Your ROH ticket purchase patterns for Autumn 2023 - have they changed?

[alison]

Just wondering whether people have significantly changed their ticket purchasing patterns due to the hefty price hikes and other factors, or have bitten the bullet and continued much as usual?  Please feel free to disclose as much or as little as you like.

 

As for me:

• 1 standing ticket for Nutcracker - would normally have booked maybe 4-6 performances.  Might have stretched to a cheap amphi ticket for one performance.  (Admittedly, this is partly down to the lack of vital casting information.)
• Dante: 1 ticket (side amphi, because I can just about afford to sit down for this one) - bought about 3-4 performances last time, some standing.  Again, lack of casting indications mean I don't want to commit to other performances until I know whether it's a different cast.
• Don Q: 2 standing tickets.  Would previously have booked maybe half-a-dozen performances, including the odd side amphi, but at these ridiculous prices you must be joking.
• Ballet Black: 1 seat, because this bill has had very good reviews and I usually don't manage to realise they're coming before all the seats have sold out.
• Northern Ballet: too heavily sold for me to be able to get anything.
• Anemoi/The Cellist.  Haven't bothered as yet, and not sure whether I will bother.  May save my money for the tempting mixed bills next year.
• The Limit: 1 seat.

 

And as I said elsewhere, that little lot cost me into three figures as it was.  I guess that would be about one-third of what I might have expected to buy in recent years.

[Suffolkgal]

I’ve posted elsewhere... but yes ... being very abstemious 

[bridiem]

I would say that I've booked about half the number of tickets I would have booked a few years ago (and for DQ I'm sitting further back because the seats I normally book have been put in a higher band).

[RHowarth]

I wanted SCS for opening night of Don Q as I'm in London already that day for ENB, but didn't book as there were none left - so didn't book anything in this BP which is the second BP in a row as I also didn’t go to anything at the ROH post-Cinderella last season other than the RBS matinee. Haven't booked anything else although will see Northern Ballet's triple in Leeds and see Ballet Black regularly in York.

 

In the past if I hadn't managed SCS I would have booked Amphi but that's no longer a viable option.

 

For me it's a mix of price hike and unappealing repertoire. 

[Linnzi5]

I haven’t changed my habits so far. I may have to book less for Swan Lake in the spring though. I haven’t booked Dante yet as I want to see the casting - I hope that is updated soon! 

[Peanut68]

Is less casting announced so far than is usually the case? I tend to book very much based on who I wish to see in less roles… 

[Dawnstar]

I'd say my booking is similar to last season but there was a significant shift between last season and the season prior to that, due to the abolition of package booking & the price rises last season. Since last season all I have been able to afford have been the cheapest stalls circle side bench seats. Before that I was able to treat myself to one set of better seats with the package booking then do additional performances from the cheaper seats. So with the interruptions of covid, I basically got 2 and a half RB seasons where I was able to occasionally enjoy decent views before being banished to restricted views in perpetuity! Or until even the restricted view seats get so expensive that I can't go at all.

 

Other than that, I might have booked 2 rather than 1 Nutcracker performances if the full lead casting had been announced. I may add another performance nearer the time using Friday rush, and ditto for Don Q as one cast I want to see was already sold out of the cheapest side stalls circle seats. In previous seasons I might have gone up a price band but not now.

[alison]

42 minutes ago, Peanut68 said:

Is less casting announced so far than is usually the case? I tend to book very much based on who I wish to see in less roles… 

 

We would normally have expected to have an indication of casts for The Dante Project, and Clara, Hans-Peter and Drosselmeyer for Nutcracker, before (public?) booking opened.  The latter 3 are what I usually base my bookings on, as Sugar Plum and Prince are only on for about 15 minutes.

[Missfrankiecat]

I'm a bit of an out-lier on this discussion, simply because I only joined Friends this season and have therefore booked more performances this season as I have had greater choice of tickets, including standing which were never available by the time of public booking for the performances I was interested in.  I remain likely to book at least one performance of a favourite casting in Stalls Circle and then at least one other or more in much cheaper seats/standing to see other castings.  I will also admit to being less discerning about full castings for Nutcracker than most because I regard it as a fairly silly ballet with glorious music and a festive vibe pretty much whoever is dancing Clara etc.

Edited August 2, 2023 by Missfrankiecat

[Geoff]

In answer to your question Alison, yes of course they have. Since we returned after lockdown I have been booking further and further away from where I would like to sit, in direct proportion to the rising prices. And I am sure I am booking fewer tickets as well.

 

However it may well be that ROH doesn’t care if this is how we behave, or even considers this a job well done. Remember the former ROH marketing boss (who must not be criticised here but departed after her cunning plan was leaked)? She announced that she wanted to drive regulars out of the ROH to make way for Arts Council-pleasing “new audiences”, who might also be less picky about ticket prices as they would be going for the “experience”. A policy aim which around the same time was echoed by the then Chairman of the ROH, so one can assume it had broad approval from the bosses.
 

So our changed behaviour - if indeed most of us are changing our behaviour - could be just what ROH wants, freeing up seats for people who will enjoy a special night out but probably never come back. How sad if that is so. 
 

Edited August 2, 2023 by Geoff

[alison]

Yes, Geoff, I had wondered if that might be the case   But that's a lot of people they'd have to replace, and it would take an awful lot of effort.

[Scheherezade]

A major cut for me. Way fewer tickets than before and standing wherever possible. When attending with a friend who can't stand, we have been priced out of the more affordable, restricted view side amphi seats and relegated to cheaper rear amphi. Productions that I am not particularly fussed about, such as Dante, have been cut, where I would have attended previously.

 

I do fear, as has been touched upon earlier, that as the less expensive seats are, out of necessity, quickly snapped up, the ROH will decide that it can legitimately raise these prices even further, without asking why their popularity has expanded.

 

And I agree with Geoff that this may sit very happily with the underlying plan to replace the regular, arts-loving attendees with people prepared to pay over the odds for a one-off night out or those more used to commercial West End prices as opposed to those more usually found within the subsidised sector.

[Richard LH]

1 hour ago, alison said:

Just wondering whether people have significantly changed their ticket purchasing patterns due to the hefty price hikes and other factors, or have bitten the bullet and continued much as usual?

Tending to spend a similar amount overall for fewer performances.....being more selective in terms of choice of production and casts, now being more familiar with the ballets on offer, and the dancers cast. The downside is that this " I know what I like" attitude is probably  narrow-minded  and just reinforcing my prejudices...😬

[Scheherezade]

And for new works, that I would previously have booked as a matter of course, I will now hold off until the next run, when I can form a view from YouTube clips and reviews. Or hold off entirely. 

[bridiem]

9 minutes ago, Richard LH said:

Tending to spend a similar amount overall for fewer performances.....being more selective in terms of choice of production and casts, now being more familiar with the ballets on offer, and the dancers cast. The downside is that this " I know what I like" attitude is probably  narrow-minded  and just reinforcing my prejudices...😬

 

It's inevitably true that the fewer tickets you can book, the narrower the range of what you see can be. Which is not good for us, and not good for the art form.

[Lizbie1]

Only one ticket this booking period, and that's for opera (Forza). That is a lot fewer than previously. I've also let my Friends membership lapse, to be resumed later in the season.

 

The change is mostly down to this season's largely uninspiring programming and casting, but I'd probably have booked a Don Q or two if prices were lower. I can't see myself booking for Manon either at those prices (I'm not crazy about it anyway), so there might be no RB for me until the MacMillan triple in March.

[San Perregrino]

48 minutes ago, alison said:

casts for The Dante Project

 

if memory serves me correctly, for the last run of Dante there was no advance casting information beyond the Dante & Virgil characters, plus perhaps Beatrice?

 

Edited August 2, 2023 by PeterS
detailed posting moved to Autumn Booking thread

[art_enthusiast]

53 minutes ago, Scheherezade said:

And for new works, that I would previously have booked as a matter of course, I will now hold off until the next run, when I can form a view from YouTube clips and reviews. Or hold off entirely. 

 

I was thinking of booking for the Limit, but the booking process has put me in such a bad mood that I don't think I will...

[Mary]

Only 2 performances, and those  are really to take other people to Don Q:  though I am looking forward to it, I'm not sure I would have shelled out just for myself.

This year I shall have been to the ballet hardly at all, the lowest attendance for about 25 years.

[annamk]

I definitely bought less than in the past. All SCS so for me probably less about price and more about not very interested in the rep. If I couldn't stand I would be buying very little.

 

3 Don Q 

1 Dante

3 Nuts

No Cellist/Anemoi

 

In the Linbury

1 The Limit

1 Northern Ballet

 

I was looking at a few of the main stage ballet performances yesterday evening so before public booking opened and I was shocked at how few Amphi tickets have sold for many performances. It appeared to me as though Friends had voted on the Amphi pricing structure although of course some of the performances are still months away. 

[alison]

"Less about price", perhaps, but even the standing tickets have shot up (remember the days of complaining that nobody ever returned the amphi standing because it cost them more than it would just not to go?!)

 

And being relegated to the rear amphi is one thing, but there are only a handful of seats I can sit in comfortably in the amphi anyway, and none of them are at the rear!

[Tango Dancer]

I'm booking less there because the tickets are expensive and there are other things I want to see (at NB and BRB) so I have to spread my booking out.  I am seeing more of the cinema relays though because they're proving a good value alternative.  

Edited August 2, 2023 by Tango Dancer

[JennyTaylor]

Yes, in that I have been much more selective in the number of performances per ballet. So, I have booked for my favourite partnerships but limited extra performances for favourite ballets.    

[DanJL]

I ended up decided to book nothing at all when the Friends booking opened! Partly due to increased costs - not just the tickets, also trains and particularly accommodation for later finishing shows. The upshot being that I've decided I can only see each production at most one time, which means I want to choose the dates with favourite dancers. And for this season there wasn't any production where I felt I had enough information to do that yet. I almost did for Don Quixote, but it's a close choice between principals so hoping to discover more about supporting casts (possibly once their shows have started) and aim to get late returns. All of which leads me to wonder if it will be worth renewing my Friends membership when it comes up in December. 

[Blossom]

I have bought differently but for different reasons.

 

I usually try to bring friends along but it is getting hard to manage their budgets (and the need to be seated) with my preference for an excellent view. Last season I ended up returning a lot of companion tickets at prices people were no longer willing to pay. Group visits will be limited to Sadlers Wells and Coli.
 

I have bought more single tickets as a result or know who to invite along if planning SCS! 

 

As a final difference in habit, I think that buying single tickets also makes me less likely to sit in particular areas.  

 

Editing to add that I haven’t booked Dante as it’s too soon and don’t feel I need to see it particularly. In contrast, will be back to see The Cellist specifically for the new cast albeit on a smaller budget- but this is usually my tactic for additional casts in the same run.

Edited August 2, 2023 by Blossom

[jmhopton]

I've bought 7 Don Qs which is perhaps slightly more than intended but wanted to see Vadim in 2 performances and the other 4 casts are 2 Saturdays with 2 performances each to save on transport and accommodation and to see dancer combinations that sounded great like Osipova/Sambe, and intriguing, Takada/Acri. However, I have spent less on tickets and bought 4 SCS as I tried standing in Cinderella and found it OK so thought as seats are so expensive (I think my usual SC tickets are £67 each so the standing tickets represent quite a saving). In fact I cancelled so many performances earlier I just used my credit for them, and also used it to renew my Friends membership. The downside of booking Saturdays I found out afterwards was accommodation has just gone crazy on a Saturday night; £60-£80  a night for a single room has doubled so what I save on tickets I Iose on accommodation and don't get me started on train prices!

[JNC]

In short yes.

 

Not all of this is down to the increased prices as it’s also because I’ve moved out of London. And due to programming. But the price increase is undeniable.

 

DQ - have only booked one ticket for this, because I’ve not seen osipova in the role. If prices were more favourable I would have also liked to have seen Kaneko/Bracewell and or Magri/Corrales and would have made an effort for matinee performances in particular. But I can’t really justify the cost of trains (and additional accommodation) to pay £50+ to sit mid amphi. So in theory, 3 tickets is now only 1.

 

Dante Project - I would have made an effort to see this again and it’s not as horrendously priced as others. But I simply am annoyed by their whole strategy and didn’t like Dante enough to spend £100+ on a round trip for mid amphi again at the matinee so haven’t booked at all.

 

The Cellist - this is priced “reasonably” but I haven’t booked as I’m not interested enough in the programme. To be honest even if I lived in London I might give this a miss unless I picked up a good SCS

 

Nutcracker - no tickets. A combination of both having seen this a few times now and it not being in my top ballets means I won’t pay these prices. If I lived in London I would have maybe treated myself to one amphi performance but it’s not justifiable with travel and potential hotel costs. 
 

It’s very sad because I used to book to see each performance at least once, to have only booked one performance for the whole season is shocking for me. Part of it is because of additional travel/hotel costs now I’m no longer in London, and part of it is also due to the programming not fully appealing to me this time. But it’s undeniable a large part of it is due to ticket price increases. 
 

For example I made an effort to see multiple performances of Cinderella and Giselle and adjusted my pattern away from central amphi more to the sides (but not slips) to afford this. But now they’ve hit those seats as well. 
 

Looking ahead I would have tried to have seen a Winter’s Tale as I’ve not seen it before, but I’ve already decided I won’t book for it if it’s priced like DQ/Manon, and I’m less willing to give things a go to support ROH now. I also wouldn’t bother at all with Swan Lake next year due to the pricing likely to be DQ (or worse!) but will try to make an exception to see Nunez as I missed her last time as she was ill for the performance I booked. 

so that leaves me with the rest of the whole season to book:

1 x Manon if I can make Hayward. May make a special exception if Kaneko is cast with Bracewell as well and the dates align.

 

1 x MacMillan bill

 

2 x Ashton (it will cost me but I feel I need to see one of each combo. I’d also love to combine to see Sarasota ballet as well but I doubt I’ll get a ticket on general booking). 
 

I’ve gone from seeing on average 20 odd performances a year, to 5, maybe 6. 
 

In fact, I’m almost seeing ENB more (proportionality to how many performances they do) as I’m going to see Our Voices twice and will make an effort to see Giselle also, so that’s three guaranteed performances. 
 

I know I’ve been very negative about price rises but it’s only because I care so much (!) and it upsets me that ballet is becoming elitist and ROH don’t seem to care about preserving and performing a diverse repertoire, supporting regulars and friends of all financial means to attend. Yes I know it’s unrealistic to think I have a “right” to attend as much as I used to, and it is still a luxury to attend these things but the fact they are deliberately raising the price of the better value/cheaper seats at an unfair and disproportionate rate to other seats is why I’m so cross!

 

sorry it’s so long and much of it probably repeats what I’ve said elsewhere on the forum but if I can’t see it here there’s nowhere else!

[Peanut68]

Is there less casting announced currently than is usually the case? I tend to book very much based on who I wish to see in lead roles… 

I’ve tried unsuccessfully to visit the site to look to see casts/prices & maybe even book but have had constant ‘moving circle’ still loading & gave up each time. So frustrating 

[capybara]

My answer is “Yes”. Don Q apart, only one booking for each production with catching debuts a priority. 

[Benjamin]

Yes they have changed, with me I’ve booked more bench/ standing seats with worse views. There’s some performances I’ve hesitated on booking, because not all of the vital casting has been announced (Cleary a lot of the people are doing this especially with the price increases).

[zxDaveM]

My circunstances have changed somewhat over the last few years, so I was buying less tickets anyway. No more 80-90% of a run of Swan Lakes or whatever! Now sticking to my favourite dancers, or the occasional debut of someone that could become a fave dancer. Generally though, buying less now that standing places are £12-14, rather than £7-10. If I can't get a standing place (SCS, or row T in the Amphi, or circle in the Linbury) I generally won't go. I wouldn't have gone to ANY DonQ's at £26 for a SCS place, that is for sure, out of principle!

Also, for me, the rep has been a bit lacking in variety of late (too much MacMillan dirges, too long a run of the war horses, and suchlike). I know they have to recoup the funds locker after the pandemic closures, but the lack of mixed bills and shorter runs of 3-acters (but more of them), has reduced my trips to ROH. No longer 3-5 per week, now 2-4 per fortnight at most. Also, the £20 for Insights means I give those a swerve these days, and just hope to catch them if streamed online. This Autumn I've found I'm clashing with a lot too - as a rugby fan, the World Cup takes out most weekends Sept/Oct, and there are interesting shows in the Linbury or Sadlers Wells reducing the chances of attendance in the main auditorium, of the things I do want to see.

[Fonty]

As I am not a Friend, the chances of my getting a standing ticket are nil.  I think my viewing this year might be limited to the cinema relays.  I am not going to pay over £100 for a seat when the chances are high that my view will be blocked by someone else.  On that topic, why are the Ashton triple bills not being shown at the cinema? 

[JNC]

Well they’ve still not released the Ashton triple from a year ago on either streaming or DVD with no plans to do so have they? 
 

Agree with @zxDaveM - too many long runs of MacMillan and the Tchaikovsky three. I would sort of accept this if they had other diverse programming alongside but alas.