AnnabelCharles

I think it speaks for the preferences of a number - perhaps many or even most - people on this forum. But not everyone. Either on the forum or necessarily amongst the dance viewing public. I don't often post because I know my opinions don't chime with the majority view. I also tend not to express my dislike for particular ballets, dancers , choreographers etc - because I don't think it's interesting to anyone else and it can spoil others' enthusiasm or upset the people involved. I do find some comments on this forum overly negative and they sometimes seem to brook no disagreement - or at least assume that others share the same view. To me Wayne McGregor is a really interesting choreographer - I love the way he links his pieces to and explores other art forms, I love the fact he tackles major themes about what it is to be human and I love his choreographic language which I find exciting and beautiful but also challenging and moving. I like ensemble pieces and I agree with Bruce Wall that we are lucky that the stunning versatility of the Royal Ballet dancers enables them to shift seamlessly between Don Quixote and The Dante Project, equally assured and artistically brilliant in both.

I'm also a fan of Meaghan Grace Hinkis - and think she is sometimes underrated on this forum. To me a liveliness and sense of character always comes through in her dancing - thought she made a terrific Gertrudis in Like Water for Chocolate. Agree Kitri is hugely demanding - have just rewatched the DVD with Carlos Acosta and Marienela Nunez (hard to beat, in my opinion) and the dancer playing Kitri has to be able to balance, jump and turn - while maintaining a distinctive character and sustaining a huge amount of energy - for much of the ballet. Daunting.

Ticket now gone, I'm afraid.

Yes - tkt still available if you’d like it! Send me a message with email address and can pass it on to you.

It's Regular G8 - think at the back, possibly at the end of a row.

I have one ticket for Ballet Nights https://balletnights.com on Saturday, 30th September @ 7.30 - but can't use it because there are no trains to London that day. It cost £65.00 - but happy to pass it on to anyone who would like it - don't want the ticket to be wasted. Please send me a message if interested.

I completely agree with this, LinMM. As with art more generally, I want to see and experience traditional ballets and also those that reinterpret classics or explore contemporary themes and attitudes. I also agree with your comments about the word 'woke'. It means concern for racial and social justice - and is something I find it hard to imagine anyone not thinking was important. Its use as a perjorative epithet is often inaccurate and can be unhelpfully divisive.

It's my opinion too, Garnier. I also agree with Ondine that the suffragettes elicited similar reactions in their time. Climate change is a very real threat to all of us - and research suggests that protests such as these do impact effectively on public opinion. A disrupted performance is nothing compared to what might happen if we don't take what is happening to the planet seriously. I see protesters as neither self-indulgent not hypocritical - but clear-sighted and courageous.

I loved it - found it both electrifying and very moving. Yes, there were elements that were dark, especially the menacing and abusive atmosphere in the institution and the killing of Tybalt, but I found them less disturbing than the rape scene in Manon or much of Mayerling. I think this was because the overwhelming impression for me was the power and beauty of young love. I liked the arrangement of the Prokofiev score (though you have to adjust to it being different from what you're used to) and the dancing was terrific. I agree it's not suitable for children - the website clearly says for ages 14+ - but I could imagine older teenagers loving it - and the audience last night certainly enjoyed the show. I've said this before, but I paid £22.40 (membership rate) for a seat in the second circle with a pretty good view (lost a bit of the dancers' heads when they were on the balcony) which I think is a real bargain and one reason why I go to SW much more often than ROH.

I also think it's a great initiative. I've booked a ticket for 30th September and am looking forward to it. I agree the prices seem a little high - but value is partly subjective .... so want to give it a try and see what I think.

Just a word on paper cast sheets. I love them - who doesn't - and it's taken me a while to adjust to digital versions. But the climate emergency is pressing and in the UK we're not meeting our own targets in terms of reducing carbon emissions, so I'm making myself remember this and adjust. Now I need to stop printing tickets because worried phone will give out .... PS Don't understand why digital programmes are 'woke' in either the original or Daily Mail sense of the word.

I completely agree with this, Blossom - and imagine in time the selection and presentation of pieces will be developed and refined.

I very much enjoyed this triple bill. Untitled for me was stark, visceral and mesmerising. I loved the powerful physicality of the dancing – the lines, shapes and patterns created. The set was sparse (I’m not a fan of too much scenery), and was echoed in the streamlined costumes that contributed to the shapes created, depending on individual designs and the movements of each dancer. I thought the lighting and use of shadows particularly effective. The music was a bit challenging at times and I would have liked more structure to the whole piece, though I wondered whether the lack of it might be part of the point. I wasn’t very enthusiastic about Corybantic Games the first time I saw it but it often takes me several viewings to really appreciate a piece. This time I found it delightful – energetic, playful, exhilarating and moving in turn, with the sections deliberately sequenced to complement or contrast with each other. Again I liked the clean set and the imaginative lighting – and thought the costumes effectively reflected the 1950s/Olympic vibe and allowed the dancers’ movements to be seen clearly. All the dancing was absolutely superb – and although Untitled and Corybantic Games include solos and duets, they are very much ensemble pieces in which, because the relationships on stage are different from more conventional ballets, different qualities and strengths of individual dancers are revealed. It feels unfair to single anyone out, but I always think both Melissa Hamilton and Mayara Magri seem very confident with and are particularly good in more contemporary pieces. Fumi Kaneko is magnificent in everything – she is such a versatile dancer. Joseph Sissens was spectacular at the beginning of Untitled and Calvin Richardson, Leo Dixon, Leticia Dias, Meaghan Grace Hinkis and Julia Roscoe caught my eye. I could watch Matthew Ball and William Bracewell dance all day – and I thought they were simply beautiful together, compelling and at times tender and heart-breaking. I’d never seen Anastasia before and found it gripping but harrowing. For a short ballet, it plunges you into a situation and explores it succinctly with almost unbearable intensity. The film snippets felt too long but they established the context – and contributed to the terrible sense of oppression experienced by Anna. I can see why some people have suggested it might have been better if Laura Morera’s last performance had been in something more cheerful, but this piece was a good vehicle for her exceptional acting skills – and the ballet was completely centred on her character, which was fitting. I think it would have worked as a triple bill slightly better with Anastasia following Untitled, and Corybantic Games, which was more upbeat, coming at the end. Obviously this couldn’t happen because of Laura Morera’s farewell. The tributes seemed to be very warm and heartfelt and I hope she was really happy with the way the end of this stage of her wonderful career was marked and feels she has an exciting future to look forward to.

So do I. I loved this show and really want to see it again. I thought it managed to integrate the narrative into the choreography seamlessly so neither was compromised - something I felt didn't quite work in Like Water for Chocolate and to an even greater extent in Frankenstein, where the narrative took precedence over the dance in places, undermining its impact. There was a stilled hush where I was sitting, with people completely engrossed in the performance. Apart from this, as others have said, the setting, lighting and costumes were absolutely gorgeous - and enhanced the whole instead of distracting. Thought Northern Ballet terrific - very much looking forward to seeing them again.

The 50p buildings levy is explained in the terms and conditions - and you don't pay the transaction fee of £3.50 if you book in person - so it all seems very open, clear and reasonable to me. I paid £28.00 (as a member, including fees) for a seat in the second circle to see The Great Gatsby, with an excellent view. This is cheaper than my local theatre - and very good value for money, in my opinion.

If you're lucky enough to be able to afford to go to ROH regularly, even if it means sitting in cheaper/restricted view/amphi seats, spare a thought for those on this forum who can only go a couple of times a year or who can no longer afford to go at all. (Then maybe spare another for those who are struggling to make ends meet, let alone have a night out at the theatre.) Dynamic pricing is everywhere - the chances are that someone has paid or will pay more or less for the sweater/plane seat/house you bought yesterday. Discounts for those who are likely to be earning less/on a lower income/have a disability seems pretty fair - though of course it's not going to cover everyone in that situation and sometimes people do miss out. Life often seems a bit unfair - you have to get over it - but real unfairness is when people are born into terrible situations, have multiple health issues or face hideous tragedies. If you're really sitting in the gorgeous ROH auditorium, waiting to watch a wonderful ballet or opera, and feeling bothered that the young person in front of you might have paid less for their ticket, I have to ask - do you think you're living your best life?

Criticism, however 'pertinent' and 'informed' loses its impact if the overriding tone of a review is superior, patronising and rude.

That's what I put in my feedback to Sadler's Wells - please bring Tiler Peck back as soon as poss! Thank you, Bruce, for recommending this show - it was absolutely terrific - best thing (along with Alessandra Ferri in Woolf Works) I've seen for a while.

I think the programme looks ambitious, varied and exciting, with something for everyone. I enjoy contemporary dance and love seeing new pieces, so am looking forward to those and the other works I'm not familiar with. I imagine the atmosphere at ROH will be buzzing - I would love to be there, but financial constraints mean have gone for the live streaming option.

Saw the Saturday matinee and thought this was a terrific programme - three interesting pieces, danced with the usual ENB style, energy and panache. Surprised that it was so much better attended than the BRB triple bill a week before. I know there was a train strike on the 5th but even so...? Once again, stunned by cost of ticket - seat in the second circle with an excellent view was £20.00 (membership discount) - incredible value.

They look shattered - not surprisingly! Melissa Hamilton is my favourite Mary Vetsera - i think she is a fabulous dancer.

It was, indeed, absolutely fab. Gorgeous choreography and assured, beautiful and stylish dancing, all enhanced by well-judged sets, flattering costumes and, yes, terrific lighting. Orchestra also excellent. Agree Hotel was a bit bonkers - but I found it witty and entertaining, if quirky, and it was a good contrast to the other two pieces. Thought BRB looked in top form - just a shame it wasn't a full audience. They really deserved it. Carlos Acosta must be doing something right. I also left the theatre feeling exhilarated! (I read the review by Alastair Macaulay and wished I hadn't - it revealed more about him than the show. Will avoid in future.)

I’ve now seen two performances of Mayerling – the live screening and last night’s performance with Matthew Ball as Rudolf. I had forgotten just how shocking it is as a ballet. The pas de deux with Princess Stephanie is brutal - you almost want to look away - and those between Rudolf and Mary terrifyingly intense. But it’s also thrilling and mesmerising - I was on the edge of my seat both in the cinema and at Covent Garden, the story is so compelling and the characters so distinctive, human and complex. I really enjoyed (if that's the right word) the live screening. It must have been a challenge to start the season with such a complicated and demanding ballet and have the first night broadcast round the world. I thought the company looked in very good form - a particular strength for me was the rich detail in the interpretation and interaction of the characters. Although everything revolves round Rudolf, this felt like an ensemble piece where the interrelationships between characters was more important than any one individual. I think the ability to deliver this in a performance is a huge strength of the Royal Ballet. The additional material in the cinema screening helpfully introduced all the women - but I thought their different characters were extremely well delineated, from Francesca Hayward's almost catatonic Stephanie, to Marienela Nunez’ exquisitely playful Mitzi Caspar and Itziar Mendizabal’s glacial Empress. As others have said, Laura Morera was absolutely superb as Marie Larisch - so many layers to her portrayal – she was maternal, coquettish and manipulative by turn (and sometimes simultaneously!). I agree that more about the plot in the additional material would have helped illuminate some of the historical/ political details. I thought Natalia Osipova brought out the youth of Mary Vetsera, her single-minded infatuation for Rudolf and her naivety. She portrayed her as more ingenuous and less manipulative than other interpretations I have seen. Similarly, Ryoichi Hirano’s Rudolf seemed to me reserved and inwardly tortured – more of a victim of his circumstances, than a selfish monster. I tend to favour understated performances and like Hirano’s elegant style – and I found this convincing, coherent and moving. I thought they were a good pairing – though not as electrifying as some I’ve seen – and this may have been because it was their first performance. The last scene was painfully sad – all that love, passion, loss – waste of young lives. Mayerling isn’t a ballet that makes me want to weep – it provokes rather a sense of despair at the terrible ways human beings can destroy themselves and each other. I agree that Petroc Trelawney is a professional, knowledgeable and fluent presenter – but rather missed the more ebullient and personal style of Darcey Bussell. You feel she absolutely loves ballet and can’t wait to see the show. I always think I’d like to be sitting next to her in the auditorium! While there is so much to enjoy in the view you get in live screenings, I don’t really like very close close ups and lots of cutting away – I want to see the whole stage, or at least the characters on stage, especially in a ballet like Mayerling, where interaction between them is so important – and agree with previous comments about it being too dark. Coming back to see the show last night (from the amphitheatre) I relished hearing the orchestra live – the sound was wonderful – and enjoyed the atmosphere you can only experience being in the House. It became stiller and more tense as the story progressed till the last act where you could sense people hardly daring to breathe. At the same time, sitting in the gods, you realise how much you miss being such a long way away from the stage. Even with opera glasses, I couldn’t see expressions and missed details – so everything depended on the dancing. I thought this cast was also terrific. For me, Matthew Ball’s more explicitly emotional and tortured Rudolf, brought out in every painful extension and contraction was a slightly different but also valid interpretation – I agree he was brilliant - and I found it incredibly moving, especially his final solo. (Thought he looked absolutely done in at the curtain calls). The intensity of the relationship between Mary and Rudolf was superbly portrayed – I found Laura Morera a less naïve and more knowing Mary than Natalia Osipova – but just as passionate. (What extraordinary talent to be equally accomplished as Larisch and Mary – she absolutely commands the stage.) Meaghan Grace Hinkis less traumatised than Francesca Hayward in her interpretation of Stephanie – more bewildered and desperate – but both worked for me. I felt there was more of a lingering relationship between Matthew Ball’s Rudolf and Mayara Magri’s Larisch – agree ‘palpable chemistry’ – whereas I felt Laura Morera was completely in control of Rudolf in her partnership with Ryoichi Hirano. I agree with Fiona that David Yudes was tremendous as Bratfisch – and found Fumi Kaneko delightful as Mitzi. My overwhelming feeling is that Mayerling is an extraordinary ballet – one that offers so many rich and interesting roles for dancers, that can be interpreted in different and valid ways - a wonderful showcase for the incredible talent in the Royal Ballet. This insight into human character and relationships and an ability to express it in choreography is, for me, the genius of Kenneth Macmillan. The ballet explores themes and ideas that are universal and eternal and I come away entertained, provoked, moved, educated – with a sense of the power of art to make us reflect on our own lives, confront ourselves as human beings and also feel uplifted by the experience.

I loved it too. Intense, beautiful, moving - it will stay in my mind for some time. I was in the gods - and couldn't see faces, but the emotions were conveyed clearly through the dancers' movements - and the patterns were extraordinary and mesmerising.

I'm with PeterS here, Sim. 'Once we had all seen how bad it was' does seem to be quite a bald statement, and assumes everyone felt the same way. Of course you're entitled to your opinion - but so is Peter. I think it's politic to avoid expressing opinions as though they are facts ... or in some way superior to others' opinions. For the record, I quite enjoyed Frankenstein - more the second time - and it certainly went down better with the younger generation in my family than traditional ballets, which have been described as 'reinforcing archaic and patriarchal stereotypes, with too many frilly white dresses'.