Royal Opera House booking period 1 experiences

[San Perregrino]

44 minutes ago, Bruce Wall said:

Obviously the 'holding some back' in their specific regard is now a thing of the past ... Surprised at many (of what I would have thought of as key/popular) performances with a substantive amount left to be sold.  .

both the Dante Insight and the Ashton evening had tickets held back until today. Showing as unavailable until this morning I was able to purchase with no problem 

[Rob S]

6 minutes ago, alison said:

I don't know, Rob, I was wondering that too.  I've spent far more than I normally would - but then have also booked far more tickets than normal as well, so it's not surprising.  What was surprising was the number of standing places still available.

 

I've basically just booked loads of dates at random, with no consideration of how they'll fit together, but I couldn't get my head round where all the dates were in relation to each other.  Should perhaps have used a spreadsheet or something.  And I've booked "only" 9 casts for R&J, and that left several out!

 

I know what you mean, I had written a ridiculously optimistic list of possible dates to look for last night knowing that if I couldn't get SCS then I'd only get an O'Sullivan R&J and make do with the six places from my package wallet buster of last week. I ended up getting 19 places including Ed Watson's farewell.

[zxDaveM]

4 minutes ago, prs59 said:

both the Dante Insight and the Ashton evening had tickets held back until today. Showing as unavailable until this morning I was able to purchase with no problem 

 

yes, same here; though Bruce's point about the 'master class' (or 'in rehearsal' if you prefer) still valid it seems

[Dawnstar]

1 hour ago, zxDaveM said:

Straight forward for me too - even for the Insights I was aiming at. Which was nice.

Should Covid interefere, I can't imagine they won't fully refund

 

I'm not worried about the performances being cancelled due to covid, since then they obviously will refund, but if the performances go ahead but the covid rates are too high for me to feel I can go then I'll probably lose my money.

 

1 hour ago, zxDaveM said:

Whilst I agree with that sentiment, they are obviously trying to refill the coffers. I'm just glad they didn't add Swan Lake into this booking period as well!! lol

 

If I've read the website correctly, Swan Lake is the only mainstage ballet production in the second booking period. I'm therefore wondering how that's going to work with package booking?

 

40 minutes ago, alison said:

I've basically just booked loads of dates at random, with no consideration of how they'll fit together, but I couldn't get my head round where all the dates were in relation to each other.  Should perhaps have used a spreadsheet or something.  And I've booked "only" 9 casts for R&J, and that left several out!

 

The thing that I found kind of odd to get my head around was completely reversing my usual days of the week booking policy. Under normal circumstances I try to book Friday or Saturday performances as much as possible, so I'm not staggering into work the next day shattered having had under 6 hours' sleep. However this time I've booked all Monday-Thursday performances in the hope the Covent Garden area & the late night trains home will be slightly less busy on those days than at weekends. I've only booked 4 R&J casts, split between 2 in October & 2 in February, & still feel I'm pushing it under the covid circumstances. I do wish they'd announce Mercutio & Tybalt casting in advance. I hope it doesn't work out like last time when I saw 5 Romeos & Juliets but only 2 Mercutios.

[Rob S]

6 minutes ago, Dawnstar said:

 

I'm not worried about the performances being cancelled due to covid, since then they obviously will refund, but if the performances go ahead but the covid rates are too high for me to feel I can go then I'll probably lose my money.

 

Hopefully the returns policy is the same as it was for the last performances and you’ll instantly get a credit note 

[Dawnstar]

2 minutes ago, Rob S said:

Hopefully the returns policy is the same as it was for the last performances and you’ll instantly get a credit note 

 

I haven't had to deal with returning any tickets since when the last part of the 2019/20 season was cancelled so I'm not that au fait with their current policy. I'm going by the pre-covid policy, where you'd only get a refund if the seat you returned was re-sold & thinking that if I return a seat because the covid rates are too high for me to feel safe going then probably demand will be lower so returns less likely to re-sell.

[Bruce Wall]

2 minutes ago, Dawnstar said:

 

I haven't had to deal with returning any tickets since when the last part of the 2019/20 season was cancelled so I'm not that au fait with their current policy. I'm going by the pre-covid policy, where you'd only get a refund if the seat you returned was re-sold & thinking that if I return a seat because the covid rates are too high for me to feel safe going then probably demand will be lower so returns less likely to re-sell.

 

I believe the ROH has stopped the re-selling policy and that the gift vouchers are the only option.  This is in line I believe with several other not-for-profit/subsidised houses.  

 

[Rob S]

5 minutes ago, Dawnstar said:

 

I haven't had to deal with returning any tickets since when the last part of the 2019/20 season was cancelled so I'm not that au fait with their current policy. I'm going by the pre-covid policy, where you'd only get a refund if the seat you returned was re-sold & thinking that if I return a seat because the covid rates are too high for me to feel safe going then probably demand will be lower so returns less likely to re-sell.

It is still showing this as the policy:

If you cannot come to the theatre due to Covid-19, you can exchange your ticket or tickets for a gift certificate up to 24 hours before a performance.

 

[Guest oncnp]

11 minutes ago, Bruce Wall said:

 

I believe the ROH has stopped the re-selling policy and that the gift vouchers are the only option.  This is in line I believe with several other not-for-profit/subsidised houses.  

 

 

Resale is still on but

 

Returned tickets are sold subject to customer demand and only if there are no more tickets available in that part of the theatre or in that price band.

 

https://www.roh.org.uk/about/ticket-refunds

Edited August 24, 2021 by oncnp

[LinMM]

Well first booking went through for Dante Project no hitch at all. 
However when trying to book for the Kaneko Bracewell R &J I booked the seat but decided to remove the £3 donation ...which I did keep in for Dante...but then when proceed to checkout it tells me I’ve one item in basket and total owed is £3!!! 
So daren’t go any further in case I’m just donating £3 with NO ticket purchase. 
I don’t know how to change it so am letting this time out as I write but has anyone else had this happen 🤔 
 

[LinMM]

All very curious! 
I went back in just to see if situation was the same but this time there was a place to remove item again (£3) so now nothing in the basket. 
I went back to the original seat which was still available ....so thought I was doing a completely new booking ....and it came up but with the £3 removed and said I had 8 mins left to book!! 
Anyway it’s done and sitting in one of my two favourite seats in the Balcony in row D so a pretty eye watering price but am only going four times or will be only four if I book the Nutcracker ....so about to dive in again...when I’ve made my mind up as to which one!!! 

[alison]

1 hour ago, oncnp said:

 

Resale is still on but

 

Returned tickets are sold subject to customer demand and only if there are no more tickets available in that part of the theatre or in that price band.

 

https://www.roh.org.uk/about/ticket-refunds

 

That's always been how it is, in theory at least.  In the amphitheatre, it doesn't tend to make much difference, since the areas are all pretty small, and spaced apart.  So for instance if you return a "Band D" central seat that may be different from a "Band D" side seat (which will probably be closer to the stage, but off to one side) - some people will happily take a side seat to be nearer to the stage.  It's basically so that if they have a whole chunk of e.g. Orchestra Stalls seats still available they may not put others up for resale until those have sold.

[Lizbie1]

1 hour ago, LinMM said:

Well first booking went through for Dante Project no hitch at all. 
However when trying to book for the Kaneko Bracewell R &J I booked the seat but decided to remove the £3 donation ...which I did keep in for Dante...but then when proceed to checkout it tells me I’ve one item in basket and total owed is £3!!! 
So daren’t go any further in case I’m just donating £3 with NO ticket purchase. 
I don’t know how to change it so am letting this time out as I write but has anyone else had this happen 🤔 
 

 

I must say I always resent that the £3 donation is just put in the basket automatically - when it comes as an option later in the process, as it does with many other venues, I'm more inclined to include it. I always remove the ROH one on principle - I wonder how many others feel the same.

 

On the other hand I remain impressed that the ROH doesn't charge a booking fee.  Maybe if during the check-out end of the booking process they were to present the £3 donation as something that helps them to retain that policy, it might persuade a few people to cough up?

Edited August 24, 2021 by Lizbie1
muddled principles!

[HopelessMummy]

Delighted to have secured my tickets for R&J.

 

Does anyone have any views as to the best seats in the house? I see there's a bit of a debate between the Donald whatsit grand circle or stalls circle? 

[Meetmeatthebarre]

Really painless today, and delighted to have gotten tickets for all of the "Dance with the Royal Ballet" participatory workshops (I'll be giving the "Sing with" a miss for now) - pre-COVID I'd be checking for returns 10-20 times each session!

 

Ouch at the price hikes for the side front amphi - my usual preferred seats - but managed to snap up SCS for almost all the performances I wanted instead, which actually works out better. 

 

I only wish that the Shopping Basket would (a) display the bookings chronologically (as they do in the confirmation emails) and (b) state the principal cast next to the date to make it easier to finalise an order before paying. But overall, I'm pleased.

[Lizbie1]

2 minutes ago, Meetmeatthebarre said:

 

Ouch at the price hikes for the side front amphi 

 

 

Agreed! For my seats Giselle has gone from £14 (£12 for the matinee!) in 2018 to £21, and Romeo and Juliet from £21 in 2019 to £27.

[alison]

I'm afraid I turned up my nose at what was left of the formerly "cheap" side amphi seats.  I thought "if you're expecting me to pay that much then I'm not sitting in any of those seats"!

[Lizbie1]

2 minutes ago, alison said:

I'm afraid I turned up my nose at what was left of the formerly "cheap" side amphi seats.  I thought "if you're expecting me to pay that much then I'm not sitting in any of those seats"!

 

It's difficult to say this without sounding like a snob, but here goes!

 

Of course I pay more attention to them, but it's hard to escape the conclusion that these seats have seen above average price hikes over successive seasons now - they felt like an insider's secret, if you like, but that's being eroded. 

 

I wonder if ROH always knew that they were relatively good value and thought having (in my experience - and I don't include myself!) a very knowledgeable bunch of regulars sitting there worth any potentially lost revenue. If that was part of the equation, there is less weight being put on it now, which I think is a great shame, and not just because I'm paying more as a result!

[Beryl H]

1. I can't remember the circumstances but it was last week's Friends booking, I usually omit the £3 but obviously didn't as I got thanked for it, perhaps you have to be more careful now!

 

2. I was firmly under the impression that you can get a Gift Certificate if you notify them within 24 hours, but on the day they don't try to resell tickets. This actually happened a few weeks ago for a seat that I was sure could be resold. I will be happy if they have re-instated this service.

[JNC]

31 minutes ago, Beryl H said:

I was firmly under the impression that you can get a Gift Certificate if you notify them within 24 hours, but on the day they don't try to resell tickets. This actually happened a few weeks ago for a seat that I was sure could be resold. I will be happy if they have re-instated this service.

I think they have since updated the website, last time I checked this appeared to be the policy across the board (covid or not).

 

Now it seems that this is the policy for covid positive/isolation only (would they request proof I wonder, also for covid particularly 24 hours notice seems a bit harsh considering you may only test positive the morning of a performance for example) and they have reverted to the previous policy mentioned above of selling tickets only if none are available in that band, with no guarantee of resell and the £4 admin charge if resold. 
 

https://www.roh.org.uk/about/ticket-refunds

 

I do still think this policy is quite fair all things considered, if it’s a popular performance it will resell, and if not ROH doesn’t lose money. The £4 admin fee isn’t terrible considering things like original booking fees etc aren’t charged, but equally it can be an incentive not to perhaps bother returning the cheaper SCS tickets which would then not allow someone else to attend a performance. But that’s where I find this forum excels by ensuring ticket purchasers don’t financially lose out, and making sure tickets go to a good home and are appreciated! 

[Anna C]

2 hours ago, HopelessMummy said:

Delighted to have secured my tickets for R&J.

 

Does anyone have any views as to the best seats in the house? I see there's a bit of a debate between the Donald whatsit grand circle or stalls circle? 

 

Depends what you’re going to see, IMO - Swan Lake and other ballets with lots of scenes for the corps are wonderful from Donald Gordon, on the basis that you can see the patterns made by the corps from above but you can still see the details/faces fairly well.

 

For ballets like R&J/Onegin/A Month in the Country where there is a lot of drama and acting, I prefer Stalls Circle.

 

Bear in mind that you’ll get restricted views in both areas if you are very far round to either side near the stage.  

[WoodlandGladeFairy]

Had a very good experience booking tickets this morning to see Yasmine Naghdi and Vadim Muntagirov in Romeo and Juliet, even got our usual seats.

 

This will be my second time seeing it live, saw it with Lauren Cuthbertson and Federico Bonelli in 2015, so it is nice to revisit it and looking at the cast sheet from then, Yasmine Naghdi was one of Juliet's friends.

 

Be lovely to go watch live ballet again, was all set to see Swan Lake last year and then the pandemic intervened, so fingers crossed all goes well this autumn.

[alison]

2 hours ago, JNC said:

I do still think this policy is quite fair all things considered, if it’s a popular performance it will resell, and if not ROH doesn’t lose money. The £4 admin fee isn’t terrible considering things like original booking fees etc aren’t charged, but equally it can be an incentive not to perhaps bother returning the cheaper SCS tickets which would then not allow someone else to attend a performance. But that’s where I find this forum excels by ensuring ticket purchasers don’t financially lose out, and making sure tickets go to a good home and are appreciated! 

 

Except that it can cost more than the price of some of the cheapest tickets, which means there's absolutely no incentive to return them.  On the odd occasion I've had an amphi standing ticket and needed to find a home for it, I've very rarely been able to do so.

[LianneEva]

Hi all - I'm a brand new member making my posting debut!
I specifically wanted to post here to ask whether anyone has any knowledge about the Insights / Rehearsal event on the 29th Oct. I was very keen to book (and managed to get seats!) as I adore the RB and the event takes place on my birthday. I'd initially assumed this would be Giselle-related by looking at the dates, but now I'm not sure. Does anyone know what is being rehearsed? 

 

As for performances, I'm very happy to be going to see the Hayward / Corrales Romeo and Juliet on the 23rd, and Osipova / Clarke's Giselle on 12th Nov. Very excited about both!

[Bruce Wall]

2 hours ago, JNC said:

I think they have since updated the website, last time I checked this appeared to be the policy across the board (covid or not).

 

Now it seems that this is the policy for covid positive/isolation only (would they request proof I wonder, also for covid particularly 24 hours notice seems a bit harsh considering you may only test positive the morning of a performance for example) and they have reverted to the previous policy mentioned above of selling tickets only if none are available in that band, with no guarantee of resell and the £4 admin charge if resold. 
 

https://www.roh.org.uk/about/ticket-refunds

 

I do still think this policy is quite fair all things considered, if it’s a popular performance it will resell, and if not ROH doesn’t lose money. The £4 admin fee isn’t terrible considering things like original booking fees etc aren’t charged, but equally it can be an incentive not to perhaps bother returning the cheaper SCS tickets which would then not allow someone else to attend a performance. But that’s where I find this forum excels by ensuring ticket purchasers don’t financially lose out, and making sure tickets go to a good home and are appreciated! 

 

At least it seems there are no more standing places which now fall under the £4 in-house re-sell administration charge.  That - in the recent past - certainly removed any incentive whatsoever to return the tickets which fell within that band; one which the ROH deemed 'a donation'.  Often these standing places - showing on the seat map as sold out - would be empty.  Now the cheapest standing places I could see were in the £6 or £7 range for the programmes which have lesser tariffs (e.g.,  triple bills or new creations by McGregor, etc.).  I was pleased to see this as not only are they still very reasonable but it puts these new works which have already enjoyed so much public and private subsidy in a much more equal cost line with the more established fare.  In this way the popularity of these works will be able to be more readily judged on a more equitable basis.  

 

 

Edited August 24, 2021 by Bruce Wall

[alison]

4 hours ago, LianneEva said:

Hi all - I'm a brand new member making my posting debut!
I specifically wanted to post here to ask whether anyone has any knowledge about the Insights / Rehearsal event on the 29th Oct. I was very keen to book (and managed to get seats!) as I adore the RB and the event takes place on my birthday. I'd initially assumed this would be Giselle-related by looking at the dates, but now I'm not sure. Does anyone know what is being rehearsed?

 

Welcome to the forum, LianneEva!

 

Insights are usually specified in advance, e.g. the Dante Project one.  Rehearsals are far more a case of pot luck.  In the past, I think it's tended to be possible to make an educated guess that it's likely to be whatever hasn't been covered by an Insight event, but there's no guarantee.  In fact, I have a feeling that one once was decided very much at the last minute - can't remember whether it was because someone was ill/injured, or whether the dancer(s) they'd intended to use had had a very demanding day and needed to rest.  I'm sure it'll be interesting, whatever it is, though.

[RHowarth]

I had a bit of a mixed experience - couldn't load the seating plans at first when I logged on at 9am, although only queued for 4 minutes. But when the plans did eventually load, I was really surprised to see how much availability there was. In fact, it was a bit overwhelming as I'm not used to seeing so much choice! Like other posters, I managed to get good stalls circle standing tickets for my chosen dates, which is rare through public booking.

 

In fact, I logged back on this morning to book for a further performance, Romeo early matinee at 11.30am on 15 Jan, having realised I could tie it in with ENB's Raymonda at the Coli. I managed to snap up good SCS for this one too, which surprised me the day after public booking had opened. However, when I paid, not only did I have to verify through mobile app (which I hadn't had to do the day before) but the payment screen stated that I'd have to show ID when using the tickets.  Has anyone seen this before? The performance was available through public booking (not Paul Hamlyn for example) and I didn't access any kind of concession. 

[alison]

14 minutes ago, RHowarth said:

But when the plans did eventually load, I was really surprised to see how much availability there was. In fact, it was a bit overwhelming as I'm not used to seeing so much choice!

 

Me too.  I went a bit mad ...

 

Quote

However, when I paid, not only did I have to verify through mobile app (which I hadn't had to do the day before) but the payment screen stated that I'd have to show ID when using the tickets.  Has anyone seen this before? The performance was available through public booking (not Paul Hamlyn for example) and I didn't access any kind of concession. 

 

I think they've been saying it at least since they reopened in May, possibly before - I didn't buy any tickets to last year's Covid performances.  I've never actually been asked for ID, though.  It may just be an anti-tout measure, or a Covid tracking measure, if the name on the ticket doesn't match the name of the user.

[RHowarth]

1 minute ago, alison said:

I think they've been saying it at least since they reopened in May, possibly before - I didn't buy any tickets to last year's Covid performances.  I've never actually been asked for ID, though.  It may just be an anti-tout measure, or a Covid tracking measure, if the name on the ticket doesn't match the name of the user.

Ah, right - thanks. I haven't been to ROH since last March so that explains how I've never seen it before! I was worried I'd inadvertently booked a schools' matinee or something. 

[MJW]

46 minutes ago, RHowarth said:

I had a bit of a mixed experience - couldn't load the seating plans at first when I logged on at 9am, although only queued for 4 minutes. But when the plans did eventually load, I was really surprised to see how much availability there was. In fact, it was a bit overwhelming as I'm not used to seeing so much choice! Like other posters, I managed to get good stalls circle standing tickets for my chosen dates, which is rare through public booking.

 

In fact, I logged back on this morning to book for a further performance, Romeo early matinee at 11.30am on 15 Jan, having realised I could tie it in with ENB's Raymonda at the Coli. I managed to snap up good SCS for this one too, which surprised me the day after public booking had opened. However, when I paid, not only did I have to verify through mobile app (which I hadn't had to do the day before) but the payment screen stated that I'd have to show ID when using the tickets.  Has anyone seen this before? The performance was available through public booking (not Paul Hamlyn for example) and I didn't access any kind of concession. 

 

Hi - As Alison has mentioned they have had the requirement for ID for some time but I have never been asked for it - certainly not prior to the pandemic or on my visits since December last year, so you should be fine!

[LianneEva]

17 hours ago, alison said:

 

Welcome to the forum, LianneEva!

 

Insights are usually specified in advance, e.g. the Dante Project one.  Rehearsals are far more a case of pot luck.  In the past, I think it's tended to be possible to make an educated guess that it's likely to be whatever hasn't been covered by an Insight event, but there's no guarantee.  In fact, I have a feeling that one once was decided very much at the last minute - can't remember whether it was because someone was ill/injured, or whether the dancer(s) they'd intended to use had had a very demanding day and needed to rest.  I'm sure it'll be interesting, whatever it is, though.

 

Thank you for your lovely welcome and response 🙂

 

It'll be my first time seeing dancers any closer than the front row of the amphi, so very excited for whatever transpires, really! I'd love for them to cover Giselle as it's a favourite of mine, so fingers crossed...

[alison]

17 hours ago, alison said:

Insights are usually specified in advance, e.g. the Dante Project one.  Rehearsals are far more a case of pot luck.  In the past, I think it's tended to be possible to make an educated guess that it's likely to be whatever hasn't been covered by an Insight event, but there's no guarantee. 

 

In fact, a few years ago, I did set up a thread for contributions so we could keep track, but I don't think it was used much.  I tended not to go to the rehearsals, so didn't usually know what was happening.

[maryrosesatonapin]

When I tried to book on a Sunday (as an ordinary Friend) the website had a problem, so I rang first thing on the Monday and got a very snotty telephone operative.  I'd chosen seats and had the current website plan of availability in front of me, but it differed greatly from what was actually available.  Not only this but the person at the other end of the phone kept trying to persuade me to take different seats even though I knew from experience what I wanted! Exasperating to say the least.  It's possible, but unlikely, that the Sunday computer glitch was related to my connection, but the manner of the ticket seller was inexcusable.  I hope I don't have to ring her again before she gets the sack.

Having said that, I am more than excited to be going to see the RB again and am counting the days!