bangorballetboy

Yes, guested as Onegin (3 shows), Siegfried (5 shows) and Albrecht (1 show). Plus three shows as Rudolf as a company principal.

He was a principal at RB for about 2 months (in 2002).

Well, I want to watch both Núñez and Lamb (who are superb interpreters of the role) just as much as I want to watch Naghdi and O'Sullivan. I find them all fascinating to watch. And I think you're being rather rude in describing Núñez as being in a "late stage in her career".

Ticket now spoken for.

I have a spare ticket for the RB in class on 17 April (1030 in the Clore Studio) - seat D14, face value £17. Please PM if interested.

I still think Karen Hardy would be a great judge; then there would be two former world champions on the jury and surely no-one could doubt their experience!

The important word at this stage is “allegations”.

Door 3B is on the left. As are 1B, 2B (or not 2B, that is the question) and 5B. That's part of the simplicity of the new door numbering. The lettering is consistent across the floors (except for the ground floor, which is the only floor to have a door into the auditorium in the centre).

I don't know about "physical" tickets but my etickets have the old level name and the new door number on them (e.g. Grand Tier door 2B).

The audience choice award is announced at the emerging dancer, but that's the only real connection. If it were limited to the six emerging dancer finalists (who were announced months ago), why would the cast sheet for the current production still list all of those other dancers for whom the audience can vote in the audience choice award? Why should length of service have a bearing on whether an audience member thinks a dancer should win an award? The audience choose who has impressed them.

They are completely different things. The Emerging Dancer competition is judged by a jury on the basis of an evening's competition (and the dancers competing in that are chosen by their peers); the Audience Choice award is voted for by the public and covers all the dancers on the list on the back of the cast sheets.

It was there on Friday but raised about 5 minutes before the show started

The second dress is used to make it easier for the chosen one to put it on (the other one has been flung around, could be inside out, twisted up etc.). The chosen one is notified earlier in the day that they will be performing and the cast know before the performance starts.

Have you attended less as a direct result of any of the changes?

Casting can be found here.

I've given the changes to the ROH some time to bed in and, having visited a significant number of times, it's time to put my thoughts out there. The overarching understanding for me is that the changes are not for the regulars. This is not a bad thing. Whatever can be done to encourage people into cultural establishments, without significantly discouraging those already engaged, is IMHO essential. The new Linbury Theatre. The improved and enlarged foyer is very good. Part of the open up project was to create new spaces that can be used for additional things. So, not only is this space now much easier to use before a performance, it is its own performance space and is being put to very good use both through (free) concerts and the family sundays and similar events. I have been in the new theatre itself a few times now and, yes, the seats are more comfortable and the adjustable rake works well. The seat numbers are very difficult to see and I'm sure this would be quite easy to rectify. There are some viewing issues from certain areas when the theatre is in "proscenium" set-up (the second rows on the sides) and when the pit is in use (a couple of affected seats) but am understanding of this as the theatre is designed to be flexible (and so these positions may be better in, say, an "in the round" production) and also bearing in mind that the theatre has been designed to be better acoustically than the previous incarnation. The piazza link, new shop and new foyer area Good to have the piazza link back but a shame that the awful revolving door has not been replaced as originally intended. The shop has better visability to people entering from the piazza and is much easier to move around than before. The café/bar seems well used (and is quite handy if you're at a Linbury show and the bar down there is very busy). The flexible "box office/cloakroom counter" that was originally proposed would, I feel, have been better than the current situation but to me the only time there is significant congestion in this area is by the box office after a show and this has, in practice, not really been a significant impediment to moving around. The additional staircase to the bottom of the escalators is a boon, but does mean that areas of the auditorium can be reached without passing a programme desk and this is something that should be given some further thought. I have no issue with people using the new foyer area for socialising or sitting on their computer or whatever. This is a useful public space and those who don't like it do not have to go anywhere near it, given the access to the "old" foyer from Bow Street and access to all parts of the theatre from there. At this point I must mention something I overheard whilst in the queue for the cloakroom before a Nutcracker matinée. A lady joined her friends who were standing immediately in front. She said to them: "Is this your first time here too? This is the most fantastic place!" I've not really seen the tablets that are available for browsing and booking tickets being used. Perhaps some signage here would be useful. Changes in the "old" foyer I am disappointed that more thought was not given to people flow in this area. Having just one programme/ice cream desk and it being by the auditorium door by the bottom of the grand staircase means that a major bottleneck is created through people queuing at the desk (particularly at the beginning of intervals). This could be fixed quite easily. The toilet situation It's great that there are now many more cubicles in the "main" ladies toilets but there can be issues getting to the ground floor gents due to largish numbers of ladies waiting to use the nearby accessible facilities. Whilst some of these ladies may have unseen needs for these facilities, I do think a number of them are just being lazy. Some better signage in the direction of the ladies' toilets would also, I feel, be useful. The new amphi bar and terrace areas I'll start with the carpet. Personally, I don't really care about this but it's been mentioned on here a number of times. I think the current carpet was probably not the best choice but I also think it may have been a stop-gap from a final rush to complete the works. I love the "skylight" at the top of the escalators and find the new bar area much more "open", generally easier to move around and with a useable bar service area. I don't use the amphi restaurant but have no objection to it in its current state - my opinion on this may change when the summertime comes and it extends onto the terrace, but I'll take that as it comes. The new terrace areas are great. A combination of enclosed and open areas, with windows that open in the enclosed bits. Decent heating in the enclosed areas too. The seating arrangements have been a bit flexible so far, but the current layout seems to work very well. Good to have a cloakroom on this level now, which is very useful for events in the Clore (although sometimes if there's an early start opera on, the cloakroom is full well before the Clore event starts). Plenty of space now for exhibitions up here (the current posters on the corridors are fantastic) and this is also a brilliant space for the family sunday events (and similar). The door numbering This is definitely one of the things that is not for the regulars. To me, the new system is easy to follow with the G, 1, 2, 3 etc. representing the floor of the building and the letters showing the doors from left to right as you look at the auditorium. This is much easier for a newcomer to understand, particularly if you bear in mind that the nomenclature for the areas of the auditorium are different to almost every other theatre or performance space in the country. The only slight niggle here is that, unless you use a lift, access to floor 4 is easiest via floor 5 but the signs are generally clear (and I've generally found fewer people looking lost by the back staircase nor have I discovered anyone in my stalls seat with a stalls circle ticket). Another example here. One evening as I was heading to door GC, I passed by door GB. A lady there was asking the usher if she was at the correct door as it was her first time there. The usher said: "Yes, this is door GB. It's G for ground and the door to your left is GA and the door to your right is GC. It's pretty much the same on the other floors." The customer responded: "Thanks. That's really easy to understand." and went on in to the auditorium. The box office I have no issue with the box office being on the corner; this is no different to a number of other opera houses and theatres and it's easy to get to from both the piazza and Bow Street. Having the "pre-show" box office in the glass foyer is handy though (even if the returns queue can sometimes be a bit difficult to get past). Conclusions I am really happy with the new spaces and with how they are used for events now. Overall , I'm happy with the changes subject to some niggles that could be ironed out relatively easily. The intention behind the project is good and there are people coming into the building that weren't doing so before. We'll just have to wait and see how this translates into attendance (and re-attendance) figures at shows.

To put some minds at rest, Francesca Hayward has instragramed a picture of her and Cesar Corrales during their R&J rehearsal today.

There are a couple of £39 seats available online now

3 hours 55, including intervals

The winners in the dance categories: Best new dance production: blkdog by Botis Seva Outstanding achievement in dance: Akram Khan for Xenos

Please don’t speculate on this forum.

It starts at 7, doesn’t it?

Is he? Where did you get this information?

Ginevra Zambron has been in the corps for acts 2 & 3 a number of times now.