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Post by dizzieblonde on May 2, 2018 21:52:50 GMT
Actually, I just noticed that the post about Clare's cover was referring to the other day (I think - or was she out today as well?) - and the twitter account did have the information.
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Post by dizzieblonde on May 2, 2018 21:48:27 GMT
Hannah Faith Marram was covering Clare West End Covers didn't have this, nor did the official twitter - was this a last minute thing, do you think? Is she back on tonight?
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Post by dizzieblonde on May 2, 2018 10:34:09 GMT
please could i check with anyone in the know - im sat in dress circle box C - is the views hugely restricted? I'm in one of the Royal Circle side boxes this weekend. I think box C, although set slightly further back, may just have the better sight lines than the other box on that side due to the angle it's set at. However, for the price you pay, and the fact that legroom is a total non-issue (plus the general comfort of having an entire box to yourselves), I think they might be a bit of a bargain! Two of our party are in side aisle seats in the rear royal circle, which were the same price. I was debating for ages whether to take those tickets, and give them the box seats but, in the end, the comfort of the box, as well as being much closer to the stage won out. My companion sitting with me in the box has some sight problems, and that was another factor in eventually choosing those seats, given you're practically on top of the stage there! I'll let you know if I notice any serious compromises with these side boxes, in terms of missed action. From my memory of the show, when I saw it from the back of the stalls in December, there are no major numbers that are performed entirely from the extreme sides of the stage. It's more about the cast when they use the stairs, balconies etc, but I honestly don't think there's a lot of action missed, just because you're on the edge of the auditorium. You can't see the whole stage, obviously, but it's not a deal breaker (at least not for me - we'll see this weekend)!
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Post by dizzieblonde on May 1, 2018 19:27:04 GMT
Who would people say is the “better” Alexander Hamilton? Jamael or Ash? I would have to agree with Ryan here. I saw Jamael, so I presume Ash would have to be better due to Jamael being so stiff, he also had zero charisma. I saw Jamael one week after opening, and he was as stiff as a board - which I attributed to the show being very new and him not quite settling into the role yet. From all accounts, that hasn't improved, and I'm pleased to discover that Ash is on all week, just in time for my return visit. I am curious to compare the two - and also the chance to see Miriam in Rachel's role (although I thought Rachel was really excellent), as I've heard good things about Miriam's portrayal.
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Post by dizzieblonde on May 1, 2018 10:46:40 GMT
This recent article in The Stage was pretty illuminating, regarding price structures and how band pricing works, on a psychological level! The Stage
For Hamilton, beyond the standard pricing structure that determines how a theatre breaks even or makes a profit, you have to add in the cost of that enormous renovation project - which isn't even finished! They're still refurbishing the backstage areas, because they ran out of time pre-opening. That work was put at an eye-watering £50 million (who knows what the real cost is), but that has to be part of any pricing plan, to recoup those costs over an extended period of time. I suspect it might be easier to think of it as this - premium tickets are the ones paying for the redone theatre, whilst the standard price tickets are basically keeping the production going! In a show where occupancy is likely about the industry standard of 75%, the fully filled standard seats are paying the weekly bills. Those £250 seats' profits are probably going into the refurb payoff! As time goes on, and the buzz dies down - and the refurbishment ends and is paid for - those premium seats might be found at more discounted costs. But that's some way into the future, and right now, they are serving a very particular purpose. Hamilton certainly doesn't have a lack of takers for them at those prices. I don't think anyone can say if the rest of the West End will automatically follow suit - it's a very particular production, in a specific theatre situation, that leads to this pricing.
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Post by dizzieblonde on May 1, 2018 7:52:07 GMT
What I don’t like is when a show goes on sale, and the system allocates your seats for you. It did that for Matilda tour which we ended up paying premium prices for because of how badly designed the website was, making it impossible to get a better price easily. That website also didn’t show the seating plan... I agree, it's frustrating, but it's one of those "for the greater good" scenarios. The websites can handle more bookers simultaneously when it allocates seats for you, and avoids the situation I had for Hamilton whereby I'd pick some seats and by the time you get to the basket, they've already gone. So I guess it's a decision between select your own seat and longer queue times to get into the site, or shorter queue but allocated seats. A workaround was found for this auto-allocation problem - using Explorer and Firefox browsers allowed people to choose seats, even when Chrome auto-allocated (although I don't know if that still functions). It certainly helped me, allowing me to choose box seats that just wouldn't come up on auto-pick, even when they were available. I do agree with the whole 'buy early to buy cheap' philosophy. Just as the cheaper train tickets are only available 12 weeks before journey date, being clued up enough to know when the next booking windows are open (or just making sure you sign up for the alerts that let you know about them) is the clever way to shop for theatre tickets (or, really, almost any kind of ticket these days). Trying to book in April, and bemoaning the lack of the cheaper seats available for May and June is almost pointless - there was never any way the biggest show in London would have those seats available that late in the booking process. At that point, it becomes a case that you need to work really hard to find returns - so going onto the website every single day to see if any have popped up. It's just the luck of the draw at this stage - someone returns tickets they can't use for 2-3 week's time, and you just happen to be on the site when they are released for resale. I've occasionally seen some friendly posters here mentioning that they've just seen some spare tickets for certain dates, so it's also worth stalking these kinds of boards for mentions of posters planning to return tickets, and seeing if you can pick them up on sale instead. It's either that, or start to do long term planning, and book for 6-8 month's time, where there are plentiful lower price options still available!
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Post by dizzieblonde on Apr 30, 2018 14:18:55 GMT
The reason for Sifiso being on Monday is that Ash Hunter is performing all week. Presumably, this is a week's holiday for Jamael Westman. I'm going on Saturday, so will get to see him after all! From her Instagram it looks as if Rachel is also off on holiday, so Miriam will be on as Angelica at least part of this week (if not all), assuming she's back from her own holiday (if not then it'll be Marsha). West End Covers have confirmed Miriam is on all week as Angelica - that's quite a few senior cast members out at once on a full week's leave. Bit disappointed that they are all off at the same time - presumably prearranged, but still! It's my second visit on Satruday, so I already got to see the original cast in full, but the people I'm going with this time haven't seen the show before, so will miss out on several main cast members. Hope that Giles manages the full week - otherwise we're destined to see a cast almost entirely populated with understudies and standbys. I'm not saying they're not as good, but a show missing a large chunk of main cast members is pretty poor scheduling, IMO.
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Post by dizzieblonde on Apr 29, 2018 8:00:38 GMT
The reason for Sifiso being on Monday is that Ash Hunter is performing all week. Presumably, this is a week's holiday for Jamael Westman. I'm going on Saturday, so will get to see him after all! Ash Hunter's twitter
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Post by dizzieblonde on Apr 18, 2018 23:43:41 GMT
I've just returned 2 tickets (Dress circle slips) for May 5th for all you ticket stalkers out there... (and f*** me that was painful. Got cut off repeatedly, and had Ed Sheeran blasted at me 3 times over while on hold) Oh that’s so sad. We would’ve been there on the same day I'm going that day - although to the matinee! Not long now - it's been a big enough gap between my first visit (1 week after opening night) and now, that I suspect I'll see some differences in the show. Does anyone know if Ash Hunter has specified performance dates as alternate? I am curious to see his version of Hamilton.
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Post by dizzieblonde on Apr 16, 2018 10:00:32 GMT
You'd think watching a show 23 times about the first Secretary of the Treasury would make for some impressively fiscally responsible people - no?!
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Post by dizzieblonde on Mar 31, 2018 22:51:19 GMT
Does anyone know if Clare's scheduled time off is published anywhere? I'm fully prepared to accept last minute replacements for various reasons, but I wondered if there's a cast holiday schedule anywhere (or if Lulu's absences are the only ones publicised)?
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Post by dizzieblonde on Mar 31, 2018 8:05:45 GMT
My favourite restaurant is also unbeatable if you are vegetarian or vegan - Gauthier Soho. Amazing value at lunchtime (£45 for 3 courses, 2 glasses of wine, a glass of champagne, coffee and petit fours!). Inexplicably, they lost their one star some years ago and never got it back - yet are cooking to an outstanding level, that's way better than many still on the list. Alex Gauthier is very 'outspoken' about critics, the politics in restauranting, and I suspect he doesn't play by the accepted 'rules' in attracting the Michelin guide to re-award him a star. It's also the only high-end restaurant I've seen where they put the calorie count on the menu. I guess some won't like that(!) but it's bold and informative of a place to do that for their guests. I love the place, and am currently counting down the days until I return (just a few more weeks)!
I can also second A Wong, in Victoria (especially useful for the theatres very close by, in a part of town that's not got too many options). It takes chinese cuisine to another level, and the dim sum is simply spectacular. It used to be ridiculously cheap for the experience, but a glance at their menu shows the recent acquisition of their Michelin star has been accompanied by a rather sharp price rise too! Shame, but still wonderful food!
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Post by dizzieblonde on Mar 25, 2018 8:13:35 GMT
It already exists (no, really)! It's called 'Me and My Dick', and was written by Darren Criss (Glee, American Crime Story), Carlos Valdez (Cisco on The Flash), and some of their college friends. It genuinely was the first college produced musical to make it on the US Billboard charts! Obviously puerile, college frat-boy humour, but not completely terrible or anything. The songs are actually quite good, the lyrics are clever, and there's a decent through story! So, go ahead with your musical, but you'll need to beat that one (pun intended) ! By AJ Holmes as well, who ended up as arguably the best Elder Cunningham in the West End. And this lot just a couple of years behind Benj Pasek and Justin Paul (Dear Evan Hanson, La La Land, The Greatest Showman) all at University of Michigan at the same time - that's one hell of a talent pool to come out of a single theatre department, within a couple of years of each other!
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Post by dizzieblonde on Mar 23, 2018 21:01:05 GMT
Speaking of Darren Criss, dicks and rage related things(!), I actually saw him in Hedwig and the Angry Inch on Broadway. He was brilliant but some of the audience (at least those a few rows behind me) were horrific! I've been to enough Broadway shows to understand that the volume and response from audiences is very different to the UK - and Hedwig is a naturally fairly raucous show anyway, but some girls decided that this show was the opportunity for them to scream, high pitched and continuously for the entire duration of almost all of the songs!
One of my friends, who was the one who arranged the tickets, is a bit of a Darren Criss superfan (but not the screechy kind!), and said that his run in 'How To Succeed In Business Without Really Trying' was even worse for terrible audience behaviour - people leaving in the middle of the finale, just so they could be at the front of the stage door crowd, blatant filming of the show, constant screams etc, basically obnoxious teenagers at every turn! Darren Criss was definitely good enough in that show to make a fan out of me, but god, I also wanted to kill all of his other fans that particular night!
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Post by dizzieblonde on Mar 23, 2018 19:31:00 GMT
You've got some song lyrics going there, Em. Dick! the musical! it's my next project. I did actually message a friend the other days and say 'I've made a lot of knob jokes in this play' (To which she replied 'The gay play or the straight play' which is in fairness a valid question/distinction) It already exists (no, really)! It's called 'Me and My Dick', and was written by Darren Criss (Glee, American Crime Story), Carlos Valdez (Cisco on The Flash), and some of their college friends. It genuinely was the first college produced musical to make it on the US Billboard charts! Obviously puerile, college frat-boy humour, but not completely terrible or anything. The songs are actually quite good, the lyrics are clever, and there's a decent through story! So, go ahead with your musical, but you'll need to beat that one (pun intended) !
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Post by dizzieblonde on Mar 20, 2018 13:29:00 GMT
I had a feeling that the above comments would be said about Lulu. I just think she is not suited to this role. Her voice does not suit this style of material. I just think this was slotting a name into the show to give it another boost. Though unless she improves this will have backfired. Lulu is fine at singing her style of song, more bluesy and pop but does not and never will suit the old style musical numbers. I said very similar things when she was announced. Vocally, she is just completely wrong for this part. I thought then that she may well not last the entire limited run, especially considering the vocal issues she had the last time she attempted a stage musical. The 'twang' in her voice is an affectation (long cultured, but still an affectation). She also has a forced belt to her voice that's pretty damaging to her voice long term. Either she gets a vocal coach who can stop these things from destroying her vocal endurance, or she's going to be out of the show intermittently because she doesn't have the technique to sustain her voice on these demanding songs, and she lacks the ability to craft her voice for a specific part. Too many years as a pop artist mean she sings in 'her' style, and doesn't appear to have ever managed to adapt her sound in other situations. it's such a shame that they felt it necessary to shoehorn a 'name' into a show for such a limited engagement. Sheena might have been a known performer, but she was original cast, performed for a full year, and her vocal ability met the requirements of the character she played. there are SO many other women who could have played the role well, even those famous for non-theatre musical work - I'll never understand some casting decisions!
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Post by dizzieblonde on Mar 15, 2018 14:44:40 GMT
Could they move theatres? Mamma Mia has now been shown in three theatres, without a break in its run. If the ticket sales are as strong as you say, will they close a show before looking at retaining the show in another venue?
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Post by dizzieblonde on Mar 8, 2018 21:22:55 GMT
Not sure if anyone will know this but thought I’d ask anyway, I have tickets for November (panic bought on the last re-sale) but they’re grand circle row G. I’m now starting think they’re going to be awful seats for my first time seeing this and was wondering if there is anyway of upgrading my seats? I’ve just checked and there are front row circle, circle slips and restricted view stalls row C available still, I of course don’t mind paying the difference (in reason) but I know they’re strict with this, I’ve checked the website and can’t find a clear answer. Anyone have any ideas? Buy whatever new tickets you want, then activate the returns on the ones you don't want any more, at any point before 48 hours before the performance - but if you really don't want them, release them as soon as you can, so others can but them instead. The refund admin fee is pretty small (£3 per ticket), so you'll not be significantly out of pocket doing so - especially as you're willing to pay for the increased price of better seats. There's no upgrade policy for seats, you just have to by new ones.
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Post by dizzieblonde on Feb 23, 2018 10:19:46 GMT
Sort of a bit gutted about the Lulu announcement, as I think she's an awful actress- the AbFab movie confirmed she can't convincingly play herself, so I'm definitely not sure about her playing another person entirely! I've already booked to go in May, so can't change that now! I'm happy Clare Halse is staying, she was the one I really wanted to see (although I know no one is a definite on any given performance - does she actually have an understudy?).
I particularly wonder if Lulu's voice can hold up to the rigours of this kind of singing, and the intensity of repeated performances. She has a gravelly vocal quality, that often indicates a voice not terribly well protected, and the classic American songbook numbers aren't forgiving to people who aren't well trained. Her wiki entry has a revealing line "Notable London stage appearances came in the early-1980s in Andrew Lloyd Webber's Song and Dance and the Royal National Theatre's Guys and Dolls. She damaged her vocal cords while performing in the Lloyd Webber show, requiring surgery that threatened her singing voice."
I'm not sure if she's performed as a stage musical actress since this time, which tells it's own story I think. They are certainly gambling on having a recognised name, who's nearly 70 years old, probably at the expense of having someone who can do 8 shows a week, without incident. I'm betting there's an alternate who'll get one or two shows a week, by the middle of her run!
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Post by dizzieblonde on Feb 23, 2018 9:52:29 GMT
Be nice to me people have been a lurker for a while. Now joined. Was at Hamilton on the 3rd feb matinee. I was loving it as was everyone else around me. 3/4 of the way through the first act a woman got up and started walking through the row kicking coats etc out of the way, shortly before she reached me she said at the top of her voice 'I'm not going to watch any more of this cr*p!' At the top of her voice. Kicked my leg as she left despite the fact I was getting up to let her pass. People either side of me we just looked at each other and got back to the performance. Never seen anything like it. I left half way through Chicago at the Adelphi because it really wasn't for me but did it quietly with a couple of 'excuse me' comments on the way. Never seen behaviour like it. Hello! *waves* Golly how angry at the world do you have to be to take it out on Hamilton? I suspect something other than just 'I don't like this show' was going on there! Was she alone, or with others? To shove her way along an entire row, and actually kick a complete stranger, tells me she was very angry at something, and no musical (no matter how much you realise it's not your cup of tea) will do that! I'm sorry you had to deal with that weird, angry woman, but I've no doubt the enjoyment of the rest of the show was probably increased by her absence, at least for any poor companions she was with!
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Post by dizzieblonde on Feb 2, 2018 18:54:52 GMT
I'm betting that two show performance days are the ones where the evening show is just unbearably hot. When you've already had a full audience in for several hours before then, the space is already heated, and then you add another 1500 people in there, and the heat builds up, without ever having a chance to drop back down. I hope they start to wack up the air-con before summer, because that will be an horrific experience otherwise! I have to say there were no 'posh' people anywhere near me - and my seat backed onto the rear stall boxes. All completely normal - in fact, I think I was extra lucky, and the performance I attended seemed pretty bereft of the 'superfans' some others have talked about, who've spoilt their enjoyment slightly. It was a remarkably well-behaved crowd, clapping in the 'right' places. In face, I've never experienced an almost completely still audience for 2 entire acts of a musical, no sweet rustling, phones, conversations - great experience. Next time, I'm in a box, so I've insulated myself against any degeneration of the crowds others seem to have witnessed!! Oh god, maybe I'm the 'posh' one - nah, I'm proper Northern, in fact I'm so Northern I'm practically Victoria Wood!
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Post by dizzieblonde on Feb 1, 2018 23:46:02 GMT
I was on the back row of the stalls, close to the exit door, and it was completely freezing for a decent portion of the first act - I don't know if the heat level elsewhere is better. It warmed up a little in the second half, but it did feel like a very cold theatre - it was a cold day outside, but it definitely didn't feel like they put too much heating on!
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Post by dizzieblonde on Jan 30, 2018 14:25:15 GMT
Forgot to mention when I saw it this weekend, several groups who had tickets for Wicked ended up in the Hamilton queue and the door staff had to call out several times to check if there were any lost people. How they managed to get the two shows mixed up I don't know, but it really tickled me! I mean, if you look at the frontage of the theatre, it's clearly not Wicked! However, tourists who get to Victoria station, and follow the crowds, ending up at the Victoria Palace instead of Victoria Apollo, is fairly understandable - especially as the queue starts way down the road, if they get there around 45 mins before the start of the show, and they can't see the theatre itself. The two theatres are just a couple of streets apart, and people who have no clue of the geography of Victoria can easily get turned around in the maze of exit routes out of the station! When Kings Cross was rebuilt, it took me several visits before I understood exactly where I was being popped out onto the street! It didn't help that the area around the station changed so dramatically (and the building works for years before created odd passageways that disappeared when everything opened up, confusing things even more)! I suppose it's better than getting to the Lyric Theatre, and being told you're supposed to be at the Hammersmith Lyric (there's also the fact that there's both a Palace Theatre and a Victoria Palace Theatre - oblivious tourists beware!!)! At least these groups just had to dash across the road and get to their proper theatre!
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Post by dizzieblonde on Jan 29, 2018 22:51:45 GMT
Hi All I called the change your credit card details line last week, as my previous card no longer worked. I have just checked my booking online and can no longer find any record of my booking for Weds, just the original cancelled performance from Nov. Has this happened to anyone else? I remember others mentioning this happened to them. The important things you need are the original email, and the email you received when they changed the booking. Because of the way the bookings were changed, it's possible your TM account isn't showing the revised date - you need to find the emails instead. if you can't find that, phone them and get an email resent, but you'll still (apparently) need the original one too. Technically, you should be able to get in to the theatre with just the credit card and ID, since the ticket is printed recognising just the credit card details. I suspect there'll be a few each performance who might have this problem, but the box office should be able to unite the card details with the tickets, if you have an altered booking without a new confirmation email. Best call TM though, they should be able to sort you out before Wednesday.
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Post by dizzieblonde on Jan 29, 2018 11:47:29 GMT
Releasing nearly 5 months' worth of tickets in one go should mean there's decent availability throughout - the usual weekend performances will be quick to go, but those prepared to look for midweek options should be pretty spoiled for choice. I'm also curious to see if the very clear crackdown, and visible ticketing method at the theatre, mean that the likelihood of any tickets from that sale period popping up on resale sites is so diminished, as to make the booking process itself less congested!
I'm looking for late in the year tickets (November) but am wondering when cast changeover will actually occur? Does anyone have an idea if they'll run their (presumed) year-long contracts up to the anniversary of previews (start of Dec), or it'll be earlier when they initiate the cast change?
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Post by dizzieblonde on Jan 23, 2018 11:53:22 GMT
I was such a bookworm as a child - I went through piles of books a week. It's incredibly difficult to condense that into a shortlist, but I'd have to say:
Little House on the Prairie, and the sequels Noel Streatfeild's Ballet Shoes books The Wind In The Willows The Secret Garden The Little Princess Little Women The Railway Children Enid Blyton - all of them, but I was obsessed with the St Clare's books!
When I was younger, I loved the Little Grey Rabbit books, by Alison Uttley. I honestly don't know if they're even in print any more. Talking to people, I recently realised just what a fantastic primary school experience I had, with a large, well stocked library (for a very small school), and teachers who read aloud to the class almost every single afternoon. I distinctly remember being 7 years old, and having the entire book of The Hobbit read to us, in daily installments, over a long period of time (although it was perhaps just a few weeks, maybe a month). Do teachers even do that any more - and would they tackle a fairly advanced reader book, for a crowd of 7 year olds, that would take weeks to complete?
I also remember one teacher reading us The Demon Headmaster - he took inordinate pleasure reading us the descriptions of the things that happened to the children, and so the book scared me sh*tless for weeks afterwards! I have a bunch of nephews and nieces, in the age range of when I started to become book obsessed, and their Xmas and birthday presents are now heavily book-related. I'm determined that they'll get the opportunity to have same experience I did, so I'm making sure they get all the ones I loved, as well as the usual Roald Dahl, Harry Potter stuff that every kid loves!
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Post by dizzieblonde on Jan 17, 2018 15:51:38 GMT
Not judging you at all! I'm already planning my next visit myself:) I will probably follow your advice and turn up just 15 minutes to curtain. I still think that the queue has nothing to do with touts and it's just a PR stunt for passers by to notice how busy the show is. I don't think the sniffer dogs are a 'PR stunt'! I think there are genuine security concerns around London theatres, and it's most concentrated where the productions are the highest profile. Right now, that's Harry Potter and Hamilton - and both have additional security features not really seem at the other theatres. I suspect they landed on this system, after looking fairly carefully about how they could deal with 1500 people without physical tickets, and needing to have all the checks that go along with that before receiving their actual ticket for entry! Apart from anything else, relying on passers-by saying 'ooh looks busy today' might actually be the worst PR stunt idea ever! The queue actually minimises the disruption to the foot traffic on the pavement, because it forces everyone to stand in a particular place, and move towards a single point of entry. I've been in crowds outside other theatres, pre-performance, and it's been standing room chaos, because everyone picks a different spot to wait, talk to friends or just hang around! Far more intrusive to passing pedestrians! The 1 hour advisory is obviously a bit over-generous if you're just looking at 'how long does it take to get an entire audience into the theatre', but there's always going to be people who want to rock up early, get a drink, buy merchandise and go to the loo, as well as people who want to walk in and go straight to their seats. On my next visit, I suspect I'll make sure we don't arrive too early, and only get to the theatre after the house has properly opened, to avoid that ugly crush! That was the only annoyance, in an otherwise fine access system. It is genuinely just a case of allowing 40-50 minutes only if you also want to queue for merchandise and have a drink, or deciding those are the things you'll do in the interval, or after the show.
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Post by dizzieblonde on Jan 17, 2018 14:08:21 GMT
I think the external queuing is tolerable in decent weather, but even the 10 minutes spent stuck outside the theatre on cold, wet and miserable days is probably unbearable - or at least, basely tolerable, but liable to descend into a very annoyed grumbling of theatre patrons rather quicker, than when (as in my case) I was able to stand for 5 minutes in sunny conditions.
In terrible weather, I expect that queue will be unfathomably awful. In the dark, trying to battle winds, rain and all other elements, to deliver proof of ticket, your credit card and ID before you've even got inside the theatre, yeah, that's when nerves will start to fray. It genuinely doesn't help when, even once you're in the theatre, the place is a jam-packed mess of people, all stuck in very confined areas, unable to actually get to their seats, until relatively not long before the curtain goes up.
I'm not sure what the solution is - for all it's irritants (and clear deficiencies in awful weather), the entry system does work well. I wonder if they're currently understaffed (illness etc), and they've discovered the critical number of staff that enables the system to flow well? Once the staffing dips below that figure, the system shows cracks.
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Post by dizzieblonde on Jan 17, 2018 13:17:13 GMT
They'll also do these as upgrades to existing tickets, if you just want to upgrade your existing seats with the hospitality. The Champagne package is from £45 and the VIP one (includes canapes, an open bar and a dedicated host) is from £99 per person (with a 4 guest minimum to avoid a supplement).
Not sure it's worth the upgrade fee, and I don't know what basic ticket prices they're including with the packages, but certainly worth checking out - especially if there's another way to book very good (although expensive!) seats directly with the theatre, rather than through Ticketmaster or just the normal box office.
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Post by dizzieblonde on Jan 15, 2018 15:35:32 GMT
There are quite a few of the cast who I hope don't leave at cast change! Crazy to think they're already having to think about it... When are they looking at a cast change? It seems unusually early to be casting replacements, when it's less than a month since opening night!
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