ROH Spring 2024 booking

[San Perregrino]

I'm not defending the system in any way but would flag up that I've had more than one email in advance of booking periods since the pandemic saying that confirmation emails can be delayed on busy booking days (this happens for other theatres e.g. NT, Almeida and ticket booking sites e.g. Ticketmaster too) and also there may be a time lag in updating the "Your Tickets" section in 'My Account'.

my experience is that if the payment screen is followed by a confirmation of purchase screen then I have secured my tickets. 

[alison]

A totally disastrous booking morning for me.  I was up bright (well, debatable ...) and early, booted the computer up and launched Firefox.  Went off to get a drink, and when I came back I found the computer had reverted to the log-in screen - it had crashed, for no specified reason.  So, relaunched Firefox, and getting twitchy because it was close to 9 am.  Got one of those "can't access ROH server"-type messages.  Tried launching Edge, with no joy.  At this point, starting to panic, I grabbed a backup laptop, booted it up, went straight into Edge and onto the ROH website, but it was now a minute or two past nine, so I got the dreaded sofa.  11 minutes wait - not too bad, I suppose.  Oh, wait - 19 minutes?  What?!  Whaddya mean, 36 minutes??!!!!  So, all I've managed was 1 stalls circle standing - and I was amazed to get that by then - and some tickets for the MacMillan bill, for which I'm relieved to report that I can actually afford to sit down.  Still on Firefox, all I'm getting is a 500 error from the ROH website.

 

Atrocious, although admittedly not all the ROH's fault this time, by the looks of things.

[Fonty]

Well, I actually remembered it was the first day of booking.  I logged in, waited, and was really excited when a screen came up telling I was in a queue with 2 minutes waiting time.  I was not so happy when this changed to 8 minutes...to 14 minutes...to 40 minutes.  When I eventually got in, having tried masses of dates, I did manage to buy one ticket for Swan Lake, paid for it, and got the confirmation on screen. 

 

At which point my computer suddenly decided to pick that moment to do an upgrade and started to reboot.  I hadn't had a chance to make a note of the booking reference, nor can I remember which date I actually booked for as I looked at so many.  I do know who I am meant to be seeing, obviously, but that is about it.  I would have expected a confirmation email straight away, but nothing yet.  Also, when I logged into my ROH account, it says I have no upcoming tickets.  However, the booking has been registered on my bank account so the payment has gone through.  I am so angry, as I ALWAYS record the booking reference straight away.  

Edited to add I have just got the confirmation email, so at least I have managed to book 1 ticket.  For Fumi and Vadim.  

Edited January 11 by Fonty

[Mary]

My sympathies JNC ( and all!) I have had all this and more on previous occasions as have many others. ROH has certainly had plenty of feedback from many of us, I believe. The problems are not unknown to them. Far from it.  However, it must be worth highlighting the problems every time.

 

 

 

Edited January 11 by Mary

[alison]

Just now, PeterS said:

I'm not defending the system in any way but would flag up that I've had more than one email in advance of booking periods since the pandemic saying that confirmation emails can be delayed on busy booking days (this happens for other theatres e.g. NT, Almeida and ticket booking sites e.g. Ticketmaster too) and also there may be a time lag in updating the "Your Tickets" section in 'My Account'.

my experience is that if the payment screen is followed by a confirmation of purchase screen then I have secured my tickets. 

 

Yes.  It's just the not knowing in the meantime which can be so stressful - should I go back in and book something as a backup, knowing that tickets will be vanishing like snow in sunshine, or not?

[Mary]

3 minutes ago, PeterS said:

I'm not defending the system in any way but would flag up that I've had more than one email in advance of booking periods since the pandemic saying that confirmation emails can be delayed on busy booking days (this happens for other theatres e.g. NT, Almeida and ticket booking sites e.g. Ticketmaster too) and also there may be a time lag in updating the "Your Tickets" section in 'My Account'.

my experience is that if the payment screen is followed by a confirmation of purchase screen then I have secured my tickets. 

That's true. However, the problem is that when things don't seem to be working properly, you can't be sure your booking has actually worked, and if you delay, as Alison says, you could miss out altogether.  So this confirmation delay glitch really compounds the other problems.

 

I continue to flag the problems to ROH.

[Rob S]

Confirmation emails can take a while to appear....it's not Amazon!!🙂 I'm still waiting for mine

[San Perregrino]

3 minutes ago, alison said:

 

Yes.  It's just the not knowing in the meantime which can be so stressful - should I go back in and book something as a backup, knowing that tickets will be vanishing like snow in sunshine, or not?

as I say, 

 

3 minutes ago, alison said:

my experience is that if the payment screen is followed by a confirmation of purchase screen then I have secured my tickets.

the same ROH confirmation screen also gives me the option to add the date/event to my diary which could be useful if an issue arises which, to date hasn't, if this screen pops up confirming my purchase.

 

3 minutes ago, Mary said:

So this confirmation delay glitch really compounds the other problems

 I am in agreement with everyone's frustration and I'm not an IT person but I'm not sure this is a glitch rather a reflection of the volume of traffic on the website.  in my world, systems that update in real-time are few and far between, not even my bank ("payments may take up to 2 hours to appear on your account" or credit cards do that, and even systems that update in realtime slow down when there is added volume such as when booking opens.)

 

this may be contentious but it surely can't help if users have multiple browsers open and/or multiple screens open? again, I'm not an IT person but perhaps that would slow down any system?  

[Fonty]

I'd like to know how people manage to get SCS tickets.  I have never, ever been lucky enough to get one, and believe me I have tried.  Do you have to be a friend?  Or do I  have to be lucky enough to be one of the first people in the queue? 

 

Incidentally, using multiple browsers will definitely slow the system down.  Each one uses up a bit of juice, as it were.  

[Blossom]

I think yesterday's Young ROH booking making the site go haywire for non-Young ROH people (me) looking to book other newly released tickets (me) should have been a bit of a hint to ROH that today would be at least as bad and give them time to manage some of the challenges. I had similar issues with tickets saying they weren't available or on sale...

 

 

8 minutes ago, Fonty said:

I'd like to know how people manage to get SCS tickets.  I have never, ever been lucky enough to get one, and believe me I have tried.  Do you have to be a friend?  Or do I  have to be lucky enough to be one of the first people in the queue? 

 

 

In short, I would say yes, particularly for the more popular ballets, especially central SCS. I find it a challenge to get central SCS for the specific performances I want as a Supporting Friend, but there aren't that many tickets available in the central block and there are thousands of premium friends (and other supporting friends who get onto site faster than i can) who will have been able to access these tickets sooner..

 

 

[Rob S]

10 minutes ago, Fonty said:

I'd like to know how people manage to get SCS tickets.  I have never, ever been lucky enough to get one, and believe me I have tried.  Do you have to be a friend?  Or do I  have to be lucky enough to be one of the first people in the queue? 

 

Incidentally, using multiple browsers will definitely slow the system down.  Each one uses up a bit of juice, as it were.  

 

You certainly don't need to be a friend, I used to get exactly what I wanted as part of the public release (I go for the sides, the centre is more in demand I feel)...demand does seem to have picked up in more recent times though. People do return them so all is not lost.

[JNC]

46 minutes ago, Mary said:

That's true. However, the problem is that when things don't seem to be working properly, you can't be sure your booking has actually worked, and if you delay, as Alison says, you could miss out altogether.  So this confirmation delay glitch really compounds the other problems.

 

I continue to flag the problems to ROH.

exactly this. If I consistently knew that it was going to be ok it’s one thing; but every booking period seems to come with a set of different problems for different people so you can never be sure.

 

I appreciate they’re dealing with hundreds, perhaps thousands, of bookings. But even when I’ve booked for more popular shows on the west end with thousands of people in a queue everything went far more smoothly. The queue was consistently updated to show roughly where you were (how many people in front) and what time you expected to wait. Once in you could browse a variety of dates and go back and forth to compare performances (either by back or opening new tabs that recognised you had already queued). I can’t remember how quickly I got a confirmation email but the confirmation page and entire process reassured me that the booking had gone smoothly and successfully. 
 

At ROH despite the 3+ (?) years of this system you never know what you’ll end up with - sometimes I’m in straightaway with no issues, other times major issues - and it’s that uncertainty that is massively stressful and time wasting. 
 

I’m sorry but for a major international venue with this capacity and foresight on when they will expect peak demand on booking days it’s not really acceptable to fail consistently the way they do - other theatres can manage it! 
 

I also add the waiting screen for many other venues is quite similar which leads me to believe they are using the same software/company?

 

I don’t see why ROH can’t just use an existing off the shelf programme that seems to work so well for others. If it’s not possible due to the specific requirements of ROH why haven’t they contracted this company? I appreciate lots of assumptions here (maybe they did contact that company!) but it seems in building a fully bespoke website/programme it’s just led to various issues with various patch jobs causing more/other new issues…

 

my final edit is as far as I can remember there were never issues (at least on this scale) with the old reliable website which I still prefer for being simple in design and much easier to navigate and view particularly on a phone. I still dislike the overly large design of the current website and it feels it has too many “flashy” bells and whistles that I’d not want, certainly at the expense of a functioning clear website! 

Edited January 11 by JNC

[alison]

Demand for standing has probably picked up because people have been priced out of formerly affordable seats. I've certainly noticed the difference this season.

[Rob S]

Oh I just spotted I got my confirmation at 1013 for a ticket booked at 0931...the notification on my phone just didn't pop up like it normally does  

[JNC]

2 minutes ago, Rob S said:

Oh I just spotted I got my confirmation at 1013 for a ticket booked at 0931...the notification on my phone just didn't pop up like it normally does  

It seems the later you book the ticket the longer the email takes to come through - probably a backlog. My first email came through 10 mins after but the second 20 minutes later! 

[Fonty]

1 hour ago, JNC said:

Something very odd happening to me right now with spring booking - I have successfully managed to secure one seat for one performance of swan lake (at least I hope I have, no email confirmation or ticket showing in my account yet but payment taken…)

 

anyway what’s odd and didn’t ever happen to me previously is usually once you’re “in” you can search for more performances - in my case I wanted to buy one more ticket for the MacMillan bill - and add them to the basket without having to queue again.

 

When I found the MacMillan page and clicked the date I wanted to book casts I was put in a digital queue with a 26 minute wait time. 

 

 

 

Very odd, @JNC  I  certainly managed to view various other dates with no problem at all.  I didn't get the seats I wanted, but I had no issue with moving around within my allotted time.  

Edited January 11 by Fonty

[Rob S]

And after all that I find I booked the evening (which I already have) rather than the required matinee!!!🤦‍♂️😄

[LinMM]

How frustrating RobS 😱

 

I know I’ve mentioned this on another thread but as there is no casting at all for the Macmillan triple can one assume that the casts will be the same for all three ballets whichever night you go? There are very few performances ( annoyingly) so this could be the case. 
I haven’t booked this or SL yet just looking at what’s left but was thinking of just booking one performance now and then seeing if casting actually comes up nearer the time ….but do people think it will? 

 

[San Perregrino]

9 minutes ago, LinMM said:

How frustrating RobS 😱

 

I know I’ve mentioned this on another thread but as there is no casting at all for the Macmillan triple can one assume that the casts will be the same for all three ballets whichever night you go? There are very few performances ( annoyingly) so this could be the case. 
I haven’t booked this or SL yet just looking at what’s left but was thinking of just booking one performance now and then seeing if casting actually comes up nearer the time ….but do people think it will? 

 

 

IIRC there was a post a while back saying that due to someone connected to the production (Lady Macmillan perhaps?) having input on who dances, and, therefore needing to see rehearsals before decisions are finalised, casting announcements would not be made when booking opened.

[LinMM]

Okay thanks for that PeterS looks like I will go with Plan A and book just the one now. This is on at the same time as ENB Carmen at Sadlers Wells so trying to juggle the two!! 

[LinMM]

Another question what is a promenade performance? I was thinking of booking 16th Feb …as up for Manon on 17th ….I  think it’s called Dark with Excessive Bright and I thought was in the Linbury but it says promenade performance so not sure now can’t be main stage as there’s another performance there 

[JNC]

1 hour ago, Rob S said:

And after all that I find I booked the evening (which I already have) rather than the required matinee!!!🤦‍♂️😄

If you contact the box office straight away you may be able to get a refund. When I accidentally booked two tickets for one performance once I got in touch near immediately when I received the confirmations and they had flexibility to refund me due to how quickly I’d got in touch and it being a sort of obvious error. 
 

Although if it’s SCS I’m sure someone on the forum will gratefully receive! 

[Rob S]

10 minutes ago, LinMM said:

Another question what is a promenade performance? I was thinking of booking 16th Feb …as up for Manon on 17th ….I  think it’s called Dark with Excessive Bright and I thought was in the Linbury but it says promenade performance so not sure now can’t be main stage as there’s another performance there 

 

It did indeed say the Linbury but as the seat can't be chosen (at least in advance) I assume we stand on the stage with them

[bridiem]

35 minutes ago, LinMM said:

Another question what is a promenade performance? I was thinking of booking 16th Feb …as up for Manon on 17th ….I  think it’s called Dark with Excessive Bright and I thought was in the Linbury but it says promenade performance so not sure now can’t be main stage as there’s another performance there 

This is the ROH blurb for the Linbury performances:

 

'Dark with Excessive Bright imagines the invisible forces of our universe in human form. The dance captures the growth, decay, chaos and consistency that always co-exist in our world. The music acts as the gravitational force, holding these elements in orbit. Dark with Excessive Bright reflects the world we live in, but with the addition of the principles we need in order to shape a more possible future – care and community – bubbling to the surface.

The audience enters an environment already alive with music, light and movement, staying for a period of 45 minutes and then moving on to make way for another wave of people who enter as they exit. With the floor clear of seats, each individual can define their own experience of the work by moving between three performance areas or standing back to take in the full picture. Moments of extraordinary intimacy – watching a person dance just a metre away – can be contrasted with a bird's-eye view of the entire performance from the balcony.

The movements are never improvised but exist within a structure that holds multiple possibilities through in-the-moment decision making from the dancers. This means music, dance and light are constantly realigning so that with each performance this ballet is created anew and never replicated. Audience and performers both have freedom to shape their experience and that of each other, making this ballet an intimate exchange and an expression of free will.'

 

[Rob S]

I wonder if the 'excessive bright' will be from people filming it on mobile phones😄

[Dawnstar]

2 hours ago, alison said:

Demand for standing has probably picked up because people have been priced out of formerly affordable seats. I've certainly noticed the difference this season.

 

I think it's the same for the cheapest side stalls circle tickets. Up until the last season or two I very rarely had any difficulty getting them but now....

[zxDaveM]

1 hour ago, Rob S said:

 

It did indeed say the Linbury but as the seat can't be chosen (at least in advance) I assume we stand on the stage with them

 

I imagine all the seats removed and the dancers move amongst the audience, or have designated areas that the audience move around.

Sounds a bit like the piece he did at Print Works (in SE London) 'The Dreamers Ever Leave You' which was terrific. Though that was in a HUGE space, so not sure how it will pan out in the confines of the Linbury stage/audience area

[zxDaveM]

45 minutes ago, Rob S said:

I wonder if the 'excessive bright' will be from people filming it on mobile phones😄

 

saves on the leccy bill for lighting...

[Emeralds]

Partially dictated by other important priorities and partly not trying too hard due to lack of casting info for the MacMillan triple bill, I logged on quite late at lunchtime and managed to get in with no queue at all to buy the Swan Lake I wanted, think about whether to book blindly for the MacMillan (and peruse a few dates and seating areas without waiting/queueing frustrations) and for the New Choreography without rail engineering and industrial action info etc but decided to wait till nearer the show dates. Might try this non-stessful method in future!

 

A relative who is now old enough for Young ROH said she forgot the booking date  completely and only logged in at night when reminded by friends. Said all the Swan Lake YROH tickets had gone, apart from just 3 restricted view left- £30 for a big security rail/bar blocking the view....no thanks. She booked weekend tickets [not included in Young ROH scheme] in the slips instead. 

Edited January 11 by Emeralds

[San Perregrino]

6 minutes ago, Emeralds said:

the New Choreography

Casting is online for these performances. e.g.:

 

15 FEBRUARY 2024

THURSDAY, 7PM

NEW WORKS

MAIN STAGE

GUIDANCE: Content guidance available soon

 

SHOW LESS

CAST

• BOUNDLESS (GEMMA BOND)
  Yasmine Naghdi, Ryoichi Hirano and dancers of The Royal Ballet
• NEW JOSHUA JUNKER
  Liam Boswell, Francisco Serrano and dancers of The Royal Ballet
• TWINKLE (JESSICA LANG)
  Fumi Kaneko, William Bracewell and dancers of The Royal Ballet
• FOR WHAT IT'S WORTH (MTHUTHUZELI NOVEMBER)
  Mayara Magri, Leo Dixon, Hannah Grennell, Isabel Lubach and dancers of The Royal Ballet

[Emeralds]

2 hours ago, LinMM said:

How frustrating RobS 😱

 

I know I’ve mentioned this on another thread but as there is no casting at all for the Macmillan triple can one assume that the casts will be the same for all three ballets whichever night you go? There are very few performances ( annoyingly) so this could be the case. 
I haven’t booked this or SL yet just looking at what’s left but was thinking of just booking one performance now and then seeing if casting actually comes up nearer the time ….but do people think it will? 

 

I think in the past, triple bills with two or more MacMillan ballets have always had 2 casts and sometimes three (depending on the ballet), LinMM. In my experience only new McGregor one act pieces have just one cast, although there are usually- but not always- covering dancers in case of injury/illness. MacMillan and other choreographers seem to have at least 2 casts, hence I'll wait. Also they are not likely to sell as fast as the Swan Lakes so you have time to wait and to  decide. 

Edited January 11 by Emeralds

[Emeralds]

5 minutes ago, PeterS said:

Casting is online for these performances. e.g.:

 

15 FEBRUARY 2024

THURSDAY, 7PM

NEW WORKS

MAIN STAGE

GUIDANCE: Content guidance available soon

 

SHOW LESS

CAST

• BOUNDLESS (GEMMA BOND)
  Yasmine Naghdi, Ryoichi Hirano and dancers of The Royal Ballet
• NEW JOSHUA JUNKER
  Liam Boswell, Francisco Serrano and dancers of The Royal Ballet
• TWINKLE (JESSICA LANG)
  Fumi Kaneko, William Bracewell and dancers of The Royal Ballet
• FOR WHAT IT'S WORTH (MTHUTHUZELI NOVEMBER)
  Mayara Magri, Leo Dixon, Hannah Grennell, Isabel Lubach and dancers of The Royal Ballet

Thank you PeterS. Now just waiting to hear if trains will be running/cancelled that day! 

[LinMM]

Wow Thankyou Bridiem for your very full reply… I did look at further info but didn’t pick up the above and that it’s sort of one of these immersive experiences!! 
Im really only coming up on the 16th to make doubly sure can be on time for the Manon matinee the next day so might give this a go for £20!!
Though am now torn between this and the main stage event but didn’t want to fork out too much because of the eye watering prices of the Swan Lakes!! 

 

Ha ha RobS was a bit worried you might be right about standing on the stage with them ….a bit too intimate for me …..but well you are pretty close it seems! Am not sure I want to be in touching distance though so guess will go for the “Birds Eye view” experience!!