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Post by Dawnstar on May 10, 2024 22:08:57 GMT
I don't think they do those anymore so just looking in general and would quite like to see Romeo and Juliet in 2025. Where can I get an idea of pricing? Any tips on where to be seated for a decent view without a hugely extortionate price? Thanks in advance. The still do occasional non-public performances for invited audiences but I have no idea what the criteria are to get invited. At the moment the prices have only just been released for the autumn booking period for the 2024-25 season, and even that is only in grid form & not yet in seating plan form. So the prices for Romeo & Juliet probably won't be released for several months. The top price for Cinderella and Alice in Wonderland are £190, which to the best of my knowledge is a new high for the Royal Ballet, so I fear R&J will probably similarly have higher prices than it's ever had before. Unfortunately getting a decent view at a not too high price is pretty much impossible in the ROH. Anywhere that has an unrestricted view nearer than the amphitheatre is going to be £100+. So if your ticket budget is under that then you have to choose between a distant clear view or a nearer restricted view. My personal preference is always for the latter, as for me being able to see detailed acting is vital, but I can't deny that it can be intensely frustrating when dancers disappear behind one side of the proscenium arch for varying lengths of time.
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Post by Dawnstar on May 10, 2024 12:38:48 GMT
Apart from the prices! I was expecting Cinderella to be expensive, given it's the Nutcracker substitute, but I was unpleasantly surprised to find Alice has the same prices. I'm dreading how expensive R&J and Onegin will be, given they are the productions I am likely to want to see the most casts in next season.
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Post by Dawnstar on May 9, 2024 22:50:00 GMT
Now he'll probably be cast in all the autumn pieces & in hindsight I'll look like an idiot!
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Post by Dawnstar on May 9, 2024 12:34:43 GMT
Sorry for more silly questions (I'm still a newbie to ROH performances). Is there a certain way that the principals are allocated to performances or is it more random? From what has been announced I am interested in booking Alice's Adventures in Wonderland and Maddaddam but I am also keen to book based on who will be appearing. I have a few dancers I would like to see (Bracewell, Clarke, Kaneko, Hayward and Osipova). Is it likely they will be performing at some of these shows? The ballet casting should be announced before booking opens, though admittedly it wasn't for either the MacMillan or Ashton triple bills this season. Hayward has danced Alice before so is likely to be cast again. Osipova I would suspect unlikely to be, given she wasn't cast in the last 2 runs since she joined the company as Principal. Kaneko, Bracewell & Clarke have all only become Principals since the last run of Alice so while none of them have danced the lead roles previously they could be cast this time around. I would suspect just based on the type of dancers that have been cast previously that Bracewell is the most likely to be cast. Given Kaneko was cast as Mama Elena rather than Tita in Like Water For Choclate perhaps she might do the Red Queen rather than Alice.
As Maddaddam is new to the company it's not possible to make any guesses at the casting based on past casting so goodness only knows for that. There will probably only be a couple of casts for it though, as it's a short run & that has been the case for other McGregor works.
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Post by Dawnstar on May 9, 2024 12:23:03 GMT
I'm afraid I've never been to see ENO's Iolanthe, since Cal McCrystal is on my Directors To Avoid list. I enjoyed Life on the moon and Pinafore but not Iolanthe (way to silly). It will be interesting to see if his 'Widow' is merry or not I detested his production of Il mondo della Luna & hence have been avoiding his work ever since. Never having been to Glyndebourne, I don't really have to try to avoid his Merry Widow.
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Post by Dawnstar on May 8, 2024 19:15:45 GMT
They did do The Mikado pretty often. Checking my list, I saw it in 2008, 2011 and 2013 as well as 2019 so that would have been 5 runs in the dozen years before the pandemic. I'd guess the gap from 2019 to now could be the longest in the production's history. Mikado is definitely the one that brings in people. Iolanthe last year I was really sad when I was seeing empty seats. I'm afraid I've never been to see ENO's Iolanthe, since Cal McCrystal is on my Directors To Avoid list.
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Post by Dawnstar on May 8, 2024 19:05:38 GMT
The last ENO Mikado revival was in autumn 2019. Ah, thanks! I was thinking of when I saw it back in 2015/16.
Maybe Pirates is more likely to be up next then.
They did do The Mikado pretty often. Checking my list, I saw it in 2008, 2011 and 2013 as well as 2019 so that would have been 5 runs in the dozen years before the pandemic. I'd guess the gap from 2019 to now could be the longest in the production's history.
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Post by Dawnstar on May 8, 2024 18:48:07 GMT
I think it's the Mikado for the next G&S to be revived again? Last time that was on was 8 years ago I believe. Unless they do Pirates, or Yeoman. The last ENO Mikado revival was in autumn 2019.
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Post by Dawnstar on Apr 24, 2024 12:31:00 GMT
I guess it’s tricky as there are so many different things on at once so more difficult to find a general meet up ( compared to say ballet where I know forums do meet up in intervals but that’s much easier as fewer productions and fewer venues!). Yes, it's a lot easier with ballet. I spent 14 years seeing opera at the ROH without ever meeting up with anyone but once I started going to ballet I started recognising regular attendees & now, after a few years, I can almost always find people I'm acquainted with to have a chat with in the intervals.
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Post by Dawnstar on Apr 16, 2024 22:21:28 GMT
They also tend to release standing tickets at midday for sold-out shows, if that happens to be an option for you (though I appreciate that going on short notice and standing for a whole show definitely isn't for everybody!). No, I wouldn't fancy standing. (I once tried standing at the Globe & keeled over. Admittedly it was 30 degrees but it's put me off standing.) Also as I don't live in London while I could get down at a few hours' notice I'd prefer not to have to do so.
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Post by Dawnstar on Apr 15, 2024 22:54:56 GMT
Assuming a cast change is on the horizon, I'd love to see the current cast one last time. I was hoping they'd announce the change quite far in advance but it's not looking like that now if that mid-May date is anything to go by! Not sure how likely a return visit will be at short notice with the ticket prices being what they are and the lottery so difficult to win these days. Last night's triumphs at the Oliviers will probably up the demand for tickets too - no bad thing.
Seconding this but having received yet another "Sorry not this time" email today it's not looking likely. I won the lottery at my very first time of trying last May & no luck since. I don't know how some people have managed to see it so many times without bankrupting themselves, unless they manage to go every Monday.
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Post by Dawnstar on Apr 14, 2024 18:06:21 GMT
I'm pleased to see from Twitter that Pappano won the Outstanding Achievement in Opera. Any other result, considering his 22 years as Music Director of the ROH vs the other contenders in the category, would have been ridiculous.
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Post by Dawnstar on Apr 2, 2024 21:23:17 GMT
Oh wow what a magical experience Swan Lake was. I had goosebumps the minute I walked into the ROH auditorium. Bracewell and Kaneko were utterly captivating. This was my first ballet but I’ll definitely be seeing more in future. The sheer athleticism and story telling from the entire cast was incredible (special shout out to Leo Dixon too). Not actually ditto, as I was at the evening performance. Though I had seen the matinee cast previously on 15th March. I didn't want to do 2 Swan Lakes in a day, having tried that in the last run.
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Post by Dawnstar on Apr 2, 2024 15:17:43 GMT
I’ve been wanting to see Bracewell for a long time now and he did not disappoint. He’s such an effortless performer. Is there an easy way to track his future performances? Other ballet companies have wonderful websites in which every principal has a page with their future performances listed, but alas ROH's falls short even there. The ROH's website did used to have upcoming roles listed on the dancers' biography pages but unfortunately that disappeared when the website was revamped a few years ago. (Frankly that revamp made many aspects of the website less good than they were before IMO.)
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Post by Dawnstar on Mar 30, 2024 16:03:43 GMT
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Post by Dawnstar on Mar 28, 2024 16:26:34 GMT
It was no more than a mildly amusing part of 'Magic Goes Wrong' so I'm amazed it's been spun out into a full show. Given Henry Lewis has said in interviews that he's been keen on magic since his childhood, I suspect it might be at least partly due to his personal keeness. Even with MGW, when it did its second stint in the WE after being interrupted by covid & rewritten he was one of only 2 of the original cast to return to the show, so it feels as if he must really like it.
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Post by Dawnstar on Mar 26, 2024 13:59:55 GMT
Considering seeing this on Wednesday. My ten year old loves their stuff and has seen Goes Wrong and Peter Pan live, and the BBC series. Does this have any blood/gore/accidental dismemberment? If you look on the previous page, this point was raised last year.
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Post by Dawnstar on Mar 24, 2024 19:28:25 GMT
That's about the same length of run as the revival of The Dante Project this season. I'm pretty sure that didn't get near to selling out so I doubt they could sell a long run of Maddaddam.
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Post by Dawnstar on Mar 24, 2024 19:24:46 GMT
I wonder what that critic would make of Jenufa, where a baby actually is drowned!
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Post by Dawnstar on Mar 23, 2024 19:35:14 GMT
I'm not a subscriber either but I could read it because the link, which is from a Times critic on Twitter, comes with a share token. I'm afraid I am hopeless at writing summaries. If no-one else can read it either then I suppose I'll have to ask the moderators to remove it.
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Post by Dawnstar on Mar 23, 2024 15:55:56 GMT
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Post by Dawnstar on Mar 17, 2024 13:25:36 GMT
I loathe Wayne McGregor's work. So cold and isolating. On the other hand Ashton is very twee ... I agree with you on McGregor but not on Ashton. I think I read somewhere that there is going to be a new production of TOSCA this coming season, with Freddie De Tommaso. I think maybe Lise Davidsen may be Tosca. As long as the season is cast with good singers, I am not overly bothered what the operas themselves are. The current production of Tosca is one of the few period-appropriate productions that the ROH still has left so I really hope it's not going to be replaced. It's the productions that I'm bothered about.
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Post by Dawnstar on Mar 17, 2024 13:22:48 GMT
I saw them together on Friday, having seen them separately in the 2022 run, and thought they both gave excellent performances.
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Post by Dawnstar on Mar 16, 2024 20:04:21 GMT
At my local theatre, the Cambridge Arts Theatre, they never do any ticket discounts even if you ask at the box office only minutes before a performance when less than half the tickets have been sold. So I've several times bought the cheapest seat I can at the back of the stalls then asked the ushers once I've got into the auditorium if I can move forward. Usually it's allowed, to various extents, e.g. most recently I was allowed to move from row U to row N.
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Post by Dawnstar on Mar 16, 2024 19:57:23 GMT
People have been saying that for several years & thus far it's not materialised. As BRB are doing it next season, including 3 performances at Sadler's Wells, that might indicate the RB still won't be. At least I'll finally get to see it. As the RB last did it in 2016 & I first saw them live in 2018 I've been waiting to see it for some time.
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Post by Dawnstar on Mar 16, 2024 18:37:42 GMT
On the Royal Ballet side, the only production that seems to be confirmed is Wayne McGregor's new(ish) piece Maddaddam, which has already been done by the National Ballet of Canada. Going by the reviews, and my dislike of everything else I've seen by McGregor, I'll be very happily avoiding seeing it. Based on the usual patterns of revivals in recent seasons, I'd take a guess that Romeo & Juliet, Sleeping Beauty & Cinderella are all possibilities.
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Post by Dawnstar on Mar 13, 2024 21:16:46 GMT
I hope I'll be able to get up to Leeds for the revival of Ruddigore, which I loved when they brought it to the Barbican in 2011, and maybe for Love Life too, as the cast appeals. If only train tickets weren't so horrendously expensive.
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Post by Dawnstar on Mar 12, 2024 21:54:13 GMT
There seems to be an anti-musical bias. Even in the performer categories, plays get 5 nomination slots and musicals get 4. What’s that about? I thought the same when reading the nominations list earlier. It also seems a bit off to have "Best Actor" and "Best Actor in a Musical". It implies that the proper actors are the ones in plays & the ones in musicals are a bit of an afterthought. Surely "Best Actor in a Play" and "Best Actor in a Musical" would be a more polite way of differentiating it.
If Pappano doesn't win the Outstanding Achievement in Opera category then it will be ridiculous. The other 2 nominations aren't remotely comparable.
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Post by Dawnstar on Mar 7, 2024 21:51:46 GMT
I’ll defend the hoovering bit, at least. It’s done during the overture - something we don’t really get much of anymore in musicals. Is it needed? Not really. But it just symbolizes getting ready backstage. Does that mean as well as not being to hear the overture properly due to half the audience not bothering to stop talking, as is so often the case at WE shows, that you also can't hear the overture properly due to the noise of a hoover?!
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Post by Dawnstar on Mar 7, 2024 17:37:15 GMT
( have managed to get a ticket for the Manon at the Royal Ballet which I just can’t resist - and the acts are all less than an hour 😁) Though the curtain call is bound to be longer tomorrow as it's Alexander Campbell's farewell performance.
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