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Post by Honoured Guest on Feb 1, 2017 10:00:15 GMT
Queen Anne was barely sold until it received excellent reviews and then quickly sold out 30 June to 30 September, this Swan Theatre hit is presented at Theatre Royal Haymarket. Romola Garai heads a new cast as the Duchess of Marlborough. Emma Cunliffe returns as Queen Anne.
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816 posts
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Post by stefy69 on Feb 1, 2017 10:13:35 GMT
Well I didn't see that coming. Very welcome news
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2,339 posts
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Post by zahidf on Feb 1, 2017 10:16:17 GMT
Haymarket is an odd one for it
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Feb 1, 2017 10:59:05 GMT
Theatre Royal Haymarket - home of inexplicable transfers.
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Post by Honoured Guest on Feb 1, 2017 11:20:55 GMT
Theatre Royal Haymarket has recently had a run of these historical dramas - Mr Foote's Other Legge and The Libertine - and the RSC is resident there now with Love's Labour's Lost and Much Ado About Nothing. So Queen Anne should feel at home there!
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2,339 posts
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Post by zahidf on Feb 1, 2017 11:23:40 GMT
Have any of them been successes? i always see loads of offers for that place
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1,119 posts
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Post by martin1965 on Feb 1, 2017 11:28:29 GMT
Very surprised by this news, saw this in the swan and thought it very average!
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Post by Honoured Guest on Feb 1, 2017 11:32:06 GMT
Have any of them been successes? i always see loads of offers for that place Not 100% sell-out hits. TRH always prices its tickets at the top end of the range for West End drama which I suppose gives them scope for some later discounting. It's a stand-alone theatre, not part of any ATG or Nimax or Really Useful mega-conglomerate, and so can't cross-subsidise commercial flops with hits in other theatres.
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998 posts
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Post by David J on Feb 1, 2017 12:49:33 GMT
Very surprised by this news, saw this in the swan and thought it very average! Yeah I can't for the life of me think why this should transfer. What about The Rover or Don Quixote?
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834 posts
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Post by bordeaux on Feb 1, 2017 13:41:14 GMT
Have any of them been successes? i always see loads of offers for that place Certainly Much Ado, despite rave reviews, is half-price at the Leicester Square booth.
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Post by Jan on Feb 1, 2017 14:53:13 GMT
Have any of them been successes? i always see loads of offers for that place Certainly Much Ado, despite rave reviews, is half-price at the Leicester Square booth. The Haymarket programming appeals to me but I will not go on principle due their rotten seats and high prices.
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3,458 posts
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Post by showgirl on Feb 2, 2017 8:09:18 GMT
Many West End productions do routinely also sell via TKTS, though - I don't think that's necessarily a bad sign and if it helps some people attend, why not?
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834 posts
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Post by bordeaux on Feb 2, 2017 13:08:58 GMT
Many West End productions do routinely also sell via TKTS, though - I don't think that's necessarily a bad sign and if it helps some people attend, why not? No one's complaining! I am delighted. I just worry that people might be losing money.
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Post by Jan on Feb 2, 2017 13:56:57 GMT
Many West End productions do routinely also sell via TKTS, though - I don't think that's necessarily a bad sign and if it helps some people attend, why not? No one's complaining! I am delighted. I just worry that people might be losing money. Don't worry, that Haymarket/RSC season was priced really stupidly high just to maximise income from tourists and early-adopters over Xmas, there was obviously loads of room to discount. Really they should have done the Almeida thing of just directly pricing it differently during the run (Almeida prices are higher at the start and end of runs).
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3,458 posts
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Post by showgirl on Feb 2, 2017 19:12:41 GMT
I've honestly never heard of the Almeida having variable prices during the run - & I booked today for the final matinee of Ink at the normal price for those seats.
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816 posts
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Post by stefy69 on Feb 10, 2017 13:54:19 GMT
Priority booking for this with TRH has opened today.
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Post by joem on Feb 11, 2017 23:03:44 GMT
I enjoyed this and feel it's worth a London transfer, whether it will do well is anohter matter. But it did shed some interesting oight on a rarely-troubled-by-the-stage historical period of British history and managed to make one of the, on paper, most boring monarchs in British history quite a sympathetic character..
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Post by Deleted on Feb 11, 2017 23:09:03 GMT
I enjoyed this and feel it's worth a London transfer, whether it will do well is anohter matter. But it did shed some interesting oight on a rarely-troubled-by-the-stage historical period of British history and managed to make one of the, on paper, most boring monarchs in British history quite a sympathetic character.. I thought it was excellent And insightful and interesting And enlightening My family loved it also and all found it engaging And it's lovely for Natalie to have a WE transfer 🤗
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Post by emilytemple on Feb 17, 2017 10:42:52 GMT
Hello, anyone have some tip for choose seats in Theatre Royal Haymarket. Unfortunately,iamn't high and a fear of heights the upper and gallery probably willn'tt work with me which seats in Stalls are the best ( in the price range 55 ) or it is better to pay extra and choose a more expensive seats
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1,119 posts
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Post by martin1965 on Feb 17, 2017 11:14:18 GMT
I enjoyed this and feel it's worth a London transfer, whether it will do well is anohter matter. But it did shed some interesting oight on a rarely-troubled-by-the-stage historical period of British history and managed to make one of the, on paper, most boring monarchs in British history quite a sympathetic character.. I thought it was excellent And insightful and interesting And enlightening My family loved it also and all found it engaging And it's lovely for Natalie to have a WE transfer 🤗 Also saw this in sua and found it dul dull dull. Cannot believe it is transferring to WE when imo Rover would be much better bet!
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99 posts
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Post by emilytemple on Feb 17, 2017 11:33:03 GMT
Hello, anyone have some tip for choose seats in Theatre Royal Haymarket. Unfortunately,iamn't high and a fear of heights the upper and gallery probably willn'tt work with me which seats in Stalls are the best ( in the price range 55 ) or it is better to pay extra and choose a more expensive seats And how is looks like a return ticket, if I will not be able to use them?
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2,339 posts
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Post by zahidf on Feb 17, 2017 11:46:16 GMT
Hello, anyone have some tip for choose seats in Theatre Royal Haymarket. Unfortunately,iamn't high and a fear of heights the upper and gallery probably willn'tt work with me which seats in Stalls are the best ( in the price range 55 ) or it is better to pay extra and choose a more expensive seats And how is looks like a return ticket, if I will not be able to use them? Without wishing to be unkind to the show's prospects, I doubt very much they will sell lots of tickets for this on current pricing, and I would recommend waiting for offers for tickets in the stalls for this.
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99 posts
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Post by emilytemple on Feb 17, 2017 21:01:28 GMT
Without wishing to be unkind to the show's prospects, I doubt very much they will sell lots of tickets for this on current pricing, and I would recommend waiting for offers for tickets in the stalls for this.
Do you think there isn't need to hurry with buying tickets for this? and maybe will lower prices? theatremonkey.com I would happily go to preview and that was my original plan or in the first week of play but i can't take my vacation so I will be in London in late August /September
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Post by samuelwhiskers on Jul 11, 2017 11:52:30 GMT
Anyone seen this? I have heard no buzz about it at all, and they're papering like mad.
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Post by sayers500 on Jul 11, 2017 12:08:52 GMT
I saw it last Saturday and found it a tad stilted. A lot of RSC gesturing without really conveying real emotion and I think the transfer from the thrust layout of the Swan to the proscenium of the Haymarket has led to a more squashed staging. I was really impressed by Emma Cunniffe as Anne but I thought the standout was Jimmy Garnon, an ex-globe regular who brings a joyous manipulative turn in what is effectively an audition to play Iago. I think the play itself is great but needs a theatre where grand declarations are accepted rather than seen as odd and out of place (I think the Swan must have been a good stage for this and can imagine a successful revival at the Globe much like the Heresy of Love).
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Post by stefy69 on Jul 11, 2017 12:30:16 GMT
Sadly the reviews I've read haven't been that kind, shame.
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Post by Steve on Jul 11, 2017 12:38:13 GMT
Anyone seen this? I have heard no buzz about it at all, and they're papering like mad. Yes, I very much enjoyed it. Passes the Bechdel test one billion times over, as Queen Anne emerges from pre-throne hibernation to struggle for agency against her uber-influential childhood friend, Sarah Churchill, in a play written, directed and designed by women. I only really knew that the acts of union were passed in Queen Anne's reign, so this was super-informative for me, as well as entertaining. I'm glad I saw Romola Garai as Sarah Churchill, because much as I adore the Stratford originator of the role, Natascha McElhone, it always takes me half an hour to stop hissing her when she's onstage, as that wry sly half-smile instinctively preps me that I'm in the presence of a terrible villain. And the last thing a somewhat one-dimensional, Anne-favourable play like this needs is for the principal antagonist to be simplistically caricatured by the audience, as the text itself tilts to Anne over Churchill. As it is, Garai's straightforward stumblingly blunt directness, seen in such roles as Cordelia in Lear, or Becky in The Village Bike, but epitomised by her blundering Emma, in the BBC miniseries, lends the fierce Sarah Churchill a credence that balances the plot beautifully. Garai's Churchill instantly had me conceiving that Emma Cunniffe's lumbering droning whining Queen Anne may indeed be a useless "lump," who needs to be harried and hectored along every step of the way. This makes Cunniffe's achingly moving search for agency tremendously stirring and touching, in reaction to such a conception. Plot machinations are beautifully worked out, and are so effective that I wished the play to keep going after it ended, which is always a good sign. Cunniffe is tremendous in her role as Anne, and deserves award consideration, for her ability to draw such a fine line between heroic and irritating, between vulnerable and impossible, that she somehow makes join the dots historical plot threads edge-of-the-seat intriguing. . . Support for the two leading ladies is strong from a typically witty and cunning James Garnon, as the power hungry speaker of the House, and an especially enigmatic Beth Park, simultaneously sly and straightforward as the ever-threatening Eve to Garai's Margo Channing of a Sarah Churchill. For the history, for the drama, for the intrigue, and for Garai's and Cunniffe's performances, I thoroughly enjoyed this. 4 stars.
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Post by lonlad on Jul 11, 2017 13:51:31 GMT
Saw it last night and thought it was pretty much an entirely wasted opportunity. The acting by and large is decidedly ropey, the structure poor (what happened to Queen Anne in the end? The play doesn't care and never tells you), and the entire thing feels like bad RSC playmaking at its worst, complete with ludicrous "knees-up" interludes which do little besides embarrass everyone involved. Five minutes of Rob Icke's MARY STUART (and Edmundson is clearly courting comparison with that play, amongst others) blows this out of the water. Garai has her moments, but the writing asks nothing of her. Cunniffe simpers away to grating effect - she likes a dripping tap that you can't turn off. For once, the dreaded Ann Treneman in The Times nails it (as do several of the others). Oh, and the set is actively ugly.
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Post by stefy69 on Jul 11, 2017 14:07:15 GMT
Saw it last night and thought it was pretty much an entirely wasted opportunity. The acting by and large is decidedly ropey, the structure poor (what happened to Queen Anne in the end? The play doesn't care and never tells you), and the entire thing feels like bad RSC playmaking at its worst, complete with ludicrous "knees-up" interludes which do little besides embarrass everyone involved. Five minutes of Rob Icke's MARY STUART (and Edmundson is clearly courting comparison with that play, amongst others) blows this out of the water. Garai has her moments, but the writing asks nothing of her. Cunniffe simpers away to grating effect - she likes a dripping tap that you can't turn off. For once, the dreaded Ann Treneman in The Times nails it (as do several of the others). Oh, and the set is actively ugly. So other than that it's O K
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Post by lynette on Jul 11, 2017 14:53:13 GMT
Queen Anne dies. George I succeeds. That she had no children that survived her makes her a failure, the last of the Stuarts ( apart from the legitimate Stuart heirs who were Catholic and so not allowed to reign) . The rest is history....sorry.
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