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  1. @Kate_N I completely agree. Sorry but if a child is incapable of being silent for a whole performance and appreciating it, they shouldn’t be there (same applies for an adult!). I am willing to give a child slightly more leeway on some talking, but the parent/carer should be aware of their behaviours and moderate as appropriate. In this case it was more the mother encouraging the behaviour therefore the child must have thought it was ok to talk. The same way if an adult’s behaviour (talking, phones etc) detracts from a performance, a child’s behaviour is similarly distracting. @Fonty similarly whilst I have a lot of understanding for the situation you describe, I also think this shouldn’t have occurred. I know Saddler’s Wells do audio described performances; I don’t think ROH do but even so I think talking during a performance is very disruptive - no matter how noble the cause might be. Perhaps ROH should offer audio performances, or provide audio description via headphones which would enable them to attend any performance? Although the risk of this is that the headphone noise would leak out so the controls would need to be appropriately set as to not be excessively loud.
  2. But then you have to miss part of the performance for this! Which is why I think shushing is quicker/more effective sometimes, although it does cause slightly more disturbance than glaring. Also the glares only work if you are sat in front/at the side and turn around, if you're sat behind it's really only a shush or a tap/choice words.
  3. It may still be worth getting in touch to ask them to reinstate it - especially if this is something they did before. I agree it would be a useful thing to have!
  4. @alison perhaps you could contact ROH customer services to see if they could make some sort of permanent webpage where you could view the view from each individual seat - it would be helpful to look at to prepare what seats to buy, as well as a general reference. I'm sure it would be appreciated by more people than ROH might expect and if they have the resource of all those pictures why not?
  5. Last week there was a child (perhaps around 8-10?) at the ballet. She was frequently talking to what I assume was her mother during the performance, and the mother instead of telling her to be quiet would engage her in conversation. Sometimes from the looks of things it was often the mother starting the talking by saying something like "look there's the prince" and explaining the plot! I can understand it may be difficult sometimes for children to follow a story, but firstly most children who are interested will intuitively figure out who is who, or even if they don't they can still enjoy the performance. No one seems to want to shush a child as I suppose they don't really know they are doing anything wrong sometimes (especially if the parent is encouraging this behaviour!). But I'm wondering what would have been the best way forward - to shush, to perhaps have a quick word in an interval, or just leave it and resign yourself to these things happening now...would be interested to know what others do/think. To say my personal opinion, I fully support those who shush and am one myself when I identify someone close by. But in this case I felt I couldn't shush a child...but would have been grateful if someone else had!
  6. Great information thank you. Despite this programme being very informative I felt it lacked this 'basic' information (unless I missed something!) i.e. names of the different 'movements/dances' in Act 3 and it would have been nice to have more about their 'meaning' also. I can see why the cast list can't have this information, but it would be nice to at least get the 'names' of the dances like the Act 3 variations in Sleeping Beauty, even if it is credited to 'Artists of the Royal Ballet'.
  7. Not sure if anyone else went to see this last night, but I thought I'd write a few words! For starters, having booked the cheapest seats available (still fairly pricey at £27 including booking fee!) it appeared that tickets didn't sell brilliantly well, so the entire Balcony was closed. Balcony ticket holders were upgraded to Dress and Upper Circle which was a nice surprise. I imagine the poor sales has been due to the lack of advertising, as well as the fact tickets only went on sale a couple of months ago (I believe?) which considering this is a busy time of year didn't really give people much time to advance plan etc. Anyway, I digress. The evening was made up of two works - Like a Breath, choreographed by Mauro Bigonzetti with music by Handel, and Gabrielle Chanel, a new ballet receiving it's London premiere (a collaboration between choreographer Yuri Possokhov and composer Ilya Demutsky). Like a Breath I really enjoyed. The music was recorded, but complimented the choreography well. A sparse dark stage with clean lighting. There were lots of nice solos and pas de deuxs for the various Bolshoi dancers, who were all technically excellent and really highlighted the excellence of the 'Russian' style (there is now way you could have confused them for the Royal Ballet!). The costumes were quite interesting, almost couture/fashion like tutus with interesting shapes. Zakharova was excellent, pitch perfect to the music and made everything look effortless - from her high leg extensions to her flowing arms. It was nice to see some comical/light hearted moments in some of the pieces, and I think gave all the dancers involved good exposure and didn't revolve solely around Zakharova (I'm aware most people probably went to see her but considering the calibre of the other dancers it was nice that they were given more meatier things to do too). Sorry I can't describe much else - I find it difficult to describe contemporary works considering I am not a ballet expertise, but I thought it was a very interesting piece of work. Gabrielle Chanel was the 'main' piece, however I found it a overly long and felt it used a lot of exposition (with some french text interspersing the scenes to set the tone, I can't speak French and no English translation was provided which was a bit annoying), including video screens as backdrops for various settings (cafe/the races/the beach etc) and some of it just felt a bit too 'obvious'. The choreography didn't really do much for me to be honest, I felt an over reliance on the screens, props and costumes to tell the story. It felt a little like a promo piece for Chanel clothing and lifestyle to be honest, everything looked wonderful as you would expect, very sophisticated and glamorous, but for me there was some real emotional core missing. Having said that, Zakharova is a very emotive dancer who really 'feels' a character and gets into the work (it was quite touching to see her emotional response to the audience at the end, nothing over the top but from her face I really felt she appreciated sharing her dancing with us) and I'm glad I got to see this side of her in this narrative ballet. Despite this, unfortunately I didn't really feel this work moved me or excited me in any way. In conclusion - I'm glad I got to see a little more of the Bolshoi, especially their 'contemporary' side, and finally got to see Zakharova perform in the flesh. It's a shame it didn't sell as it should have done, despite not liking the Chanel piece the first work was worth going to see. It would be nice to see the Bolshoi (and other international companies) bring more contemporary works to London (I'm aware this wasn't an official Bolshoi evening) rather than just bringing the old classic three act ballets, but I guess it depends on what sells.
  8. Cast is Oliveira/Caley/Conway/Arrieta/Saruhashi/Maidana. Balcony, A22. Seat was £15.80 (inc £1.80 booking fee) so I don’t mind selling it for £14 ONO. E ticket so can email.
  9. Similarly this year’s Manon programme was exactly the same (bar one article and a few pictures) to the 2017 one which was disappointing.
  10. ROH programmes are expensive but I think good value for money - decent articles, usually some lovely pictures as well (although I always want more) and printed on good paper and sturdily built. So a solid 30 odd pages of content. Compared to the £5 you may spend on a few bits of matte paper with a cast list and one article (short) if you’re lucky and some random photos you get for most plays (usually 10 pages of content if you’re lucky).
  11. Today Tix are doing a special offer on Le Corsaire in London - cheapest tickets £15 (including fee) and other tickets are more expensive but still with significant reductions. Not sure how long the deal will be around for, it’s marketed as Black Friday (and lots of other theatre/west end deals on there too for those interested). Now to wait for ENB to get on with releasing casting...I feel this is much later than usual!
  12. Yes that’s understandable! Sorry I think I assumed she was maybe a university student studying in central London as opposed to someone perhaps a bit younger/further out. Well best of luck with it all - would definitely recommend Onegin and the Dante Project, and hope she enjoys it all
  13. If you look at the links I copied above there is more information - they are ballets. To be brutally honest even though you are purchasing tickets on behalf of a student using their student account (so not technically breaking the rules I suppose?) I still think it should be your daughter (the student) buying the tickets for herself. This is a separate issue to who pays (although arguably the scheme exists to support those who don’t have the financial means to go). Anyway I think my point is with emails for things like standbys particularly, if they are going to you, you could be buying tickets for her which she may not actually want or be free for, therefore stopping others who are online at the time from purchasing them. Most young people are on their phones frequently enough to see emails so I question why she used your email - if she is genuinely interested in taking advantage of student offers I think this is the best/easiest way forward for you both. I think it’s lovely you are supporting your daughter see ballet/opera and ultimately I suppose it’s none of my business but it does seem to make sense if your daughter was the one signed up to receive the emails and make the bookings, as well as research things she might want to see (the ROH website has its faults as has been detailed on here but it does provide information on upcoming performances/dates etc). Please don’t take this post as criticism - if what you’re currently doing now works for you both and ultimately a student goes to see the performance it doesn’t really matter on one level, but be aware that the scheme has the expectation for students to purchase tickets for themselves. Ultimately as the student account is registered in your daughters name, when you purchase tickets using that account, even if she is the one who will be attending, you are still misrepresenting yourself as her/a student at the point of sale. I may have misinterpreted what is happening though so apologies if I’ve got the wrong end of the stick. Also this is my own personal opinion rather than some sort of official ROH policy of course, maybe ROH would be completely fine with you doing this. Regarding returning the tickets in this specific instance, even if you will get little to no money back for them, I would still recommend you do it so someone who really does want to go has the opportunity to do so.
  14. I see, in that case I suggest calling the box office to see what they suggest re refunds as well as the potential for re purchasing the tickets for the sister. I’m sure the tickets will go to a good home either way (the sister or another student) and hopefully if your daughter likes ballet she will get to go to the Onegin/Dante project shows!
  15. Pretty much all your questions are answered here: https://www.roh.org.uk/for/rohstudents/terms-and-conditions I don't think it's ambiguous but if you feel it's unclear maybe give the box office a ring? They do offer Ballet in the standbys - recently Manon (although not as many performances as they perhaps should have offered) and also last year lots of Frankenstein. There are also student amphitheatre/whole house performances which you can book for in advance - https://www.roh.org.uk/for/rohstudents/whats-in-it-for-me - sometimes ballet, sometimes opera but they do try to split it evenly I think. This has details of what performances are student only (either whole house or amphi) in advance: https://www.roh.org.uk/for/rohstudents/booking-your-tickets - this year it's Dante (whole house) and Onegin and the Tombeaux bill (student amphi). Ballets like Swan Lake/Sleeping Beauty won't ever go into student standby or student amphi performances as they sell so well. If she is signed up to the scheme she will receive all emails - perhaps check spam/junk if she isn't. Also I should note - you certainly shouldn't be signed up to the scheme (unless you are a student). So you shouldn't be buying tickets on behalf of students as this isn't really fair. Your daughter should sign up to the scheme and buy tickets for herself (and a plus one) if she wishes. If you bought the tickets they would be under your name which wouldn't match your daughter's student ID/card.
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