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Royal Ballet booking period 1 - casting and pricing


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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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8 hours ago, alison said:

 

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

 

I don't think it does, really - surely there'd be a much better spread across the house, for one thing? - but I was trying to come up with alternative reasons.

 

 

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2 hours ago, oncnp said:

........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) marketing department.


The problem with the ROH (and possibly for the RB) is that all monies go to the umbrella body and not to the ballet company.

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10 hours ago, alison said:

 

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.


Which seats are we talking about, the Stalls Circle C12-16 and C97-101 area? 

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21 minutes ago, Rob S said:


Which seats are we talking about, the Stalls Circle C12-16 and C97-101 area? 

 

With the exception of the 21st Century Choreographers mixed bill, those Stalls Circle seats in the blocks next to the stage (C12-16 and C97-101) have been off sale for ballet performances for several years.  They're occasionally released for those operas which have smaller orchestras.

Edited by Bluebird
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16 hours ago, Dawnstar said:

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

Dawnstar the ROH box office have told me there is no decision on the availability of  packages for the Autumn season yet, pending confirmation of the Covid measures that may apply at the time. Apparently the website  hasn't been fully updated in this respect so what you have found may not be accurate for the Autumn. 

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2 hours ago, Rob S said:


Which seats are we talking about, the Stalls Circle C12-16 and C97-101 area? 

 

No, C22-26 and C87-91 are the greyed-out ones I've referring to. I'm well aware that the blocks nearest the stage have been rarely available & indeed rarely physically present for the last few years.

 

57 minutes ago, Richard LH said:

Dawnstar the ROH box office have told me there is no decision on the availability of  packages for the Autumn season yet, pending confirmation of the Covid measures that may apply at the time. Apparently the website  hasn't been fully updated in this respect so what you have found may not be accurate for the Autumn. 

 

Thanks for the info. I'll have to hope they decide to add in the seats I was able to book in a package in 2019.

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26 minutes ago, Dawnstar said:

 

No, C22-26 and C87-91 are the greyed-out ones I've referring to. 

 

C22-26 and C87-91 were, for many years, day seats and, in recent times, have only been available through Friday Rush. I imagine that they are greyed out because they will continue to be Friday Rush seats in the Autumn  The similarly priced Stalls Circle row C seats, which have usually been available to book in advance, are C17-21 and C92-96

 

Edited to add that, as I've written above, those seats were definitely included in the original Friday Rush allocation. If you've been able to buy them in advance, maybe the Friday Rush allocation has changed in more recent times?

Edited by Bluebird
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5 hours ago, Rob S said:


Which seats are we talking about, the Stalls Circle C12-16 and C97-101 area? 

 

 

There are quite a few in the Amphi and Slips (both upper and lower).

 

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3 hours ago, Bluebird said:

 

C22-26 and C87-91 were, for many years, day seats and, in recent times, have only been available through Friday Rush. I imagine that they are greyed out because they will continue to be Friday Rush seats in the Autumn  The similarly priced Stalls Circle row C seats, which have usually been available to book in advance, are C17-21 and C92-96

 

Edited to add that, as I've written above, those seats were definitely included in the original Friday Rush allocation. If you've been able to buy them in advance, maybe the Friday Rush allocation has changed in more recent times?

 

I'd fogotten so many seats were rush seats. Oh well, I suppose as I'm unemployed I might be able to try for rush seats this autumn! Though I prefer advance booking as it's less stressful (once you get the stress of the first booking day over, that is).

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  • 2 weeks later...

Sorry to revive this thread, but can anyone remember the exact running time for Giselle? I am thinking of doing the double on 27 November but last train home is just after 8pm. I have in my head that Giselle is two hours and therefore I'd have ample time, but don't want to get caught out! 

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59 minutes ago, RHowarth said:

Sorry to revive this thread, but can anyone remember the exact running time for Giselle? I am thinking of doing the double on 27 November but last train home is just after 8pm. I have in my head that Giselle is two hours and therefore I'd have ample time, but don't want to get caught out! 

Last time it was 130 minutes including 25 minute interval.

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30 minutes ago, Richard LH said:

Last time it was 130 minutes including 25 minute interval.

Thank you. My cast sheets are all packed away somewhere safe but inaccessible! 

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  • 3 weeks later...

 

On 16/06/2021 at 19:56, Lizbie1 said:

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.

 

On 16/06/2021 at 23:21, alison said:

 

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.

From ROH re. my query as to what the greyed-out seats represent....
 
"To answer your query, The seat price map is still in the process of updating the price map. What is up on our website are just a brief outlook for anyone that wants to get a rough idea at the moment.
 
Before the booking period opens in August, it should all be updated. Please keep an eye out on our websites then".
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51 minutes ago, Lizbie1 said:

I don't understand why they have published seat maps when the prices on them are still unconfirmed. It's a very strange thing to do.

 

I've been checking the seat maps regularly and each time I've found more seats greyed out.  I'd assumed that Patrons had been doing their booking and that, possibly, some blocks of seats had been assigned to agencies as availability has gradually diminished in the Stalls and the Grand Tier.  Also, some amphitheatre seats that originally showed as bookable are now greyed out as if they've been sold.  Maybe this is all part of the 'updating'?  Maybe these greyed out seats haven't been sold?  It's all very strange!

 

 

Edited by Bluebird
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  • 2 weeks later...
32 minutes ago, oncnp said:

Some of the seat maps (R&J at least) have been updated and it looks like there will be packages available

 

 

image.png.0461992c014701bd141dd7a8108808b5.png

 

 

And the ability to design your own Stalls.....I'm just off to get some fabric samples, paint swatches and a higher seat 🙂

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38 minutes ago, oncnp said:

Some of the seat maps (R&J at least) have been updated and it looks like there will be packages available

 

 

image.png.0461992c014701bd141dd7a8108808b5.png

 

 

So is this snippet alongside a seat all the information there is about packages? I can't find anything anywhere else.

 

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Nice to have a five day advantage over general release....although the idea that I'd have to see the Dante Project as many times as R&J/Giselle is a touch depressing!! I think I'll give up the 8% additional discount and just 'design my own'

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