Mary

Joseph Sissens was great- a real ensemble player-I found myself watching him even when he was just clapping: he was really getting into it. As was the whole audience: you could feel such a buzz and I thought any minute we'd all be clapping too. ....( best not, I agree) I agree that Hirano is a superb Espada and well worth booking for specially. I can't really find the words to praise Muntagirov and Nunez sufficiently, as they were perfection and beyond, with Vadim making the most sensational feats look so easy and showing, not just fabulous showmanship but a restraint and a gentlemanly standing back for Marianela, exemplifying the ideal that just because you can do it doesn't mean you should all the time - that is something especially his (and my goodness we know he can do it.) While Marianela, in some incredible way, seemed to be better than ever - combining strength, precision and artistry with musicality and style. And Vadim's hair was looking very nice.

Nunez and Muntagirov were on top form and received a fully deserved rapturous reception: a super evening.

And I don't think it's giving away any secrets to just say Yasmine Naghdi and Matthew Ball are a great pairing: you all know that! I know many feel this DonQ is not a great production but it's fun.

I walked past ROH tonight and spoke to some of the orchestra handing out leaflets outside. I felt very much for their situation and was much struck by their sincerity and love for what they do. But to live in London is so expensive. They are clearly struggling. And without the music- what do we have? A gigantic cafe.

I would like to see that!

I watched this last night and was struck by how she was just - dancing the role rather than performing a series of difficult steps and postures - a distinction someone else has made often on this forum. A really charming dancer I shall look out for.

A lot more information has gone up on the National Rail website today. As well as links to revised timetables for next weekend there are also dates when the revised timetables will go up for affected days next week, for each train company. So it's good to now be able to see quickly, unambiguously and conclusively that I'm stuffed.

I had understood that the train companies would put their amended timetables, for both strike and no-overtime days, on the national website so that we could see what was actually running on the days concerned. However, I am not sure this is the case. One wants some kind of certainty even if the news is bad. There seem to be those little yellow triangles with an exclamation mark- when I click one it takes me round to the train company website, announcing the fact there will be amended timetables, which takes me to the place I started. It is this sort of thing that saps the will to try to go anywhere.

I don't agree that Les Noces is boring. Done well it is rather compelling. I don't want to see it every year, but certainly it is due for a revival. If programmed with suitable other works - as it used to be not so very long ago -it can work well and look strikingly modern, in my view, with that rather terrifying music and atmosphere. What is boring is the same things being on all the time.

If only we could persuade the Wigmore Hall to put on some ballet . It would have to be a rather small scale production admittedly...........................................

No, it isn't just you - behaviour definitely has got worse, and you are not alone at all in feeling very fed up with this sort of thing. I understand entirely the feeling of almost 'violation' you describe: it is upsetting. Many posts on the forum have discussed the problem and the feelings of frustration we all experience when our visit to the theatre is spoiled by rude and thoughtless people. There are still places where people behave...I just avoid the others and will do until things improve, which I think they will do, perhaps...There has been quite a lot of comment in the media, and paying audiences (paying more and more) may have decided they don't want all this disturbance, and start to pressure venues to provide an appropriate atmosphere again. Let's hope so.

Might one ask, is the Gala in aid of anything, or, to whom do the profits (if any) go?

A shame, but it will give Magri even more practice before the live screening,- the one that we think is also in front of the King (is that right or am I dreaming again....)

Having complained last booking period I must in justice say that the website did work much better this time. However, there was very little indeed I wanted to book and I had hardly anything in my basket which made it easier!

I second that- thanks to the forum I was able to make lightning-fast arrangements to try to save my first vist to ROH for months...here's hoping it works out but the early notice was invaluable!

The advice is the same as the advice they gave last time. It rather suggests to me that no improvement has been made.

I wish we could have this in our parks at home, lucky you.

I am sure that is true. On the other hand, I am guessing that for most young dancers starting out, a place in any company is very gladly welcomed- it is not a case of picking and choosing- is it? And then when the company develops in a particular way they go with it, to get parts. Of course they must. I would like to think dancers do have autonomy and so on, but I am afraid it is unlikely. The Director decides- and the Director is also subject to various pressures. I think there are probably quite a few dancers who would prefer to specialise more but feel they can't. I also feel there is nothing wrong with having some purely classical ballet companies and fear we are losing them.

Perhaps they should do another couple of Swan Lake multi-cast specials and have different Manons in Act 1 and Act 2 to give the keen out-of-towners like me a chance to see the exciting new pairings. I joke of course. I never watch Act 3 any more.

My problem is that I don't want to see Manon again- but I do want to see some of these pairs dance it- impossible to explain to the non ballet-goer!

I would pay a fair bit to see Mr Fiennes's Macbeth but, that does seem a little steep!

How come I use lots of complicated websites without any problems with never a thought for the browser? ROH can't be serious that you have to consider such things in order to book a ticket or check an upcoming booking... I have been quite slow to start moaning about this isssue, but, once started.....

I would like to add that the rep is a big factor in limiting my visits this coming year - it seems there are quite a lot of people feeling like that.

I think that is the main question... But I am guessing the ROH, like so many of our national organisations, has lost a lot of these well-informed, long- serving staff in recent years ( it is very obvious front of house and sadly in the box office) and there is a damaging trend for employing incredibly expensive outside 'consultants' who deal in nothing but airy jargon and actually know nothing at all about the business in question. I saw it at my own place of work. The recent advert for marketing staff - 'no knowledge of the arts required' -exemplified the trend. They then move on, quite unscathed, and much richer, after doing a lot of damage, leaving the organisation picking up the pieces for years. I hope very much that is not happening here but I do begin to worry.

Only 2 performances, and those are really to take other people to Don Q: though I am looking forward to it, I'm not sure I would have shelled out just for myself. This year I shall have been to the ballet hardly at all, the lowest attendance for about 25 years.