Mary

On 17/09/2023 at 14:57, Lizbie1 said:

Thank you to everyone who posts about strike announcements here. I'm lucky enough to have a good coach service to London as a (less convenient but cheaper) alternative to the train. I normally hear the strike news here first, allowing me to book a coach ticket in the few precious hours before they put the price up.

I second that- thanks to the forum I was able to make lightning-fast arrangements to try to save my first vist to ROH for months...here's hoping it works out but the early notice was invaluable!

The advice is the same as the advice they gave last time.

It rather suggests to me that no improvement has been made.

I wish we could have this in our parks at home, lucky you.

1 hour ago, Angela said:

Lots of young dancers chose a company where they can do both,

I am sure that is true.

On the other hand, I am guessing that for most young dancers starting out, a place in any company is very gladly welcomed- it is not a case of picking and choosing- is it? And then when the company develops in a particular way they go with it, to get parts. Of course they must.

I would like to think dancers do have autonomy and so on, but I am afraid it is unlikely. The Director decides- and the Director is also subject to various pressures.

I think there are probably quite a few dancers who would prefer to specialise more but feel they can't.

I also feel there is nothing wrong with having some purely classical ballet companies and fear we are losing them.

Perhaps they should do another couple of  Swan Lake multi-cast specials and have different Manons in Act 1 and Act 2 to give the keen out-of-towners like me a chance to see the exciting new pairings.

I joke of course.

I never watch Act 3 any more.

My problem is that I don't want to see Manon again- but I do want to see some of these pairs dance it- impossible to explain to the non ballet-goer!

I would pay a fair bit to see Mr Fiennes's Macbeth but, that does seem a little steep!

How come I use lots of complicated websites without any problems with never a thought for the browser?

ROH can't be serious that you have to consider such things in order to book a ticket or check an upcoming booking...

I have been quite slow to start moaning about this isssue, but, once started.....

I would like to add that the rep is a big factor in limiting my visits this coming year - it seems there are quite a lot of people feeling like that.

10 minutes ago, capybara said:

why does an organisation like the ROH, which has so much internal data and staff knowledge to draw on, seem always to turn to expensive consultants to make fundamental recommendations for change?

 

I think that is the main question...

But I am guessing the ROH,  like so many of our national organisations, has lost a lot of these well-informed, long- serving staff in recent years ( it is very obvious front of house and sadly in the box office) and there is a damaging  trend for employing incredibly expensive outside 'consultants' who deal in nothing but airy jargon and actually know nothing at all about the business in question. I saw it at my own place of work.

The recent advert for marketing staff - 'no knowledge of the arts required'  -exemplified the trend. They then move on, quite unscathed, and much richer,  after doing a lot of damage, leaving the organisation picking up the pieces for years. I hope very much that is not happening here but I do begin to worry.

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.

Very interesting.   I am no hand at posting anything, and always look at the Links,  but just to note there is an essay by Alice Robb in the current Times Literary Supplement which I read in hard copy, about 'the return of narrative ballet' with a focus on 'Like Water for..' and a discussion of the relationship between dance and story. I don't know if you have already found/can find it, Ian or Jan.

I've just received a survey about improving the website.

It was so slow to load and so clunky to do ( for me, admittedly not good at such things) that I gave up.

It's not a tour,  it's a visit.....

1 hour ago, Emeralds said:

The Sadler’s Wells ballet audiences tend not to bring in drinks let alone snacks, and the mixed bill audiences are even more disciplined and decorous. I can’t predict the future of course, but if anyone eats or slurps during this triple bill it will be the first time in 3 decades of visiting the theatre that I’ve seen it

Sadly Emeralds that is not my experience. I have suffered this behaviour at Sadlers during ballet performances several times in a row, hence my comment.

I would like to see this programme very much, but I don't think I could face it if people were going to be eating crisps and drinking pints of beer during Four Last Songs, so might have to give it a miss. The wording is a little ambiguous-'set to the score by..' Will it actually be a performance of Four Last Songs live?

Sympathies to all.

I have had all these issues in the past 2 booking series, but this one was the worst and very stressful,  especially as I was getting tickets for someone else and it was important, plus, I was away from home, and also, had a bus to catch!

When I am told things like 'Oh use a different browser ....try this, try that,  blah de blah' I get a bit restive. I don't have to think about this sort of thing when I look at the ROH website, see what's on, search for things etc - so why, when I book tickets, do I have to call in techincal experts? it should just  -  work. It used to.

I emailed ROH to this effect last year and will do so again, - come on ROH, I have supported you through it all but you try my patience.

19 minutes ago, Cheshirecat said:

I managed to book tickets this morning but the process has been so slow and stressful! Like @Silke H, my waiting time kept on bouncing all over the place, not filling me with confidence that I would get there. This website and booking system are a disgrace!

 

 

Same here. Not pleased at all  

Personally I think maybe in 20 years time but not yet please!

Meanwhile.....I'd like to see Campbell in one of the classical male roles ...it's been too long. I haven't been as often this year but still..not many opportunities to see him. 

And what does 'drive a strong dwell time' mean?

Thanks to all for the lovely videos- that's a beautiful parade of hugs: it made me laugh and cry simultaneously!

Thanks John - any thoughts on the production? I have been pondering whether to go to this but don't feel in the mood for urinals etc.

47 minutes ago, emmarose said:

And isn't that a crying shame? One of the finest classical dancers of his generation and there's no work that's going to be left behind that's created for him. 

absolutely.

I've been trying to think of anything- I suppose there is the new material in Scarlett's Swan Lake- the reconciliation pas de deux is rather nice and I will always see that as very much Vadim, but I would not claim it as a masterpiece and he is surely worthy of so much more.

I think the underwear outfits are hideous, but worse than that,  they are  creepy. What has been done to the dancers' hair doesn't help either.

How anyone can do this to these beautiful dancers is beyond me. 

That's interesting John- it is not a favourite of mine anyway and I fear your comments confirm my intention not to go....

I am wondering when was the last time there was a new opera production in this country that did not feature either urinals, universal grey dreardom, or bizarre gimmicks? a friend new to opera has just been to Glyndebourne and was put off for life I fear - such a great shame.