Royal Ballet - Swan Lake 2024

[capybara]

This discussion has now moved beyond my ability to follow the 'argument'.

 

[LinMM]

But Ballet bloke did ask Geoff exactly what he meant by his phrase “non idiomatic emotionalism” 

I was hoping for a direct reply too which didn’t come!! 
Not that anybody “has to” explain what they post of course and one can just accept haven’t a clue what they are on about but it’s nice to get an explanation ….especially if it’s easy for the poster to explain with their further knowledge of the ballet originators etc. 

 

[Linnzi5]

Well, what I got from 'non-idiomatic emotionalism' is that it's an emotional response from what is literally just seen - there is no underlying complex narrative/hidden meaning to decipher to experience the emotion? So, when I watch the corps dancing in SL, I get an emotional response from the beauty of that - there's no great hidden narrative I need to untangle to feel emotion. Of course, I am probably 'barking up the wrong tree' 🤣 

[Dawnstar]

3 hours ago, Emeralds said:

The music is triumphant and changes to a major key, so whether the ending is happy ever after in the afterlife or happy together in real life, it should have an upbeat ending with them both joyful, or perhaps they could both die and the stage lighting focused on the swan maidens being freed of the spell...the focus in this production on a devastated Siegfried holding a deceased Odette doesn't work for me.

 

I find that (having seen it 5 times since it premiered) I tend to switch off when he carries her body out and just look for Odette's spirit or close my eyes and listen to the music while getting ready for the bows.

 

Maybe it would help if, from where I sit, I could actually see Odette's spirit rising up. Or for that matter see her killing herself, or see more of Von Rothbart's demise than the end of one wing tip draped over the rock!

[Odyssey]

I have never really found myself responding to Swan Lake through becoming immersed in the emotional psyche of the characters and their narrative development.  For me it is simply about the sublime beauty of the choreography and that gorgeous score. I enjoy seeing the ways in which choreographers bring fresh ideas to the narrative, and can revel in the spectacle and lavishness of the set and costume designs. But give me a superbly rehearsed corp de ballet and two accomplished principal dancers who are clearly responding to the music and to each other, and then it becomes transformative.

Edited March 17 by Odyssey

[Scheherezade]

Well I would take non-idiomatic emotionalism as meaning a natural response, not something informed by any sort of preconception of what you’re supposed to feel, so - I think - along the same lines as @Linnzi5 but what do I know? I think we need a dictionary corner here. Anyway, if it is a natural response to what you experience, I would imagine that would be pretty much impossible from your restricted view seat, Dawnstar. 

[Sim]

I am with @Odyssey on this one.  If I leave SL feeling emotional and choked up, it is simply because of having witnessed such beauty, from corps, principals and soloists (combined with that perfect score).  It's not that I engage with these fairytale characters and get sad at the end because she/they die.  To quote Alison Moyet, I go weak in the presence of beauty.  That's it, pure and simple.   Like @Linnzi5 above, if I get emotional at the end of a MacMillan, or Onegin, it is because the characters are more real and I can relate to their weaknesses and tragedies.  With SL, it is sheer amazement that human beings can create something so beautiful.  When there is so much ugliness in the world perpetrated by humans, it always moves me when I am reminded in such a profound way of the good, positive side of our flawed species.

 

I have always preferred the versions where Siegfried and Odette die, and then have an apotheosis of some kind.  This is what the music is telling me at the very end......they will be together in eternity, and love has triumphed over evil (those final triumphant notes make this very clear).  For me, the music is taking them on their final journey, and leaves those of us back on Earth with that feeling of triumph and positivity.  That's why I loved the ending in Anthony Dowell's version.  

[bridiem]

I can't speak for @Geoff, but I understood 'non-idiomatic emotionalism' to mean that classical ballet as used by Petipa is a formal 'language' and so to imbue (or seek to imbue) every step with excessive personal emotion is inauthentic (and more of a 20th-/21st-century approach).

[San Perregrino]

3 hours ago, Balletbloke said:

Sorry Geoff, but you'll have to explain what "non-idiomatic emotionalism" is.

I’m not a scholar of Petipa or anyone else but after a bit of googlewebbing I get the sense that non-idiomatic emotionalism equates to “wearing your heart on your sleeve” or “what you see is what you get”.

[Scheherezade]

If we take idiomatic emotionalism as the language we associate with a particular branch or style of an art form, that implies that any deviation from a purely intellectual interpretation  is non-idiomatic, and I get that, it may be emotionally engaging but it’s inauthentic, but where does the response of the audience member come in?

[Sebastian]

3 hours ago, Balletbloke said:

Sorry Geoff, but you'll have to explain what "non-idiomatic emotionalism" is.

 

The matter seems to be resolved but perhaps I can add a few grace notes. First @Balletbloke I suspect you might have got a quicker reply if you had formulated your enquiry more along the lines of "I have done a fair bit of reading about the classical tradition and Petipa in particular, but I am not sure exactly what you mean here, might you be so kind and explain at more length?" After all, the way you put the question could be read as suggesting the phrase used - which seems perfectly straightforward to me - is so obscure that the poster "has to" explain. Which might be taken as rude. 

 

Breaking the phrase down, presumably you don't need an explanation of the "idiom" of Swan Lake (ie not the French style of romantic ballet but the later classicism as developed from the Italians and reaching a highpoint in the great works by Petipa, and in the case of Swan Lake, also Ivanov). So you already understand what "non-idiomatic" means, ie that which Petipa/Ivanov would not recognise. 

 

"Emotionalism" is more interesting. There are those who argue that one consequence of years of dominance at the Royal Ballet of what was at the time "new" work from Kenneth MacMillan was to breed a new way of seeing ballet. It is said that both audiences and performers now have at the back of their minds that all ballet strives to the condition of a narrative MacMillan ballet. This is obvious nonsense but one can see how the idea might take hold, even subconsciously. 

 

As a result we see, even in The Sleeping Beauty and Swan Lake, RB corps members developing "back stories" for their "characters", miming little narratives to keep the "background action" going and trying to imbue people on stage with motives and emotions more along the lines of soap opera than classical ballet. "Emotionalism" would seem to be a striving for emotion where it is out of place. Aurora is not deeply conflicted about which of the four suitors she fancies most - her choice is a symbolic one, representing the four corners of the globe, ie everyone - indeed she is more involved with the rose and her family than with them.

 

The sort of narrative "emotion" which arouses our empathy is a million miles from the abstract and symbolic court drama of what noble 19th century audiences were familiar with. This, as others have said, does not mean one is not moved, but our response is a higher order one than "ooh she's upset so I'm feeling along with her and feel upset as well". There is a library of literature about the classical tradition - idiom - and these ideas are far better developed there than by me, but perhaps this offers a few clues. 

 

Edited March 17 by Sebastian

[LinMM]

Very well explained Sebastian Thankyou. 
I would say though that I did not find Balletbloke’s comment particularly rude ….though probably better to have said “can you” rather than “you’ll have to” 

If one wanted one could spend time investigating the phrase and gaining an insight to what it might mean in the context of Swan Lake but sometimes just easier to ask what was meant by the poster!! 

 

 

[Balletbloke]

Thanks everyone for diving in on this one! No, I certainly did not intend rudeness, but if that's how my comment was construed I apologise. I think my question has been answered now anyway, so maybe we can close the matter?

[MargaretN7]

16 hours ago, Linnzi5 said:

There are some stunning photos on Instagram on Fumi's and William's accounts. The photos were taken by dancersdiary and are actually from last night's performance, if anyone is interested.  I wasn't aware photos were usually taken at performances, so that's interesting......

Dancersdiary, at one time a dancer in the company, is an official photographer for the Royal Ballet and is often in the stalls circle standing area taking performance photos. He always explains to whoever he is standing by, is quiet and unobtrusive, and I've never found him distracting. His photographs are much appreciated.

[Suffolkgal]

I still miss the little powder puffs as the swans fold up across the stage and the harp gets going and you see the swan boat and oh oh oh 😪 

[alison]

23 minutes ago, MargaretN7 said:

Dancersdiary, at one time a dancer in the company, is an official photographer for the Royal Ballet and is often in the stalls circle standing area taking performance photos. He always explains to whoever he is standing by, is quiet and unobtrusive, and I've never found him distracting. His photographs are much appreciated.

 

He's not the only one either, I think, although I stand in that area so infrequently these days that it's difficult to be sure.

[Scheherezade]

I would also like to say thank you to Sebastian for providing, as always, such a clear and informative explanation. 
The problem that I have turns on the increasing confusion between emotion (a genuine response which can be beautifully defined by pure dance and I see this as idiomatic emotionalism) and sentimentality (a contrived representation of what is supposed to express intense feeling, which I see as very much a 21st century disease and, in this context, non-idiomatic emotionalism). 
I am not convinced that characterisation in itself robs classical ballet of its authenticity. The dancers that truly touch us do characterise, albeit by dint of the sheer beauty of their movement and interpretation of the music, and without this the art form would be reduced to a series of sterile tableaux that we cannot connect with in any way beyond that of an intellectual exercise but this is not the same as the over-emoting that inevitably accompanies the merciless onward march of sentimentality in life and in art. 

[Emeralds]

4 hours ago, Dawnstar said:

 

Maybe it would help if, from where I sit, I could actually see Odette's spirit rising up. Or for that matter see her killing herself, or see more of Von Rothbart's demise than the end of one wing tip draped over the rock!

For this production, probably doesn't matter that you can't, Dawnstar.  😉 Just remember the beautiful dancing in the rest of the ballet.  I think I watched Fumi and Federico's performance last run and enjoyed it very, very much without being able to see any of those bits and didn't miss them. Swan Lake is a bit of a "susoend disbelief" kind of story, really. Which can be tricky for some and fantastic for others! 

[Sim]

18 hours ago, PeterS said:

They did dance this together in the last run so it’s not completely from scratch. 

They did?  I saw Fumi with Bonelli but didn't realise she had danced it with Will also.  Dang, can't believe I missed it. 

 

[Linnzi5]

10 minutes ago, Sim said:

They did?  I saw Fumi with Bonelli but didn't realise she had danced it with Will also.  Dang, can't believe I missed it. 

 

It was a schools’ matinee and Bonelli was ill so Will stepped in. I only found out this was the case when I said exactly the same as you - how did I miss it?!! 

[Beryl H]

I saw the last act of this production once, that was enough, gives me a good excuse to leave on a high after the ballroom scene! 

 

Might stay at the cinema relay though and actually get the chance to see Odette and not just her feet, which is the view from the rear amphitheatre.

 

 

[Richard LH]

36 minutes ago, Sim said:

They did?  I saw Fumi with Bonelli but didn't realise she had danced it with Will also.  Dang, can't believe I missed it. 

 

Fumi and Will only danced it once, at the Welcome performance "for people who have never been to a ballet or opera at the Royal Opera House", so I don't think you would have qualified @Sim !

[Linnzi5]

9 minutes ago, Richard LH said:

Fumi and Will only danced it once, at the Welcome performance "for people who have never been to a ballet or opera at the Royal Opera House", so I don't think you would have qualified @Sim !

I knew it was a performance the general public couldn't go to. Thought it was a schools' performance but I do remember now it was a Welcome one.  

[Mora]

18 hours ago, JNC said:

(I’m also hoping for them to be cast together in Manon next time…) 

So am I (although I really enjoyed the performance given by William and Yasmin in their debuts). Same for Mayerling.

And I also crave to have a second chance to see them in Romeo and Juliet when the production comes back to the ROH. 

What I feel when I see them rehearse -just on Youtube or instagram- is something I very rarely experience with any other partnership. 

[JNC]

Yes I’m still kicking myself for not seeing them together in Romeo and Juliet, I think the dates didn’t align for me.

 

Slightly off topic but not sure where else it would go, when I went to see the production a couple of weeks ago I noticed it’s no longer possible to simply pick up and flick through a programme. I usually do buy but I’ve already got 2 swan lake programmes so I was only interested in buying this time if there were new articles or photos that I was particularly interested in. I asked the staff member selling them if I could take a look to decide if I wanted to purchase and she looked at me like I was mad and said I wasn’t allowed to touch before buying as people don’t like their programmes being touched. (I wonder if they’ve had complaints or people returning “soiled” programmes?!) 
 

I very much do understand this as someone who likes pristine books and programmes without smudgy fingerprints but I explained I just wanted to take a quick look for the reason outlined above (already owned a programme and wanted to see if there were any new articles). I was given a rude look and told I needed to ask the manager! Feeling rather silly I went over to ask for permission (!) and was again made to feel very odd (I wasn’t going to rub my hand over it every page but merely hold on to the cover to flick through very quickly). Begrudgingly I was told I could take a quick look and was stared at very intensely while I flicked through the program in about 30 seconds.

 

I know in the grand scheme of things this isn’t a big deal but it was more the fact the staff were very unfriendly (no smiles, abrupt answers, nor at all apologetic) and I was made to feel like I looked dirty or was doing something wrong. It’s the first time ever I’ve felt unwelcome in the ROH and like I don’t belong because I’m not a certain clientele. (Not that it matters but I think I looked relatively normal with a backpack and a black coat. I wouldn’t say I looked particularly dirty or anything!). I’ve always found ROH staff to be friendly and pleasant in interactions before and so I was a bit surprised and disappointed by the whole encounter and terribly embarrassed. 
 

I don’t think wanting to flick through is an unreasonable (or odd) request, I don’t want to pay £8.50 for essentially the same programme from 2 years ago (and yes I confirmed there were no new articles so I didn’t purchase one in the end, I also thought if I had purchased one it would only serve to remind me of the whole encounter). 
 

I completely understand they don’t want people just mucking up programmes but why not have a display copy available that people can flick through - that’s only a few (1 per each location they sell them) throughout each run which in the grand scheme of things won’t be a huge loss.
 

I guess I’m posting on here as I’m curious as to whether I am unusual in wanting to look before I buy? And whether if this happens again if the suggestion of a display copy is a sensible one? 
 

As someone who used to be a friend and attend ROH regularly it really put me off them actually. I’m not going to cut of my nose to spite my face so I’ll obviously still attend performances I want to see but I feel this is an encounter I’ll remember if I ever consider being a Friend again (highly unlikely this aside) and I used to buy the odd ice cream/drink as I wanted to but also to support ROH but they’re nothing special really so won’t be inclined to do this type of stuff in the future. Overall it left a very unpleasant atmosphere for me (thankfully this dissipated once seeing the performance), it was less what they actually said but how they said it if that makes sense? I appreciate staff are busy but I wasn’t holding up a massive queue of people trying to buy a program or anything like that either. 

[capybara]

Is there a display copy of programmes  in the ROH shop?

If not, there should be.

[Sim]

2 minutes ago, JNC said:

Yes I’m still kicking myself for not seeing them together in Romeo and Juliet, I think the dates didn’t align for me.

 

Slightly off topic but not sure where else it would go, when I went to see the production a couple of weeks ago I noticed it’s no longer possible to simply pick up and flick through a programme. I usually do buy but I’ve already got 2 swan lake programmes so I was only interested in buying this time if there were new articles or photos that I was particularly interested in. I asked the staff member selling them if I could take a look to decide if I wanted to purchase and she looked at me like I was mad and said I wasn’t allowed to touch before buying as people don’t like their programmes being touched. (I wonder if they’ve had complaints or people returning “soiled” programmes?!) 
 

I very much do understand this as someone who likes pristine books and programmes without smudgy fingerprints but I explained I just wanted to take a quick look for the reason outlined above (already owned a programme and wanted to see if there were any new articles). I was given a rude look and told I needed to ask the manager! Feeling rather silly I went over to ask for permission (!) and was again made to feel very odd (I wasn’t going to rub my hand over it every page but merely hold on to the cover to flick through very quickly). Begrudgingly I was told I could take a quick look and was stared at very intensely while I flicked through the program in about 30 seconds.

 

I know in the grand scheme of things this isn’t a big deal but it was more the fact the staff were very unfriendly (no smiles, abrupt answers, nor at all apologetic) and I was made to feel like I looked dirty or was doing something wrong. It’s the first time ever I’ve felt unwelcome in the ROH and like I don’t belong because I’m not a certain clientele. (Not that it matters but I think I looked relatively normal with a backpack and a black coat. I wouldn’t say I looked particularly dirty or anything!). I’ve always found ROH staff to be friendly and pleasant in interactions before and so I was a bit surprised and disappointed by the whole encounter and terribly embarrassed. 
 

I don’t think wanting to flick through is an unreasonable (or odd) request, I don’t want to pay £8.50 for essentially the same programme from 2 years ago (and yes I confirmed there were no new articles so I didn’t purchase one in the end, I also thought if I had purchased one it would only serve to remind me of the whole encounter). 
 

I completely understand they don’t want people just mucking up programmes but why not have a display copy available that people can flick through - that’s only a few (1 per each location they sell them) throughout each run which in the grand scheme of things won’t be a huge loss.
 

I guess I’m posting on here as I’m curious as to whether I am unusual in wanting to look before I buy? And whether if this happens again if the suggestion of a display copy is a sensible one? 
 

As someone who used to be a friend and attend ROH regularly it really put me off them actually. I’m not going to cut of my nose to spite my face so I’ll obviously still attend performances I want to see but I feel this is an encounter I’ll remember if I ever consider being a Friend again (highly unlikely this aside) and I used to buy the odd ice cream/drink as I wanted to but also to support ROH but they’re nothing special really so won’t be inclined to do this type of stuff in the future. Overall it left a very unpleasant atmosphere for me (thankfully this dissipated once seeing the performance), it was less what they actually said but how they said it if that makes sense? I appreciate staff are busy but I wasn’t holding up a massive queue of people trying to buy a program or anything like that either. 

I'm sorry to hear this, JNC.  Sounds like you might have had some newbies, or that more training is required.  I agree that there should definitely be display copies for people to have a look at:  £8.50 is a lot whether you already have one or not!  I think my immediate reaction would have been 'ok fine; you have just lost a sale as I won't buy unless I can have a quick look.'  I can understand that they don't want to risk tearing or dirtying a copy in case you had a look and then decided not to buy, but definitely a display copy is the way to go.  But please don't let it spoil your memory of the evening or mar future excursions.  As you say, the staff are usually very polite and helpful, so don't let a couple of bad apples ruin the whole basket.  

[art_enthusiast]

7 minutes ago, JNC said:

I guess I’m posting on here as I’m curious as to whether I am unusual in wanting to look before I buy?

 

You definitely aren't the only one. I think it's perfectly fine if you want to do that - doesn't everyone do that in bookshops anyway? 

 

I have definitely flicked through books in the ROH shop before a performance - read a few parts of Yasmine and Vadim's recent biographies - and no one said anything. I totally understand why you felt alienated by this treatment, some staff can certainly take their jobs too seriously at times. It's not as if the programme is made of gold leaf! I understand about not wanting children to touch things as they can probably tear them, but adults are hardly likely to do that. Also Covid is no longer an excuse either.

 

Their loss anyway as you're not likely to get a sale with bad customer service!

[JNC]

3 minutes ago, capybara said:

Is there a display copy of programmes  in the ROH shop?

If not, there should be.

This was opening night of Swan Lake so I looked there initially when I arrived but they didn’t have them out, that’s when I went to the main front of house bit. I also find where they’re placed in the shop to not be particularly conducive to browsing as they’re right where you queue so you have to block the queue a bit…

 

In future I’ll certainly be going to the shop to avoid this, or if I have a similar encounter politely suggest display copies! 

 

@Sim thanks, yes I certainly didn’t let it spoil the sublime performance of Marianela and Vadim. Originally I did wonder if the original staff member I spoke to was new and just worried about doing something “wrong” by letting me have a look but I got the same attitude from the “manager”. And when I went back the original staff member to say the manager says it’s ok I can have a quick look she was still very resistant and repeated that they don’t like people touching them as people complain and it really had to be a very quick look! 

[Linnzi5]

11 minutes ago, JNC said:

Yes I’m still kicking myself for not seeing them together in Romeo and Juliet, I think the dates didn’t align for me.

 

Slightly off topic but not sure where else it would go, when I went to see the production a couple of weeks ago I noticed it’s no longer possible to simply pick up and flick through a programme. I usually do buy but I’ve already got 2 swan lake programmes so I was only interested in buying this time if there were new articles or photos that I was particularly interested in. I asked the staff member selling them if I could take a look to decide if I wanted to purchase and she looked at me like I was mad and said I wasn’t allowed to touch before buying as people don’t like their programmes being touched. (I wonder if they’ve had complaints or people returning “soiled” programmes?!) 
 

I very much do understand this as someone who likes pristine books and programmes without smudgy fingerprints but I explained I just wanted to take a quick look for the reason outlined above (already owned a programme and wanted to see if there were any new articles). I was given a rude look and told I needed to ask the manager! Feeling rather silly I went over to ask for permission (!) and was again made to feel very odd (I wasn’t going to rub my hand over it every page but merely hold on to the cover to flick through very quickly). Begrudgingly I was told I could take a quick look and was stared at very intensely while I flicked through the program in about 30 seconds.

 

I know in the grand scheme of things this isn’t a big deal but it was more the fact the staff were very unfriendly (no smiles, abrupt answers, nor at all apologetic) and I was made to feel like I looked dirty or was doing something wrong. It’s the first time ever I’ve felt unwelcome in the ROH and like I don’t belong because I’m not a certain clientele. (Not that it matters but I think I looked relatively normal with a backpack and a black coat. I wouldn’t say I looked particularly dirty or anything!). I’ve always found ROH staff to be friendly and pleasant in interactions before and so I was a bit surprised and disappointed by the whole encounter and terribly embarrassed. 
 

I don’t think wanting to flick through is an unreasonable (or odd) request, I don’t want to pay £8.50 for essentially the same programme from 2 years ago (and yes I confirmed there were no new articles so I didn’t purchase one in the end, I also thought if I had purchased one it would only serve to remind me of the whole encounter). 
 

I completely understand they don’t want people just mucking up programmes but why not have a display copy available that people can flick through - that’s only a few (1 per each location they sell them) throughout each run which in the grand scheme of things won’t be a huge loss.
 

I guess I’m posting on here as I’m curious as to whether I am unusual in wanting to look before I buy? And whether if this happens again if the suggestion of a display copy is a sensible one? 
 

As someone who used to be a friend and attend ROH regularly it really put me off them actually. I’m not going to cut of my nose to spite my face so I’ll obviously still attend performances I want to see but I feel this is an encounter I’ll remember if I ever consider being a Friend again (highly unlikely this aside) and I used to buy the odd ice cream/drink as I wanted to but also to support ROH but they’re nothing special really so won’t be inclined to do this type of stuff in the future. Overall it left a very unpleasant atmosphere for me (thankfully this dissipated once seeing the performance), it was less what they actually said but how they said it if that makes sense? I appreciate staff are busy but I wasn’t holding up a massive queue of people trying to buy a program or anything like that either. 

Reading this made me very sad. I've always found the staff very personable and to be made to feel the way you did is awful. It sounds like you were unlucky with the staff you spoke to - not that that is an excuse or acceptable in any way. I mean, surely, the staff member could have flicked through the programme his/herself with you looking at it if there was a concern you would accidentally damage it? I don't think it's unreasonable to check if the programme is the same as the last run's. 

 

I have given up buying programmes I already have from previous runs. Why? Because they are usually identical to the ones I have already! No updated photos of rehearsals or new articles etc. So, I always feel cheated and a bit cross when I do buy and it's the same from 2+ years ago! I'm going off on a bit of a tangent here, but the Cinderella one was new and quite honestly, I thought it was dreadful value for money and was full of silly flower pictures!  I did not buy a Swan Lake one on Friday and as I bought one two years ago, I'm really glad I didn't! 

 

I understand why you feel disappointed (I would feel the same way) but do hope this doesn't mean you won't enjoy performances in the future  

[JNC]

Thanks @Linnzi5 yes I would have been more than happy for the staff member to flick through for me as I had no real desire to touch it directly it was just a means to an end to assess the content!

 

I’m glad that I wasn’t completely weird for asking to see it, it certainly didn’t/won’t spoil performances for me at ROH, it’s not a big deal in the grand scheme of things but for all they knew that was my very first visit to the ROH and if it was I certainly wouldn’t have felt very welcome at all (I know I mentioned I already had two programmes already to them so at that point they would have figured I’m not a “newbie” but that was only after I asked initially to view and was told no so felt I had to explain why I wanted to see, so at the initial point of interaction they had no way of knowing). It also felt embarrassing to say £8.50 isn’t “nothing” for me to spend and that’s also why I wanted to look to see if it was worth it as maybe they feel if I have the money to buy a ticket I can easily spend £8.50 on the programme? 
 

As an aside I do think the programmes are very high quality but yes I don’t want to buy them if there’s nothing new inside! I agree the Cinderella programme wasn’t great, I would have liked to have seen more behind the scenes sketches of the set designs and costumes and or archival photos of previous Cinderella productions to reflect changes over the years not random photoshopped flowers! 
 

Sorry to take the conversation off topic and thanks those who have replied kindly! 

Edited March 18 by JNC

[Emeralds]

You can browse in the shop, @JNC. I think generally the ushers discourage browsing at their stands because a crowd of people in the front who just want to browse then grows bigger and obstructs the people who actually want to buy programmes (and at the interval, ice creams too) which leads to chaos and a lot of grumbling in the queue as the purchasing gets slowed down.

Edited March 18 by Emeralds

[Geoff]

So sorry @JNC People with something to hide tend to behave badly. There was a scandal with the ROH red programmes a few years ago. This (which I can’t say more about) involved various kinds of incompetence and stupidity, impacted internally on ROH staff/departments and involved at least one “reverse ferret” (as Fleet Street calls dramatic reversals of policy). I suspect that even if the particular members of front of house staff know exactly nothing about any of this, there may well still be something of a neurotic attitude clinging to the programmes as a result.

 

The rude (and counterproductive) way you were dealt with certainly suggests you should send in a complaint. As always I recommend the main customer services email address to make sure this gets to those who manage front of house. 
 

Edited March 18 by Geoff