JNC

It’s great to see this has sold so well (completely sold out in Birmingham too). Hopefully it it’s good it’ll get revived quickly next year. There’s a lot of good potential here so will watch reviews with anticipation as sadly I don’t think I can go to this one!

Ticket now found, thanks!

also they can be informative about the works for those who want more information, provide information on the companies and have great photos of the production (and my favourite are always the backstage rehearsal shots of dancers). I’ve been trying to reduce buying programmes for productions I’ve already seen (or won’t buy for usually contemporary productions I end up not liking on the night) but often can’t help myself if there is new content/photos. I get an unproportionate amount of happiness seeing them all lined up with their red spines and flick through them regularly. It may be irrelevant but I’m also someone who isn’t a fan of kindles and much prefers the physical thing as a tangible object!

Regarding seat views, not foolproof but I use this website: https://seatplan.com/london/sadlers-wells-theatre/seating-plan/ Not every seat will have a photo/review as it relies on uploads from the audience but overall I find it generally quite helpful (and better than nothing!).

But the big question is will the general public want to pay that much for DQ? Nutcracker, Swan Lake, Romeo and Juliet, (and to some extent Beauty but less so than the others?) will sell for higher prices. I can’t remember how well DQ sold last time but it’s also irrelevant to a point as the prices were much much lower then I think (at a memory guess I’d say around 30% less, although I’ve not seen the banding yet but I’d hazard a guess I paid around £30 for the amphi ticket that is now £52). In any case very excited for Osipova and Sambe. I also think Magri and Corrales is a good partnership (I very much enjoyed their Coppelia) so pleased to see they get the cinema relay and a matinee so I will try and catch one of those! I’m glad Osipova gets 4 performances as I imagine she will be the most popular to book for. Not surprised Nela and Vadim get 3 as well given their popularity also. Interesting that O’Sullivan/McRae are the other couple to get more than 2 though, particularly as it’s a debut for O’Sullivan. Also good to see Acri get a principal role, I’d guess he would work well with Takada.

Thanks! I think I just like getting ahead of myself and planning very early!

Yes I do still miss the physical cast sheets. I print out the shows I attend now but it’s just not the same. I tend to print them out in booklet format so then I can fold them in half and stick them in the programme (if I buy one, otherwise they just get filed in between programmes/books!) like I did with the old cast sheets but the size dimensions and flat paper just don’t have the same appeal. It would surely boost revenue for them to charge 50p for them as they’d make profit (?) and overall paper would still be saved as they’d likely be printing much fewer each performance.

Thanks both! This forum is great for this information but if you’re not part of it I just think ROH should provide this information on its website so people can roughly plan how much they can/want to spend in advance of booking opening!

I’m sorry this has probably already been asked before but is there a way to see the pricing map on the website before tickets sales are live? Interested in the pricing/bands for Don Quixote! Very intrigued by the Sambe/Osipova pairing!

If anyone is looking to get rid of a ticket to this please let me know, I happen to be in London and would be interested to see this.

Prodigal son is one of those programmes cancelled due to covid that sadly seems unlikely to make a reappearance. Wasn’t Monotones also due an outing?

I am going and with an open mind as I’ve not seen any of the works. I can’t make Morera’s last night sadly but aiming to catch her penultimate performance.

I think the problem with calling something “untitled” does feel a bit pretentious, like they’re above giving consideration to a name and they are wanting to appeal to and impress “intellectuals” to bring your own interpretations etc. Nothing wrong with that as others have commented it’s almost impossible not to bring your own interpretations regardless of whether a piece has a name or not, but doing it so overtly feels a little smug and almost exclusionary of those not familiar with the artist’s work. also if everyone called things untitled then we wouldn’t be able to reference anything at all, (untitled 2023 by Wayne McGregor in a bill with untitled 2023(a) by Christopher Wheeldon etc..,) gets a little silly. So this only “works” by the Wheeldon knowing others will stick with naming pieces, so also adds to him feeling above others and special as he is the only one radical or bold enough to do such a thing. I personally don’t really care so much about the title, but the above would be an argument against it. As long as the work is good, and it doesn’t start a trend (untitled 2024 etc as someone humorously suggested, which would be ridiculous) then it doesn’t bother me. But it doesn’t bode well for what I might think of the work (but will try and be open minded). I also saw ROH was promoting their streaming service with a clip from chroma and decided I disliked that work, just the female being thrown around as simply a body felt a bit meaningless and almost crass to me. It’s just the same old, stuff rehashed and if it doesn’t have a story or meaning it’s hard to distinguish between works and harder to form a real connection. But maybe that’s what McGregor wants, to continually churn out variations of the same work as “new”…? I don’t mean this to be offensive but I agree I don’t feel he’s bringing much to ROH and would like to see other choreographers brought in rather than him every year…

I haven’t seen the Dowell production, but was (perhaps unfairly) put off buying the DVD as I find the swan lake designs (costumes and sets) for Dowell’s production of that ghastly. For those who have seen both - is Dowell’s sleeping beauty similar? I hate the costumes for Dowell’s swan lake as they are just so ridiculous - particularly Von Rothbart’s costume (dare I say Gary Glitter, and everything wrong with the 80s)… and the sets are just far too over the top and distracting. It’s a shame as the choreography provides an interesting counterpoint to the current production but I don’t think I could face watching it again, at least not for a long while.

yes I’ve noticed in the DVD with Cojocaru (can’t remember exactly but off top of my head 2006?) it’s definitely the Messel designs mostly except I noted the lilac fairy and bluebird/Florine costumes were different. I can’t remember if this particular Woolf costume appeared in the dvd now, a good excuse for a rewatch!

Thanks! I will bear in mind for a special occasion.

I can't comment on ROH stalls but I have treated myself to the stalls in the Palais Garnier (can't justify those prices in the UK, but if I'm going all the way to Paris I'll be damned if I have a bad view). I will say that I don't think it's much better (and probably worse) in Paris. I think I was lucky to be sat near the back of the stalls which provided a good view, but there the seats aren't overlapped, so you're directly sitting right behind someone's head and even a 'normal sized' person's head can get quite significantly in your way. I admit I was one of those annoying people who have weaved my head left and right accordingly, but when I paid around 100 euro I wanted to be able to see the full stage as best as possible, not have 1/3 of the dancers blocked. I was very surprised it was quite so bad (given these are the most expensive seats) and wonder if I was just being fussy, but the lady sat next to me did the exact same thing so clearly not a unique problem. Having said that the Palais Garnier was absolutely wonderful, but next time I'd pay to sit up in the higher area which is sort of at the back of the stalls (balcon I think they call it?) which appeared to have better rake, or if you grab a ticket in the front row of that section you would be 100% clear. More shockingly (given it's not got the excuse of being an old theatre) I have also sat in the stalls at the Paris Opera Bastille, and had a similar issue with not enough rake and the seats not being staggered. I was quite lucky with a shorter man and his young daughter sat in front of me so I had a clear view. But I felt for the (exceptionally well behaved) young girl who clearly struggled to see the stage fully with a taller adult sat in front of her. I have to admit this has put me off sitting in ROH stalls. I'm not sure I can ever justify affording it but I think I'd like to do it one day for a very special ballet with exceptional casting (Bayadere Nunez/Osipova calls to mind, or perhaps something rarely seen by Ashton or Balanchine). But it appears maybe you'll be better off at the front of the Grand Tier or Balcony?

On a totally different topic I see Melissa Hamilton has posted a lovely photo of her on Instagram in Balanchine’s Serenade - 9 years ago today it was at the ROH. Given Balanchine has been woefully neglected over the past year (only three diamonds performances) and completely ignored next season, let’s hope for something in 24/25. Failing that if ENB and BRB could maybe pick up some more Balanchine rep…

I’m with @MildConcern! Yes it’s a bit annoying I no longer qualify on a personal level but it’s great the young get this opportunity. realistically ROH are never going to introduce a mass scheme in this scale requiring means testing, so you need a broad category. Statistically younger people are less well off than every other age group - yes even pensioners now! Who in general are better off for owning their own houses etc - this is what research currently suggests and pensioners benefit from many things like winter fuel payments, free buses etc, these things I’m sure are being reduced and I don’t want to make this into young vs old but rather to make that point that as an overarching category there is some evidence why the young should be advantaged, as well as the “lifelong love of arts” instilling point already made. Sure there will be some wealthy youngsters taking “advantage” of the scheme but this is unavoidable without means testing which is impractical and would cause roh additional resource they can’t spare. So overall I support the young being prioritised here. separately let’s not gripe at the young who are merely taking what’s offered (wouldn’t you?). The real issue here is the overpricing of seats so that ROH has to offload them at discount, not who they’re offloading to. I imagine the complaints about any individual advantaged by last minute discounts when others have loyally paid full price on booking day for less good seats would be levied regardless of the age group that benefits. so yes, in this current world where roh are overpricing things and having to discount the young seem well placed to benefit as an overall group as good as any!

surely not! I know we speak about scs being a great deal but it’s still a standing ticket and many are restricted view. I don’t think they’ve ever been more than £12?

Indeed this is just one part of the programme and I’ll be honest I wanted a “big balanchine” (by this I mean more well known) like ballo della Regina, serenade. I’m sure people will say that we can see those in London because RB did them, but it was a while ago (before my ballet watching time) and it’s unlikely we’ll see them again, certainly not for a long time, in London. It’s obviously a financial thing with the number of dancers coming but a shame and as others have noted you could do more Balanchine/Robbins etc on a smaller scale. To be honest I’m glad they didn’t bring Dances at a Gathering. I really liked it but that is one that was on quite recently at the opera house and on DVD as well. generally my preference is for works that I haven’t seen before (but classical works rather than contemporary premieres) so here if I did go at least it would be something different…I do like Tanowitz although it is mixed (liked the Diamonds bill duet I forget the actual name of, everyone keeps me was a bit overly long for my tastes but still interesting). Abraham is the one I’m not really interested in at all. so for me it’s one Balanchine I would want to see (albeit not a top choice), intrigued by Tanowitz and Peck but not bothered by Abraham. Let’s see how much tickets cost and what trains might be doing closer to the time. In the meantime very much looking forward to ENB’s theme and variations, though I don’t think Spalding can use it to cover his own choices! @Emeralds your suggestions sound great though.

Thanks Bruce, without being cynical I doubt writing in will do much. it feels a bit of a catch-22 - if we resign ourselves to go because this is it, then if tickets sales are good they will think this sort of programme is what we want/prefer etc. if we don’t go then is it NYCB and ballet not selling and they don’t get a chance to come back… I’ll remain open minded if I can combine with something else I want to do in London but I’m not sure I’d make the trip for this alone. Why can ENB generally get their programming right, and others can’t? Granted it’s not perfect but they have a bit of something for everyone in their limited (compared to RB) offering. Including Balanchine and new work mixed in an enticing way, unlike this which is hodgepodge without a clear story (not that I can see).

I don’t think the Paris Opera version is like this as well? I think it’s better when Bathilde isn’t so cruel and harsh, why would she give Giselle her necklace if she didn’t want her to touch her? (Could be the necklace is so meaningless to her and it’s almost done as a cruel prank, but it seems a bit unlikely to me.) When Bathilde is kinder it’s just another emphasis to the sadness of the whole situation - Albrecht either knowingly or unknowingly manipulating both women, if Bathilde is nice you feel sorry for her also and that amplified the sadness you feel for Giselle (in my opinion).

Many of us can’t afford to go to New York, as much as we might like to. So that’s why it would be nice to see some really core identifiable pieces from NYCB, as many of us will never get to go to see them in their home ground. Perhaps if they came more regularly this programme would be great, but for the first visit in a while (and who knows when their next one might be) I think you can see why there is disappointment.

Agree this is really disappointing. NYCB is Balanchine, and to have only one piece, no Robbins just feels such a missed opportunity. I know pragmatically for cost reasons it wouldn’t be likely to have been considered but surely they could have brought two programmes - one with more newer flavours and one more “heritage”? no big fan of Abraham I must admit, I wasn’t impressed by his ROH work. I’m not familiar with Peck but the Balanchine work I’d be interested in but not sure it’s enough alone to merit a trip to London. They’ve not even listed on the SW site who is the choreographer for the Gustave piece? my other gripe is 2h15 minutes…surely they could have brought a 3 hour programme, or is that unfair of me to think? gone from being a must-see to a may-see deciding closer to the time depending on ability to combine with other things happening…