zxDaveM

you obviously didn't clink

LOL I think one of the main things they are looking out for is booze And maybe picnics

I wasn't quite so discombobulated as PeterS, though don't think we got the full on NYCB experience I was hoping for. I quite liked Rotunda, there were snatches of the music I quite liked, and the dancing/dancers were as quick, elegant and light footed as hoped. The piece just not particularly memorable Duo Concertant was heaven - this is the sort of thing I'd hoped they would have brought more of, to be frank (yes I know I'm Dave really). Megan Fairchild and Anthony Huxley were superb. The Pam Tanowitz piece (Gustave le Gray No1) was rather good too. I find her work very love/hate for me - this is a love. The synchronicity in steps and the eye defying costumes were a delight. The 'gag' with the piano was a hoot! Not sure why we had the ending as 'Love Letter (on shuffle)' (could have been on soufle as far as I was concerned). In which it is finally proved I really don't like James Blake's music, and the costumes were hideous, but fair play, much of the choreography was 'ok' (the 3rd last duet was rather good in fact). Now had it been a Balanchie to end with...

so, like every other sold out performance then...

wouldn't that be the idea though - to entice you to go see something you normally wouldn't (especially if it isn't selling that well)? They would assume you'd already bought tickets for what you DO want to see...

Francesca danced with Marcelino Sambe on the opening night

yes, the impression I always got was that Lescaut was ingratiating himself with GM for helping to find his watch (a man who can source things) - but getting the beggar/thief a few centimes instead of the expected arrest, means he can then use the beggar and his cohorts for other endeavours - such as turning over the 'old gentleman' to clear the path for GM to Manon Such lovely times, with lovely people!!!

I do agree with this; sometimes it seems a step 'forwards' is more like a backward one. Especially when it is for the convenience of the vendor, and not the consumer

oh dear - and I've booked for two shows.... oo-er

Gone are my days of doing the 'double header', as my knees (and back) can no longer take the standing for that long. But I know of several people who did do the double on Saturday, and not that long ago, I'd have been joining them

...and the more familiar rep (your Tchaikpvskys, R&J etc) pretty much sell themselves

A stunning afternoon; my word, Sarah and Ryo go well together (I reckon). Proper emotional, hefty punch, that's for sure.

That's a cert! I don't think they will bring in anyone or even promote anyone at this time - an opportunity to save a few bob in the short term But then, whenever I try to predict these things, I always get it wrong!

I'd ask that question again in 12-13 months

That's a must for me!

yes, with no trains from Charing X (to London Bridge), had to go from Victoria, and get through Selhurst area before 11pm when the engineering works started. Meant I missed the last act, as the thought of having to swop around routes with the headache I already had, was not an appealing thought! Fortunately, I have no more shows this week except Saturday afternoon

Sky TV's 'customer service' AI / bot definitely has to go into Room 101. Spent most of yesterday afternoon battling with it (and failing) before eventually getting through to a text/SMS 'agent' I assume was a real person, who sorted me out (I think - future bills will decide). Their customer service used to be pretty good - now, a total ship wreck

Perhaps the Ashton casting influenced by 'who's left' after the Swan Lake runs... And as for the old stand-by of "it's the company you come to see, not the individual dancers" is such a crock, as nearly all of us, I imagine, aim specifically for their own favourites, and avoid the cast(s) they are not keen on. Hence the pleas for casting knowledge from early bookers, who are after all, filling their coffers

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...

Yes, my understanding too. Though of course, if say 20-25% kept back for PB, that still leaves only 30-ish tickets to fight over, when a couple of thousand people looking to book (not all going for the Linbury of course) at 9-9.30am

A most enjoyable hour, has to be said. Even if a piece wasn't to your liking it was only around for 6-8 mins, so hardly a chore Cha-Cha and Tiara (Miguel Angel Maidana, Julia Conway; choreography Rentaro Nakaaki; ENB) Danced initially in silence, this was inspired by ballroom, but with a balletic twist. Certainly done with wit and charm - great fun Out of Breath (Alessandra Bramante, Joseph Taylor; ch George Liang; Nothern Ballet) Probably my favourite of the afternoon, a 'proper' sweeping, balletic pdd (to music 'Undone' by Olafur Arnalds) Other (Rebecca Bassett-Graham, Eileih Muir; ch Jordan James Bridge; Company Wayne McGregor) Perhaps the most striking piece of the set of 6, both women struck an almost scary aura in this excerpt from a slightly longer duet. I'd have said though, it was almost like 2 solos danced at the same time, though they did interact occasionally. Definitely McGregor inspired, but without any ugly shapes thrown. Would like to have seen the fuller 12 minutes Focal (Aitor Arrieta, Ashley Coupal; ch Breanna Foad; ENB) Australian dancer/choregrapher Breanna Ford 'created' most of this work in her head on flights between Australia and the UK. Cleverly using accapella voices of A Roomful of Teeth singing 'AEIOU' by Judd Greenstein, you can see each dancer responding to different elements of the voices Words to the Wind (Martin Diaz, Caspar Lench; ch Denilson Almeida; RB) Based on a theme of we all need friends (if I understood correctly) I'm afraid this didn't do it for me. At one point Caspar was asleep on his chair, and slid to the floor. I know how he felt Ax.One (Hannah Joseph, Elaini Koula Lalousis; ch Hannah Joseph; Company Wayne McGregor) Another striking piece from the Company Wayne McGregor camp. "Separate pathways and cognition, feed to a shared pathway". Hannah later described how it was so different choreographing when she herself was one of the dancers (having to use film of themselves to check it was going as she wanted). Whatever the method, was a hit for me The afternoon was introduced by the RB's Hannah Grennell who proved herself a witty and able presenter, using humour and self deprecation when an occasional mangle of a name occurred, but was generally clear and concise. I think she'd make a great double act with Kristen McNally for World Ballet Day one day 🙂

As an aside, I thought that four pieces of about 25 minutes each (give ot take), was just about perfect length for new works. That meant none overstayed their welcome, if you found one of them wasn't for you. Should the concept be repeated, I hope they keep the format of the timing, and the filmed intro, as it really worked for me

ahhh - the days (nights rather) of standing next the PA speakers at gigs, where the sound engineer thought they were at Wembley, rather than the back room of a pub, are long gone for me. As a result, the sound levels in dance theatres barely bother me - it's what they are belting out that causes consternation these days

fair comment - but I won't be one of those going to see it again, though I wouldn't dream of trying to stop, or discourage, those that do want to see it

perhaps lots of dancers off on holidays and/or guesting elsewhere, so they are currently assessing who is left at ROH this June 😉