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Post by emicardiff on Nov 7, 2018 7:40:31 GMT
I would hardly call the entire programming at the NT American...but it’s a pointless argument with you so I won’t waste my energy collating the list.
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Post by Deleted on Nov 7, 2018 7:40:46 GMT
I guess you could equally argue that there are plenty of US actors who could play the Lehman Bros - so why are three English actors going over to do it?
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Post by bordeaux on Nov 7, 2018 8:07:23 GMT
I guess you could equally argue that there are plenty of US actors who could play the Lehman Bros - so why are three English actors going over to do it? But it's not quite the same thing, is it? What is going to the US is the original production of a play with complete cast (obivating the need to rehearse a new one) who have created these roles. It's more like an NT tour than a new production of a classic, which the Tartuffe is.
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Post by sf on Nov 7, 2018 14:18:02 GMT
I guess you could equally argue that there are plenty of US actors who could play the Lehman Bros - so why are three English actors going over to do it? But it's not quite the same thing, is it? What is going to the US is the original production of a play with complete cast (obivating the need to rehearse a new one) who have created these roles. It's more like an NT tour than a new production of a classic, which the Tartuffe is.
OK, then. There are plenty of American actors capable of playing Barnaby Tucker in Hello, Dolly! - so why did Charlie Stemp go over to do it? Particularly since he went over as a replacement, rather than as the actor originating the role in that revival.
As far as I'm concerned, everybody benefits from these exchanges. Actors on both sides of the Atlantic get the opportunity to work overseas. Audiences get to see actors they might not have seen otherwise. The traffic runs in both directions.
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Post by sf on Nov 7, 2018 21:14:28 GMT
He's pretty good. Or rather, he's more than pretty good, and he's the reason I'll see it. I wasn't going to bother. Yup. I've booked tonight. I didn't think I needed to see another version of Tartuffe, but this tips me over into booking. There are certainly UK actors that would also have tipped me over, but interested to see this production.
Scheduling it around other things in my diary wasn't easy and I won't get to see it until the final week, but I've booked. Looking forward to it.
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Post by Jan on Nov 8, 2018 9:11:45 GMT
I would hardly call the entire programming at the NT American... Neither would I. And I didn't. Who did ?
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Post by Jan on Nov 8, 2018 9:16:02 GMT
But it's not quite the same thing, is it? What is going to the US is the original production of a play with complete cast (obivating the need to rehearse a new one) who have created these roles. It's more like an NT tour than a new production of a classic, which the Tartuffe is.
OK, then. There are plenty of American actors capable of playing Barnaby Tucker in Hello, Dolly! - so why did Charlie Stemp go over to do it? Particularly since he went over as a replacement, rather than as the actor originating the role in that revival.
As far as I'm concerned, everybody benefits from these exchanges. Actors on both sides of the Atlantic get the opportunity to work overseas. Audiences get to see actors they might not have seen otherwise. The traffic runs in both directions.
I am making the distinction between the subsidised sector and the commercial sector. In the commercial sector I don't care what happens. But in the subsidised sector I think UK actors should be favoured. The Young Vic is staging an all-black version of Death of a Salesman, so a major leading role for a black actor - quite rare - but apparently they think the best actor for it is from USA. I think that's poor. Also I think transfers of hit shows in either direction with the original cast is a different case.
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Post by crowblack on Nov 8, 2018 9:57:23 GMT
all-black version of Death of a Salesman Manchester's Royal Exchange currently has a mainly BAME Death of a Salesman with Don Warrington in the lead, following on from Jade Anouka in Queen Margaret, both in the main house. London theatres do seem to look very much to America, something I've commented on before when we heard leading London-based theatremakers moaning about Brexit and the loss of links with continental theatre when, frankly, their programming has long suggested their main obsession is the US. I've seen more varied programming here in the NW, including quite a bit of work by emerging writers.
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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 Nov 9, 2018 9:14:47 GMT
Very painless public booking. Re-booked for Downstate - front row is on sale for £28 which it wasn't during Amex booking.
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Post by Someone in a tree on Nov 9, 2018 9:33:25 GMT
all-black version of Death of a Salesman Manchester's Royal Exchange currently has a mainly BAME Death of a Salesman with Don Warrington in the lead, following on from Jade Anouka in Queen Margaret, both in the main house. London theatres do seem to look very much to America, something I've commented on before when we heard leading London-based theatremakers moaning about Brexit and the loss of links with continental theatre when, frankly, their programming has long suggested their main obsession is the US. I've seen more varied programming here in the NW, including quite a bit of work by emerging writers. Exactly. I find the uk’s theatre obsession with North America quite daunting when Europe is full of such rich and varied treasures. Theatre is following our obsession with US telly I was hopeful Scandi noir may have changed things a bit more than it did
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Post by RedRose on Nov 9, 2018 9:37:03 GMT
I totally forgot about in. Off course no £15 seat in stalls left for Tartuffe for the three days I can make. Then I looked again 10 minutes later and a front row seat has turned up. Easy.
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Post by Baemax on Nov 9, 2018 9:40:08 GMT
I got a front row £28 seat for Downstate during Amex booking. I presume I got very lucky with leftovers from priority booking rather than the Amex allocation including front row. No problems with Top Girls or Tartuffe this morning, I was through the queue in less than two minutes on both browsers and got front row centre for both.
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Post by Deleted on Nov 9, 2018 10:16:00 GMT
I found advance booking very easy and just before public booking opened I got a email from the NT urging me to make the most of my member ship if I hadn't already. I don't get the impression this tranche of plays is setting the box office alight.
I booked for all except Top Girls which I never ever want to sit through again.
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Post by zahidf on Dec 11, 2018 12:49:35 GMT
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Post by jadnoop on Jan 17, 2019 12:25:52 GMT
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Post by zahidf on Jan 17, 2019 13:13:09 GMT
I wonder when they are going to be bothered to fix the electronic ticket machines. Queuing up for the box office is a pain in the arse
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Post by bordeaux on Jan 17, 2019 14:01:40 GMT
Thanks. And the Feb-July brochure is open to read too. Suggests a new mailing period is about to open. Not had an email yet.
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Post by lynette on Jan 17, 2019 14:27:06 GMT
Unbelievable 'chutzpah' of saying -“ Peer Gynt by David Hare” , followed by mention of Ibsen....there is no way David Hare wrote Peer Gynt is there? So why put it like this? It is lazy writing at best and real arrogance at worst. Sorry, but these things matter to me.
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Post by n1david on Jan 17, 2019 14:27:51 GMT
I got an email. Friends booking 31 Jan at 8.30am.
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Post by n1david on Jan 17, 2019 14:29:29 GMT
Unbelievable 'chutzpah' of saying -“ Peer Gynt by David Hare” , followed by mention of Ibsen....there is no way David Hare wrote Peer Gynt is there? So why put it like this? It is lazy writing at best and real arrogance at worst. Sorry, but these things matter to me. But Ibsen didn’t write Peter Gynt either.
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Post by juicy_but_terribly_drab on Jan 17, 2019 14:33:31 GMT
Unbelievable 'chutzpah' of saying -“ Peer Gynt by David Hare” , followed by mention of Ibsen....there is no way David Hare wrote Peer Gynt is there? So why put it like this? It is lazy writing at best and real arrogance at worst. Sorry, but these things matter to me. They did the same thing with Yerma "by Simon Stone after Federico García Lorca" and that was pretty drastically different from the original story so I imagine there'll be a decent departure in this case as well. Seems that this'll be a modern retelling like Simon Stone's Yerma as well so it's not completely unlikely that the story will be radically different and just follow the same basic premise. I'm not a fan of David Hare and don't plan on seeing this but if it's mostly his writing I feel it's fair to say it's by him but credit the original in this way. Obviously it's yet to be seen if it is substantially changed though.
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Post by bordeaux on Jan 17, 2019 14:46:49 GMT
Unbelievable 'chutzpah' of saying -“ Peer Gynt by David Hare” , followed by mention of Ibsen....there is no way David Hare wrote Peer Gynt is there? So why put it like this? It is lazy writing at best and real arrogance at worst. Sorry, but these things matter to me. It does say 'Peter Gynt' (sic) by David Hare and 'after' Ibsen (I imagine the Almeida used a similar formula for The Wild Duck). I'd love to see a great production of Peer Gynt, but I'm really not sure if I can take another David Hare - though perhaps he needs Ibsen and Jonathan Kent to keep him on track. Was hoping that Hansard would be ready (the comedy with Lyndsey Duncan and Alex Jennings) but it's not mentioned - though I now see only the Olivier has July dates. The other two are only programmed till late June. So I assume it'll come in one of them after the end of Anna in the Dorfmann (or will join Top Girls and Rutherford and Sons in the Lyttelton).
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Post by lynette on Jan 17, 2019 14:49:19 GMT
I saw PG years ago, RSC I think. It confirmed what she says in the movie, Educating Rita,( Julie Walters ) when asked how she would put on this play: 'put it on the radio' .
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Post by learfan on Jan 17, 2019 18:34:55 GMT
Unbelievable 'chutzpah' of saying -“ Peer Gynt by David Hare” , followed by mention of Ibsen....there is no way David Hare wrote Peer Gynt is there? So why put it like this? It is lazy writing at best and real arrogance at worst. Sorry, but these things matter to me. It does say 'Peter Gynt' (sic) by David Hare and 'after' Ibsen (I imagine the Almeida used a similar formula for The Wild Duck). I'd love to see a great production of Peer Gynt, but I'm really not sure if I can take another David Hare - though perhaps he needs Ibsen and Jonathan Kent to keep him on track. Was hoping that Hansard would be ready (the comedy with Lyndsey Duncan and Alex Jennings) but it's not mentioned - though I now see only the Olivier has July dates. The other two are only programmed till late June. So I assume it'll come in one of them after the end of Anna in the Dorfmann (or will join Top Girls and Rutherford and Sons in the Lyttelton). Hansard was always programmed for the autumn. So next leaflet, Easter time presumably.
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Post by learfan on Jan 17, 2019 18:36:43 GMT
I saw PG years ago, RSC I think. It confirmed what she says in the movie, Educating Rita,( Julie Walters ) when asked how she would put on this play: 'put it on the radio' . Was that with Jacobi? I saw the mid 90s production with Alex Jennings and Haden Gwynne, brilliant.
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Post by lynette on Jan 17, 2019 19:19:12 GMT
Lost in the midst of time I’m afraid and also we gave away all our programmes. I should remember Jacobi but no memory persists. 🙁
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Post by partytentdown on Jan 21, 2019 19:40:16 GMT
Does anyone have an idea of when 'Anna' would go on sale to Amex holders? Thanks
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3,018 posts
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Post by Rory on Jan 21, 2019 20:39:30 GMT
Unbelievable 'chutzpah' of saying -“ Peer Gynt by David Hare” , followed by mention of Ibsen....there is no way David Hare wrote Peer Gynt is there? So why put it like this? It is lazy writing at best and real arrogance at worst. Sorry, but these things matter to me. It does say 'Peter Gynt' (sic) by David Hare and 'after' Ibsen (I imagine the Almeida used a similar formula for The Wild Duck). I'd love to see a great production of Peer Gynt, but I'm really not sure if I can take another David Hare - though perhaps he needs Ibsen and Jonathan Kent to keep him on track. Was hoping that Hansard would be ready (the comedy with Lyndsey Duncan and Alex Jennings) but it's not mentioned - though I now see only the Olivier has July dates. The other two are only programmed till late June. So I assume it'll come in one of them after the end of Anna in the Dorfmann (or will join Top Girls and Rutherford and Sons in the Lyttelton). Hansard is definitely going to the Lyttelton.
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Post by Baemax on Jan 23, 2019 9:59:44 GMT
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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 Jan 23, 2019 12:00:46 GMT
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