bangorballetboy

I have SCS D26 available for Sylvia on 6 December (work getting in the way again...). It's an eticket and face value is £9. Please PM if interested.

Apollo

Not wanting to be too much of a spoilsport, but it might have been even funnier if it were: in the middle, somewhat elevated

The wedding will be in Windsor.

Dave has a spare ticket for the matinée

I have SCS D26 available for Sylvia on 30 November. Face value is £9. Please PM if interested.

Deborah, Lady MacMillan

That sort of info is easy to find on the interwebby. It feels like there should be significantly more seats in the Linden in comparison to the Clore, but the seats are bigger (and more comfortable) and the studio is not as wide.

Clore Studio - 170 seats Linden Studio - 180 seats

He conducted Anastasia last year. Nice chap (spoke to us in the front row) and not too bad with the stick.

I believe Jansons will be presented with the RPS Gold Medal at this concert.

I'm sure the trustees are perfectly aware of their legal responsibilities.

The 18th National Dance Awards Announcement of Nominations The Dance Section of the Critics’ Circle is pleased to announce the nominations for the 18th National Dance Awards, which are as follows: DANCING TIMES AWARD FOR BEST MALE DANCER Miguel Altunaga (Rambert) Isaac Hernández (English National Ballet) Xander Parish (Mariinsky Ballet) Liam Riddick (Richard Alston Dance Company) Marcelino Sambé (The Royal Ballet) GRISHKO AWARD FOR BEST FEMALE DANCER Francesca Hayward (The Royal Ballet) Sophie Martin (Scottish Ballet) Yasmine Naghdi (The Royal Ballet) Zenaida Yanowsky (The Royal Ballet) Eva Yerbabuena (Cĩa Eva Yerbabuena) STEF STEFANOU AWARD FOR OUTSTANDING COMPANY 42ND Street Alvin Ailey American Dance Theater English National Ballet Northern Ballet Scottish Ballet BEST INDEPENDENT COMPANY Avant Garde Dance Ballet Cymru HeadSpaceDance Rosie Kay Dance Company Vincent Dance Theatre BEST CLASSICAL CHOREOGRAPHY [Sponsored by The Ballet Association] Akram Khan for ‘Akram Khan’s Giselle’ (English National Ballet) Crystal Pite for ‘Emergence’ (Scottish Ballet) Crystal Pite for ‘Flight Pattern’ (The Royal Ballet) Liam Scarlett for ‘Symphonic Dances’ (The Royal Ballet) Kenneth Tindall for ‘Casanova’ (Northern Ballet) BEST MODERN CHOREOGRAPHY [Sponsored by Northern Ballet] Michael Asante & Kenrick Sandy for ‘Blak Whyte Gray’ (Boy Blue Entertainment) Matthew Bourne for ‘The Red Shoes’ (New Adventures) Michael Clark for ‘To a simple, rock ‘n’ roll…song.’ (Michael Clark Company) Michael Keegan-Dolan for ‘Swan Lake/Loch na hEala’ (Teaċ Damsa) Arthur Pita for ‘Stepmother/Stepfather’ (HeadSpaceDance) EMERGING ARTIST AWARD [Sponsored by The L&M Trust] Harry Alexander (Dancer, Michael Clark Company/ Julie Cunningham & Company) Vincenzo Lamagna (Composer, ‘Akram Khan’s Giselle’ – English National Ballet) Dickson Mbi (Dancer, Boy Blue Entertainment/ Russell Maliphant Company) Botis Seva (Choreography for Far From the Norm and Scottish Dance Theatre) Francesca Velicu (First Artist, English National Ballet) OUTSTANDING FEMALE PERFORMANCE (MODERN) [Sponsored by DWFM Beckman] Antonia Grove in ‘Virgin Territory’ (Vincent Dance Theatre) Shelley Eva Haden in ‘MK Ultra’ (Rosie Kay Dance Theatre) Ashley Shaw as Vicky Page in ‘The Red Shoes’ (New Adventures) Clemmie Sveaas in ‘Stepmother/Stepfather’ (HeadSpaceDance) Francesca Velicu in ‘The Rite of Spring’ (English National Ballet) OUTSTANDING MALE PERFORMANCE (MODERN) Mithkal Alzghair in ‘Displacement’ (Mithkal Alzghair) Christopher Akrill in ‘Stepmother/Stepfather’ (HeadSpaceDance) Karl Fagerlund Brekke in ‘Stepmother/Stepfather’ (HeadSpaceDance) Robert Fairchild as Jerry Mulligan in ‘An American in Paris’ Dickson Mbi in ‘Blak Whyte Gray’ (Boy Blue Entertainment) OUTSTANDING FEMALE PERFORMANCE (CLASSICAL) [Sponsored by Lee McLernon] Alina Cojocaru as Giselle in ‘Akram Khan’s Giselle’ (English National Ballet) Bethany Kingsley-Garner in ‘Emergence’ (Scottish Ballet) Kristen McNally in ‘Flight Pattern’ (The Royal Ballet) Aditi Mangaldas in ‘Inter_rupted’ (Aditi Mangaldas Dance Company) Eva Yerbabuena in ‘Aperiencias’ (Cĩa Eva Yerbabuena) DANCE EUROPE AWARD FOR OUTSTANDING MALE PERFORMANCE (CLASSICAL) Israel Galván in ‘FLA.CO.MEN’ (Cĩa Israel Galván) Christopher Harrison in ‘MC 14/22 (Ceci est mon corps)’ (Scottish Ballet) Brandon Lawrence in ‘Wink’ (Birmingham Royal Ballet) Marcelino Sambé as Colas in ‘La Fille mal gardée’’ (The Royal Ballet) James Streeter as Albrecht in ‘Akram Khan’s Giselle’ (English National Ballet) The winners will be announced at a lunchtime ceremony to be held in Central London on Monday, 19th February 2018. The event will also play host to the De Valois Award for Outstanding Achievement and the One Dance UK Industry Award, given in memory of Jane Attenborough, for both of which there are no prior nominations. The National Dance Awards have been organised by the Dance Section of the Critics’ Circle in each year of this Millennium to celebrate the vigour and variety of Britain’s thriving dance culture. They are presented by the Dance Section of the Critics’ Circle, which brings together around 60 dance writers and critics. They are the only awards given by the body of professional dance critics in the UK. In announcing the awards, the chairman of the Dance Section, Graham Watts OBE, said: “Once again, these short-listed nominees come from a long list of almost 500 dancers, choreographers, other creatives and companies nominated by professional dance critics, during 2016/17. I am especially pleased with the diversity of this year’s nominations list, covering ballet, contemporary, dance theatre, flamenco, hip-hop, kathak and musical theatre. It is a remarkable testament to the diversity of dance in Britain that the 43 individuals nominated originate from 21 countries: to the west, they’re from Canada, Cuba, Mexico and the USA; in Europe, they are from Denmark, England, France, Italy, Portugal, the Republic of Ireland, Romania, Scotland, Spain, Sweden and Wales; and from the rest of the world there is representation from Australia, Bangladesh, India, Kenya and South Africa. I wonder where else in the world “national” awards for dance would spread so far across the globe? There are a few welcome firsts amongst this year’s nominations: , a composer [Vincenzo Lamagna] is nominated as an Emerging Artist; a musical theatre ensemble [42nd Street] is nominated for Outstanding Company; a Syrian refugee (Mithkal Alzghair) is nominated for the outstanding male performance (modern); and the same choreographer (Crystal Pite) receives two nominations in the Outstanding Classical Choreography Award. The Royal Ballet and English National Ballet top the list with eight nominations, apiece, followed by Scottish Ballet and HeadSpace Dance with five each; Boy Blue Entertainment and the Flamenco Festival [3 each]; and Michael Clark Company, New Adventures, Northern Ballet, Rosie Kay Dance Company and Vincent Dance Theatre [all with 2 nominations, each]. For the second successive year, an Akram Khan production garners the most nominations with four for Akram Khan’s Giselle for English National Ballet; although, this year, that distinction is shared with HeadSpaceDance’s Stepmother/Stepfather; and Boy Blue Entertainment’s Blak Whyte Gray follows closely with three nominations. Other productions with more than one nomination are: Crystal Pite’s Emergence for Scottish Ballet and her Flight Pattern for The Royal Ballet, plus Matthew Bourne’s The Red Shoes. The Emerging Artist category is the most diverse yet with a composer, a choreographer, two contemporary dance artists and a ballet dancer. The Awards Committee wishes to express grateful thanks to our sponsors, without whom the event would not be possible; to the body of dance critics across the UK for giving their time to ensure the best possible list of nominees; and, above all, the companies, choreographers and performers for giving us such a rich variety of choice”.

I had my booking for the spring period this morning and I thought I'd mention that all the insight events I booked are now in the Royal Ballet School Linden Studio.

There are plenty of tickets available on the ROH website so if you still need one I can probably sort you out.

I also doubt that we'll see it on the main stage at the ROH but, you never know, it might make it to the Linbury. A perfect vehicle for the RO's young artists. The choreography was created in 1981 for a Stravinsky triple bill at the Met (where there was also another (French composers) triple bill which featured L'Enfant et le Sortilege).

Hence the title of this thread and the wording of my initial post...

Works for me. Perhaps it's your browser?

This site has 35% off tickets for the ENB performances at the Coliseum in January 2018 (except the top and bottom two price brackets).

Exactly. I'd have thought that would be obvious to all, but it doesn't seem to be.

If the Crush Room were to be used as a bar it would significantly impede the flow of patrons from the grand tier and balcony to the floral hall and other areas to the left of the old house. I have never struggled to obtain a drink in the floral hall (or the conservatory bar for that matter) as I do the sensible thing and order interval drinks beforehand. I have sometimes struggled to circulate in the floral hall but that's more to do with patrons who choose to stand in awkward places rather than at the side than anything else. As for the toilets. your posting suggests you don't know the location of all the toilets in the building! At ground floor level, there is access to the new "downstairs" ladies toilets from both side of the auditorium. When the work is completed, the "downstairs" gents will be relocated to the ground floor and what is currently the "downstairs" gents will become facilities for the ladies (which explains the rather unorthodox layout of the urinals at present...). At amphi level there are toilets on both sides of the house (and also on the stairs up to the upper amphi seats), as is also the case on the balcony level. Grand tier level loos are on the right hand side. Even before the current works are finished, I'd say the ROH lavatory facilities are better than in any other opera house I've been in.

Pierce the bag and steam in the microwave. Throw out the bag - no pot, board or knife to wash.

I don't remember that being in the proposal and it's not there now. The new terrace over the Bow Street extension is taking shape though.

Taking out part of the amphi terrace...