bangorballetboy

Sorry but I'm going to keep on the tangent for a little longer, as I think it's a rather interesting topic. It's not unsurprising that people do not think the Coliseum is the largest theatre (by seating capacity) in central London - this is usually attributed to the Palladium but it lies between the Coliseum and ROH in terms of the number of seats. I say "central", as the Hammersmith Apollo has the most seats of any theatre in the UK (but IMO it's a bit of a monstrosity). The Coliseum has the deepest stage amongst UK theatres but not the widest proscenium opening (or stage width) - that is the Barbican Theatre! The Coliseum's proscenium opening is about 3 metres wider than the ROH.

The curtain at the Coliseum is purple, not red. The Coli has a proscenium arch whereas the ROH has a straight top.

This ticket is spoken for.

Only the main stage.

Am pleased to see that ticket confirmation emails from ATG now include the following wording: “We request that you show consideration to your fellow audience members by ensuring that the only entertainment comes from the professionals on stage. Anti-social behaviour towards staff or other customers will not be tolerated and will result in you being asked to leave the venue.“

I have SCS D26 available for this performance, face value is £12. Please PM if interested.

For those online at 9 o'clock, there were quite a few non-restricted view tickets available, including some in the central section of the balcony. Yes they are (and public booking is already open).

Strongly agree (and I remember the days of the ballot for friends booking at the ROH too - thankfully that's well in the past).

I trying to fathom why the use of a queuing system for an online booking platform when it is very busy is a "low online performance". There are plenty of other institutions (private and public) that use similar systems (and some of them are worse, by using random entry rather than progressing through the queue) and, golly gosh, I'm aware that young people use those too! Strangely enough, I was on at 0900 on the dot this morning (having already logged in) and wasn't placed in a queue and booked the tickets I wanted with no hassle whatsoever.

I must say that Mr Webb and the whole team in Sarasota are very welcoming to visitors!

This ticket is now spoken for.

I have SCS D26 available for this performance - face value is £12. Please PM if interested.

I now have "River of Dreams" as an earworm...

Bridge of Aspiration...

Having done a quick check yesterday (whilst working out casts for all my Cinderella tickets...), I noticed that there are only a couple of performances that are now "underperforming"!

These tickets are now spoken for.

I'd like to see Sweet Violets again. It's one of those pieces that needs some homework but works well once one understands the different characters (a bit like Mayerling in that respect?).

I have SCS D26 available for both 18 and 19 April. Face value is £12, please PM if interested.

When my better third and I spoke to the director of opera a few weeks ago, he said that the programme for the next season (bearing in mind opera seasons are usually put together 2-5 years in advance) was revised, as a result of needing to bring in more ticket sales, to remove some of the more adventurous rep and bulk up the 'big sellers'. I have no doubt that the same will apply for the ballet company.

Whilst the correct answer is magic, the practical answer is that there is a mobility scooter inside the back of the carriage and there is somebody sitting on it driving (we learned this at a props insight day where we were let loose in the props department). On a similar vein (and as @zxDaveM has already intimated), the Nutcracker sledge is powered by the battery from a milk float.

We like Il Violino (68th & Columbus) or, if you have a big appetite, Cafe Fiorello, right across the street from the Lincoln Center.

Nominations announced this afternoon. Dance categories as follows: Best new dance production Light of Passage by Crystal Pite at Royal Opera House Pasionaria by La Veronal at Sadler’s Wells Traplord by Ivan Michael Blackstock at 180 Studios (The Strand) Triptych (The Missing Door, The Lost Room and The Hidden Floor) by Peeping Tom at Barbican Theatre Outstanding achievement in dance Manuel Liñán for his choreography of ¡VIVA! at Sadler’s Wells Dickson Mbi for his choreography of Enowate at Sadler’s Wells Raquel Meseguer Zafe for her dramaturgy of Ruination by Lost Dog at Royal Opera House - Linbury Theatre Catrina Nisbett for her performance in Family Honour by Spoken Movement at Sadler’s Wells Full list of nominations can be found here.

It’s been the policy for rehearsal tickets for as long as I can remember

Forfar 5 Fife 4

I hear that some audience members at Moulin Rouge last night were so drunk and disruptive that the show had to be stopped. How disturbing and unpleasant for the cast, FOH and the rest of the audience. Grateful for small mercies at the ballet.