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Post by Phantom of London on Apr 8, 2016 15:17:10 GMT
Thanks,
Still cannot fathom why this has became a hit, it isn't star driven and a little known show, I hadn't heard of it, until it came to the National. I would have thought that the excellent Motherf***er With The Hat, would've this kind of box office, but althought it was excellent, it was an hard sell.
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Post by Honoured Guest on Apr 8, 2016 16:00:48 GMT
Only 43 performances scheduled in a theatre "which can hold up to 450 people".
So, fewer than 20,000 tickets for the entire run.
So, it sells out if 20,000 people want to see it, who might fill a West End theatre in three weeks.
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Post by partytentdown on Apr 14, 2016 14:45:35 GMT
A few tickets released for tonight on the website.
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Post by foxa on Apr 14, 2016 14:45:57 GMT
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Post by partytentdown on Apr 15, 2016 11:30:49 GMT
Hi there, I have a ticket I need to sell for this on 10 May, 7pm, £45, Row D of the pit.
I saw it last night from the same row (had to reschedule as I can't make the date above) and the view is fantastic, as is the show.
Let me know if you're interested!
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Post by Phantom of London on Apr 15, 2016 20:09:58 GMT
If no one wants your ticket, can you not return them to the National?
More tickets are on sale, managed to bag one for tomorrow night.
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Post by Phantom of London on Apr 16, 2016 23:11:21 GMT
Just came back from this, it came in at 3 hours 15 minutes and I felt very single minute of this. What this really resulted in was 2 people cleaning a cinema after each screening and their conversations and a co-workers fear that the clumpy cinema, which could have been an Soho porn palace, where thee is more than popcorn on the floor, that his place might god forbid go into digital projection.
This play may give you the shortest role in the whole of theatre, it also asked more questions than it gave answers, such as;
Why did Rose perform a random sexual act on Avery? Why didn't Avery recipicae the advance? How far on the autistic spectrum is Avery?
Still dumbfounded why this is a sell out, just proves you cannot second guess theatre with what will and what will not sell. Even so this could transfer into a bigger theatre or go down the route of the Effect, which I mean sell out, then close, not to be seen again. (Preferable).
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Post by Deleted on Apr 16, 2016 23:38:40 GMT
LOVED this
Tender funny and 3 wonderfully portrayed characters
The acting is top notch
However
One of the actors (in fact the best of the 3) has a speech impediment which seems to be due a cleft palate repair from what I could see
This did make his speech difficult to comprehend at first but after a while became part of his charactersation for me
I am glowing after seeing this
Sitting smiling at home
Along with Ma Rainey and Les Blancs the NT has the 3 best plays in London at the moment
One in each auditorium
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Post by showgirl on Apr 17, 2016 4:25:56 GMT
From your description of the (in)action + low-key subject matter, Phantom, this sounds very like Beyond Caring which ran in the NT Shed (as it was called then) last year - but that was mercifully shorter and even if the two are actually very different, I'm not ready for anything remotely similar yet.
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Post by Phantom of London on Apr 17, 2016 13:09:50 GMT
Was we at the same performance Parsley? (Saturday Evening) incidentally I also saw ales Blancs in the afternoon.
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Post by Deleted on Apr 17, 2016 14:16:08 GMT
Yes I was
Wearing blue and white patterned jumper
I was in the stalls row D
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Post by Phantom of London on Apr 17, 2016 14:41:01 GMT
I was just a tad in front of you in row B, in a grey t shirt shame our paths didn't cross.
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Post by finalperformance on Apr 17, 2016 15:34:31 GMT
Checking the site daily in search of two 15£ seats. I will head over to the National on a day that has matinee and evening for the day seats.
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Post by Snciole on Apr 18, 2016 18:10:01 GMT
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Post by foxa on Apr 18, 2016 18:55:39 GMT
I just listened to an interesting interview with the director, Sam Gold on Front Row, BBC. It will be available shortly on the BBC iplayer: www.bbc.co.uk/programmes/b0770qm6
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Post by Phantom of London on Apr 19, 2016 20:31:44 GMT
Lots of tickets now on sale, for various dates. I would get in the quick if you want to see this.
Just goes to prove, when does the National really sell out?
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Post by Deleted on Apr 19, 2016 20:36:09 GMT
Lots of empty seats at tonight's performance. Even more after the interval, I imagine; mine included.
It's an hour and forty minutes I'm never getting back, and that was just the first act.
It's just so dull. Nothing happens!
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Post by theatreliker on Apr 19, 2016 21:01:12 GMT
It's annoying that so many more tickets have gone on sale now and so cheaply in some cases. I looked to book when it first went on sale. Not being from London, I often rely on train journeys to see matinees. Train tickets are dear and it helps to book in advance. Did they have a reason to hold back tickets or did they say they were sold out to create the hype of a sell out? I'll perhaps read the play instead if I can't see it. It might be quicker.
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Post by perfectspy on Apr 19, 2016 22:01:58 GMT
I just booked a ticket for a Saturday evening, thanks for the tip off but I don't get why the National held them back.
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Post by Snciole on Apr 20, 2016 11:28:07 GMT
It is rather outrageous, isn't it? How many booked £45+ seats because they thought they would have no other option. All this suspicion about how and why it was such a must see has suddenly been solved. It wasn't, the NT just wanted people to think it was.
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Post by Phantom of London on Apr 20, 2016 11:51:28 GMT
I booked a £45 seat, thinking I was in last chance saloon, then my dismay that a plethora of tickets went on sale and ones that were a third of the price and a preferable date, as had no trains into Charing Cross this weekend, but I can drive up to the South Bank. So I bought the cheaper ticket and exchanged the more expensive ticket for credits on my account, which I will use no problem.
So maybe a hint there, however I wouldn't do this for the same performance.
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Post by partytentdown on Apr 20, 2016 11:56:58 GMT
I booked a £45 seat, thinking I was in last chance saloon, then my dismay that a plethora of tickets went on sale and ones that were a third of the price and a preferable date, as had no trains into Charing Cross this weekend, but I can drive up to the South Bank. So I bought the cheaper ticket and exchanged the more expensive ticket for credits on my account, which I will use no problem. So maybe a hint there, however I wouldn't do this for the same performance. Same for me, grabbed a single ticket when I saw it on sale after buying into the 'sold out' hype. Now there are lots of tickets in the same row for a third of the price... a bit irritating.
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Post by Phantom of London on Apr 20, 2016 12:27:48 GMT
Getting great reviews.
The Guardian (5 Stars) Daily Telegraph (4 Stars) Evening Standard (3 Stars) WOS (5 stars) The Stage (5 Stars)
So if you want to see this, snap up the last remaining tickets, I now expect these to shift fast now.
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Post by Deleted on Apr 20, 2016 12:41:05 GMT
Have booked twice more to see it
I was so impressed on Saturday
It really it a masterpiece of characterisation
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Post by Phantom of London on Apr 20, 2016 14:41:34 GMT
I wouldn't say I didn't enjoy it, I don't understand what all the fuss was, I thought I missed something, so read the reviews to see what I missed and I missed nothing.
I agree earlier what you said about great performances and the senior usher had a cleft palete, which I didn't pick on and you did, must be down to all that medical school, he gave a great performance, but hard to describe why?
I guess I didn't find a play about changing over to digital projection and cleaning up other peoples popcorn riveting. I don't know if I would have had a more favourable reaction, if this didn't win the Pulitzer.
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Post by bordeaux on Apr 20, 2016 19:13:22 GMT
Sounds fantastic. It'll have to transfer with reviews like this, won't it? I'm desperate for the Royal Court's Cyprus Avenue to transfer too.
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Post by foxa on Apr 20, 2016 19:24:17 GMT
I'm at the matinee tomorrow and very much looking forward to it.
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Post by Deleted on Apr 20, 2016 21:23:28 GMT
Sounds fantastic. It'll have to transfer with reviews like this, won't it? I'm desperate for the Royal Court's Cyprus Avenue to transfer too. I doubt either are transferring anywhere
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Post by Steve on Apr 20, 2016 23:17:13 GMT
Saw this tonight, and loved it! Rufus Norris' National is on fire! "The Flick" features a character Avery, who likes to play "6 Degrees of Separation." One character he must link with another character is Macaulay Culkin. Macaulay Culkin was in "Home Alone," which was written by John Hughes, who wrote and directed "The Breakfast Club." An easier way of linking "The Flick" to "The Breakfast Club" is simply to point out what kindred spirits Annie Baker and John Hughes are. Some spoilers follow, including for "The Breakfast Club":- In John Hughes' movie, 5 teenagers from different cliques are sent to detention, and their minds are expanded as they relate to each other, and discover a common humanity. Romance blossoms, friendships form, and at the end of detention, they go their separate ways, changed and informed by their bonding experience. In "Circle Mirror Transformation," 4 adults and a teen from different walks of life send themselves to an acting workshop, and their minds are expanded as they relate to each other and . . you get the picture. "Circle Mirror Transformation" very much felt in the tradition of Hughes, with it's warm approach to our common humanity, the bonding, the revelations, the discoveries, the learning and the moving on. Then Annie Baker did a wonderful thing. She asked herself, how do I tell this story again, but this time make it even more real, even more human, less melodramatic, more specific, and she wrote "The Flick." In this play, she reduces the number of characters to their bare minimum, 3 (the least number of characters you can have in a roundelay of romantic attraction, which is also a sufficient number to include different sexes, races and socioeconomic classes), and she ups the running time, so that each character gets more stage time, more time to be defined. Instead of the drama of detention or the crazy emoting of an acting class, we get only mopping and cleaning. The result is a typically generous examination of human foibles and existence in general, that rings true in every moment, featuring three wonderful performances. Like Columbo, Matthew Maher's Sam always has one more thing to say. Jaygann Ayeh beautifully expresses the paralysis of his character, Avery's depression. And as Rose, Louisa Krause creates one of the most distinct, instinctive, quirky and loveable female characters I've ever seen on stage. You have got to see her dance lol! Except for the superficial fact of watching people mop, this play is nothing like "Beyond Caring," which was a lascerating and political critique of how people on the margins are ignored and abused. Alexander Zeldin's play was less John Hughes, more Arnold Wesker. What Baker has succeeded doing here is to reinvent John Hughes in 2016, for adults. She gives us a funny, realistic, warm take on what it is to be alive today. 5 stars
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Post by lonlad on Apr 21, 2016 0:18:37 GMT
The National IS on fire for the most part, but THE SUICIDE and WONDER.LAND - both of which were playing tonight - are as bad as anything they have done in the last 25 years. How either got out of the starting get is beyond me.
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