JNC

Statistically speaking those of pensionable age tend to be better off than younger working people (there is research on this I’m not just assuming). Most people who have retired own their own property outright, and have far more generous company pensions of the defined benefit (eg final salary) than current younger generations will ever have. Combine that with free bus travel etc and the disposable income of pensioners in generally vastly outweighs most younger people apart from those working in incredibly highly paid sectors. Of course there will be outliers and those who are struggling but going off data the younger generation are more in “need” of financial support than older with wages stagnant, rent spiralling, house buying near impossible for security of tenure etc. Also part of the Young ROH scheme isn’t just about supporting the “needy” but also about instilling a love of ballet/opera at a young(er) age to have lifelong “customers”. I agree @TSR101 they could consider increasing the age limit. 40 seems a bit much but up to 30 isn’t unheard of now at other arts/theatre venues (eg wasn’t ENO’s opera scheme with heavily discounted tickets up to 30?).

I also thought ROH tickets were exclusively sold via their website/box office. This is a worrying development if it’s a legitimate partnership. having said that it may actually increase transparency and fairness with how much and how often they discount productions rather than releasing to an exclusive mystery group who’s criteria always changes. On the other hand I do feel bad for Young ROH though who should be first in line for discounts in my opinion, closely followed by Friends. (And I say that as neither a Young ROH nor a Friend but because it’s important to access these things when you’re young and - stereotypically - have less disposable income, and as for Friends they do support ROH so they deserve a bit of priority here). I wonder why ROH are choosing to utilise TodayTix - are sales really that poor? Surely they need to do more effective PR (highlighting no booking fees if booked directly with ROH!) if that’s the case, rather than gouging customers with inflated prices so TodayTix can take a cut for their “free” promotion via their platform. This further erodes the special something ROH has (used to have?) compared to other West End venues. It’s history and having “Royal” in the name, and having tickets only sold directly had an air of prestige and exclusive (without being exclusionary as anyone can buy on the website).

If you contact the box office straight away you may be able to get a refund. When I accidentally booked two tickets for one performance once I got in touch near immediately when I received the confirmations and they had flexibility to refund me due to how quickly I’d got in touch and it being a sort of obvious error. Although if it’s SCS I’m sure someone on the forum will gratefully receive!

It seems the later you book the ticket the longer the email takes to come through - probably a backlog. My first email came through 10 mins after but the second 20 minutes later!

exactly this. If I consistently knew that it was going to be ok it’s one thing; but every booking period seems to come with a set of different problems for different people so you can never be sure. I appreciate they’re dealing with hundreds, perhaps thousands, of bookings. But even when I’ve booked for more popular shows on the west end with thousands of people in a queue everything went far more smoothly. The queue was consistently updated to show roughly where you were (how many people in front) and what time you expected to wait. Once in you could browse a variety of dates and go back and forth to compare performances (either by back or opening new tabs that recognised you had already queued). I can’t remember how quickly I got a confirmation email but the confirmation page and entire process reassured me that the booking had gone smoothly and successfully. At ROH despite the 3+ (?) years of this system you never know what you’ll end up with - sometimes I’m in straightaway with no issues, other times major issues - and it’s that uncertainty that is massively stressful and time wasting. I’m sorry but for a major international venue with this capacity and foresight on when they will expect peak demand on booking days it’s not really acceptable to fail consistently the way they do - other theatres can manage it! I also add the waiting screen for many other venues is quite similar which leads me to believe they are using the same software/company? I don’t see why ROH can’t just use an existing off the shelf programme that seems to work so well for others. If it’s not possible due to the specific requirements of ROH why haven’t they contracted this company? I appreciate lots of assumptions here (maybe they did contact that company!) but it seems in building a fully bespoke website/programme it’s just led to various issues with various patch jobs causing more/other new issues… my final edit is as far as I can remember there were never issues (at least on this scale) with the old reliable website which I still prefer for being simple in design and much easier to navigate and view particularly on a phone. I still dislike the overly large design of the current website and it feels it has too many “flashy” bells and whistles that I’d not want, certainly at the expense of a functioning clear website!

@RHowarth sorry to hear you had issues too. You should be ok - it took around 15 minutes for my SL confirmation to come through, still waiting on MacMillan but plenty of seats available there so less stressful if something has occurred as I can buy another very similar ticket I think. absolutely rubbish that years after implementation this system still doesn’t work properly. I never have these issues with any other booking sites (eg Coliseium, other theatres for highly anticipated shows that place me in queues for booking etc). I may write in and complain, it seems churlish but without feedback how will they even know to look for and “fix” these issues (little hope they actually will resolve it though, given the system is so terrible I imagine the best option is to scrap and start all over again at enormous cost). @Sim unfortunately not I think I just wanted to checkout as quickly as possible to ensure I did have the ticket secured by which time your confirmation screen doesn’t show the details I believe! Also whilst calling the box office is still very much a necessity, the website should be fully functioning especially for those that don’t live in the uk who don’t have this option (or it would cost them a fortune to do an overseas call). I’m currently not in the Uk right now so calling isn’t an option for me at the moment. At this point I’m on wasting 40 minutes now waiting for my MacMillan confirmation to come through…when if the system worked I’d have been done in well under 10 minutes, perhaps even five, all to book two tickets for two performances and then go straight into my account to see them nicely sitting there!

On a separate note I see there is no casting at all for the MacMillan bill - is this “normal”? And does anyone have any indication of whether this means we can expect the same cast for all performances? it doesn’t matter so much for me as being non-London there’s only one performance I can do (Saturday evening, Friday involves taking leave to travel down…, both involve hotel costs so why no matinee…!) but just curious if anyone has any knowledge or suspicions on this!

Something very odd happening to me right now with spring booking - I have successfully managed to secure one seat for one performance of swan lake (at least I hope I have, no email confirmation or ticket showing in my account yet but payment taken…) anyway what’s odd and didn’t ever happen to me previously is usually once you’re “in” you can search for more performances - in my case I wanted to buy one more ticket for the MacMillan bill - and add them to the basket without having to queue again. When I found the MacMillan page and clicked the date I wanted to book casts I was put in a digital queue with a 26 minute wait time. I panicked and thought this might meant I’d lost or would lose the Swan Lake ticket given the wait but luckily managed to retrieve that and checkout (at least I hope I have), but I’m still in a queue for MacMillan. Did anyone else experience this? in future do I have to open multiple tabs and go through clicking each performance I want as quickly as possible to book simultaneously?? This is a real pain and definitely a disadvantage and huge waste of time for multiple performance bookers, surely it must be some sort of error or glitch and I’ve been unlucky today? I’m now worried my swan lake ticket hasn’t properly gone through as I had to click “back” and things like that to retrieve the basket as the system was showing my basket empty in one tab and “full” in another which shouldn’t be happening as it’s all the same account… If it’s not gone through well I won’t be going to see swan lake, I only wanted one date and the ticket pricing was so ridiculous for the seats at the back of the amphi anyway. Very cross at having 20 minutes of time wasted just booking 2 measly rickets! Edit - have now received email confirmation for the SL ticket at least but still annoyed at waiting another 20 minutes all over again to access a MacMillan ticket…

I’ll await the full season announcement to come probably not for a few months still (May?) but I sense this sets the tone for the rest. I hope I’m proved wrong (although would love to save some money) but getting fed up of RB preaching about no money then investing in big three act works that aren’t even ballet (or at least certainly not classical)! Surely they could cut costs by doing a year of purely revivals. Of course you have to invest in new work but I would like to think the minimum requirement is that it’s ballet…

Really looking forward to seeing this and reading reviews. for some reason I don’t really connect to RB’s Giselle and wondered if it was me; I loved Paris Opera Ballet’s Giselle (yes I was very fortunate to have the opportunity to see this in Paris) which I found interesting given on the face of it the productions are relatively similar. But I preferred the costumes, the mood of Act 2 felt more scary (Giselle and the Willis looking more pale and “dead” then with red lipstick on etc) and it just felt like it told the story more effectively. So I’m hoping I’m going to very much enjoy the Skeaping version due to its authenticity etc.

I’m not sure but I see him as a better fit for emerging choreographer type role rather than MacGregor’s role. RB is missing a Forsythe or Manuel Legris type of choreographer.

Indeed as I also looked online and couldn’t find any news he’d left! I would be happy to see his departure to be honest also, regardless of preferences he is talented but he’s created enough works for RB now (and none really “classical” or balletic enough for me, Woolf Works perhaps the exception) so it seems time to pass the baton onto someone else. The problem is who, Liam Scarlett would probably have been the next in line. Wheeldon is more balletic and I’ve not minded his one acts but haven’t enjoyed any three parters really and even the one acts I would say are enjoyable but not necessarily enough for me to go out of my way to see again. I can’t think of anyone experienced enough yet, perhaps they need to remove Toonga from his residency at the end of the summer and bring in someone else (if not already the plan to do so) and or create an emerging choreographer type position. I add that removing MacGregor from the position wouldn’t stop his works staying in the repertoire and him creating new works for RB (but at reduced frequency!)

Yes the sets may not be so lavish as RB’s one but the choreography and the music is the same! My favourite Manon of all time was ENB with Alina Cojocaru and Joseph Caley, it’s all about the casting! But to be honest I’d rather see other bits of the rep rather than Manon which RB are already doing this year…diversity seems to be a thing of the past.

I agree but that’s the formula they’re going with for swan lake and if my memory isn’t failing me they’ve already done this with R&J last season as well… I agree I’d rather not have this as it restricts the diversity of the programme/repertoire but with so many principals and casting choices, and the fact the pricing for R&J is always so high if I were to bet (a nominal sum!) I’d guess this is what they will do!

Many suggestions already said as above but my top three would be Fille Bayadere Sylvia for one act works would love more Balanchine (Serenade, Ballo della Regina, Ballet Imperial, I also love Symphony in C but have seen it before so would like to see others). Ashton (Symphonic variations, Birthday Offering, Daphnis and Chloe, anything else not seen in the last 6 years or so). Doubt we’d be so lucky to get another Ashton triple so soon though given it’s planned for spring 2024 so maybe for the following season. Les Sylphides Les Noces Rite of Spring (MacMillan or perhaps a new - classic style - reinvention for RB) for ENB I’d like to see them bring back Raymonda as I missed that first time round. Would also like to see them diversify their rep and continue with commissioning diverse choreographers, as well as continue to bring little seen work in the UK like Balanchine, Justin Peck, Forsythe, Robbins, Bausch etc. Also I know people don’t seem to like her on this forum but I actually quite like Pam Tanowitz’s work so would be happy to see more of her work although not necessarily at RB. Realistically given the past few formulaic years think we’ll get at RB: MacMillan R&J Sleeping Beauty Cinderella Maybe we’ll have Cinderella at Christmas instead of Nutcracker given its stranglehold post pandemic. If not I expect to see Cinderella revived if not the next season the following one certainly. Another “classical” like Giselle, Onegin or even La Fille (but less likely if we have Cinderella as two full length Ashtons…). Coppelia also an option but if we already have family friendly Cinderella then perhaps not. Contemporary triple (Wheeldon, MacGregor etc) Neoclassical triple (Balanchine, maybe Raymonda act 3 again) Potential for a wildcard - maybe Alice or something else… this list may also be too long as recently we don’t have that many programmes anyway and I expect R&J will be a mammoth run where they might programme for October 2024 for a few months and then also in early 2025 for a second run as well.

I see they’ve also discounted the very back of the upper circle so it’s the same price as the top circle which I find uncomfortable so just decided to go for it for £25, thanks!

I've seen it used at the London Coliseum and it's very effective, literally shining a spotlight and embarrassing someone! The only problem it is also quite distracting to everyone else behind, but given it is usually a short interruption and prevents a longer nuisance I quite like it. It also puts the onus on ushers to call this behaviour out. Whilst I'm not opposed to individual audience members calling out this type of behaviour (and would support anyone doing so), I have been on the receiving end of some nasty responses when I have done this so despite being relatively confident I have tended to refrain more than I would usually as I often am alone and it leaves a nasty feeling that I don't wish to ruin the ballet. One occasion wasn't even me calling out someone, but the person next to me. The person in front who was photographing then proceeded to raise their hand in front of my face (I was standing and they were sitting) to block my view, almost hitting me in the face waving it about! Another instance was where I asked someone to put their camera away and was told "a please would be nice!" to which I was so shocked I could only stare in response as I don't think please is exactly necessary when someone is breaking the rules (I appreciate it wouldn't help but I also if you add the please does it make it sound like it's optional, sometimes going in strong is the most effective thing with these people). I appreciate the Garnier is a bit of a frustrating one for the pull down seats reason you mention but I would have said something to the person if possible, and if not to an usher at the interval. I wonder if this thread could be merged with bad audience behaviour (if mods think appropriate) as lots of similar conversations have happened on there.

@Emeralds that’s my thinking - I’m sure we can all pretty much guarantee swan lake back in 2026, if not certainly in 2027!

Thanks @Emeralds and @Don Q Fan. I don’t live in London anymore so I’ll have to see if it’s worth it with trains (strikes?) accommodation etc but it is tempting. And probably would be my pick over ROH’s swan lake at the moment…

Thanks but I don’t live in London and wasn’t planning a trip, I have no nutcrackers or other exhibitions booked. I’m due a trip in January but unfortunately after the exhibition closes on the 7th!

Oh thank you for highlighting this! I wasn't planning a trip to London anytime soon but I may have to make an exception for this!

I haven't seen BRB's Sleeping Beauty before. Does the Wright choreography differ a lot from the current Royal's production? I am also very tempted by seeing Alina Cojocaru in the role, I have her Royal Ballet performance on DVD and she's just so wonderful in the role.

to be fair I won’t be booking any SLs I don’t think because of the cost. I’d like to see Nunez as she’s one of the few principals that I’ve not seen dance the role (there’s about three others I’ve not seen either but between my personal preferences and who they’re partnered with I’m not going out of my way this time). But as she doesn’t have a matinee I’ll have to weigh up whether I have plans in London that can justify accommodation costs. Annoyingly the MacMillan bill which I do really want to see as I’ve not seen any of those pieces before doesn’t have a single matinee, so it’s likely I can only afford that and therefore won’t see SL this time round. If it’s back in 2 years I hope Nunez will still be around to dance it, she seems pretty much unstoppable at this point!

I find it a shame that Fumi doesn't dance with Reece Clarke much anymore? I still remember her Aurora debut with him a few years ago and it was lovely. It seems she now has Muntagirov and Bracewell down as her 'regular' partners, i.e. is partnered with similar to who Nunez would be partnered with. I think Magri and Corrales is a promising partnership but actually I would have liked to see Hayward/Corrales partnered more. Weren't they due to make their debuts together (?) in the 2020 run that got cancelled due to COVID. And no McRae, unless he's going to be paired with Takada for the Summer season? If I were going to shake things up I would have suggested: Kaneko/Clarke (ok technically I know Clarke isn't in this round...) Hayward/Corrales Naghdi/Bracewell Magri/Ball O'Sullivan/Hirano Cuthbertson/Muntagirov Lamb/Muntagirov Nunez/Bracewell I know it's not that radical to suggest the above as I think these have all danced with each other before but as much as I like Nunez/Muntagirov and Naghdi/Ball etc as established partnerships, surely the one benefit of having Swan Lake come round so often is they try different things? I feel the casting pairing is nearly exactly the same as the 2022 run with Nunez/Muntagirov; Naghdi/Ball; Magri/Corrales; Hayward/Bracewell, Cuthbertson/Bracwell all dancing together then. (O'Sullivan was paired with McRae back then, I can't recall who Lamb was partnered with and Kaneko was with Bonelli now sadly retired, we can already predict Osipova/Clarke will happen again though, why not Osipova/Bracewell as a change, although he already has two partners!)

This is correct yes. slightly annoying no casting for the MacMillan bill - not even “cast 1” and “cast 2”. Unless we’re going to have all performances by the same cast?