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Royal Ballet booking period 1 (2021) - casting and pricing


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3 hours ago, Sim said:

Before the casting was announced, I was already imagining myself weeping at James Hay's Albrecht.  Now I am weeping because I won't be weeping at his Albrecht.  

 

Hay is not only a lovely dancer, but such an expressive actor, too.  Give the man a chance, Kevin....please!

 

Yes, there was an obvious opportunity to put him in last time around due to injuries, but it was missed :( 

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Checking out the R & J prices with fascinated horror. I know mixed bill prices are always cheaper but the difference between the £31 paid for last Sundays matinee (first row of the amphi, next to left centre aisle A49 and A50) and the whopping £91 asked for the same seat in R & J seems incredible, even allowing for pandemic inflation. Also, one of the seats I had was restricted legroom and the price for this seat is now just the same as the others whereas previously it was discounted. I assume the matinee cheaper prices that used to exist haven't returned. A stalls circle seat C80 I had for Cellist double bill was £34, same seat for R&J is £107!!! SC C78 and 79 for 2020 Onegin was £52, for R&J £107. These are seats I really like and use a lot but I certainly can't afford £107. Can't believe these prices and they'll affect the RB loyal supporters who often aren't the wealthiest patrons and who want to go to different casts, the most. Like many RB supporters I have to factor in £100+ for train and hotel fares before I've even bought one ticket so prices like these are going to curtail my balletgoing quite a bit. Has taken a bit of a shine off my excitement about the new seasons dates and casting.

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6 hours ago, Pulcinella said:


There was a 12.00 performance on a Friday in June 2019 of the triple bill Firebird/Month in the Country/Symphony in C. It caused me all sorts of problems working out how I was going to get to London to see it without spending a fortune.

Yes it costs a fortune to get to London early on a weekday! I remember I actually travelled down on the Thursday and stayed overnight as, even including the hotel, it was cheaper than travelling on the Friday morning.

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32 minutes ago, jmhopton said:

Checking out the R & J prices with fascinated horror. I know mixed bill prices are always cheaper but the difference between the £31 paid for last Sundays matinee (first row of the amphi, next to left centre aisle A49 and A50) and the whopping £91 asked for the same seat in R & J seems incredible, even allowing for pandemic inflation. Also, one of the seats I had was restricted legroom and the price for this seat is now just the same as the others whereas previously it was discounted. I assume the matinee cheaper prices that used to exist haven't returned. A stalls circle seat C80 I had for Cellist double bill was £34, same seat for R&J is £107!!! SC C78 and 79 for 2020 Onegin was £52, for R&J £107. These are seats I really like and use a lot but I certainly can't afford £107. Can't believe these prices and they'll affect the RB loyal supporters who often aren't the wealthiest patrons and who want to go to different casts, the most. Like many RB supporters I have to factor in £100+ for train and hotel fares before I've even bought one ticket so prices like these are going to curtail my balletgoing quite a bit. Has taken a bit of a shine off my excitement about the new seasons dates and casting.

 

I think I'd forgotten how high the R&J prices were last time around because when I looked at the prices yesterday I was shocked at how high they were then checked my tickets from the last run & found that, while they had risen, it was by a few pounds only. I suppose I'm fortunate compared to some in that I only have to find £20 or so train fare on top of the ticket price for each visit but, not having had any income for almost a year since a few months of furlough ended last July, ticket costs are definitely going to be an issue. I still haven't decided if I can justify over £100 to renew my Friends' Membership, given I did renew for this past season & then ended up not being able to attend a single live performance so it was a complete waste of £105!

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14 minutes ago, Dawnstar said:

 

I think I'd forgotten how high the R&J prices were last time around because when I looked at the prices yesterday I was shocked at how high they were then checked my tickets from the last run & found that, while they had risen, it was by a few pounds only. I suppose I'm fortunate compared to some in that I only have to find £20 or so train fare on top of the ticket price for each visit but, not having had any income for almost a year since a few months of furlough ended last July, ticket costs are definitely going to be an issue. I still haven't decided if I can justify over £100 to renew my Friends' Membership, given I did renew for this past season & then ended up not being able to attend a single live performance so it was a complete waste of £105!

I wouldn't say it was a complete waste, Dawnstar.  Your money has helped the ROH in a time of dire need, irrespective of whether you have been able to see performances...so well done you!

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I've got to keep posting to get to the next level though not sure if I fancy being a 'Veteran'. Sounds rather old!

 

I worked out that if I can find any tickets I can actually afford I can see Vadim/Naghdi  R&J 22nd Oct, Kaneko/Bracewell mat on 23rd Oct and Hayward/Coralles that evening. It would mean a 2 night stay but 3 performances and only one lot of travel expenses. Later on I could go to the Friends Nutcracker rehearsal 23rd November and see Vadim in Nutcracker in the evening (also O'Sullivan/Hay!) It would have to be an overnight stay and I could see Lamb/Sambe in a Giselle matinee the next day. If I'm feeling strong enough I might manage an early start Sat 27th Nov to see Morera/Hirano Giselle at 11.30 and Hayward/Campbell at 5pm and even get home the same day. I'd love to see O'Sullivan/Sambe in Nutcracker but don't know how practical it will be to attend a matinee on Christmas Eve with the travelling. I'd also love to see Stock/Sissens in Nutcracker but they're not doing a matinee. I suspect a lot of it will be wishful thinking!!

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I think that looking at the age profile of the female principal dancers makes it rather clear why we start the 2021-22 season with eleven female dancers of that rank . Management knows that the most senior of those dancers are unlikely to be there for many more seasons and whether those dancers end their careers having a planned retirement at the end of a specific season, an enforced one through injury or begin to wind down their careers by gradually dropping the full range of their current repertory is in the lap of the gods. Whatever happens the company will need to have dancers who are ready to take over from their long serving colleagues when the time comes. I am sure that management knows that it is preferable to prepare and plan for this sort of generational change by enabling the successor principals to acquire repertory at a steady pace rather than in a rush. Kevin clearly does not want a repeat of the Polunin incident which it has been suggested was caused in part by him being required to learn a lot of new roles in a very short space of time.

 

Sibley  has said that years ago when Fonteyn was the company's leading ballerina she was the only dancer permitted to dance the full range of the classical ballets then in the company's active repertory everyone else was only allowed to dance a limited number of them. My recollection is that the ballets selected for each dancer were  ones which played to their artistic strengths and showed them to best advantage. The extent to which this was true only became clear years later when the system broke down and senior dancers began performing a wider range of the repertory. At that point it became clear that some of the dancers would have been wise not to have enlarged their repertory and should have recognised that  not every dancer is capable of performing every repertory piece with equal artistic effectiveness. I sometimes wish that repertory restrictions comparable to those of sixty years ago were in place today as they might save us from quite so many lengthy runs of individual ballets.

 

Now while I think that there are always far too many performances of Romeo and Juliet and Nutcracker when they are programmed in an ordinary season I recognise that this season,after so much enforced inactivity, is one in which the Board will expect the company to generate as much income as it can. Given that so many dancers when asked why they chose to join the company express a burning desire to dance  MacMillan's ballets and in particular one or other of his dram ballets I fear that it would be virtually impossible to prevent Miss X or Miss Y from giving us her Juliet or Mr Z from giving us his Romeo without dire consequences for the company's artistic health. Sadly today it would be all but impossible for management to restrict the repertory of most principal dancers unless a right's owner did not want them in a particular role. The result is that  it is all but impossible to escape from the mono-programming of unbroken blocks of one or other of MacMillan's cash cows or the Petipa ones. 

 

When it comes to guesting I somehow think that any company which wished to retain the services of dancers of the calibre of Muntagirov and Nunez would find it almost impossible to do so without permitting them to guest with other companies. Guesting for those who wish to do so is part of the world of ballet today. I seem to recall it being suggested that one of the reasons for Muntagirov's move to Covent Garden was that the new management at ENB was less liberal in its attitude towards him guesting than its predecessor had been. I think we need to recognise that the fact that some eminent dancers choose to guest with other companies raises the profile of the RB and actually enables more junior dancers to appear in leading roles at a much earlier stage in their careers than would be possible if everyone was tied to Covent Garden throughout the season. In the absence of a second company where dancers can learn their trade in relative obscurity the performance opportunities provided by the absence of senior dancers  actually benefits the company by ensuring that not every dancer is trapped by their company ranking.

 

As far as the two productions of Romeo and Juliet are concerned they do have minor differences most of which are connected with the adaptations made to the main company's production when the Royal Opera House was being redeveloped and the company was appearing at the Festival Hall. BRB actually retains more of the stage detail for example Juliet's bedroom still has its prie dieu and the modifications which were made were authorised by MacMillan and intended to make the work easier to tour. The changes made to the main company's production have not been reversed now it is back performing on its home stage. It is as if Lady M. has not noticed that the changes made to the sets to enable the ballet to be performed on the South Bank have reduced  the emotional impact of the ballet at key points of the action or make a nonsense of it. Here are the most obvious obvious examples of the changes which have not been reversed. 

 

Juliet now enters the stage at the beginning the Balcony pas de deux by coming down the well lit central stairs when she used to come down the less well lit stairs at the side of the balcony. That entrance from the side somehow prevented the audience from asking why Romeo does not simply follow her at the end of the pas de deux  rather than doing all that yearning at the end of the scene. Another change relates to the loss of the window in Juliet's bedroom. In the original staging Romeo used to leave his wife through a very visible window. In its absence Juliet's frantic dash across the stage during the course of her second pas de deux with Paris has lost its emotional  impact because it is no longer clear what she is threatening to do. In the absence of a visible window there is no evidence of her desperation because it no longer involves the threat of suicide. In the tomb scene the solemn candle lit procession does not work as it once did because the procession does not apparently enter from the top of the set. Another problem is that the body of Tybalt seems to have disappeared. Originally Tybalt was laid out on a slab and when Juliet woke from her drugged sleep she used to  back towards the slab, bang into it and recoil in horror. It is a bit of stage business intended to remind the audience of the play text in which she describes the horrors that await her in the family tomb. In this it is comparable to the holy palmer's greeting in the pas de deux which Romeo and Juliet dance during the first act before his identity is revealed. Today in the tomb Juliet still walks backwards and recoils in horror at Tybalt's non existent tomb which was removed for purely pragmatic reasons and has not been restored. Minor losses but like some of the changes imposed on Ashton's ballets through redesigns changes which make the choreographer look less than competent. 

 

As far as the casting is concerned some of the casts are tempting others less so and a few are definitely no go areas. It is good to have plenty of time to think about minor details such as seat prices. When the annual financial report for the 2019-20 season was published I was amazed by how much the marketing department  costs to run. If I was looking to save the ROH some money that would be the first place I would  make cuts because it seems so useless at its basic function. I should be very interested to see whether their knowledge of their audience was any batter than their knowledge of the repertory and how to publicise it. Perhaps someone working in that department should invest in a Thesaurus as I think that they have rather overworked the word "excited".

 

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5 hours ago, Sim said:

Before the casting was announced, I was already imagining myself weeping at James Hay's Albrecht.  Now I am weeping because I won't be weeping at his Albrecht.  

 

Hay is not only a lovely dancer, but such an expressive actor, too.  Give the man a chance, Kevin....please!

 

And those eyes .... THOSE EYES ... have a world of character richness in them ... 

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37 minutes ago, Sim said:

I wouldn't say it was a complete waste, Dawnstar.  Your money has helped the ROH in a time of dire need, irrespective of whether you have been able to see performances...so well done you!

 

I meant I didn't get anything out of it - obviously the ROH did! Given their income is many, many times greater than mine, I'm not sure their need is greater!

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10 minutes ago, bangorballetboy said:

 

Well they need to raise £65,000,000 over 2 years to survive.

Not doubting just curious - source? 

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56 minutes ago, jmhopton said:

If I'm feeling strong enough I might manage an early start Sat 27th Nov to see Morera/Hirano Giselle at 11.30 and Hayward/Campbell at 5pm and even get home the same day


It’s great planning visits to maximise performances for nights away. I too rather like 27th November but was astonished to find there isn’t a train home despite the 5pm start. The last train on Saturdays seems to be 18:30!

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Blimey surely that’s a huge price hike, over £70 towards the back of the amphi. Whilst I appreciate that they need to increase revenue I also believe that after such an enormous injection from us tax payers they have a responsibility to remain accessible to the less well well off and families etc

looks like I’ll be checking out the offering from ENB and BRB!

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1 hour ago, Dawnstar said:

 

, not having had any income for almost a year since a few months of furlough ended last July, ticket costs are definitely going to be an issue. I still haven't decided if I can justify over £100 to renew my Friends' Membership, given I did renew for this past season & then ended up not being able to attend a single live performance so it was a complete waste of £105!


C’mon Dawnstar…consider the feelings of people with considerably greater disposable income than you before you start spouting this kind of thing!! 😉

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1 hour ago, bangorballetboy said:

 

Well they need to raise £65,000,000 over 2 years to survive.

 

Hence £105 is nothing to them, whereas to me it's quite a lot!

 

24 minutes ago, Rob S said:


C’mon Dawnstar…consider the feelings of people with considerably greater disposable income than you before you start spouting this kind of thing!! 😉

 

I'm sorry, I'm afraid I don't understand this.

 

While on the subject of ticket prices, having rummaged around on the ROH website in search of package booking details for next season, I'm disappointed to find this information "Packages are available in the Orchestra Stalls (Rows F-P Centre), the Stalls Circle (Row A Centre) and the Amphitheatre (Rows B-F Centre, B-E sides)." at https://www.roh.org.uk/visit/tickets/advance-booking-packages In the last full season I was able to book a couple of packages including seats at the outermost edges of the stalls, which as they were cheaper anyway plus the package discount got them down to a price I could just about manage. I can neither afford nor want to sit in stalls rows F-P. It also looks as if the 2 outermost seats in the first few rows of the stalls side blocks are now the same price as the next few seats in rather whereas if I recall correctly in the 2019/20 season they were at a slightly lower price.

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11 hours ago, Richard LH said:

Is this still the case Lizbie? They seem to be loading fine for me, and it's great to be able  immediately to see all the seats for each performance with filters for date, seat price and type,  and views of/from all the seats in advance of booking. Fingers crossed that it all works well at booking. 

 

Yes, still the case! But it sounds like it's just me so I'll try again another time (I'm away from home this week).

Edited by Lizbie1
typo!
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8 minutes ago, Dawnstar said:

 

Hence £105 is nothing to them, whereas to me it's quite a lot!

 


All those £105s certainly add up.

 

No-one here would think less of anyone who didn’t renew a friends membership because of their finances but please don’t say it’s worthless or a waste of money. £105 is two hours fees for a member of the ROH orchestra, for example.

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5 hours ago, Sim said:

But it is a fiendish pdd, and they have to wait for two hours to come on and do it, with no warm up onstage and time to get into the flow of the whole.  Most ballerinas I have spoken to about this all say how difficult it is.  So I think the ******all they have done for the previous two hours is more than made up for in the 15-20 minutes they are on.  

Maybe my posting needed a bit of context. Whilst at RB she had danced a lot of roles in The Nutcracker but never TSPF. At BRB she finally got to dance this role. In no way was she belittling the difficulty of the role. It was just rather nice to get the applause at the end.

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1 minute ago, bangorballetboy said:


All those £105s certainly add up.

 

No-one here would think less of anyone who didn’t renew a friends membership because of their finances but please don’t say it’s worthless or a waste of money. £105 is two hours fees for a member of the ROH orchestra, for example.

 

I'm not saying it is in general, just that is has been for me in the last year because I've been unable to attend any of the few performances there have been hence priority booking, which is the reason I decided to try getting Friends' Membership, was irrelevent for me. I haven't had much luck with Friends' Membership all round really. The first year I got it was 2019/20 so lost a quarter of that season & then 2020/21. So I've not yet had a full season's value of Friends' Membership in 2 attempts!

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1 minute ago, capybara said:

 

When and where did he mention the £65m, please?


can’t find it at the moment but it was around the time of the auction of the Hockney. I recall then asking the development office whether the proceeds of that sale would go towards that requirement (yes) and the same for the requested government support (no).

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2 hours ago, FLOSS said:

 Whatever happens the company will need to have dancers who are ready to take over from their long serving colleagues when the time comes. I am sure that management knows that it is preferable to prepare and plan for this sort of generational change by enabling the successor principals to acquire repertory at a steady pace rather than in a rush. 

 

 

I agree with this but surely you don't have to be a principal to be given certain roles? We saw lots of first soloists (notably Kaneko, O'Sullivan, Magri) given 'principal' roles pre-lockdown. Admittedly they have now all been promoted but surely they didn't have to be promoted just because they had successfully performed those roles? I dare say I'm in the (unpopular?) camp of thinking there probably are too many principals at the moment. Every dancer is unique and special and lots of first soloists and others should be given opportunities but being a principal should be a small elite. 

 

 

2 hours ago, FLOSS said:

 

My recollection is that the ballets selected for each dancer were  ones which played to their artistic strengths and showed them to best advantage. The extent to which this was true only became clear years later when the system broke down and senior dancers began performing a wider range of the repertory. At that point it became clear that some of the dancers would have been wise not to have enlarged their repertory and should have recognised that  not every dancer is capable of performing every repertory piece with equal artistic effectiveness. I sometimes wish that repertory restrictions comparable to those of sixty years ago were in place today as they might save us from quite so many lengthy runs of individual ballets.

 

 

I agree with this - just because you're a 'principal' it shouldn't necessarily mean you get a go at every ballet going and equally roles shouldn't only be restricted to principals. I understand it may be frustrating for principals not to be given opportunity to dance everything but this may partially stem from the trend to do fewer ballets with longer runs as you say, if there was more variety this may somewhat alleviate the problem (if not solve it, if you have a dancer desperate to dance something to expand their repertoire I imagine it's hard to say no). But I don't think anyone expects any dancer to be able to dance everything surely? I can think of a few of the current principals who are sublime in some roles and a 'must see', but who I wouldn't book for in others? 

 

And @FLOSS thanks also for a very insightful post on the differences between R&J! 

 

3 hours ago, jmhopton said:

Checking out the R & J prices with fascinated horror.

 

Fully agree with this...I was initially really shocked at the prices for both R&J and Nutcracker, and the more I look at it the more dismayed I am. I know ballets are expensive to perform, I want the staff to be paid well and fairly and appreciate at the end of the day me doing to see ballet is a luxury rather than a necessity on one level. 

 

On another level it feels like ROH is just essentially prohibiting people who earn a certain wage from seeing certain ballets. Ok sure, you could go and see the Dante Project but I don't think that's really fair. Particularly when you think of the Nutcracker which stereotypically/traditionally would be a big family event - for a family of 3 or 4 this would set you back potentially £100s for not even particularly great seats (in my opinion), not factoring in additional transportation and other costs. 

 

Wages haven't gone up on the whole, yes I know ROH needs money to survive and we know tickets probably will sell out but these prices are exactly why people think ballet/opera are elitist, I remember convincing lots of friends that ROH was relatively open to all and saying the tickets were 'affordable' on par with a meal out (nice but not 5*) or family day trip cost equivalent - yes a special 'treat' but in reach if you really wanted to go. It doesn't really feel like that now, to me at least.

 

Edited by JNC
clarifying sentence at end
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About ticket prices for R&J: my usual band has gone from £21 in 2019 to £27, which is rather a long way ahead of inflation.

 

I'm also curious (concerned?) about the number of greyed out seats in the lower price bands - quite a high proportion compared to the stalls and so on. I wonder what they have in mind for them. It could signify that they're being held back for General, or perhaps they are meant for a quota filling initiative?  If it's the latter I think quite a few regulars will lose out, as the greyed out seats are rather concentrated in areas where they often sit.

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11 hours ago, Candleque said:

 
Naghdi/Muntagirov seem perfect for Giselle. Muntagirov can do anything for sure, but he doesn't feel like an impetuous Romeo to me. But maybe Ball will play Tybalt in their show, which would be cool 🤺

 

I have to admit I initially thought the same! But then though to the sort of youthful charm he brought to A Month in the Country and also parts of him in Swan Lake as well as sort of 'silly' and 'naive' and slightly rash (in a good way!). In my mind he wouldn't be a dark and violent Romeo but more a genuine young and pure 'first love' but with a tendency to act before he thinks getting him into trouble unwittingly! 

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As to casting! I'm a bit underwhelmed really: only three casts apiece in R&J and Giselle have really caught my eye, though I love Giselle so much I'll probably see a few more regardless.

 

In view of my comments about pricing, though, that may be a good thing!

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19 minutes ago, JNC said:

 

I have to admit I initially thought the same! But then though to the sort of youthful charm he brought to A Month in the Country and also parts of him in Swan Lake as well as sort of 'silly' and 'naive' and slightly rash (in a good way!). In my mind he wouldn't be a dark and violent Romeo but more a genuine young and pure 'first love' but with a tendency to act before he thinks getting him into trouble unwittingly! 

 

This is interesting because there are many Forum members who haven't seen Muntagirov' s Romeo although it's 'been around' in one guise or another for quite a while.

He first danced it with the RB in the autumn of 2015 (with Sarah Lamb after Natalia Osipova returned unwell/injured to Russia). [@saodan will be able to tell us when his subsequent R&Js with the RB were but IIRC they were also with Sarah.] In addition, he danced both the Nureyev and Derek Deane (in-the-round) versions with ENB, the first in 2010, the second in 2014.

The fact that this year's line up is offering us a Naghdi/Muntagirov option is one of the big casting plusses of the autumn for me.

Later in the season, if he is not cast (and filmed) in 'Month' with Anna Rose O'Sullivan as Vera, I will................!!!!!

 

 

 

Edited by capybara
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Dawnstar I believe RobS was being ironic in his post ...so it’s okay for you to moan a bit about an organisation like ROH having greater income /resources than yourself because you’ve also had a tough year financially speaking not just them. 
Bruce Wall I once had a very good seat in the stalls ( happens about once every two years or so) and have never forgotten James Hay’s eyes. 
Would love to see him do Romeo or Albrecht .....then might be tempted to go for another Stalls seat and hang the price!! 

Edited by LinMM
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54 minutes ago, Lizbie1 said:

About ticket prices for R&J: my usual band has gone from £21 in 2019 to £27, which is rather a long way ahead of inflation.

 

I'm also curious (concerned?) about the number of greyed out seats in the lower price bands - quite a high proportion compared to the stalls and so on. I wonder what they have in mind for them. It could signify that they're being held back for General, or perhaps they are meant for a quota filling initiative?  If it's the latter I think quite a few regulars will lose out, as the greyed out seats are rather concentrated in areas where they often sit.

 

That's a big price jump as a proportion of the total seat price.

 

Yes, I'm eyeing up the lack of row C side stalls circle seats with concern. 5 out of the 10 seats on each side of the auditorium are greyed out. That's where I usually sit for the higher-priced programmes both for opera & ballet so with availability cut in half it's not looking good.

 

I've also noticed, looking at opera at well as ballet pricing, that those row C side stalls circle seats that are £63 for R&J are £59 for Traviata. Given the top price seats for the respective pieces are £135 and £225 it seems strange for lower-priced seats to be more expensive the other way around. I would expect the prices for all seats to increase proportionately Especially considering they are restricted view & a restricted view is more detrimental for ballet than opera, as you can at least hear the singers even when you can't see them whereas when you can't see the dancers there's nothing.

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2 hours ago, Dawnstar said:

I've also noticed, looking at opera at well as ballet pricing, that those row C side stalls circle seats that are £63 for R&J are £59 for Traviata.

 

There were similar complaints last run, for the same seats, I think.

 

Would it make sense for the greyed-out seats to be those held back for public booking?  I haven't looked yet.

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11 hours ago, bangorballetboy said:


All those £105s certainly add up.

 

No-one here would think less of anyone who didn’t renew a friends membership because of their finances but please don’t say it’s worthless or a waste of money. £105 is two hours fees for a member of the ROH orchestra, for example.

I really like this kind of personalized analysis that shows what contributions can "buy". The ROH doesn't do enough (or any) of it.  It would encourage me to increase my membership except.....

 

........in skimming the annual report that  £105  also paid for 20 additional people in the marketing department taking the total to 111 a/o 30  Aug 20. By comparison the ballet company lost 3 people for a total of 143 (Annual Report, pg 82). 

 

More than happy to contribute to the ballet but not to a bloated and (completely agreeing with FLOSS here) useless marketing department.  Like many, I increased my membership this year to help out the company and now can see it was a waste of money.  'Won't make that mistake again. 

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