bangorballetboy

1 hour ago, zxDaveM said:

 

I was guestimating - and didn't realise there were that many in the Linbury (though many on the sides should be less than 1/3rd price, as that's about all you see of the stage). Also, the % kept back may be lower than I guessed - would be nice to know actually, what the figure actually is...

On the basis of what’s available today, it would appear that it is only “good seats” and maybe standing that are held back.

This ticket has been taken.

1 hour ago, PeterS said:

the dates in your header don't match the text.

Fixed but the tickets have been taken anyway!

I have the following standing tickets available:

• 20 March, balcony D33, face value £9

• 9 April, stalls circle D27, face value £9

Please PM if interested.

Still not quite up to standing for the ballet (though I had to stand for most of the time at Wembley yesterday) so I have SCS D26 available for this performance - face value £14.  Please PM if interested.

3 minutes ago, Blossom said:

We need a ‘shocked’ response button/emoji.
Somewhat dreading Wednesday morning as I only have very specific dates I am able to do in June… 

I think, from now on, I’ll be closing off bookings in groups of 7 or 8 events!

17 hours ago, SheilaC said:

Lucky you, John S. I get the impression that the Sarasota tickets are going fast. 

I have just looked and one show has 94 tickets left and the others all have 100+.  I checked two of the 100+ shows and there are tickets in all areas (in fact, it looks like there are more tickets available now than when I did my booking), except standing (which I think may not have been released yet, though I may be wrong).

17 hours ago, SheilaC said:

But the outcome will be that some wealthier Friends will secure tickets, even though they have rarely if ever attended a masterclass, while devotees like me may not be able to go.

How very presumptuous and, to be frank, downright insulting.

On 22/02/2024 at 17:10, Blossom said:

Any feedback on Summer booking from premium friends?

I was about 17 events into my booking when I "lost my basket" (i.e. only the most recently selected tickets were in my basket and the rest were in another basket to which I no longer had access).  Very annoying.  In the end, though, I got everything I wanted (all the tickets from my original basket were released again at 0930), just with a lot more stress and an extra 15 minutes.

Also annoying that the Ashton insight was taken off sale just before booking.

Just now, Fonty said:

I am sorry if this is a very ignorant question, but I will ask it anyway.  Could ENB have danced the MacMillan Rite of Spring if they had wanted to, and had asked permission to do so?  Does it belong to the RB, or the MacMillan estate?  Just wondering, after reading the comments above.  The Royal Ballet don't dance it that often.  Not since 2013, according to the ROH back catalogue. 

Lady MacMillan owns the choreographic rights to her late husband's RoS.  

13 hours ago, Rob S said:

I’m really pleased to see the ratcatcher’s limp is healing up, not nearly as bad as previous performances 🙂

As we’re now just over 4 weeks since my broken ankle, I’m not really available as a substitute any more. 🤓

13 hours ago, Linnzi5 said:

Maybe I'm being obtuse here. But 'New Choreography' to me means new pieces of dance, not seen before? I.e. premieres?  It doesn't state new or young choreographers, does it? I genuinely am asking if the premise is for new, original works or is the premise to showcase young and new choreographers? 

That was exactly my point.  You need to read the post to which I was responding (which was quoted in my original post).

3 hours ago, bridiem said:

 

not as part of a 'festival of new choreography' which is otherwise clearly aimed at young/upcoming choreographers. 

I’m a bit confused by this.  The clue for me is in the name: “Festival of New Choreography”.  With the greatest respect to them, I wouldn’t call November, McNally, Binet, Bond, Zucchetti or Powell-Main particularly young and they are all well established choreographers.

8 minutes ago, capybara said:

I’m feeling very underwhelmed by the 75th Anniversary offering overall.

Come on ENB; you can do better than this. Excite me, please!

 

 

I couldn't have said it better myself.

Definitely no Mayerling on BBC4 this weekend, though the programme on (Mad) King Ludwig's castles looks fun.

15 hours ago, TSR101 said:

I would actually expect the RB to do their Giselle next season. It was last on in 2018 and 2021. Very likely for 24/25 I would have thought. 

I wouldn’t get your hopes up

12 minutes ago, Emeralds said:

Stix-Brunell had joined Wheeldon's independent dance company Morphoses (alongside ballet stars like Wendy Whelan who still danced with their main companies like NYCB) while a student. She was cast by Wheeldon to be Alice and Perdita (and was also in the first cast of his Within the Golden Hour when it transferred from SFB) but she danced Princess Rose in MacMillan's Prince of the Pagodas as an understudy for an injured colleague. 

Stix-Brunell was cast as Alice as a replacement for an injured colleague (Núñez).

Due to a broken ankle (and, therefore, not as a comment on the choreography!!!), I have the following standing tickets available:

• 20 Feb: balcony D33 (face value £5)
• 21 Feb: stalls circle D26 (face value £5)

Please PM if you are interested.

Wish I’d known this casting before I booked my RBS @ OHP tickets!

Even better if they can find the Pats rehearsal picture where the snow fell on the dancers in one big dump!

I think they may now have stopped the tap that dripped (audibly) for an entire scene but I still wouldn't go to this production again if you paid me vast sums of money.

There are usually 49 Friday Rush tickets per performance...

3 minutes ago, capybara said:

Is that Charlotte MacMillan next to Frankie in the second photo down?

If so, presumably on stage in relation to the 50 year birthday celebrations for Manon?

 

 

 

It’s a member of ROH staff presenting bouquets.

27 minutes ago, Emeralds said:

Alex Beard, ROH CEO, might not be a performer (Classics degree) but he is allowed to sit on boards (he is on the board of Glyndebourne- interesting considering that they are potentially rivals for the same market share, eg the year that both ROH & Glyndebourne decided to revive Alcina in the exact same year within several months of each other after neither had been interested in Alcina for years) accept engagements to be after dinner speaker or consultant, etc etc. 

 

Alex Beard stepped down from the Glyndebourne board of trustees just after it was announced that he would be the new CEO of the ROH (July 2013).

16 minutes ago, Rob S said:

 

It's rather strange that even if this is a result of the main stage filter I use, I had the same filter when I booked as today. So they've definitely changed the way it's being displayed. Now it shows multiple performances of promenade performances at 45 mins each. Are people that are going to see the main stage expected to book the 2100 and hope the main stage performance is less than 90 minutes? 

We're going to DweB on a day different to the days we're seeing the "New Works".

1 hour ago, Rob S said:

Have I missed something somewhere? I've just noticed the New Choreography dates appear to have split in to 'New Works' on the main stage at 1900 and 'Dark with excessive Bright' (which describes many of my curtain call snaps)  at 1930/2015/2100 as a 'promenade performance'. When did this appear? 

 

 

 

I booked my tickets for DweB on 29 December so it must have been before then!