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art_enthusiast

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  1. art_enthusiast
    In one of your previous comments you used the word spouse, which led me to think they are married or something. But that isn't true I believe, she's his dance partner only?
  2. art_enthusiast
    I can see him as a very good Benno, I hope he gets an opportunity to do that when Swan Lake next comes round (or maybe he's even been cast now, won't get my hopes up though but I assume he's learning the role in case of injuries in June or something).
  3. art_enthusiast
    Have Alina Cojocaru's dates been confirmed?
  4. art_enthusiast
    Sorry if this has been asked before - does anyone know which dancers will be dancing on which nights?
  5. art_enthusiast
    Yep, I think the same happened to Marianela if I'm not mistaken as I believe she was 15 or something when joining the RB? Feel free to correct me, I'm not sure. I think Takada, Hirano, Choe and others joined the company as PDL apprentices as well?
  6. art_enthusiast
    Same, as someone who went to Bournemouth every summer as a child. Good memories!
  7. art_enthusiast
    I unfortunately missed seeing that live as I wasn't following the company then, but I saw a rehearsal clip on YouTube that looked great. I agree that he is a lovely dancer, I recall noticing him as Clara's partner and in the early Dante Project performances as one of the Thieves. I hope he does get more featured roles. It's difficult as we all know, the Royal Ballet has such an excess of talent but not enough roles/opportunities for everyone to shine. I assume it's not as easy to leave now as it may have been for people like Xander Parish, who I believe wanted more opportunities elsewhere - and got them (good for him).
  8. art_enthusiast
    Really, did you not like Alice? I've never seen it live, only clips, but I would be happy to see it next Season if they brought it back. A lot of the music seems lovely. I think it feels a bit too soon for Cinderella as it was only on last year. I liked it very much though
  9. art_enthusiast
    Yes indeed. I hope she is back for The Dream.
  10. art_enthusiast
    Yep, I’m not sure Stanislaw has done many soloist roles? I remember one of his Draft Works pieces from 2021, that was very interesting! I think Marco has such great stage presence and not surprised he got the roles in McGregor pieces - loved him as young Dante and the Cinderella Jester. I hope to see more of him - maybe as Puck in The Dream?
  11. art_enthusiast
    I loved the Red Shoes with Moira Shearer, especially that amazing dance sequence and the music. I don’t suppose there was ever a Red Shoes ballet? Kind of wish the one in the film was real and still being performed.
  12. art_enthusiast
    Yes they are HUGELY annoying. I’m always having to not so subtly clear my throat to get them to move. I understand if it is their first time in the ROH, but maybe wait until the interval to do it, not when people are trying to get to their seats.
  13. art_enthusiast
    Yep, totally. I’m of the same opinion. I have booked for Natalia’s Titania (as well as Lauren Cuthbertson’s) and her Odette/Odile. Everything crossed she will be able to do her Swan Lakes. (I have also booked for Akane Takada who I am also really hoping to see).
  14. art_enthusiast
    That’s quite unnerving, I understand that you didn’t want to exacerbate things by responding to them though. I would probably do the same. I don’t think it’s appropriate to touch people with force like that. If I needed to get the attention of someone leaning forward in the stalls circle for example, I would lightly tap them. Or maybe cough/clear my throat loudly. Hitting is very inappropriate. I remember when Marriage of Figaro was shown in 2022, I stood up to clap at the very end (because I’d only just started going to the ROH and wasn’t familiar with the etiquette there). The woman behind me poked me quite hard in the back, when she could have simply been polite and asked me to sit down, as I would have done if our positions were reversed. Or she could have lightly tapped me instead of poking. This is the sort of thing you learn in early childhood, spatial awareness/how to respect others….
  15. art_enthusiast
    That was nice of him. Some people are either rude, or they act like they don't understand what you're asking... very annoying.
  16. art_enthusiast
    I had a ticket for Alina Cojocaru's 25th April performance now featuring Miki Mizutani and Max Maslen. I still want to go as I've never seen BRB's Sleeping Beauty (though it's not my favourite ballet overall, I did mainly book to see Cojocaru as Aurora). Can anyone more familiar with BRB dancers give me some info about these two? In the last Sadler's Wells Don Quixote run, I was fortunate to see Momoko Hirata and Beatrice Parma and both are of course superb, but I'm not too familiar with the others. Also is this version of Sleeping Beauty basically the same as the RB's without the Prince's Act 2 solo?
  17. art_enthusiast
    Please don’t mistake me, I don’t think proximity to rich people means a better standard. Definitely not. I myself am clearly not rich, don’t dress up to go to the ROH, and I am about 40 years younger than most of the elderly rich you find in the top price seats. I sometimes do purchase them as I have credit leftover and I like the immersive experience of being close. (And I go less often to accommodate for paying higher prices). I never sit in the Grand Tier, only the OS and stalls circle sides. I don’t think of the ROH as an elitist venue, I just think because of its incredible legacy and history, a standard of behaviour should be adhered to. It’s like going into a cathedral as you do for free, to see the beautiful paintings and architecture, or to worship. Silence and respectful behaviour is just part of the experience. Watching ballet is almost like a religious experience for me and a lot of others I’m sure. The last thing you want is to be distracted from that. I just meant that if you’ve paid top price it strings a bit more if your experience is ruined by any annoying audience behaviour, as…. money is valuable and I just invested it in having a good non disruptive experience and a good view of the stage.
  18. art_enthusiast
    That’s not really what I said. The point is that if you pay higher than average, you deserve a better experience - e.g less noise during the performance, no noise of people eating or drinking - which thankfully is banned at the ROH. Same as if you pay for a business/first class class seat on a plane. More money equals a better experience, usually… 🤔 If I’m paying £170 for a Swan Lake ticket for example, I deserve to have a good experience? No? I thought that would be part of my Consumer Rights. This might be money that I’ve been saving all year. I deserve to have a premium experience for a premium price.
  19. art_enthusiast
    I hope Anne Rose recovers soon. Good to see that Sae Maeda is getting this opportunity though, I was a bit surprised that she wasn't chosen for the Sissens cast (looking forward to seeing Pantuso's portayal though).
  20. art_enthusiast
    Not really. The ROH top price seats are higher than average theatre costs - at least they used to be, not sure if that’s still the case. It’s not somewhere you should go on a whim - IF you have children who can’t be respectful in public, like the ones Fonty described. If you don’t, this consideration doesn’t apply.
  21. art_enthusiast
    Yep. It would make sense to test them out in less prestigious and expensive theatres first before bringing them to the ROH. When I was under 10 I was only taken to Richmond Theatre (because my mum worked there as an usher and got some ticket discounts). I remember seeing the Nutcracker there as a child, and also some heavier stuff like Agatha Christie - and the opera Aida, which I remember being unable to focus on as I had such a bad eczema flare up at the time! I was in a lot of pain but I made no noise except in the interval. (Luckily I no longer have eczema as an adult.) It's a good idea to do some preparation beforehand to limit disruption for others.
  22. art_enthusiast
    I saw it - I think it was a quick snap of his performance dates with her, the 14th and 25th. So, it appears she is definitely down for those at this stage - I sincerely hope so anyway as I've booked to see them on the 14th.
  23. art_enthusiast
    Exactly. I'm super confused because who on earth thinks it's a good idea to pay full price for kids who don't want to be there? I don't care how rich you are, it's absolutely bizarre and also selfish because it disrupts the performance for other people. Maybe the rule should be - no under 18s allowed instead of just no under 5s (I'm joking as I know not everyone is like that but still!) I had a similar experience in one of the Sleeping Beauty performance last year, where I think it was a boy of 10 who was whining and saying they wanted to leave. Thankfully they shut up through most of the performance, but it still really irritated me because it's such a waste of a seat.
  24. art_enthusiast
    I hope she’ll still do Rhapsody in June, I’m looking forward to seeing her in that.
  25. art_enthusiast
    Exactly, it really wastes the valuable time of people who aren’t access holders who think they can buy them. We don’t have the time to be clicking on the date and then seeing nothing available to book. I see this happening frequently for Linbury performances as well which is annoying. Not very good for the user experience of the website as a whole. That notice should only be seen by access holders who are logged in, otherwise it makes no sense.
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