I followed quite what was supposed to be happening with the various documents and whether this properly reflected the play. I am not sure either that the ballet fully showed Nora being treated as a doll by her husband Torvald, and his self-obsession, and the impact and meaning of her exit at the end was rather muted . A difficult and complex play to successfully represent in one Act, perhaps. But a great bill all in all, and good value as already mentioned.

Dawnstar your summary on the choreography of the respective pieces pretty much matched my own thoughts, also never having seen Jewels live. From past experience, though, I would not be surprised if the seemingly less interesting parts come across much better in the theatre. There are some lovely musical excerpts too. Anyway, as you liked Diamonds I hope and expect that you will be absolutely delighted by Symphony in C when you see it live.

Have a great time John! Can't be there for the O’Sullivan/ Sambe matinee which should be pretty special, but looking forward very much to Takada and Hirano again this evening, based on their earlier debuts.

Indeed! Although on this occasion I only happened to notice the change when I was prompted to check the casting as a result of the above posts. Plus I am equally happy to be seeing James Hay in this!

Lizbie if you are advocating positive discrimination against "white, middle class males" in job recruitment, don't the provisions in the Equality Act on race and gender apply equally to discrimination against someone because they are white, or because they are male? As for "class", how is that to be defined these days, and can it really be an appropriate and useful criterion in recruitment? But isn't "inequality of opportunity" just another dangerous area to introduce into job selection criteria, and full of all sorts of assumptions? Even supposing it to be both legal and desirable, I wonder how it would be defined, assessed, and applied fairly?

Actually Hirano was already down for WTGH on those dates...it is Campbell who replaces McRae, and in turn Hay replaces Campbell on the other dates the latter was to dance in WTGH.

Brilliant ! Its very tempting to continue responding along these lines, on the grounds that Funny Friday may grant immunity from the normal discretion that, very appropriately, Forum members normally apply. However I will resist a) because I can't immediately think of anything funny enough and b) I feel I should not detract from the amazing performances and commitment displayed by all the dancers in Le Sacre du printemps, with Francesca Velicu, in particular, so striking and moving last night as The Chosen One. This is such a unique, powerful ballet.

Very useful, thank you Alison.

No of course, not really! I should have said the prodigy returns ! 😉

BBB it is refreshing to read a considered review about the ROH, as it is now, that, for once, has mainly positive comments. I would concur with most of your observations, having also visited many times recently, although a caveat is that I had little experience of the ROH before the latest changes. I do think the Linbury should have better house lighting, not just to see the seat numbers, but to avoid the feeling that it is a bit of a black hole.

The prodigal returns ! Both looking pretty happy I must say...

"Our records show that you are due to attend a performance of Romeo and Juliet. We are contacting you to let you know that, due to injury, Steven McRae is replaced by Ryoichi Hirano as Romeo on Saturday 13 April and Saturday 27 April".

"Our records show that you are due to attend a performance of Romeo and Juliet. We are contacting you to let you know that, due to injury, Steven McRae is replaced by Ryoichi Hirano as Romeo on Saturday 13 April and Saturday 27 April".

Thanks for your review Sophoife. I admit to being such a current fan of Ms Takada that her particular interpretation of any role, including Kitri, is likely to be the definitive one for me ! Blind devotion, perhaps, although I did try to explain it more rationally earlier in this thread. The Campbell-Magri partnership also worked very well and had a great audience response in the theatre on the last night. He managed perfectly with all the lifts and his usual attentive partnering skills were much to the fore.

Did you enjoy it Sophoife?

Jenny there may have been no paper slips, but this change was displayed on screen (the blurb scrolls along at the bottom) and on boards by the cast sheet distribution points.

I am never sure if travelling forward is intentional or not..or why it particularly matters if it occurs? It seems quite an effective movement to come towards the audience like this...provided the pit is avoided!

There are currently a few, mainly in the balcony.