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Post by Phantom of London on Jun 13, 2018 23:48:24 GMT
Did the title mean they HAD to put it in their smallest theatre? At least the Nash has been consistent in putting new plays into the Dorfman, they could easily cashed in their chips and stuck it in the Olivier. What happened to the project Cate was doing with Sonia Friedman?
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Post by Jan on Jun 14, 2018 5:38:03 GMT
Did the title mean they HAD to put it in their smallest theatre? At least the Nash has been consistent in putting new plays into the Dorfman, they could easily cashed in their chips and stuck it in the Olivier. That's not true though, some of their biggest new play disasters have been in the Olivier (Saint George and the Dragon, Common, etc.). Their policy is they'll put new plays in any of the theatres but old plays are banned from the Dorfman.
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Post by Someone in a tree on Jun 14, 2018 6:17:11 GMT
At least the Nash has been consistent in putting new plays into the Dorfman, they could easily cashed in their chips and stuck it in the Olivier. That's not true though, some of their biggest new play disasters have been in the Olivier (Saint George and the Dragon, Common, etc.). Their policy is they'll put new plays in any of the theatres but old plays are banned from the Dorfman. Such a shame as I imagine Three Sisters and the like would be excellent in a confined space (and seat!)
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Post by popcultureboy on Jun 14, 2018 7:08:40 GMT
What happened to the project Cate was doing with Sonia Friedman? Would much prefer to see Blanchett in All About Eve which will probably be playing around the same time. I wonder what the story is about why she dropped out of that one. The project was All About Eve and as it will be playing around the same time, I imagine the "scheduling difficulties" reason given for Blanchett's withdrawal from AAE is the valid one.
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Post by Rory on Jun 14, 2018 8:05:43 GMT
I thought her scheduling conflict was around the time when AAE was originally scheduled to play, around March this year. I'm sure if she'd really wanted to have done it, she'd have found a way to make it work, but hey that's just speculation on my part.
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Post by RedRose on Jun 14, 2018 8:27:50 GMT
I liked Crimp's adaption of The Misanthrope and the only time I have seen a play directed by Mitchel was Anatomy of a Suicide and I thinkt that was brilliant. I am sure it will be difficult to get tickets mainly because of Cate Blanchett. I want to see it but I would not by too sad if I missed it.
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Post by addictedtotheatre on Jun 15, 2018 9:54:42 GMT
With Crimp and Mitchell on board shouldn't this be titled 'When We Have Sufficiently Tortured The Audience'?
I'll give this a miss as I still remember excitedly going to see Miranda Richardson in a Wallace Shawn monstrosity a few years ago and just being really angry at the waste of her talents.
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Post by callum on Jun 15, 2018 19:19:45 GMT
I thought her scheduling conflict was around the time when AAE was originally scheduled to play, around March this year. I'm sure if she'd really wanted to have done it, she'd have found a way to make it work, but hey that's just speculation on my part. Perhaps. Though she might have preferred the fact that this play will presumably be playing in rep (i.e. not 8 performances a week for 12 weeks) whereas Eve wouldn't have. I know that during a month-long-gap for Network last year, Bryan Cranston was able to fly back to the U.S. and take care of his other commitments - maybe a similar structure will suit Cate's schedule better. She has a plum lead part in Richard Linklater's new film Where'd You Go Bernadette? in the autumn, so if she is lucky enough to be in awards contention then trips to LA and NYC for awards ceremonies and FYC events in Jan/Feb wouldn't be out of the question.
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Post by Deleted on Jun 15, 2018 22:18:26 GMT
With Crimp and Mitchell on board shouldn't this be titled 'When We Have Sufficiently Tortured The Audience'? I'll give this a miss as I still remember excitedly going to see Miranda Richardson in a Wallace Shawn monstrosity a few years ago and just being really angry at the waste of her talents. Haha! I think I saw the Wallace Shawn play you are referring to. Wasn’t it narrated by a cat or something. My memory is hazy but I do think a cat was involved.
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Post by Deleted on Jun 15, 2018 22:58:08 GMT
This sounds like the title of a Damien Hirst installation.
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Post by crowblack on Jun 16, 2018 11:31:33 GMT
This sounds like the title of a Damien Hirst installation. It really is an annoying title. I suppose we've had a slew of one word titles so they're going for something a bit 90s-retro to stand out. Not very hashtag-friendly for Twitter though.
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Post by Rory on Jun 16, 2018 12:13:30 GMT
It may be a brilliant show but the title is pretentious and irritates me greatly!
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Post by Cardinal Pirelli on Jun 16, 2018 12:39:50 GMT
A good title attracts the people it needs to attract and repels those it needs to repel (the multitude of action films with variations on the same name completely turn me off, for example). A lot hedge their bets by trying to be intriguing but the ones that really are actively annoying are those that promise one thing and don’t deliver, especially if backed up by similarly misleading advertising. We’ll have to wait and see but this title seems a decent reflection of the source material and the people adapting it.
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Post by crowblack on Jun 16, 2018 12:52:35 GMT
Might be a good subject for a thread!
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Post by Jan on Jun 29, 2018 11:30:50 GMT
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Post by Someone in a tree on Jun 29, 2018 12:40:08 GMT
live cinema I guess that means a few people use cameras during the performance
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Post by drmaplewood on Oct 3, 2018 10:02:28 GMT
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Post by Rory on Oct 3, 2018 10:48:10 GMT
Rufus says hopes of a further life for this. I would imagine securing Ms Blanchett's availability for a transfer could be an issue.
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Post by nash16 on Oct 3, 2018 11:17:00 GMT
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Post by jadnoop on Oct 3, 2018 11:49:56 GMT
Out of interest, why do you say this? I feel like, in instances where demand so massively outstrips supply like this or the recent Punchdrunk thing or the RADA Hiddlestone thing, having a ballot is the easiest way to give everyone a fair chance.
Don't get me wrong, it'll be frustrating to miss out, but it seems fair and at least I won't be sat for hours jumping between computers hitting refresh.
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Post by lynette on Oct 3, 2018 12:47:07 GMT
How utterly crazy. A ballot! When will people get over themselves?
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Post by Deleted on Oct 3, 2018 13:03:42 GMT
Out of interest, why do you say this? I feel like, in instances where demand so massively outstrips supply like this or the recent Punchdrunk thing or the RADA Hiddlestone thing, having a ballot is the easiest way to give everyone a fair chance.
Don't get me wrong, it'll be frustrating to miss out, but it seems fair and at least I won't be sat for hours jumping between computers hitting refresh.
But wouldn’t it be just as fair to just sell the tickets to everybody in the usual way?
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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 Oct 3, 2018 13:06:44 GMT
Or they could either put the show on in the Lyttleton, or not hire an A-list star for a show in the Dorfman.
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Post by kathryn on Oct 3, 2018 13:14:58 GMT
Out of interest, why do you say this? I feel like, in instances where demand so massively outstrips supply like this or the recent Punchdrunk thing or the RADA Hiddlestone thing, having a ballot is the easiest way to give everyone a fair chance.
The night I saw HiddleHamlet, there were 2 empty seats next to us, and at least 10 student seat-fillers who came in at the last minute to fill gaps in the stalls. Not sure if that was the no-returns policy at work, or unused house seats they held back from sale (Helena Bonham Carter was on the end of our row and I would be very surprised if she got her seats in the ballot), or tickets they had cancelled because they were listed for re-sale by touts, but the net effect was that seats that *could* have been filled by the general public, weren't. I am actually pretty sure the National will be organized enough to avoid those issues - as long as they apply their usual sensible returns and day seat policies - but the experience has left me a bit suspicious of the claim that ballots are about ensuring 'fairness' of access. I suspect the goal was to set up a system that didn't cause large numbers of obsessive Hiddles fans to be hanging around outside RADA - and indeed, made sure that all the tickets weren't snapped up by fans to start with.
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Post by crowblack on Oct 3, 2018 13:27:07 GMT
made sure that all the tickets weren't snapped up by fans Would that have been a bad thing? It would have introduced a lot of young TV-watchers or film fans to theatre, whereas a ballot seems to have left gaps.
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Post by n1david on Oct 3, 2018 13:27:51 GMT
I'm not sure most Martin Crimp productions get this sort of pre-publicity:
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Post by NeilVHughes on Oct 3, 2018 13:47:40 GMT
As it is a ballot, by definition people will lose out, has an NT Live broadcast been scheduled? which at least will provide an opportunity for the unsuccesful to see the play.
The cynic in me says they will hold off with the expectation of the transfer, if this is the case why did they not put it on in the Lyttleton in the first place which will likely be a similar size to the transfer venue, thereby debunking the intimate line.
If the 10,000, 2 ticket allocations is true which implies you cannot buy a single seat, us singletons on the site will need to pair up which could have repurcussions that the NT has not thought through.
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Post by kathryn on Oct 3, 2018 13:48:25 GMT
made sure that all the tickets weren't snapped up by fans Would that have been a bad thing? It would have introduced a lot of young TV-watchers or film fans to theatre, whereas a ballot seems to have left gaps. Well, I don't think so - but given that it was a fundraiser, they may have wanted to cast a wider net and get some people in who could be encouraged to give larger donations? I can't think how it could have been effective enough fundraising event to justify the effort that went into it unless they were expecting to attract money on top of the ticket sales. But we digress...
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Post by Deleted on Oct 3, 2018 13:52:02 GMT
I have no horse in this race in terms of desperation to see it (I will live without) what my particular nerd brain gets annoyed about is the use of spaces at the NT in the 'wrong' way. The Dorf/Shed/Cottesloe has always been the 'experimental' space supported (financially and artistically) by the other two. With the other two also being where you make your money (so whacking out a bog standard Shakespeare, or putting a star on stage). Anyway it's a minor nerd point but it irks me.
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Post by kathryn on Oct 3, 2018 14:00:25 GMT
I guess we'll have to wait for reviews to get a sense of whether the 'experimental' nature of the staging means it *couldn't* go in one of the larger spaces.
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