art_enthusiast

On 03/04/2024 at 11:34, bangorballetboy said:

I'm not sure the price of tickets has any bearing on whether a show is suitable for children or how they behave

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.

On 03/04/2024 at 12:14, lady emily said:

 

Anna Rose O’Sullivan is replaced by Sae Maeda as Perdita.

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).

3 hours ago, Jan McNulty said:

I find that a rather arrogant statement.

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.

4 minutes ago, San Perregrino said:

Almost 3 hours to get to the climax is a long wait for children of all ages especially if they are disengaged and have no idea what is going to happen nor when (or if this is ever ever going to end!!).  

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.

4 minutes ago, Richard LH said:

That's potentially very good news, but "appears to be confirming" is a little vague...I wonder if you recall more details of his post @capybara, since this is no longer on his IG story feed? Many thanks...

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 minutes ago, Fonty said:

What was the father doing?  Why on earth wasn't he making sure they behaved, and telling them to keep quiet when they were speaking to him? 

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.

5 minutes ago, JNC said:

Is O’Sullivan injured? I wonder if she’ll be able to do the Ashton triple in a few months if that’s the case. Hopefully she will be able to dance that! 

I hope she’ll still do Rhapsody in June, I’m looking forward to seeing her in that. 

22 hours ago, Sim said:

why show the tickets as available to the public when they are clearly NOT available to the public?  Why not simply say '31 tickets available for access holders only' or whoever they have set them aside for? 

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.

11 hours ago, Sophoife said:

Guillaume Diop had already danced Romeo, Basilio, Solor and Albrecht before being nominated, as a six-month-old sujet, to étoile.

 

Both Diop and Louvet were 23 at the time.

Interesting. I’m really eager to see Diop live: I had to miss Fille unfortunately due to timings. I’m hoping to make it to Paquita in December or Onegin in February. Does anyone know when casting might be announced?

1 hour ago, Dawnstar said:

then a second full length in October.

You mean BRB’s Fille?

I’m curious to know, what are the other Ashton full lengths aside from Cinderella and Fille? I’ve only seen what the RB has performed from 2022 onwards

I loved it. I hope they do similar pieces in the future. Very good heritage piece for Birmingham.

On 29/03/2024 at 18:25, jmhopton said:

Takada was certainly blond in the film with Steven.

I watched this on the Stream recently. Absolutely stunning and it's a shame they aren't both doing it again, as I would have loved to see them both live. I agree the blond doesn't look that great, and much prefer her natural hair colour, but I don't think it really detracted from her beautiful performance.

3 hours ago, TSR101 said:

advance casting insight does provide an advantage

Not in this case though, as no one knew the casting before booking, not even Friends.

On 28/03/2024 at 20:28, Dawnstar said:

 

I can't help wondering cynically if someone saw an opportunity for getting a little extra income for the ROH with all the £4 exchange fees!

I do have to agree a bit there, it’s seems rather sneaky! Especially as they must have decided right before public booking opened. At least there were no issues with getting casting for the Winter’s Tale. 

I managed to get 2 different casts for each Ashton bill by booking blindly, but not necessarily the ones I wanted to see the most (plus one of the same Rhapsody casts I saw in 2022). I haven’t changed my booking yet as the seat I want isn’t available for my preferred cast option.

Could anyone let me know what to expect from the Five Brahms piece? Looking forward to see Osipova performing it, I’ve never seen it before.

22 hours ago, Lynette H said:

The Acosta Danza Carmen performances at Sadler's Wells in July are very nearly sold out already, but thought some readers here might be interested. 

I got my ticket a while ago. I've forgotten exactly what the excerpt in the Carlos gala was like. However, really looking forward to seeing it hopefully with some BRB dancers as well.

1 hour ago, San Perregrino said:

the ROH is not alone in doing this but is one of the few organisations that doesn't also charge a Booking Fee.  

I guess so. Only when you're already forking out the top prices for Swan Lake it seems a bit presumptuous. 

9 hours ago, DelphiumBlue said:

Slightly miffed to realise that I had ended up making that ‘help the ROH’  donation by stealth too . Would that it could go towards the ‘improved  website’ fund . 

Definitely, it's sneaky how they do that, automatically adding it to your basket. I always prompt myself to check if it's there and remove it, but of course when you're rushing you don't have the time. I think Sadler's Wells do it too but it's a bit less.

are there train strikes happening next week as well?

Just wondering, what was the reason for including The Dream and Rhapsody on both bills? I understand that it gives an opportunity for more varied casts to do the roles in both triple bills/saves money on staging, but was wondering if it would have made sense to choose different works for each bill?

I've got a ticket to see the Short Works bill with Hamlet and Ophelia/Isadora Duncan, as that would be the most interesting for me. Though I am interested in Les Rendezvous - I've never seen it before - I am wondering whether it makes sense to get tickets for that as well (financially speaking probably not!)

18 minutes ago, Blossom said:

I can never get tickets for the RBS show - sometimes a date issue but often just booked out. Another great chance to see some of the same content - and closer up - is at their Next Gen performances at the Linbury and there are plenty of tickets available.

Same, picked up some good Next Gen tickets for RBS, German Ballet, Brno, and Norwegian. Sounds like an interesting line up for this year.

Does anyone know what this will be - ‘All About Us’ – Celebrating diverse voices in ballet as part of the Next Generation Festival?

Whoops, my bad

probably said that because they’re usually shown together 

1 hour ago, offmenu said:

Besides possibly Cinderella and I presume Romeo & Juliet, anyone have any predictions for the season?

Hoping for Coppelia but who knows.

Some Ashton hopefully - Les Patineurs?
Also Alice in Wonderland but I guess that's unlikely... seems a while since they last did it though, I've never seen it live.

Also hoping for Balanchine (Symphony in C, Serenade, Dances at a Gathering) but guess that's unlikely.

3 hours ago, Emeralds said:

Looking forward to London City Ballet and National Ballet of Canada's visits! 

Does anyone know what dates Alina Cojocaru is performing with London City Ballet?

10 minutes ago, Lizbie1 said:

 

(Paris subscribers can change dates, but EasyJet won't be issuing me any refunds!)

Just saying, the Eurostar allows date changes for free (just difference in fare if any) as long as it’s more than 7 days before. Certainly has helped me this year when I needed to rearrange Paris and Amsterdam trips.