Meetmeatthebarre

I have to confess that it felt somewhat odd to hear KOH make the speech, given how much Laura has been under-cast since he took over from Monica. I would have loved to have seen Laura finally have a go at Odette/Odile next run, which she's said for years has been an unfulfilled dream, but then again, she adds so much power to her dramatic roles. I'd love for her - hopefully after many more years on stage - go out on a Tatiana, Natalia Petrovna, Masha, or even Lise. PS James - whilst I did go to a bar alone post-performance to process, I'm normally very much a barre girl 😉

Excuse the slightly disjointed notes. I'm literally stood in CG processing, make up a mess, shaking. What a night. I've never been a huge fan of Giselle before this run, and mostly went out of a sense of duty. And I've never cried before this evening. I've seen Laura's Giselle before and she's been my preferred in many of the story ballets for her nuanced, mature interpretations. Laura's Giselle is older - def in her late teens or more - her relationship with her mother is one of the latter refusing to accept she's grown up. Her Giselle isn't scared of the Wili folklore - it's Mum at it again, and she is the one comforting the latter. She's old and mature enough for a proper love. Bonelli too feels like he truly loves her - when it comes out that he is a nobleman, she doesn't bothered - it seems just to be something they haven't got round to discussing, as soon he reassures her that he can still love her despite the divide in class. It's only the knowledge of his engagement that shakes her. Laura's "mad" scene doesn't feel mad so much as an allegory for how heartbreak feels - once lovely memories now soured and deformed. Bonelli literally feels a different character in those few steps with Bathilde - it seems like he could find the strength to break free with Giselle - and they're mature enough to work it out - so it feels like a tragedy that she dies suddenly (she doesn't stab herself). I loved Bonelli's Albrecht trying to stop a jealous, possessive Hilarion who suddenly is overcome with guilt at the events set in motion - from impaling himself on the sword. Act 2 had the corps as on form as ever this run. Some interesting nuances: first time I've noticed the Wilis give Giselle the cold shoulder for protecting Albrecht; you get a real sense that she is sacrificing her afterlife for him as a result. The look of relief that she's succeeded with her gamble when the bells ring was stunning. I was bawling. Many Giselles I've seen feel technically brilliant, but the Act 1 and 2 seem disjointed; Giselle is played too naive for Act 2 to be believable and/or Act 2 seems like a redemption for a nobleman who preys on underage girls. At best, one gets a "Romeo and Juliet" tragedy, where it's heartbreaking that two characters too young to understand what love really is, die by their own hand after being consumed by lust. This was a true, grown-up romantic tragedy. Topped off by the flower throw, speeches and a bittersweet sense that this might be Laura's last Giselle, truly an ROH night to remember and cherish.

Eagerly awaiting curtain-up in the PHH. I really love Laura's Giselle so this is a very happy coincidence! Will be cheering extra-hard.

This might be too obvious but have you tried calling the Bloch flagship store in Covent Garden? Capezio's online stock and shop stock are on separate systems so I've previously found items sold out online in the store itself. It might be the same for Bloch?

Thank you both! The rest of the shoe is definitely fine; I'm extremely light on the boxes, but heavy on shanks. If these soften gradually then I think I should be able to get a lot more wear out of them; it's just that in traditional shoes, I have maybe an hour from the first sign of weakening after breaking in, to them being completely dead. Perhaps the most sensible thing would be to order a pair as backup anyway. I've just realised that if I'm a special order anyway, I might be able to get a pair in different widths from the start...

For me, Laura's strength is being able to portray a depth and humanity that would not feel out of place in the "real" and not just ballet world. There are many portrayals of Giselle I enjoy, but I am always aware that it is a fairy tale; Laura has the ability to make Giselle seem as realistic and grounded as an Onegin or Manon. Looking forward to seeing her on closing night.

Hello, 'tis I, the shank killer, back for yet more advice! My feet are so weird that after a multi-shoe journey for fit, and then a multi-shank journey to make them last more than 4-5 hours, I've finally settled on one shoe that works: the Grishko Dreampointe. I've noticed in the last couple of classes that they no longer feel so supportive in the demi-area (which is where I tend to break shoes) - by which I mean, they are currently perfect, but feel at the stage where, with a traditional shoe, I'd be putting in a new order immediately - especially as I'm now a special order with a several week lead time. The only reasons I'm hesitant is that (a) my feet are like octopii so change fairly frequently, especially since I've been building up the pointework; and (b) I wear a different width on each foot so it's 2 pairs to commit to at a time! I didn't think that plastic shanks were meant to soften? I've only really heard of the shank snapping, or the rest of the shoe dying first. It is true that the studio has been much warmer than usual (overcompensating for the cold) and I'm wondering whether this is just the effect of the warmth on the "thermoplastic" shanks? Does anyone with more experience of the Dreampointe, Gaynors or similar shoes have any insights? Many thanks!

Ticket now spoken for.

I hope you don't mind me asking, but at which London terminals do your fastest trains arrive? There's obviously a large offering in the capital that might suit, but I'm acutely aware that after 30-60 mins train travel, the extra few minutes by Tube make a huge difference!

I am not a teacher and didn't start as an adult, but I am very familiar with RAD vocational grades, and have met friends with all sorts of different ballet journeys on my return. In my opinion, RAD Intermediate is the very upper level you could place a beginner - it's not ideal, but if circumstances require it, most of it is manageable safely - though some adjustments might need to be made (I am thinking of the double pirouettes, brises and pointe), and expectations managed. And that is: passing the Intermediate exam at an acceptable standard is several hundred study hours - probably two years of 2+ times a week classes - for an adult who is *already at the level of the grade below* - which RAD HQ suggests is 3+ years of recent experience for adults. But I've also seen adults jump into vocational syllabuses very early on in their journey because they fell in love with ballet, were dedicated, and preferred a constant body of work to improve over several years, than progress up classes, and do really well in the end. Other than a handful of absolute beginner courses, most adult beginner classes I've seen are probably set around Grade 5, though to be clear: this is in terms of steps and vocabulary, not that the participants are dancing at that level. It's just that as adults, we have more experience in our own bodies. Now, kids taking Grade 5 may well also start working on the Intermediate Foundation or Intermediate syllabus if they are serious about dancing - but the advantage they have is that they'll already have several grades of dancing under their belt, so the challenge of vocational syllabuses is incremental, not completely new, as it is to you. Long story short: the dancers around you probably have years of experience on you, so don't be intimidated. However, if you're happy in the class and the teacher is happy to have you, I don't think there isn't any harm in you staying - so long as you're getting enough attention

Ouch. I had not been prepared for those price increases. Is it just me, or are the discounts on the restricted/side view tickets less than before? (£19 for the SL Upper Slips vs. the £21 I've been paying for front row side amphi during Giselle!) I think this is the first booking period I've ever skipped; I'd far rather put towards the summer triple bills.

Very true - I was talking a bit more generally as someone taller and physically comfortable with a bit of seat-maneuvering. One thing I liked about the end seats in H-K (from memory) was the extra ledge on the side for coats and bags as well! Enjoy! It's been an incredible run from the two I've seen so far. I hadn't realised the balcony tickets were so reasonably priced - hopefully you get the best of being closer & being able to see the incredibly precise Wili formations. I found myself captivated by the corps more than the principals many times - a testament to how good the entire company have been for this revival.

I'd love to take the second please, if it's not already gone?

My pick, if you're able to stand, is SCS. I'm always blown away by how exceptional the view is for the price. My only hesitation would be that - for me at least - the most magical part of Giselle is seeing the formations in Act II from above. I am your height and I have never found the "restricted view" seats in the main amphi to be problematic; in fact, I find the price reduction a real blessing. I would just weigh up the distance from the stage vs cost - the generous discounts for these tickets more than outweigh any potential problems. I cannot recall an occasion in which the tiniest parts that may have escaped my sightline felt like the evening was marred - except one evening with a really tall patron in front (who would have obscured my view wherever I was in reality). I'm not familiar with the balcony seats in question but from recollection they are also quite a bit more expensive than the amphi?

Is this still available?

Seat A35. Please note that this is the matinee performance starting at 11:30. PM for details.

I am so excited for you! I can feel the joyful anticipation in your post and that's so lovely to see Others have already answered your question, but I just wanted to add that the ROH gift shop sells foldable cardboard opera glasses for £3, which are surprisingly good - other than aesthetics, I actually prefer them to my "real" ones as they fold up flat and require no fiddling around with focus. They last quite long too - tens of performances if looked after well - just perhaps needing a little bit of glue or sellotape to reattach the plastic lenses to the cardboard frame if they become loose.

Last night truly belonged to the corps. There's not much I have to say about Nela and Vad - I am a huge fan of both; they set the bar high and always deliver - but in trips to the RB numbering into the hundreds, I have never seen the corps so together and flawless, even from above which is far less forgiving. I found myself drawn to them instead of the principals on several occasions. Yesterday felt like a true Company masterpiece; I couldn't have done better for my first (story) ballet back since Onegin in January 2019!

This reminds me of many years ago when Alexandra Ansanelli retired. Perhaps it was just post financial crisis, but as a big fan of hers and hearing that flower throws were left to the audience for this occasion, I immediately rallied to make it happen and got full permission from the House to do so. Unfortunately, I was a poor student and had picked the cheapest flowers for volume that I could afford. What I hadn't realised is that said flowers - I think they were carnations from memory - had a tendency to clump. Even if sent separately, each stem seemed to find the other mid-air like magnetic velcro. They bunched and hit several dancers... I was told thereafter, though I'm not sure if jokingly, that my terrible throw is the reason that stewards are the only ones allowed to do flower throws now... Back onto Giselle, I'll be seeing Natalia/Reece on Friday after Nela/Vad on Monday, and followed by Laura/Ryoichi a couple of weeks later. I've followed Reece since his RBS days (not least because as a kid, I was discouraged from continuing dancing because of my height). Other than Reece, none are new casts to me BUT will be the first full-length ballets post-lockdown and I am ecstatic with anticipation!

I've just re-read and realised it might be clearer with pictures! I'll try and upload some in the coming days (I've been asked about my weirdly neat ribbons so it's been on the to-do list already)

I've only had one pair of GMs several years ago. I didn't find them much harder to sew but I do sew avidly as a hobby, and have developed a slightly different method for sewing ribbons to what I've seen before. It only takes a few minutes even on Gaynors, as it utilises existing "weak points" but still stays sturdy as it goes through the entire shoe. I've never had an issue with fraying, distortion, or ribbons coming loose. It also looks really neat both inside and outside the shoe. 1) If the ribbons are fraying as I cut them, I seal the ends with a flame. I normally skip this step these days as I use stretch ribbon that resists. 2) I lay the cut edge against the top edge of the drawstring casing - so the long end of the ribbon points INSIDE the shoe, not outside, and the cut end is flush with the top of the casing. 3) I stitch the ribbon using backstitch, going through the existing holes used to stitch the casing onto the main body of the shoe. I tie a knot to secure but don't cut the thread yet. 4) I fold the ribbon along the line I've just stitched so it points out of the shoe again. 5) I tie another knot to secure, fixing one edge of the ribbon to the very top of the drawstring casing. 6) I then sew the ribbon along the top end of the casing using small backstitch or occasionally whipstitch, before knotting and weaving in the thread. Hope this helps?

This ticket is now sold.

Apologies - I forgot the seat number which is A83!

This ticket has now been sold.

Please PM for details. I accidentally double-booked for some of the casts this run and won't be able to make this date.