Royal Ballet 2022/23 Winter Ticket Prices

[Sim]

32 minutes ago, postie said:

 

It's incorporated in every West End theatre ticketing model I know of and has been for years. Many rely on it as their only option now.

 

Better to download the phone app than the web page because you then have the option of daily 'Rush' tickets, which are always Stalls, often near the front, usually £25 or under (even the ROH has a weekly Rush) >>

 

https://en.wikipedia.org/wiki/TodayTix

Thanks!  Goes to show how often I have been to the theatre recently…🤦🏻‍♀️

[Jan McNulty]

5 hours ago, NotadanceMa said:

This is always offered up as a defence. Oh but footballers pay, oh but football tickets and yes they are expensive however it is a different conversation, and it is not the same. And no football is not elitist.

 

I do love the delicate nuanced defence of the ticket prices hike and ticket prices per se that ROH offers, it’s like a defence of the Emperor’s New Clothes.

 

A defence against elitism and exclusivity is not ‘I can stand, I can buy a cheap ticket,’ it’s why you or anyone should have to. 

 

ROH, I checked, ticket prices overall are the most expensive in the world compared to other same type venues in the arts (not football). 

 

No debate, no argument, no discussion changes what this represents for me and always has.

 

 

 

 

 

 

 

Other ballet companies are available...

 

As others have pointed out there are companies world wide that charge at least as much for ballet as RB.

[JNC]

4 hours ago, Peony said:

It would be interesting to see the breakdown of prices, it feels like a high proportion of seats are now over £100 and a very low proportion are under £50 (all restricted view). For me it comes back to the public funding that if that is their ticket price they need to introduce more schemes to ensure it doesn’t become elitist. It’s ok having last minute cheap tickets but those living further away are then not able to access advance tickets for public transport. Or heaven forbid they could venture outside of London to give performances! 
I don’t personally think the RB was poor value going back 5 years but 70% increase and £110 for 4 rows back in the amphi, £150 for sides of the stalls is expensive by many standards?

I broadly agree with this but don’t think it’s fair to say all tickets under £50 are restricted view - back of the amphi is far away but not restricted. But it’s far away enough for me to think the tickets should be cheaper certainly! 
 

I agree the Paris Opera is maybe a good comparison - I haven’t sat up there but their amphi offers what I think is unrestricted views, and the entire amphi is one price category (around 34 euros I think for the recent Giselle, which is maybe around £30 so much better value than ROH!). Granted it’s apparently a little uncomfortable with the heat and the seating but it still provides a fair view for a fair price. Paris also does subscriptions where if you buy multiple performances you get discount. It may be unfair to compare due to different income streams and public funding, and similarly it’s difficult to compare with west end and football as these things aren’t all “like for like”. I guess the only thing about football is that it doesn’t usually require overnight stays and given RB don’t travel the U.K., they really cater mainly to a London audience which factors into prices for travel and hotels. (I know they do some matinees but actually even for the mammoth run of Swan Lake there was only 1 or 2 options I recall, given the NHS and schools matinees wouldn’t be open to the public obviously). 
 

I agree some of the standing seats are fantastic value for money but some will be restricted view (slips and scs sides), and the more central ones sometimes have the light boxes (?) coming down off the tier above which can block the view somewhat depending on your height. And regardless not everyone can stand (mobility) and there aren’t enough for friends, let alone the general public. 
 

I do agree @Sim that ROH are raising the prices very likely because they have to so perhaps all this complaining is unfair. But as you say it would be good for it be communicated somewhat and I stand by that they are wasting opportunity to create some sort of on demand streaming service, and the strategy to delay the Ashton and Like water for chocolate streams is baffling. 
 

I may have been tempted to pay for a streaming of Like water… at the time it was on stage (or shortly after if some editing etc needed to be done) to engage in some of the conversations and reviews taking place on this forum. As it stands the time has now passed and the general comments here made me realise it’s not really a ballet I think I would like and so months later the curiosity to stream has dissipated. 
 

Similarly if people couldn’t get to the Ashton in person they may have streamed it back when it was filmed, and some of the reviews could also have noted “and will be streamed from x date on ROH website…” to drum up further interest for it. This one may be something I pay to watch in future. 
 

Again I’m sure there is a reason for the delay to release - but we know that they are being filmed and then no information is provided as to when they’ll be released, and why the delay?

 

I am sympathetic to ROH somewhat and don’t want to bash them but I think in essence doubling the cheaper tickets since pre-pandemic prices is really something that needs very heavy justification on why they have targeted these seats for the highest increases (not a blanket repeat of money lost during the pandemic). 

[Scheherezade]

To my mind, the major problem with the ROH ticket prices is the enormously high percentage increase at the lower end. This must inevitably price out those who could only afford the cheapest seats (which will, of course, include many who cannot stand). 

[Peony]

 

1 hour ago, Jan McNulty said:

 

 

Other ballet companies are available...

 

As others have pointed out there are companies world wide that charge at least as much for ballet as RB.

 
having looked at BRB I can get an adult and 2 children for under £100 which I think is extremely reasonable! 

[capybara]

I do tend to buy tickets at the upper end of the price spectrum. They have gone up, yes; but I agree that that is where the increases should be focused.

[San Perregrino]

4 hours ago, postie said:

 

It's incorporated in every West End theatre ticketing model I know of and has been for years. Many rely on it as their only option now.

 

Better to download the phone app than the web page because you then have the option of daily 'Rush' tickets, which are always Stalls, often near the front, usually £25 or under (even the ROH has a weekly Rush) >>

 

https://en.wikipedia.org/wiki/TodayTix

I have loved TodayTix for several years for a spontaneous night out.  Whilst I have sat in premium seats for a song, my experience has been that the rush seats are not always stalls. Nor not always near the front. They can be back row circle. They can be at the sides/end of row with restricted view. It depends on the popularity of the production. For the most popular shows as few as 4 restricted view seats may be made available to Todaytix so that the production benefits from the promotional value of advertising ‘rush seats’. But you do know your seat allocation before you have to buy so nothing lost. 
 

 

[Sim]

3 minutes ago, PeterS said:

I have loved TodayTix for several years for a spontaneous night out.  Whilst I have sat in premium seats for a song, my experience has been that the rush seats are not always stalls. Nor not always near the front. They can be back row circle. They can be at the sides/end of row with restricted view. It depends on the popularity of the production. For the most popular shows as few as 4 restricted view seats may be made available to Todaytix so that the production benefits from the promotional value of advertising ‘rush seats’. But you do know your seat allocation before you have to buy so nothing lost. 
 

 

This looks really like a good thing for those who live in London and have the freedom to go out without having to organise transport, babysitting, etc.  But it still means that for those who want to see a West End show and don't live in or near the capital and have to organise themselves, the advance ticket prices are still very costly, especially if they want to make a family day or evening out.  

[San Perregrino]

4 hours ago, Peony said:

I think it depends on which dictionary you refer to. Cambridge English dictionary:

someone who believes that some things should be controlled or ownedonly by the richest or best educatedpeople:

organized for the good of a few peoplewho have special interests or abilities:

 

which may be more pertinent to the poster

 

similarly, I can’t see how this definition of ‘elitist’ can be applied to ballet as an art form nor the ROH as an institution. 

[Dawnstar]

3 hours ago, capybara said:

I do tend to buy tickets at the upper end of the price spectrum. They have gone up, yes; but I agree that that is where the increases should be focused.

 

The problem I can think of with that is then increasing numbers of people will be unable to afford the more expensive tickets so there will end up being more competition for the lower priced tickets.

[Emeralds]

On 22/07/2022 at 17:16, capybara said:

 

I don't this that this can be correct. For example, the side Stalls (front block) are shown at £151 - i.e. much more expensive than the middle Stalls.

Although a notice flashes up to say that seats are not yet on sale, a number of spaces appear to have been booked.

Could they be comps (complimentary tickets) reserved for staff? Although the VIPs like artistic directors and guests of the director or management usually get centrally located, fully unrestricted view seats, I have seen some side seats being offered to family/friends of dancers (although whether they are reserved or only offered last minute if unsold, I don’t know).

[Emeralds]

On 22/07/2022 at 17:48, Dawnstar said:

 

Oh dear. I really enjoyed Cuthbertson & Muntagirov when I saw them in Two Pigeons in 2019, my first time seeing the piece. I'm now feeling guilty about my enjoyment, which was evidently due to ignorance of the piece.

 

 

I can't believe the cheapest stalls price increase. I paid £94.30 in the last run, with package booking, for seats that are now costing £151! I suppose I should be relieve that the far side stalls circle bench seats have gone up by a mere £4 from £66 to £70, though I still feel £70 for a significantly restricted view is pretty damn expensive.

Don’t worry, Dawnstar- I liked Lauren and Vadim in Two Pigeons and even saw them twice! Didn’t feel at all guilty about buying the DVD either! What would be really great is a second DVD recording with Yasmine Naghdi and James Hay (I saw them in the spring) as the Young Girl and Young Man, and Laura Morera as Gypsy Girl. There are not enough DVD recordings of The Two Pigeons available. 😊

 

But I think Ashton’s work is quite versatile and can be performed by lots of different dancers- I enjoyed Helen Crawford and Ryoichi Hirano dancing the reconciliation pas de deux at a gala too, yet I’m sure some might say they shouldn’t be the first choice cast for the Young Girl and Young Man. I also enjoyed seeing Vadim - twice, with different ballerinas as Lise - in La Fille mal Gardee! 

 

I’m completely flabbergasted that those bench seats are £66 in the first place, never mind £70. As for the £151 prices for the stalls seats where the feet can’t be seen (unless you’re at least 6 feet 2 inches tall and long in the saddle)...yikes.

Edited July 25, 2022 by Emeralds

[capybara]

On 22/07/2022 at 17:48, Dawnstar said:

Oh dear. I really enjoyed Cuthbertson & Muntagirov when I saw them in Two Pigeons in 2019, my first time seeing the piece. I'm now feeling guilty about my enjoyment, which was evidently due to ignorance of the piece.

 

Hi Dawnstar !

I think we need to remember when reading posts on here that, however authoritative they might seem, they are the view of one person only and your opinion has equal validity.

It is very unlikely that the Cuthbertson/Muntagirov cast would have been chosen for the DVD if the stager (the redoubtable Christopher Carr) had had doubts about them in terms of Ashton's intentions. Actually, Cuthbertson did not convince me (I preferred Takada and Stix Brunell) whereas Muntagirov did. But, again, that is just my individual view.

[jmhopton]

1 hour ago, capybara said:

 

Hi Dawnstar !

I think we need to remember when reading posts on here that, however authoritative they might seem, they are the view of one person only and your opinion has equal validity.

It is very unlikely that the Cuthbertson/Muntagirov cast would have been chosen for the DVD if the stager (the redoubtable Christopher Carr) had had doubts about them in terms of Ashton's intentions. Actually, Cuthbertson did not convince me (I preferred Takada and Stix Brunell) whereas Muntagirov did. But, again, that is just my individual view.

Am conscious that I'm contributing to the discussion wandering off topic but I too loved Muntagirov in 2 Pigeons. His short solo in the gypsy camp in the second act was possibly my favourite all time solo of his; it exudes such a joy of dance and epitomises the high standards of classical dance he brings to every role. However,  I wasn't as keen on Cuthbertson in the role. I much preferred Stix Brunel whom I thought brought a youthful freshness to the role. I was hoping she might dance it with Vadim in future revivals but not to be. However, when it is revived I think the young men may need more extensive pigeon handling training as out of three different casts I saw last time Vadim was the only one who managed his pigeon successfully.  The pigeon escaped from the other two, one hopping around the stage and the other flying into the orchestra pit where it perched on a music stand until being rescued. 

[Peony]

12 hours ago, Emeralds said:

Could they be comps (complimentary tickets) reserved for staff? Although the VIPs like artistic directors and guests of the director or management usually get centrally located, fully unrestricted view seats, I have seen some side seats being offered to family/friends of dancers (although whether they are reserved or only offered last minute if unsold, I don’t know).

 
I think multiple categories of ‘friends’ booking have opened?

[Jan McNulty]

On 22/07/2022 at 17:48, Dawnstar said:

 

Oh dear. I really enjoyed Cuthbertson & Muntagirov when I saw them in Two Pigeons in 2019, my first time seeing the piece. I'm now feeling guilty about my enjoyment, which was evidently due to ignorance of the piece.

 

 

 

Dawnstar, your enjoyment of any performance is down to your preference and taste and your enjoyment and opinion is just as valid as anyone else's.

 

My favourite pairing at RB (and only because I am biased) was Alex Campbell and Yuhui Choe.

 

The most moving performance that I have ever seen of this ballet (and I can still well up just thinking about it) was a Saturday afternoon in Birmingham with Robert Parker and Nao Sakuma.  Even though I was on the front row of the stalls I couldn't hear the final rousing chords of the music because everyone was sobbing out loud!  

 

I do hope we get to see this wonderful work at BRB again.

[Jan McNulty]

41 minutes ago, Peony said:

 
I think multiple categories of ‘friends’ booking have opened?

 

Yes, I think public booking actually opens tomorrow but friends obviously have priority booking.

[LinMM]

Yes I think sometimes it’s sort of “splitting hairs” where some performances are concerned! 
It’s not that Cuthbertson or Muntagirov were “bad” just that there was a slight preference for other dancers in the role. 
I absolutely loved Stix- Brunell in this role…..one of my favourites so far (just wish this ballet was on offer a bit more) but am sure if could only have seen Cuthbertson would still have enjoyed her performance too. There are some dancers who have a sort of sophistication about them which could make them not quite so believable in a role like Lise say in Fille. I can’t imagine Sarah Lamb for example in either of these roles. But then some thought Muntagirov would be too “classical” for Month in the Country when he turned out to be a revelation in the role so you never know for sure. 
Maybe galas are a good opportunity for dancers to perform roles they have longed to do but know will never get cast in!! 
Looking ahead I think Leticia Dias will be lovely in Two Pigeons. 
Please can we have both Pigeons and Fille for the 2023-4 season….we will need something to cheer us up by then lol! 

[LinMM]

I’d absolutely definitely go to Birmingham to see Pigeons!! Just seen your post Jan! 
Sorry derailing this thread a bit but Pigeons one of those small ballets that always get me fired up! 
I know I’d give in and end up paying the going rate …over £100 or not at ROH ….to see this ballet! 

But a dash to Birmingham defo on the cards too!! 
 

Edited July 26, 2022 by LinMM

[Sim]

3 hours ago, LinMM said:

Please can we have both Pigeons and Fille for the 2023-4 season….we will need something to cheer us up by then lol! 

Not sure how long it will be before we will see Fille again...with everyone being 'offended' all of a sudden there are worries about putting the Alain character back onstage.  Such a pity, it's one of my favourite ballets.  So, here's hoping that we might get Two Pigeons again very soon.  Unless, that is, people start getting 'offended' because live pigeons are used, or because of the portrayal of the gypsies, or blah blah blah.  Mind you, they managed to get away with DonQ, with similar gypsy portrayals, and showing someone whose mind isn't quite there....so here's hoping!

[San Perregrino]

7 minutes ago, Sim said:

DonQ, with similar gypsy portrayals, and showing someone whose mind isn't quite ther

Don Q was great in illustrating that, with the right support network, an aging person whose mind isn’t quite there can still have an active life, be accepted by and make a positive contribution to society. 

[JNC]

4 hours ago, LinMM said:

Please can we have both Pigeons and Fille for the 2023-4 season….we will need something to cheer us up by then lol! 

plus one for this!!

 

Preference for Fille as I’ve not seen it live but think it’s the perfect ballet to leave feeling happy!!

[Sim]

1 hour ago, PeterS said:

Don Q was great in illustrating that, with the right support network, an aging person whose mind isn’t quite there can still have an active life, be accepted by and make a positive contribution to society. 

Absolutely.  And at the end of Fille, Alain is happy because he is reunited with his beloved red umbrella.

[LinMM]

I’ve always wanted to play Alain in that final scene!!! It’s not been unknown for me to get the comedy role in an amateur piece ….I wonder why that is 🤔 

[Peony]

I’d rather any of these than more nutcracker, sleeping beauty and even Swan lake (which I love but feel totally oversaturated with RB, BRB and ENB performing it!). 

[Sim]

12 minutes ago, Peony said:

I’d rather any of these than more nutcracker, sleeping beauty and even Swan lake (which I love but feel totally oversaturated with RB, BRB and ENB performing it!). 

I totally understand where you’re coming from, but these are The Big Three that bring in the most money, so they have to keep performing them.  Having said this, I will be interested to see how the RB Beauty marathon sells…especially at those prices!  

[Peony]

Yes totally understand why they’ve made ‘safe’ choices, hopefully they will sell well and we can have a more varied programme next season!

[jmhopton]

44 minutes ago, Peony said:

Yes totally understand why they’ve made ‘safe’ choices, hopefully they will sell well and we can have a more varied programme next season!

Hear, hear (varied as in lots of different Ashton!) One can only dream. This dream applies to BRB as well!

[Sim]

25 minutes ago, jmhopton said:

Hear, hear (varied as in lots of different Ashton!) One can only dream. This dream applies to BRB as well!

Speaking of dreams, it’s really time for The Dream to come back….

[Emeralds]

11 hours ago, jmhopton said:

Am conscious that I'm contributing to the discussion wandering off topic but I too loved Muntagirov in 2 Pigeons. His short solo in the gypsy camp in the second act was possibly my favourite all time solo of his; it exudes such a joy of dance and epitomises the high standards of classical dance he brings to every role. However,  I wasn't as keen on Cuthbertson in the role. I much preferred Stix Brunel whom I thought brought a youthful freshness to the role. I was hoping she might dance it with Vadim in future revivals but not to be. However, when it is revived I think the young men may need more extensive pigeon handling training as out of three different casts I saw last time Vadim was the only one who managed his pigeon successfully.  The pigeon escaped from the other two, one hopping around the stage and the other flying into the orchestra pit where it perched on a music stand until being rescued. 

I’m sad now that I never got to see Beatriz Stix-Brunell as the Young Girl now that she’s left full time dancing- hers (with Reece Clarke) was the only cast I couldn’t catch during the two runs. I thought Yuhui Choe and Alexander Campbell were also charming in the roles when I saw them. Funnily enough, I always used to think of The Two Pigeons as a BRB ballet, as the first time I saw it was with Sandra Madgwick and Michael O’Hare (that’s a long time ago, haha) in the leads and they were simply delightful, and made the choreography look so easy. 

 

I do remember the pigeons making us laugh laugh at the last run- one of them flatly refused to get up on the chair at the end and insisted on staying at the front of the stage!

 

The ballet contains so much truth about human foibles among all the comedic moments, as well as the finer human qualities like patience and forgiveness, and Ashton is so musical that just one movement or step can draw buckets of tears. (Interesting to recall that the same dancers whom the Young Girl and Young Man were created on also inspired the creation of Kenneth MacMillan’s Romeo and Juliet- Lynn Seymour and Christopher Gable.) And the music by Andre Messager as arranged and orchestration by John Lanchbery is sheer genius when paired with Ashton’s choreography. I hope it’s revived by RB or BRB again soon. 

Edited July 26, 2022 by Emeralds

[Emeralds]

6 hours ago, JNC said:

plus one for this!!

 

Preference for Fille as I’ve not seen it live but think it’s the perfect ballet to leave feeling happy!!

JNC, you absolutely have to see Fille live in person when it’s next revived by either RB or BRB. Preferably twice! You’re missing out on so much  if you never watched it live. 😊🐴🎀

[alison]

2 hours ago, Peony said:

Yes totally understand why they’ve made ‘safe’ choices, hopefully they will sell well and we can have a more varied programme next season!

 

I believe Kevin O'Hare said he was hoping to get back to about a dozen bills next year.

[DVDfan]

There are two disservices that the arts can do for people with mental disabilities. One is to portray them as clowns, to be laughed at, and the other is not to portray them at all. 

It doesn't seem to me that the Alain character in Fille is portrayed as a mere figure of fun. The first dance when he comes on is just as much poking fun at a man's classical variation as it is at the character Alain. His father's refusal to accept his son's limitations is a common parental reaction. The scenes at the harvest show what learning disabled people put up with from their peers - the teasing with the flute, the irritation and contempt. At the end his pain is treated with compassion by Lise and Colas, which is how we know they are decent people. And because Alain lives in the moment, he finishes the ballet happy, and so we do too. It's a lovely twist on stories where the rejected suitor limps away to a life of lonely misery.