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Post by Honoured Guest on Dec 9, 2017 23:16:47 GMT
Because the mainly middle/upper class successful white audience can afford it so they don’t care! If they cared about students, working class communities of Lambeth or the theatre community they wouldn’t charge those prices or at least have a proper concession scheme. What they offer doesn’t cut it for me. The prices have doubled in recent years. Are you the same musicalmarge who just said on another thread that they saw Newsies in New York? I guess that trip cost more than £47.50.
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Post by sf on Dec 9, 2017 23:34:58 GMT
I’m sorry but is this honestly what audiences are expected to pay for now then? “A passable attempt”? Looking at the Menier website, standard tickets are £47.50! Their premier seats (and there looks to be more of them than ‘standard’) are a whopping £49.50! I can see four restricted view seats on sale at £25 per performance... I call that a lot of money for something that is, in your words, “not perfect”. Shouldn’t we have higher expectations of professional shows at such high prices? I know I do... Because the mainly middle/upper class successful white audience can afford it so they don’t care! If they cared about students, working class communities of Lambeth or the theatre community they wouldn’t charge those prices or at least have a proper concession scheme. What they offer doesn’t cut it for me. The prices have doubled in recent years. Their prices are lower if you book well in advance. They operate without subsidy, their production values are relatively high compared to places like the Southwark Playhouse, and while there's been the occasional misfire, the standard of work they present is consistently very impressive. They produce shows within extremely tight budgets, they have a limited number of seats, and performers and staff are entitled to be paid for their work. Yes, prices have risen over the past few years - but that's true of theatres right across the country. It isn't just them. Given the kind of financial constraints the venue works within, I doubt any of the Menier's permanent staff are getting rich.
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Post by musicalmarge on Dec 10, 2017 0:26:00 GMT
Because the mainly middle/upper class successful white audience can afford it so they don’t care! If they cared about students, working class communities of Lambeth or the theatre community they wouldn’t charge those prices or at least have a proper concession scheme. What they offer doesn’t cut it for me. The prices have doubled in recent years. Are you the same musicalmarge who just said on another thread that they saw Newsies in New York? I guess that trip cost more than £47.50. I’m not sure you can compare an overpriced basement fringe theatre experience in south London with a trip to New York where I got tickets to the major new Broadway show Newsies for 60 dollars or whatever I paid. Next you’ll want to know where I buy my grocery shopping I suppose? Maybe what area I live in? Annual salary? Weird....
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Post by Jon on Dec 10, 2017 0:32:52 GMT
Because the mainly middle/upper class successful white audience can afford it so they don’t care! If they cared about students, working class communities of Lambeth or the theatre community they wouldn’t charge those prices or at least have a proper concession scheme. What they offer doesn’t cut it for me. The prices have doubled in recent years. Their prices are lower if you book well in advance. They operate without subsidy, their production values are relatively high compared to places like the Southwark Playhouse, and while there's been the occasional misfire, the standard of work they present is consistently very impressive. They produce shows within extremely tight budgets, they have a limited number of seats, and performers and staff are entitled to be paid for their work. Yes, prices have risen over the past few years - but that's true of theatres right across the country. It isn't just them. Given the kind of financial constraints the venue works within, I doubt any of the Menier's permanent staff are getting rich. I never get why musicalmarge keeps insisting it's a grubby fringe venue (which is a bit of an insult to actual fringe venues) when it's not! For one, they pay equity minimum to their cast IIRC and also I don't think any other fringe venue runs a restaurant which is actually pretty decent.
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Post by Dr Tom on Dec 10, 2017 0:45:35 GMT
The prices do seem high, but this is a venue with very limited seating, but still many of the same expenses (and production values) of a much larger theatre. I suspect that they're dependent on a certain proportion of shows transferring (as with Funny Girl) to make the numbers work.
It's difficult to compare this with other London Fringe venues which aren't really paying their cast (for instance, based on the casting call for Top Hat, the male lead there is on £20 a show).
There's very little on Broadway for $60 (plus tax) right now. Prices for most shows are generally much more expensive than London, even for the fringe venues. I think I read recently that the cheapest tickets for Hamilton there are $250, with many breaking four figures (all plus tax), hence why many Americans are flying to London instead. When I go, for less in demand shows, I usually book through TDF or TodayTix, but there's little, even in the balcony, at $60. Rear side stalls are typically $99 (plus tax) weekdays, or $119 weekends. And I'm pretty savvy in finding discounts, rush tickets and negotiating in box offices. The exchange rate isn't good, but even taking that into account, prices have shot up the past two or three years.
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Post by Jon on Dec 10, 2017 1:11:46 GMT
The prices do seem high, but this is a venue with very limited seating, but still many of the same expenses (and production values) of a much larger theatre. I suspect that they're dependent on a certain proportion of shows transferring (as with Funny Girl) to make the numbers work. It's difficult to compare this with other London Fringe venues which aren't really paying their cast (for instance, based on the casting call for Top Hat, the male lead there is on £20 a show). There's very little on Broadway for $60 (plus tax) right now. Prices for most shows are generally much more expensive than London, even for the fringe venues. I think I read recently that the cheapest tickets for Hamilton there are $250, with many breaking four figures (all plus tax), hence why many Americans are flying to London instead. When I go, for less in demand shows, I usually book through TDF or TodayTix, but there's little, even in the balcony, at $60. Rear side stalls are typically $99 (plus tax) weekdays, or $119 weekends. And I'm pretty savvy in finding discounts, rush tickets and negotiating in box offices. The exchange rate isn't good, but even taking that into account, prices have shot up the past two or three years. The Menier balances out the musicals with plays which have a lower running costs and the plays do sometime end up transferring, Travesties for example is getting a Broadway run after a successful West End transfer and it originally sold out its run at the Menier. Love in Idleness also transferred for a limited run. IIRC they produce and general manage their transfers so they get royalties and fees going back to the building, something like The Color Purple which did a successful run on Broadway and is doing a US tour means they'll be getting a royalty as originating theatre and producer.
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Post by Jan on Dec 11, 2017 8:49:11 GMT
I wonder what they were thinking of when they cast Brigstocke in this ? He isn't an actor or a singer, he isn't a celebrity with a following, he isn't really famous at all. Was he at university with the producers or something ? All he has is the cast iron self-confidence a public school education can give you to blag your way into jobs you can't do.
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Post by Stephen on Dec 11, 2017 9:22:06 GMT
Must say, with regards to comparing the Menier to seeing a Disney Theatrical Production in New York, it will obviously be different. However, the Menier produces some great work. I personally think that the venue has a great atmosphere and the dinner and show deals are fantastic. Therefore I think that although very different, if the show and company are both good, an evening at the Menier can easily be as enjoyable as one in a Broadway theatre.
Plus, the point made about about nobody at the Menier being rich and the theatre not being subsidised...make sense. They charge what they have to and in return usually produce enjoyable theatre.
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Post by danb on Dec 11, 2017 9:36:10 GMT
Are you the same musicalmarge who just said on another thread that they saw Newsies in New York? I guess that trip cost more than £47.50. I’m not sure you can compare an overpriced basement fringe theatre experience in south London with a trip to New York where I got tickets to the major new Broadway show Newsies for 60 dollars or whatever I paid. Next you’ll want to know where I buy my grocery shopping I suppose? Maybe what area I live in? Annual salary? Weird.... ...and irrelevant to the discussion. Everything has a perceived worth and if folks don’t think that this production is worth nearly £50 they have a right to say.
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Post by Jan on Dec 11, 2017 9:56:41 GMT
It is OK to say their prices are too high - we are saying the same over in the Old Vic thread and I have recently said it about Jermyn Street too. However for these non-subsidised venues I don't think it is fair to go on and say they should reduce their prices - why should they ? If the prices don't represent value for money for you then don't go - I haven't been to the Old Vic for years even though I could afford their high prices. It is quite a different situation when the venue receives public subsidy, then in my view they have a duty to provide lots of affordable seats (and not just rotten restricted view ones).
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Post by Honoured Guest on Dec 11, 2017 9:58:56 GMT
The point I made, which was ignored, is that the cost of the Newsies trip was far more than the ticket price. On the other thread, it was said that people couldn't afford to pay the Menier ticket prices and yet they can afford to fly to New York for a theatre jaunt. This doesn't make sense to me.
And people on this thread have clearly explained that the ticket price is based on the costs of the production, which seems a fair and sensible pricing policy, so the issue is just that some individuals don't want to pay a fair price because they'd expect to derive insufficient personal benefit from attending. Hold the front page. Then just don't go...
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Post by Honoured Guest on Dec 11, 2017 10:01:34 GMT
It is quite a different situation when the venue receives public subsidy, then in my view they have a duty to provide lots of affordable seats (and not just rotten restricted view ones). It's more complicated than that nowadays because many subsidised companies are now co-producing with commercial producers and originating productions in the West End - for example, Headlong's Labour of Love.
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Post by danb on Dec 11, 2017 10:15:49 GMT
The point I made, which was ignored, is that the cost of the Newsies trip was far more than the ticket price. On the other thread, it was said that people couldn't afford to pay the Menier ticket prices and yet they can afford to fly to New York for a theatre jaunt. This doesn't make sense to me. And people on this thread have clearly explained that the ticket price is based on the costs of the production, which seems a fair and sensible pricing policy, so the issue is just that some individuals don't want to pay a fair price because they'd expect to derive insufficient personal benefit from attending. Hold the front page. Then just don't go... Some of this is still irrelevant. She saw value in a trip to NYC and chose which shows to see; possibly based on budget. She may have saved for two years to afford that trip or she may have paid for it out of a bankers bonus. If she thought Barnum represented poor vfm after seeing it she has a right to say it. If she chose not to see it based on the ticket price she may end up missing out, but has still voted with her feet as it were, but isn’t entitled to moan about it. I’m quite in agreement with your last statement however!
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Post by musicalmarge on Dec 11, 2017 10:36:26 GMT
The point I made, which was ignored, is that the cost of the Newsies trip was far more than the ticket price. On the other thread, it was said that people couldn't afford to pay the Menier ticket prices and yet they can afford to fly to New York for a theatre jaunt. This doesn't make sense to me. And people on this thread have clearly explained that the ticket price is based on the costs of the production, which seems a fair and sensible pricing policy, so the issue is just that some individuals don't want to pay a fair price because they'd expect to derive insufficient personal benefit from attending. Hold the front page. Then just don't go... So you wouldn’t complain if a bottle of water at a theatre was 20 pounds? Of course you would! “Don’t like it? Don’t buy the water!” Nonsense....
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Post by danb on Dec 11, 2017 10:47:39 GMT
Did you go and see it or not Marge?
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Post by musicalmarge on Dec 11, 2017 10:56:04 GMT
Did you go and see it or not Marge? Seeing the masterpiece that is Barnum next week! Hoorah... “The colours oooooof myyyyyy lifeeeeeeeee!”....
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Post by Jan on Dec 11, 2017 12:36:02 GMT
It is quite a different situation when the venue receives public subsidy, then in my view they have a duty to provide lots of affordable seats (and not just rotten restricted view ones). It's more complicated than that nowadays because many subsidised companies are now co-producing with commercial producers and originating productions in the West End - for example, Headlong's Labour of Love. In general I am uneasy about such coproductions, I question the motives of both sides. Maybe things have improved since the frankly disgraceful arrangements which lead to NT’s “Jean Seberg” and RSC’s “Carrie”. In any event the subsidised half of the arrangement should insist on fair ticket prices to reflect taxpayer backing.
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Post by BurlyBeaR on Dec 11, 2017 13:20:08 GMT
Did you go and see it or not Marge? Seeing the masterpiece that is Barnum next week! Hoorah... “The colours oooooof myyyyyy lifeeeeeeeee!”.... I actually literally just LOL’d at that
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Post by BurlyBeaR on Dec 11, 2017 13:25:48 GMT
I don't think any other fringe venue runs a restaurant which is actually pretty decent. Ahhh yes, the main course was barely passable and totally overshadowed by the delicious accompaniments. However the tablecloth was nice so I’m booking again for next week.
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Post by showtoones on Dec 11, 2017 15:32:05 GMT
Everyone is bashing this show - look it's not perfect but Marcus did the best job he could. I don't blame him at all....any actor has a set of skills that they offer to a casting director. He was hired as they thought he was good for the role. I found him charming and likable. Yes - he did the tight rope twice when i saw it, but again, he has a set of skills and he was hired for them. It is more the fault of the Menier and the casting people. You can't make someone that different that what they are.
I found the whole show charming though - the set and costumes great and LPP, who I didn't care for in Side Show was superb in this.
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Post by Deleted on Dec 11, 2017 15:50:45 GMT
Everyone is bashing this show - look it's not perfect but Marcus did the best job he could. I don't blame him at all....any actor has a set of skills that they offer to a casting director. He was hired as they thought he was good for the role. I found him charming and likable. Yes - he did the tight rope twice when i saw it, but again, he has a set of skills and he was hired for them. It is more the fault of the Menier and the casting people. You can't make someone that different that what they are. I found the whole show charming though - the set and costumes great and LPP, who I didn't care for in Side Show was superb in this. I agree... I thought he was likable and did a fine job. Its just the fact the show and cast around him are so impressive he is sort of sidelined. Also, I should add, having seen it just two days ago, it feel like witht the tightrope, they have made the falling part of the show now. When he fell the first time, the music stopped as he fell and he made a few lines thwt felt very scripted abiut never making it to the end goal in life on a first attempt or something. It feels like what has happened is he couldnt do it in previews, and because a fuss has been nade of it, they have made it seem a part of the show to give him a few goes at it and make it work.
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Post by Deleted on Dec 11, 2017 15:55:00 GMT
How many times did Jim Dale and Miss Crawford get across the tightrope without falling off?
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Post by abitoftap on Dec 11, 2017 16:11:31 GMT
Brian Conley took a few goes on the tour of the Chichester production. (and he wasn't very high!)
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Post by sf on Dec 11, 2017 16:41:52 GMT
Brian Conley took a few goes on the tour of the Chichester production. (and he wasn't very high!) At the performance I saw, he nailed it first time.
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Post by tmesis on Dec 11, 2017 16:48:44 GMT
Well, I think some people are cutting Brigstocke way too much slack - he was p*ss-poor. It's just not good enough at the Menier where they have, in the past 10 years or so, produced some of the best music theatre in London.
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Post by sf on Dec 11, 2017 17:12:04 GMT
...an overpriced basement fringe theatre experience in south London... It isn't a basement (though the toilets are in the basement). Have you ever been to the Menier?
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Post by Deleted on Dec 11, 2017 17:26:09 GMT
Well, I think some people are cutting Brigstocke way too much slack - he was p*ss-poor. It's just not good enough at the Menier where they have, in the past 10 years or so, produced some of the best music theatre in London. Nope, don't agree. And thats not cutting him slack. Could he get across the tightrope no, but othet than that, it was a fine performance in my opinion. To say he was piss poor in my opinion is unfair, but you do you.
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Post by musicalmarge on Dec 11, 2017 19:03:16 GMT
...an overpriced basement fringe theatre experience in south London... It isn't a basement (though the toilets are in the basement). Have you ever been to the Menier? Ah yes you’re right. I always think of the wooden stairs and walking down into the auditorium.
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Post by Honoured Guest on Dec 11, 2017 22:20:42 GMT
And all the oompa loompas who trod those very steps in bygone years.
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Post by CG on the loose on Dec 13, 2017 15:22:34 GMT
I was there last night and have no idea why they cast Marcus Brigstocke - he wasn't awful but he wasn't great either. I found him sadly lacking in charisma which robbed the show of its heart. He very nearly made it across the tightrope first time, did on the second attempt, and willing him across was the only time all show that I felt any connection to him! That said, the production makes good use of the limited space, Laura P-P was fabulous, the ensemble tireless and engaging and the score awoke happy memories of the Palladium production that made the evening rather more enjoyable than it might otherwise have been.
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